Imperial Balls: The Arts of Sex, War, and Dancing in India, England, and the Caribbean 1770-1870

Cooper, John Yale University 2015 해외박사(DDOD)

This dissertation is a study of figures dancing or in attitudes of extraordinary physical metamorphosis who, by means of their translation into flat images, create a new typology in the history of art: the "dancing image." Characterized by highly decorative and expressive gestures, poses, and steps, the figures in these "dancing images" bear the hallmarks of many different choreographic traditions from across the globe. These expressive movements are then translated by the "dancing image" onto the flat surfaces of lithographs, mica paintings, tinsel prints, oil paintings, photographs, theatrical cut-outs, and other visual media of empire. Staged by the establishment of what historian C. A. Bayly calls the "nnperial meridian" of British commerce and colonization linking India, England, and the Caribbean, the "dancing image" emerged simultaneously across the oceanic spaces of empire as the dominant solution to the problem in art of how to represent the figure in motion in the 1770s. By the 1870s film had begun to take over from prints and paintings as the dominant means by which to produce "dancing images"; it also became the source of their most progressive ontology. The evolution of the idea of movement in the history of art is the theoretical background against which this dissertation is set. The "dancing image" rises out of the intellectual genealogy of Heinrich Wulfflin, Aby Warburg, Henri Focillon, Geoge Kubler, and Robert Farris Thompson as an extra-European phenomenon of art with roots in the early baroque---a period coincident with the global expansion of European colonial powers; it reaches forward also into the present era of international dance and performance art. This dissertation argues that, because they are sensitized to depict physical metamorphosis, in the overall history of art "dancing images" show with high synchronic explicitness the way things moved in specific places at specifc times in the history of colonialism, and also, for the same reason, that they exhibit collectively the movements and changes of art and history diachronically across the imperial meridian of the eighteenth and nineteenth centuries. Furthermore this dissertation argues that the art histories of "dancing images" in India, England, and the Caribbean, can only be fully understood in light of one another. Thus the dissertation takes a double shape: India, England, the Caribbean; India, England, the Caribbean. Chapter 1 argues that the colonial phenomenon of "nautch" dancing in India created an entirely new strata of shared formal language in colonial visual culture which critiqued the destiny of empire through the art and movement of nautch girls and tawa'ifs. Chapter 2 presents the new mediums of cut-outs and tinsel prints alongside lithography to argue that in England "dancing images" exhibited a stylized assembly and artificial disfiguration of the moving parts of the body which expressed the ideological tensions of empire. Chapter 3 proposes a new genre in the history of art and colonialism through an analysis of the dancing images of Agostino Brunias and the history of the Caribbean couple dance: the fete Caraibe; this genre, it is argued, signifies the development of a new creole culture-in-motion through "dancing images." Chapter 4 returns to India to argue that the creation of "dancing images" in the princely states of India during the period of the British Raj directly preceded and foretold the potential of the princely state to enact revolutionary violence. Chapter 5 argues that the "lightness," "ease," and "gracefulness" traditionally associated with the classic ballet are ultimately derived from the freedom to move implied by colonial paramountcy. Chapter 6 concludes the dissertation by pinpointing the ineradicable traceries inscribed by ephemeral gestures on the Caribbean landscape and the anti-colonial possibilities of choreographic Marronage.

스토리텔링을 활용한 미술사 지도 방안에 관한 실행연구

이인희 경인교육대학교 교육대학원 2009 국내석사

Definitions of art: Narratives, history and essentialism (Arthur Danto)

Bacharach, Sondra Wynne The Ohio State University 2002 해외박사(DDOD)

