Product Description

This clear and concise new introduction examines all the major debates and issues using a wide range of well-known examples. It discusses the challenge of using verbal and written language to analyse a visual form. Dana Arnold also examines the many different ways of writing about art, and the changing boundaries of the subject of art history. Topics covered include the canon of Art History, the role of the gallery, 'blockbuster' exhibitions, the emergence of social histories of art (Feminist Art History or Queer Art History, for example), the impact of photography, and the development of Art History using artefacts such as the altarpiece, the portrait, or pornography, to explore social and cultural issues such as consumption, taste, religion, and politics. Importantly, this book explains how the traditional emphasis on periods and styles originates in western art production and can obscure other critical approaches, as well as art from non western cultures.

Product Details

• Amazon Sales Rank: #170706 in Books
• Published on: 2004-01-22
• Original language: English
• Number of items: 1
• Binding: Paperback
• 144 pages

About the Author
Dana Arnold is Professor of Architectural History, University of Southampton and Director of the Centre for Studies in Architecture and Urbanism. Her recent publications include Re-presenting the Metropolis: Architecture, urban experience and social life in London (2000); The Georgian Country House: Architecture, landscape and Society (1998) and the edited volumes The Metropolis and its Image Constructing Identities for London c 1750-1950 (1999) and The
Georgian Villa (1996, 1998 paperback). She is General Editor of the series New Interventions in Art History published by Blackwell and Editor of the Art Historians Association's journal 'Art History'.

Customer Reviews

Somewhat misleading title..
I decided to purchase this book upon the realisation that I know comparatively little about Art and it's history.

I assumed that the book would be a "Very Short Introduction" to the History of Art. However I was mistaken when I discovered that the book is less about the history of art and more about Art History, as if it were a subject to be studied at a university. The book is more about the history and decriptions of Art History itself.

While I admit this might be down to my ignorance of the subject, I have to say I was disappointed with this book, as the title is a little misleading. If one is looking for information on Art History, then this book is an excellent resource; however if one is looking for a book on the history of art (as I was) then I think your money would be better spent elsewhere.

I personally reccomend Art History for Dummies