CIHA 2016 in Beijing
34th World Congress of Art HistoryAbout History Press Release Sessions Schedule Activities Participants Venue Discussion Registration Closed
Ethical Issues in Practice: Forming a Canon for Global Art History
Session 21 Connecting Art Histories and World Art
Princeton University, Rutgers-Camden University
In this lecture we consider questions of theethical dimensions involved in the formation of canons in global/world art history. Defining a canon as a selection made according to criteria of impact, exemplarity, and importance, wetreat these issues across cultures and timesbased on our experience in writing art history. We deal with problems of political and religious significance, topicality and contemporaneity, personal and gender issues, aesthetic quality, and global interconnectedness, as well as considering the original and later audiences. We examinethe Sistine Chapel and Great Zimbabwe;ShirinNeshat, Hans Holbein, Artemisia Gentileschi, an ancient Peruvian weaving, Koetsu,and Cellini; and discuss a Mexican screen painting with mother-of-pearl inlay.We conclude that uniform concepts of art or aesthetic criteria, personal, political, or gender considerations, and global interconnections are not universal. However, we do not believe that refusing to discern or impose eternal global standards (and alsoconventional period and style terms) make global/world art history impossible;we think admission of limitations in knowledge opensrather thancloses portals.
KAUFMANN, Thomas DaCosta
Thomas DaCosta Kaufmann is Frederick Marquand Professor of Art and Archaeology, Princeton University. Formerly vice-president of the U.S. National Committee of the History of Art and a membretitulaireof C.I.H.A., he is a member of the Royal Flemish, Royal Swedish, and Polish academies of science, and has been a fellow of the American Academy in Rome and the American Academy in Berlin. He has held Guggenheim and Humboldt Fellowships, been awarded the Mitchell Prize (for the best English-language book in art history), and received the Palacký medal from the Czech Academy of Sciences. The Technical University, Dresden and the Masaryk University, Brno, have awarded him honorary doctorates. The author of thirteen books that have been translated into a variety of languages, and editor of four more, he has published more than 200 articles and reviews. In addition to his interests in Central Europe, art science and humanism, cultural exchange, historiography, and geography of art, he is now concentrating on global art history (a comprehensive book written by him together with Elizabeth Pilliod is nearing completion) and the relation of art historical and historical approaches to the construction of global history (on which he is working with Serge Gruzinski)..
Elizabeth Pilliod is the author of Pontormo, Bronzino, Allori: A Genealogy of Florentine Art, New Haven and London: Yale University Press, 2001; co-author of Italian Drawings. Florence, Siena, Modena, Bologna; Drawings in Swedish Public Collections 8, Stockholm: Nationalmuseum, 2002; and co-editor of Time and Place. Essays in the Geohistory of Art,Aldershot:Ashgate Press, 2005. She has been a Fellow at Villa I Tatti, the Harvard Center for Italian Renaissance Studies in Florence and a NEH stipend recipient. She contributed to the two 2010 exhibitions devoted to the Florentine artist AgnoloBronzino (1503-1572) at the Metropolitan Museum of Art, New York City, Bronzino as Draftsman, and at the Fondazione Palazzo Strozzi, Soprintendenza PSAE, e il Polo Museale della città di Firenze, Florence, Italy,Bronzino. Artist and Poet. She is co-author of Global Visions: A Global History of Art, for Pearson Publishing, in process and due out in 2017. Her monograph on the lost paintings of the sixteenth-century master Jacopo da PontormoPontormoReturns: The Making and Meaning of a Lost Renaissance Masterpiece, is forthcoming with Ashgate Press. She is Visiting Professor of the History of Art at Rutgers-Camden University.