Can the meaning of an artwork change over time?. A standard account suggests that an artwork's meaning remains constant over time. If anything has changed, we have. We have simply made new discoveries about what it meant all along. Our epistemic access to the work's meaning expands, but the work itself does not. Against the standard view, my dissertation advances a strong historicist account according to which the meaning of artworks is determined in part by its art-historical context. Strong historicism allows for an artwork's meaning to change as art history evolves. An artwork <italic>itself</italic> can acquire new meanings in virtue of entering into new causal relations with works that appear later in art history. I make my case for the foregoing in the context of defending Arthur Danto from several well-known misinterpretations of his influential philosophy of art history. On some major issues, however, I take issue with him—his well-known thesis that art history has ended, for instance. Strong historicism provides a novel way of explaining how an artwork's stylistic predicates emerge and evolve over time. Because an artwork's features evolve as new artworks emerge, our conception of art will evolve as well. Arthur Danto had originally proposed what he called a “Style Matrix” to explain this phenomenon, but later rejected it as simultaneously both overly historicist and overly ahistoricist. But, I argue that the problem with the Style Matrix lies with Danto's account of art, rather than with his conception of a Style Matrix. So, strong historicism can save the Style Matrix from these criticisms. This reveals an important sense in which the philosophy of art is intimately tied to the history of art. Strong historicism also explains how our conception of art seems to expand with each new movement in art. It grants that the features of art may change and evolve, and thereby allows for an explanation of the natural intuition that we now see artworks differently than before: new artworks bring with them a new vocabulary with which to understand art, and allow us to appreciate previous art in ways we could not have before.

Time's visible surface: Alois Riegl's art history and the discourse on temporality in fin-de-siecle Austria

Gubser, Michael Donald University of California, Berkeley 2001 해외박사(DDOD)

This dissertation considers the seminal work of the art historian Alois Riegl, specifically his concepts of temporality and history, within the context of the fin-de-siècle Austrian academic milieu. One of the foremost late-nineteenth-century architects of the modern discipline of art history, Riegl helped to establish his field as an autonomous discipline by distinguishing its subject matter, thematic goals, and analytic methods from the parent disciplines of history and aesthetics. His work has attracted increasing attention toward the end of the twentieth century because of its impact on such figures as Erwin Panofsky and Walter Benjamin. My dissertation has two primary aims. First, whereas most interpreters of Riegl focus on his notion of <italic>Kunstwollen</italic> or his theories of representation, I approach Riegl's oeuvre as a sustained investigation of the categories of temporality and history. I examine Riegl's notion of the relationship between time, history, and art as it developed from his earliest essays on calendars through his later work on the Roman art industry and Dutch group portraiture. I argue that Riegl's concept of art was fundamentally temporal in constitution; artworks registered the movement of historical time in a formal manner, rendering temporality in visible forms that were available for the empirical investigations of the historian. Thus Riegl's work can be fit within the methodological debates in the human sciences of the late nineteenth century. The second aim of this dissertation is to challenge a pervasive assumption in the recent literature on Austrian cultural and intellectual history, namely, that Austrian modernism adopted a self-consciously ahistorical stance in its investigations of social, cultural, and political phenomena. Faced with political and social turmoil and a nineteenth-century history of decline, so the argument runs, the Austrian cultural elite turned away from history and sought out alternate fields of inquiry that might explain contemporary problems, suggest redemptive solutions, or provide escapes from the social world. By embedding Riegl's analysis of temporality within a broader discourse on time, history, and empiricism that engaged his teachers at the University of Vienna, this dissertation challenges the ahistoricist characterization of Austrian culture. Among the figures discussed are the philosophers Franz Brentano and Robert Zimmermann, the historians Theodor yon Sickel and Max Büdinger, and the art historians Moritz Thausing and Franz Wickhoff.

Delineations: American art history and the discourse of inheritance

Johnson Bidler, Tiffany Ann University of Minnesota 2009 해외박사(DDOD)

This project is devoted to understanding works of art that, in a paraphrase of James Baldwin's words, look down the line and wonder. I outlined the significance of art history's mobilization of what I called the discourse of inheritance. I argued that this discourse secures art history's disciplinary boundaries, and, by way of art historical practice, reinforces normative conceptualizations of beauty, race, gender, sexuality, and national identity. I provided an analysis of inheritance as a theme in works of art, objects of material culture, art criticism, and art history, but I also sought, by way of rigorous formal analysis of a wide range of artworks, to understand the discourse of inheritance that permeates art historical writing and thinking. My research necessarily violated the proper domains art history has drawn, e.g., the division between the fields of American art and contemporary art, in order to gain an understanding of the mechanisms of inheritance and in order better to understand the work of artists, such as Kara Walker, who make use of inherited imagery. I saw my writing engaging in a kind of art historical miscegenation (improper or illegitimate mixing of fields), and for this reason much of this project focused on the iconography of miscegenation that appears in the silhouette work of Walker. It follows that the ultimate significance of the project may pivot on the development of an initial understanding of the relationships between art history's mobilization of the discourse of inheritance, historical and contemporary violations of African-Americans' civil rights, and historical and contemporary race-based violence.

