First published in 1948, Frederick Antal’s Florentine Painting and Its Social Background was an important milestone in anglophone art history. Based on European examples, including Max Dvořák, it sought to understand art history’s relationship to social and intellectual history. When Antal, a Hungarian émigré, arrived in Britain in 1933, he encountered an inward-looking discipline preoccupied with formalism and connoisseurship; or, as he phrased it, art historians of ‘the older persuasion’ ignorant of ‘the fruitful achievements of modern historical research’. Despite its (...) considerable scholarship and erudition, Antal’s book was not warmly received, largely because he had used historical materialism to understand the production of art and the development of styles. Antal’s class-based account of the social position of the artist and the role of the patron in determining the emergence of early Renaissance styles was especially controversial. However, although Marxist analysis was used to challenge the assumptions of Anglo art history, it was not Antal’s intention to weaken art history’s disciplinary autonomy. With historical materialism, he sought to place art history on a firmer historical footing. Most importantly, this approach was compatible with the discipline’s Central European tradition, where art-historical scholarship was framed by questions of method and based on broad historical research. Without defending its more deterministic features, this article supports a re-evaluation of Antal’s book, as an important forerunner of interdisciplinary art scholarship. It considers why Antal’s legacy has not endured, despite the ‘social history of art’ enjoying widespread acceptance in English-speaking art history in later decades. (shrink)

Zangwill's recent article offers a provocative and compelling account of the alleged deficiencies of the sociology of art. However, his main targets—christened, respectively, `production and skepticism' and `consumption skepticism'—are, in fact, only decontextualised and one-sided caricatures of the leading theories in this area. Zangwill has misrepresented some of the discipline's leading theorists including Bourdieu, Eagleton, Pollock and Wolff. His own `aesthetic' explanation of artistic acts appears, at first glance, attractive, not least for its repudiation of radical sociological reductionism. But it (...) turns out to be altogether too simplistic an alternative. Zangwill is a sociological `primitive' who understands adequately neither how society exists in the mind itself, nor, paradoxically, in artists' embodied sense of the right feel for the game. A less `enchanted' approach toartists' practices is required. This needs to stress both artists' role in the public sphere and also their specific interests in the artistic field. Key Words: sociology • art • aesthetics • canon • pleasure. (shrink)

This article explores representations of the artist Willem de Kooning who, during the last few years of his creative life, produced a large number of paintings at the same time as he was thought to be suffering from Alzheimer's disease. My focus is on the way that these representations mobilize themes which Jane Goodall identifies as belonging to a discourse of anxiety. In a bid to suggest that the artist is uniquely positioned to adapt to the progression of the disease, (...) commentators betray a particular concern with the relation between will and intuition. This relation is negotiated, first, by privileging the hand of the artist as a body part possessed of a brain and a will of its own and, second, by drawing on neurological explanations of the nervous system which have the effect of removing `will' from the sphere of voluntarism. Although these representations go some way to refigure conventional notions of artistic identity and creative processes, the reliance on neurology supports an elitism which justifies the exclusion of certain figures (the insane, the naive, the computer) not just from the subject-position `artist', but also from the category `human'. (shrink)

This essay considers the beginnings of the journal October's critical practice and the significance of a work by Michel Foucault: “Ceci n'est pas une pipe”.1 The theoretical issues/problematics raised by this essay became key to future debates in and around October; the essay becoming something of an emblematic means by which October might be distinguishing from other visual art critical practices. The importance of Foucault's text in relation to October was revealed during correspondences with Rosalind Krauss in August 2001. Foucault's (...) self-referential essay can be seen as crucial not only to Rosalind Krauss's intellectual development, but also to the continuing debate on the nature of text and image in which the journal would be involved. The spiralling interplay of Foucault's narrative, combined with Magritte's picture, might be interpreted as a metaphor for the mediations of post-structural visual criticism itself as its practitioners sought to institute language into the visual sign, a project that attempted to produce a theoretical rationale – and perhaps a justification – for images being treated as if they were texts; thus, paraphrasing Foucault, introducing into the plenitude of the image a certain disorder. Such a weaving together of representation and discourse is interpreted as the formation of a destabilizing dialectic, a dialectic that can be linked to the writings of October as it shifts its rhetorical locations in an attempt to break down the normative pictorial and discursive frames of reference; becoming in essence a dedisciplinary and de-formative critical practice. This essay provides an outline of the determining conditions that led to the development of this “linguistic turn” and an associated reflection on Foucault's text that seeks to direct attention specifically towards its semiotic and discursive implications in relation to the developing oeuvre of criticism exemplified by the magazine. The essay is supported by interviews with Rosalind Krauss and Douglas Crimp conducted by the author in March 2002. (shrink)

This article discusses the work of George Seddon as a significant Australian intellectual whose writing on postcolonial settler-descendant relations with land and nature is a major contribution to academic and public life. Seddon’s originality lies partly in his bridging knowledge and expertise in both the humanities and sciences. However, while there is a reliance upon factual data drawn from geology, botany and zoology, Seddon’s analyses of language and culture can appear idiosyncratic and unsystematic in terms of social science methods. Based (...) on introspection, the work might be considered ‘autoethnography’, though Seddon seeks to do more than tell stories about himself. In acknowledging both the brilliance and shortcomings of Seddon’s work, I present some examples of how it has stimulated my own research on the cultural implications of naming species and places in Australia. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)