Value, Art, Politics

Value, Art, Politics

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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.
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Product details

  • Hardback | 288 pages
  • 245 x 290 x 31.5mm | 1,298g
  • Liverpool, United Kingdom
  • English
  • 1846310415
  • 9781846310416

Table of contents

Notes on Contributors
Jonathan Harris
Introduction: With Postmodernism Grounded: Prospects for Renewal in Critical Art History
1. John Barrell - Dark side of the Landscape
2. Albert Boime - Forecasting Belshazzar's Fall
3. Paul Smith - 'Real Primitives': Cezanne, Wittgenstein, and the Nature of Aesthetic Quality
4. Stephen F. Eisenman - Death and Tourism: Claude Monet's Paintings of VEnice
5. T.J Clark - Phenominality and Materiality in Cezanne
6. T.J Clark - The End of Left Art History?
7. Susanne Baackmann - Prosthetic Illusions of Masculinity: Hans Bellmer's Dolls and the Fascist Imaginary
8. David Craven -Rene Magritte and the Spectre of Commodity Fetishism
9. Anne M. Wagner - Three Artists ( Three Women)
10. Fred Orton - 'Suspensa Vix Via Fit' Jasper Johns' 'Catenary': The Work of Art and the Art Object; The Everyday Self and the Extraordinary Self
11. Alan Wallach - 'Norman Rockwell' at the Guggenheim
12. John Tagg - The Capture of Meaning
13. Paul Mattick - The Dialectic of Disappointment : Adorno and Art Criticism since the 1980s
14. Amelia Jones - 'Every Man Knows Where and How Beauty Gives Him Pleasure': Beauty Discourse and the Logic of Aesthetics
15. Brandon Taylor - Virtuosity and Contrivance in the New Sculpture
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About Jonathan Harris

Jonathan Harris is Professor of Art History, University of Liverpool.
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