예술의 종언과 그 이후, 그리고 예술의 본질 : 아서 단토(Arthur C. Danto)의 예술철학과 예술사의 철학

이진명 홍익대학교 대학원 2004 국내석사

단토는 인간을 가리켜 재현하는 존재라고 말한다. 인간은 외부의 현실세계뿐만 아니라 가능세계 또한 재현하는데, 그 세계를 잘못 재현할 수도 있다. 그리고 이 인간의 재현체계란 사람들마다 각기 다른 것이다. 이를 다른 말로 세계관이라고 할 수도 있으며 영혼이라 말할 수도 있다. 단토가 생각하는 예술이란 사람들마다 각기 다를 수밖에 없는 이 영혼을 표시해주는 공간이다. 우리가 예술작품을 접할 때마다. 우리는 예술가가 세계를 바라보는 방법으로 변용하게 된다. 이 변용이란 단순한 가장이나 게임과는 그 종류가 다른 것이다. 가장이나 게임은 일단 마감되었을 때 사라져버리는 그 무엇이지만, 예술가의 영혼으로 변용된다는 것은 일시적인 것이 아닌 지속적인 것이다. 따라서 예술을 거울이라고 말하는 것은 결국 실속 있는 말이다. 왜냐하면 예술 속에 체현되어있는 메타포가 누군가의 삶에서 그를 벗어나게 해 주는 경험을 일으킨다면, 이는 실로 누군가를 주제로 화하게 하는 은유적 연출이기 때문이다. 단토는, 따라서 예술이 주제이자 의미의 체현이라고 정리하기도 한다. 위에서 살펴본 단토의 "예술철학"과 함께 그의 체계를 양분하는 또 하나의 철학이 있다. 우리는 그것을 "예술사의 철학"이라고 부른다. 이 예술사의 철학이란 예술이 내적이며 심지어는 필연적인 구조로 전개된다고 보는 관점이다. 즉 일정한 네러티브의 지배를 받으며 전개된다. 따라서 시작도 끝도 있다. 엘리엇(T. S. Eliot)의 '이스트 코커(East Coker)'의 첫 단락에 나오는 "나는 시작이자 끝이다(in my beginning is my end)"라는 문구가 시사하는 진정한 능력이 우리에겐 결여되어있다. 그것은 세계의 규칙을 만들어낸 신만이 갖는 능력이다. 즉 우리는 미래를 읽어낼 수 있는 눈이 없다. 그러나 과거의 의미에 대해서 평가할 수 있다. 단토는 자신에게 "예술철학"과 "예술사의 철학"을 가능하게 도와준 열쇠를 1964년도 봄에 만났던 워흘의 작품이었다고 한다. 이로부터 스무 개의 성상이 떨어진 다음 "예술의 종언"으로 대표되는 그의 "예술사의 철학"이 서서히 축조되게 된다. 그의 독특한 이 철학은 따라서 '이스트 코커'의 섣부른 선언이 아니라 충분한 반성적 검토의 토대 위에 세워진 전당 이다. 그리고 예술의 네러티브가 끝났을 때, 역사후기라는 새로운 전기가 마련된다는 것 역시 그의 전당의 독특한 성격이다. "철학이 회색에 회색을 덧칠할 때 삶의 형식은 이미 늙어버린 것이다"라는 헤겔의 문구는 단토의 생각을 이해하는데 도움을 준다. 근래의 예술을 이해하기 위해서 무엇보다도 중요한 것은 이론이다. 이론의 도움을 받은 해석 없이 예술은 절대로 자기 문을 열지 않기 때문이다. 이때 우리는 예술이 자기의 의무를 다 마쳤다고 말할 수 있다. 그리고 자신의 의무를 철학에 양도한 다음 예술은 마치 파라다이스와도 같은 무한자유의 역사후기라는 상황에 도래하게 된다. 그러나 문제는 아무리 역사 후기의 예술일지언정 이 무한자유의 시기에도 무언가 의미 있는 예술이 있을 것이라는 의문이 생길 수 있다. 이에 대해 단토는 다음과 같은 말을 한다. "세상을 우리가 사는 곳으로 만드는 것." "인간을 수단이 아닌 목적으로 대하는 것." 즉 현재의 삶의 형식에 대해 고민하는 예술이야말로, 그리고 인간의 참다운 가치가 무엇인지 고민해내는 예술이야말로 시공을 뛰어넘어 훌륭한 예술이라고, 단토는 믿는다. Danto maintains conception of human beings considered as being who represent. We are beings who represent actual and possible world, and which means that we are being who misrepresent. This representational system of human beings which is magically embedded in their bodies are different from each other. It can be called either point-of-view or the way of seeing the world. And we can also say that it is the soul in other words. then Danto thinks art is something like rooms to mark the soul which must be different from a person to a person. Whenever we encounter some works of art, we are transfigured to the way artists was seeing the world. This structure of transfiguration, however, is distinguished from ordinary things for whatever pleasure that brings in such pretending or gaming. This pretending or playing a game ceases when done. But every transfigurations are different to the extent that they are in some way true: to be transfigured to an artist's soul is not transient at all like a pretending, that is, ipso facto, permanent. so the thought that art is a mirror has after all some substance, for art entails that not unfamiliar experience of being taken out of oneself by art. It is virtually the enactment of a metaphoric transformation with oneself as subject. Therefore Danto concludes that art has a subject and meaning, that is to say, to be a work of art is