The End of Diversity in Art Historical Writing is the most globally informed book on world art history, drawing on research in 76 countries. In addition some chapters have been crowd sourced: posted on the internet for comments, which have been incorporated into the text. It covers the principal accounts of Eurocentrism, center and margins, circulations and atlases of art, decolonial theory, incommensurate cultures, the origins and dissemination of the "October" model, problems of access to resources, models of multiple modernisms, and the emergence of English as the de facto lingua franca of art writing.
Author(s): James Elkins
Publisher: De Gruyter
Year: 2020
Language: English
Pages: 221
City: Berlin
Table of Contents
Introduction
Acknowledgments
1. The Conditions Under Which Global Art History Is Studied
2. Leading Terms: Master Narrative, Western, Central, Peripheral, North Atlantic
3 Are Art Criticism, Art Theory, Art Instruction, and the Novel Global Phenomena?
4 The Example of Art Since 1900
5 State of the Field: Six Current Strategies
6 Reasons Why Escape is Not Possible
7 Finding Terms and Methods for Art History
8 Writing About Modernist Painting Outside Western Europe and North America
9 The Most Difficult Problem for Global Art History
Envoi: Writing Itself
Main Points
Index
