Jonathan P. Harris

The New Art History provides a comprehensive introduction to the fundamental changes which have occurred in both the institutions and practice of art history over the last thirty years. Jonathan Harris examines and accounts for the new approaches to the study of art which have been grouped loosely under the term 'the new art history'. He distinguishes between these and earlier forms of 'radical' or 'critical' analysis, explores the influence of other disciplines and traditions on art history, and relates art historical ideas and values to social change. Structured around an examination of key texts by major contemporary critics, including Tim Clarke, Griselda Pollock, Fred Orton, Albert Boime, Alan Wallach and Laura Mulvey, each chapter discusses a key moment in the discipline of art history, tracing the development and interaction of Marxist, feminist and psychoanalytic critical theories. Individual chapters include: * Capitalist Modernity, the Nation-State and Visual Representation * Feminism, Art, and Art History * Subjects, Identities and Visual Ideology * Structures and Meanings in Art and Society * The Representation of Sexuality

A Critical Introduction

The New Art History

Art History: The Key Concepts offers a systematic, reliable, accessible, and challenging reference guide to the disciplines of art history and visual culture. Containing entries on over 200 terms integral to the historical and theoretical study of art, design, and culture in general, Art History: The Key Concepts is an indispensable source of knowledge for all students, scholars, and teachers. Each entry contains a succinct definition, an exploration of its history, use, and significance, and suggestions for further reading. Entries include: abstract expressionism; epoch; hybridity; semiology; and zeitgeist. Through extended cross-referencing, Art History: The Key Concepts builds a radical intellectual synthesis for understanding and teaching art, art history, and visual culture.

The Key Concepts

Art History

Value, Art, Politics draws together questions of value and evaluation in relation to studies of historical and contemporary art and artists, within a broad 'social history of art' conceptual framework. Topics covered include the status of aesthetic and other judgements and their relation to analytic methods in the discipline; the reformulation of feminist aesthetics and cultural politics; the impact of postcolonial theory; the status of 'traditional' media now such as paintings and sculptures; new technologies of visual representation; Marxism and culture after Postmodernism; revisionist histories of formalist criticism.

Criticism, Meaning and Interpretation After Postmodernism

Value, Art, Politics

Excess and Apocalypse in the World of the Chapman Brothers.

Excess and Apocalypse in the World of the Chapman Brothers

Inside the Death Drive

Studying the art writing and critique of the three leading art writers of the latter 20th century with focus on canonical modern artists, Harris brings us this study which assesses the development of modern art writing.

After Greenberg, Fried, and Clark

Writing Back to Modern Art

Comprising examples of artwork and a series of essays, this collection examines and assesses the current status of painting within global contemporary art. It sheds light on fine art as it is understood as a facet of a global culture and society dominated by Northern European and US power and history.

Hybridity, Hegemony, Historicism

Critical Perspectives on Contemporary Painting

From the phenomenally successful new Tate Modern to the DIA: Beacon and Liverpool Biennial, contemporary visual art seems more than ever enmeshed in prominent public institutions and new forms of patronage, whether public commissions or corporate sponsorships. In Art, Money, Parties, renowned figures from the art world--including artists, dealers, and gallery owners--join scholars to consider these new institutional faces of contemporary art, their influence on art and artists, and how they affect the future of art. The essays in this collection, which originated at a conference organized by Tate Liverpool and the University of Liverpool, offer frequently contentious positions on the role of new institutions and patronage in the world of contemporary art. For example, while Liverpool Biennial director Lewis Biggs delivers a fairly optimistic assessment of the state of contemporary art, scholar Paul Usherwood unleashes a scathing critique of recent public art commissions. From opposing perspectives, gallery owner Sadie Coles reviews the history of her own involvement in the art world during the 1990s, and artist Stewart Home offers a sharply contrasting view of the value of the art produced in that decade. Rather than an attempt to craft a consensus, though, Art, Money, Parties is instead an effort to map out the position of--and possibilities for--contemporary art in a period of growing public sponsorship and attention. The vibrant, growing interest in contemporary art--evidenced by the success of the institutions under consideration--makes Art, Money, Parties a timely and indispensable contribution to any debate on the present and future of art.

New Institutions in the Political Economy of Contemporary Art

Art, Money, Parties

Christoph Grunenberg

Jonathan Harris

'The Summer of Love' brings together an impressive group of historians, artists, and cultural critics to present a rich and varied interpretation of this seminal decade and its continuing influence on politics, society, and culture. The book will accompany an exhibition at Tate Liverpool.

Jonathan P. Harris

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