to be about something and to embody its meaning. With this Danto's philosophy of art we saw above, there is another philosophy to support his entire system divergently. We can call it just philosophy of art history. This philosophy of art history keeps a constant perspective, which asserts that the history of art, if not all history, must be an ordered history with an internal structure and even a kind of necessity. Neither more nor less that means the history of art develops to certain direction governed by so called great narrative. So it is very natural to think that such a narrative has not only beginning but also end. In the first paragraph of "East coker" by T. S. Eliot narrator of the verse opens his mouth as follows. "In my beginning is my end." But we have not any capacity to be able to see and prospect the future like the Almighty God. It is only just simple capacity to reflect upon the past that is given to us. Anyhow Danto used to call to mind about his most beautiful encounter with a very special work of art made by Andy Warhol in the late spring of 1964. Danto always appreciates intellectual intuitions given by dint of the work, and which makes possible for him to develope his sweeping systematic completion of philosophy of art and then philosophy of art history. From this special moment of 1964 twenty years have passed thereafter, Danto have built his edifice, namely philosophy of art history to be representative of a forceful essay, "The End of Art." So this unique philosophy is not so much a clumsy proclaim in the "East Coker" as a edifice on the foundation which is called a sufficient reflective scrutiny. And Danto says when the narrative of art come to an end, the advent of a new age, as if a paradise, presents itself, that is namely a post-historical age. Danto's own work in this marvelous field has been inspired by a thought of Hegel. It is Hegel's thought that the philosophy suited to a form of life can only properly begin when that form of life has grown old: "when philosophy paints its gray in gray, then has a form of life grown old," he write, elegaically, in The Philosophy of Right. To understand recent art we must have in mind that most important things is theories of art without saying anything further. We need theories to support interpretation, and if not at all, art will not throw any light on the question upon "what its own nature is." If then, we can say that art has completed its task, and which is already handed over to philosophy. So these reasons make sense that art enters into a unprecedented moment. But however this post-historical may be bright, there remains still other problem, that is our question, "what it is a significant art that make us happy in this infinitely free age?" For this matter Danto gives us some profound remarks as follows. "To make the world the place we live rather than pass through to some higher state: to restore the present to the present: to replace a morality of means with a morality of principle: to act in such a way as to be consistent with acting that way eternally: to stultify the instinct for significant."

