Introduction: Art and Agency and Art History

Art's Agency and Art History

Volumn , Issue , 2008, Pages 1-27

  Tanner, Jeremy ^a   Osborne, Robin ^b  

^a UNIVERSITY COLLEGE LONDON   (United Kingdom)

^b UNIVERSITY OF CAMBRIDGE   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 84889323823     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.1002/9780470776629     Document Type: Editorial

References (50)

1. Celebration: C. Pinney and N. Thomas, eds., Beyond Aesthetics: Art and the Technologies of Enchantment (Oxford, 2001);
2. criticism: R. Layton, "Art and Agency: a reassessment," Journal of the Royal Anthropological Institute 9 (2003), pp. 447-64.
3. We are grateful to James Whitley for comments on an earlier draft.
4. A. Gell, "The technology of enchantment and the enchantment of technology," in J. Coote and A. Shelton, eds., Anthropology, Art and Aesthetics (Oxford, 1992), pp. 40-63 at p. 43.
5. Criticized in Gell, "Technology," p. 43.
6. A. Forge, "Art and environment in the Sepik," Proceedings of the Royal Anthropological Institute for 1965 (London, 1966), pp. 23-31; "The Abelam artist," in M. Freedman, ed., Social Organization: Essays Presented to Raymond Firth (London, 1967), pp. 65-84.
7. A. Gell, Art and Agency: an Anthropological Theory (Oxford, 1998), p. 10.
8. Gell, Art and Agency, p. 14.
9. J. Faris, Nuba Personal Art (London, 1971).
10. Gell, Wrapping in Images: Tattooing in Polynesia (Oxford, 1993).
11. Gell, Art and Agency, pp. 163-5.
12. Gell, "Technology," p. 43.
13. M. Bal and N. Bryson, "Semiotics and art history," Art Bulletin 73 (1991), pp. 175-208.
14. N. Bryson, Vision and Painting: the Logic of the Gaze (London: 1983), p. xii.
15. N. Bryson, Tradition and Desire: from David to Delacroix (Cambridge, 1984), p. xix.
16. N. Bryson, "Semiology and visual interpretation," in N. Bryson, M. A. Holly and K. Moxey, eds., Visual Theory (Cambridge, 1991), pp. 61-73 at p. 70.
17. J. Coote, " 'Marvels of everyday vision': the anthropology of aesthetics and cattle-keeping Nilotes," in Coote and Shelton, eds., Anthropology, Art and Aesthetics, pp. 245-73.
18. Painting and Experience in Fifteenth Century Italy (Oxford, 1972).
19. Gell, Art and Agency, pp. 1-4; "On Coote's 'Marvels of everyday vision'," Social Analysis 38 (1995), pp. 18-31.
20. Gell, "On Coote's 'Marvels'," p. 24.
21. H.Morphy in J.Weiner, "Aesthetics is a cross-cultural category," in T. Ingold, ed., Key Debates in Anthropology (London, 1996), pp. 251-4 at p. 252.
22. Gell, Art and Agency, pp. 81-94.
23. Gell, Wrapping in Images, p. 95.
24. Most notably H. Belting, Likeness and Presence: a History of the Image before the Era of Art (Chicago, 1994).
25. D. Preziosi, Rethinking Art History: Meditations on a Coy Science (New Haven, 1989), pp. 15-17.
26. For examples of such work see Bal and Bryson, "Semiotics," p. 175
27. M. Bal, Reading "Rembrandt": Beyond the Word-Image Opposition (Cambridge, 1991).
28. Bal and Bryson, "Semiotics," p. 179.
29. J. Elsner, Art and the Roman Viewer: the Transformation of Art from the Pagan World to Christianity (Cambridge, 1995).
30. R. H. Davis, Lives of Indian Images (Princeton, NJ, 1997).
31. W. J. T. Mitchell, "What do pictures really want?" October 77 (1996), pp. 71-82.
32. M. Fried, Absorption and Theatricality: Painting and the Beholder in the Age of Diderot (Berkeley, CA, 1980).
33. Bal and Bryson, "Semiotics," p. 193.
34. A. Effimova, " 'To touch on the raw': the aesthetic affections of socialist realism," Art Journal, Spring (1997), pp. 72-80.
35. Preziosi, Rethinking, p. 49.
36. Bal and Bryson, "Semiotics," p. 179.
37. C. Wood, "Introduction," in idem, ed., The Vienna School Reader: Politics and Art Historical Method in the 1930's (New York, 2000), pp. 9-72 esp. p. 26;
38. R. Nelson, ed., Visuality Before and Beyond the Renaissance: Seeing as Others Saw (Cambridge, 2000).
39. Gell, Art and Agency, p. 13.
40. P. Boyer, "Cognitive constraints on cultural representations," in L. A. Hirschfeld and S. A. Gelman, eds., Mapping the Mind: Domain Specificity in Cognition and Culture (Cambridge, 1994), pp. 391-411; "What makes anthropomorphism natural: intuitive ontology and cultural representations," Journal of the Royal Anthropological Institute 2 (1996), pp. 1-15.
41. Boyer, "Cognitive Constraints," p. 403.
42. Gell, Art and Agency, p. 15.
43. Gell, "Technology," p. 44, Art and Agency, p. 68.
44. Cf. Gell, Art and Agency, pp. 24-5 on recipient, pp. 68-72 on skill and captivation.
45. P. Zanker, The Power of Images in the Age of Augustus (Ann Arbor, 1988).
46. Gell, Art and Agency, p. 53.
47. R. E. Dennett, At the Back of the Black Man's Mind; or Notes on the Kingly Office in West Africa (London, 1906; repr. London, 1968), p. 93.
48. Gell, Art and Agency, p. 114.
49. Compare Peter de Bolla, Art Matters (Cambridge, MA, 2001), p. 55 for concern with "what a response to the question 'What does this artwork know?' might be."
50. Gell, Art and Agency 236.