Heidegger and the Work of Art History explores the impact and future possibilities of Heidegger’s philosophy for art history and visual culture in the twenty-first century. Scholars from the fields of art history, visual and material studies, design, philosophy, aesthetics and new media pursue diverse lines of thinking that have departed from Heidegger’s work in order to foster compelling new accounts of works of art and their historicity. This collected book of essays also shows how studies in the history and theory of the visual enrich our understanding of Heidegger’s philosophy. In addition to examining the philosopher's lively collaborations with art historians, and how his longstanding engagement with the visual arts influenced his conceptualization of history, the essays in this volume consider the ontological and ethical implications of our encounters with works of art, the visual techniques that form worlds, how to think about ’things’ beyond human-centred relationships, the moods, dispositions, and politics of art’s history, and the terms by which we might rethink aesthetic judgment and the interpretation of the visible world, from the early modern period to the present day.
Table of Contents
Contents: Introduction, Amanda Boetzkes and Aron Vinegar; Part I Between Ontology and Ethics: The return of discrete, autonomous artworks: Heidegger, Harman, and algorithmic allure, Robert Jackson; The interior void of things: Heidegger and art of the 1980s and 1990s, Ileana Parvu (translated by Shane Lillis); Giovanni Battista Moroni, portraiture, and the ethics of early modern conversation, Bronwen Wilson. Part II Techniques of World-Making: Heidegger’s ’From the dark opening...’, Michael J. Golec; Art, materiality and the meaning of being: Heidegger on the work of art and the significance of things, Philip Tonner; ’Leaning into the wind’: poiesis in Richard Long, Diarmuid Costello. Part III Heidegger’s Unthought History of Art: Shapes of time: melancholia, anachronism, and de-distancing, Matthew Bowman; The gaze of ’historicity’ in Schongauer and DÃ¼rer, Michael Gnehm; ’A dwelling place’: sensing the poetics of the everyday in the work of Pierre Bonnard, Lori Nel Johnson. Part IV Making Claims and Aesthetic Judgment: Reluzenz: on Richard Estes, Aron Vinegar; Interpretation and the affordance of things, Amanda Boetzkes; Sein und Zeit im Raum: perspective as symbolic form, Whitney Davis; Index.
Amanda Boetzkes is Assistant Professor of Modern and Contemporary Art History at the University of Guelph, Canada. Aron Vinegar is Director of Art History and Visual Culture at the University of Exeter, UK.