After the Event

New perspectives on art history

By: Charles Merewether (Editor), John Potts (Editor), Marsha Meskimmon (Editor)

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Hardcover | 1 November 2010

At a Glance

Hardcover
264 Pages

Dimensions(cm)
24.3 x 16.6 x 2.2

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The event occurs in and over time; the aftermath concerns the traces, which are frozen into images, objects, re-presentations. Traditionally, art history is written in the aftermath as representational. A different perspective on the visual arts is opened up when scholars insist on exploring the status of the event itself, allowing temporality to remain in place. By focusing on the event, recognition of the complex character of the traces becomes all the more evident, challenging the singularity of representation itself.

This book opens up debates on art history and theory to a broad range of perspectives, offering fresh approaches to art history and media culture alongside diverse investigations into cross-cultural and non-Western art practices. The essays draw together a wide and regionally diverse range of scholars from numerous areas, including film and documentary studies, philosophy, intellectual and cultural history, media theory and performance studies, as well as art history and theory. -- .

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You Can Find This Book In

Non-Fiction Arts & Entertainment Art Treatments & Subjects Art Techniques & Principles History of Art & Design Styles Art from 1900 to Current Art from 1960 Conceptual Art

Illustrations	p. vii
Notes on contributors	p. x
Acknowledgements	p. xv
Introduction	p. 1
Rewriting global visual culture	p. 7
Two cures: making art visible	p. 9
Land and sea: 'In the beginning all the World was America'	p. 20
Migration as spatial fantasy	p. 38
Masters of the gap: art, migration and eido-kinesis	p. 43
The world is not enough	p. 57
New art histories: other modernities	p. 69
Wins and/or losses in recent Eastern European art history	p. 71
Interrupted histories	p. 80
Aesthetic experience and the power of the artwork	p. 90
Crisis and convening: or, what is it that we want from art conferences?	p. 105
Memory: documentary and the archival	p. 117
Archival futures: On Kawara and the date from which all things begin, again	p. 119
Mortal remains	p. 132
Expressivity: the art of documentary practice	p. 156
Documentary in the age of the remix	p. 163
Contact lenses: cinaesthesia in the museum	p. 174
The event and re-enactment	p. 189
The event and its echoes	p. 191
'The Truth will be Known when the Last Witness is Dead': history not memory	p. 202
'What if somebody in New Zealand wants to see it?' Performance art's cover versions	p. 218
When the present comes to get you	p. 227
Index	p. 241
Table of Contents provided by Ingram. All Rights Reserved.

After the Event

New perspectives on art history

At a Glance

Hardcover

Shipping

How to return your order

Defective items

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