Avant-garde art in postwar Japan: The culture and politics of radical critique, 1951--1970

Munroe, Alexandra New York University 2004 해외박사(DDOD)

This dissertation of avant-garde art in postwar Japan is based upon a previous publication by the author titled Japanese Art After 1945: Scream Against the Sky (New York: Harry N. Abrams, 1994). Focusing on key art movements and artists' groups which defined postwar discourses on radical critique, this history charts the intellectual, aesthetic, and stylistic developments of avant-garde art in Japan from circa 1951 to 1970, a period defined by the leftist struggle against the renewal of the U.S.-Japan Security Treaty, known as Anpo. Both American and Japanese historians have studied the sociopolitical debates that mark the postwar period. What is less well-known is the history of new artistic forms and practices that emerged from this era of unprecedented upheaval, and how radical artists' strategies underscored and reworked the leftist discourses on democratic revolution, political subjectivity, and cultural anarchism. This study examines the avant-garde within the broader context of postwar Japanese social, political, and cultural history, focusing on its vigorous critique of the ruling ideologies of modernization and its opposition to institutionalized culture and politics. This dissertation originated as an art historical research topic and certain formalist modes of stylistic analysis and aesthetic interpretation prevail. Among the questions explored here are: How can national characteristics of modern art be defined within a global discourse of modernity and modernism? If originality is the crux of the modernist adventure, how do we interpret this work within the framework of the modernist discourse?. Drawing on extensive primary sources and interviews, this dissertation aims to construct the first history in English of the following art movements: Gutai Art Association, Bokujin-kai and Sodeisha, the Yomiuri Independant's Anti-Art groups, Obsessional Art and Ankoku Butoh dance, VIVO and the Postwar School of Photography, Tokyo Fluxus and Conceptual Art, and the Mono-ha movement. The Introduction describes the Anpo movement, whose periodization defines this study; reviews the Taisho and Showa prehistory of the Japanese avant-garde; explores the discourse on cultural autonomy in modern Japanese intellectual debates; and offers a theoretical framework for defining the terminology of "radical critique." The Conclusion reviews the contradictions inherent in the Japanese avant-garde's embrace of leftist cultural critiques, and identifies problematic issues of historicizing zen'ei (avant-garde) and gendai (contemporary) art.

Camping the Canon: Yasumasa Morimura's Queer Performative Critique of Art History

Warbelow, Anna Gallagher Washington University in St. Louis 2013 해외박사(DDOD)

The late 1980s through the early 1990s were years of critical disruption and challenge within the discipline of art history. Postmodern artists began making work that disrupted dominant ideologies about gender and race as natural and revisionist scholars questioned the standing interpretations and histories of art works within the canon by considering the political and social context of artists and their work. This dissertation places camp (often defined as an ironic penchant for poor taste) within this historical moment and theorizes it as a strategy used by artists at this time to critique the canon of western art and to intervene in revisionist art historical scholarship. I focus on the history and theory of camp, particularly how it has been reclaimed by queer theorists and employed by such photographic artists as Marcel Duchamp, Andy Warhol, and Cindy Sherman. As a case study, I focus on the work of Japanese artist Yasumasa Morimura. In his <italic>Art History Series</italic> (1985–2004) Morimura inserted himself into canonical works of art, often performing ethnic and gender drag. I argue that through the use of camp, Morimura critiques normative notions of gender, race, and sexuality and further queers the existing critiques of the art-historical canon by challenging revisionist approaches to identity, including feminism, Marxism, postcolonialism, and critical race theory. Building on the work of queer theorists such as Judith Butler, I argue that camp allows Morimura to reveal identity as denaturalized and performative and to question the usefulness of the very process of forming a consensus about what works of art are worthy of study. Camp thus offers the promising possibility of multiple art-historical narratives.

Metamorphic Medium: Materializing Silver in Modern China, 1682-1839

Eberhard, Susan I University of California, Berkeley ProQuest Disser 2023 해외박사(DDOD)

