This book is devoted to the concept of horizontal art history-a proposal of a paradigm shift formulated by the Polish art historian Piotr Piotrowski (1952-2015)-that aims at undermining the hegemony of the discourse of art history created in the Western world.
This book is devoted to the concept of horizontal art history-a proposal of a paradigm shift formulated by the Polish art historian Piotr Piotrowski (1952-2015)-that aims at undermining the hegemony of the discourse of art history created in the Western world.
Agata Jakubowska is Faculty Member in the Institute of Art History, Warsaw University Magdalena Radomska is Faculty Member in the Department of Art History, Adam Mickiewicz University in Poznä.
Inhaltsangabe
Introduction PART I: Practicing Horizontal Art History: Democracy 1. The Critical Museum Debate Continues 2. Horizontal Art History and the Revolutionary Double Bind 3. Horizontality without Limits: Postcolonial and Postsocialist Experience as Frameworks for Studying Art and Art History in Peripheries PART II: Practicing Horizontal Art History: Localisations 4. About the West 5. Close Other(s) in the West: Spain and Its Horizontal Histories during the Cold War 6. Russian Avant-Garde in the Optics of the Horizontal History of Art 7. Exhibition-Making as Horizontal Art History? 8. Toward Alter-Globalist History of Feminist Art PART III: Challenging Horizontal Art History and Its Internal Contradictions 9. How to Write a Global History of Central and Eastern European Art 10. Not Horizontal Enough: Horizontal Art History with Marxist Restrictions 11. Cultural Backwardness and Economic Backwardness: How Can Horizontal Art History Tackle Socioeconomic Issues? 12. Horizontal Art History: Endangered Species 13. Freedom of Expression and Freedom of Art in the Perspective of Horizontal Art History PART IV: Alternatives to Horizontal Art History 14. Allegories of Orientation 15. From Horizontal Art History to Lateral Art Studies? 16. Why Horizontal Art History Cannot Escape Computation 17. Simultaneous Avant-Gardes and Horizontal Art Histories: Avant-Gardes Outside of the Canonic Narrations
Introduction PART I: Practicing Horizontal Art History: Democracy 1. The Critical Museum Debate Continues 2. Horizontal Art History and the Revolutionary Double Bind 3. Horizontality without Limits: Postcolonial and Postsocialist Experience as Frameworks for Studying Art and Art History in Peripheries PART II: Practicing Horizontal Art History: Localisations 4. About the West 5. Close Other(s) in the West: Spain and Its Horizontal Histories during the Cold War 6. Russian Avant-Garde in the Optics of the Horizontal History of Art 7. Exhibition-Making as Horizontal Art History? 8. Toward Alter-Globalist History of Feminist Art PART III: Challenging Horizontal Art History and Its Internal Contradictions 9. How to Write a Global History of Central and Eastern European Art 10. Not Horizontal Enough: Horizontal Art History with Marxist Restrictions 11. Cultural Backwardness and Economic Backwardness: How Can Horizontal Art History Tackle Socioeconomic Issues? 12. Horizontal Art History: Endangered Species 13. Freedom of Expression and Freedom of Art in the Perspective of Horizontal Art History PART IV: Alternatives to Horizontal Art History 14. Allegories of Orientation 15. From Horizontal Art History to Lateral Art Studies? 16. Why Horizontal Art History Cannot Escape Computation 17. Simultaneous Avant-Gardes and Horizontal Art Histories: Avant-Gardes Outside of the Canonic Narrations
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