Cicero once stressed as the first law of history that “the historian must not dare to tell any falsehood.” This precept entails a minimal ethical requirement that remains unscathed by the whirlpools of epistemic relativism that have called many other aspects of professional historians’ practice into question in the last century or so. No commendable scholar seems willing to invalidate Cicero’s first law, and dependable scholarship—whether relying on objectivity-friendly or objectivity-hostile theoretical assumptions—follows shared standards of integrity and accuracy with which (...) someone from Cicero’s time, for instance, would never be able to comply. In this essay, I suggest that those two circumstances should dispose us more favorably toward a refreshed notion of historical objectivity pointing not only to epistemology but also to professional ethics. I address the condemnation of lying and, more generally, historians’ commitment to sincerity as a way to highlight the ethical dimension of history writing. By focusing on the deep but underexplored moral roots of objectivity, I argue that this concept is still very useful as both an analytical tool and a normative ideal. Objectivity, in the sense I underline here, does not stand in opposition to subjectivity—on the contrary, it is actually tied up with subjective dispositions, virtues, and skills that help shape responsible historiography. (shrink)

Art interpretation in practice, not theory. -/- How do people make sense of works of art? And how do they write to make others see the same way? There are many guides to looking at art, histories of art history and art criticism, and accounts of various ‘theories’ and ‘methods’, but this book offers something very unlike the normal search for difference and division: it examines the general and largely unspoken norms shared by interpreters of many kinds. -/- Ranging widely, (...) though taking writing within the Western tradition of art history as its primary focus, Interpreting Art highlights the norms, premises, and patterns that tend to guide interpretation along the way. Why, for example, is the concept of artistic ‘intention’ at once so reviled and yet so hard to let go of? What does it really involve when an interpretation appeals to an artwork’s ‘reception’? How can ‘context’ be used by some to keep things under control and by others to make the interpretation of art seem limitless? And how is it that artworks only seem to grow in complexity over time? -/- Interpreting Art reveals subtle features of art writing central to the often unnoticed interpretative practices through which we understand works of art. In doing so, the book also sheds light on possible alternatives, pointing to how writers on art might choose to operate differently in the future. -/- ‘It's wonderful to have a book that focuses on what art historians actually do when we interpret art, as opposed to the claims we make about our methods and their histories… Interpreting Art shows how apparently well-understood paths of interpretation are actually half-articulated ideals that are as likely to run away with our texts as support them, and for that reason it should be on the desk of every doctoral student when they set out to write.’ – James Elkins, School of the Art Institute of Chicago ‘In this lucid, sensible and insightful book, Sam Rose investigates interpretive practices common to almost all professional art historians, regardless of their objects of study, their professed "methods" and their schools of historical thought. Anyone curious about the “how” of art history as an intellectual and aesthetic endeavour will find Rose to be an invaluable guide.’ – Whitney Davis, University of California at Berkeley. (shrink)