"Metamorphic Medium" offers a new approach to the question of how objects can elucidate connections between local and global contexts, by centering the very material of early modern globalization. The dissertation is a social art history of silverwares that moved through the southeastern Chinese port city of Guangzhou. During the late Ming (1368-1644) and Qing (1644-1911) periods, silver exploited from mines in Latin America flowed into China through southern coastal ports, transforming the empire culturally and economically. Silverworking was a handicraft trade which relied on material, technical, and artistic knowledge to produce wares for both Chinese and foreign markets with connections to the region. Art historians have overlooked this topic due to the limited survival of Qing-period silverwares in China outside of court collections, and art-historical investments in literati and court art over vernacular, "export," and ephemeral forms of art and material culture. Further, while silver is often evoked as the archetype for global commodity exchange, there has never been an object-based study of how silver circulated across incommensurable systems of value.This dissertation asks how the production and transaction of silver objects illuminate connections between craft and mercantile knowledge, consumer tastes, and the power differentials of value negotiated across oceanic distances. It converses with art histories of global exchange, commodity histories, and histories of globalization. It views silver objects not as permanent works of art, or rationalized units of uniform value, but rather as contingent crystallizations of a mutable and heterogenous medium. At a historiographic level, the study traces how local and global forces have shaped art history. It argues that silver during this period was interpreted and claimed as something other than Chinese, due to the separate agendas of, as well as interactions, between Ming-Qing literati canons of taste, and the foreign and primarily European appropriation of global commodities and their histories. At a historical level, the study positions regional Chinese silversmiths as powerful agents that impacted silverware production, consumption, and history in regions often viewed as the global centers of metalworking innovation. Finally, it argues for approaches to art history that regard the ongoing material transformation of objects and their points of social transaction as primary methodological concerns, in order to expand the subjects studied and histories produced by the field. .

A Collector and His Portrait: Book Arts and Painting for Ibrahim 'Adil Shah II of Bijapur (r. 1580--1627)

Overton, Keelan Hall University of California, Los Angeles 2011 해외박사(DDOD)

In the relatively nascent field of Deccani art history, the Bijapuri ruler Ibrahim `Adil Shah II (r. 1580--1627) has attracted substantial scholarly attention. Ibrahim ruled for nearly fifty years, and the largest corpus of extant Bijapuri art and architecture dates to his lengthy reign. Several of the ruler's portraits have been heralded as masterpieces of Indo-Persian painting, and Ibrahim, in turn, has been lauded as a refined aesthete and the Deccan's "greatest" patron of the arts. The ruler's religious syncretism has further added to his romantic portrayal, and he is commonly categorized as a "tolerant" and "sensitive" "Akbar of the South." Despite Ibrahim's omnipresence and systematic "heroization," fundamental questions concerning his self-representation, strategies of sovereignty, and precise involvement with the visual arts remain unresolved. In addition, much of the current understanding of his "masterpiece" portraits is limited to formal analysis lacking critical context. The central aim of this dissertation is therefore to paint a more objective, detailed, and nuanced portrait of both Ibrahim and the works of art produced during his reign. At stake are the following questions: How can we activate and trace the ruler's agency in the visual arts? How did the sovereign visualize his kingship, and in turn, how was his kingship defined?. In order to begin to answer these questions, this dissertation casts a holistic net over painting and book arts in Ibrahim's Bijapur. It begins with an unprecedented examination of wall painting and collecting, which serves both to balance the emphasis on Ibrahim's portraits and to illuminate his intellectual identity. The latter is revealed to have been firmly rooted in the fundamental prerogatives of Perso-Islamic kingship from Safavid Iran to Mughal India. The consideration of Ibrahim's cultural fluency---and the intellectual climate of his court in general---provides the necessary background for the subsequent investigation of his portraits, the majority of which were painted by either Farrukh Husayn/Beg or the so-called "Bodleian Painter." In addition to resolving some of the enigmas surrounding the identities and contributions of these two renowned artists, this project elucidates how several of Ibrahim's portraits challenge the categorical juxtaposition of Bijapuri and Mughal painting ("dreamlike" and "imaginary" versus "realistic" and "historical"). It also expands the scope of inquiry to consider the role of art---and particularly portraiture---in Islamic diplomacy of the early seventeenth century. Ultimately, this dissertation revises prevailing perceptions of both Ibrahim and Bijapuri painting by introducing alternative sources of evidence, investigating painting through a multi-media lens, contextualizing Ibrahim as an Indo-Islamic monarch (not just an isolated Deccani one), and balancing codicology and connoisseurship with questions concerning the circulation, function, and reception of works of art. In doing so, this project positions Ibrahim-era visual culture as an integral and pertinent chapter in the broader field of early modern Indo-Persian art history.