© 2018 – Routledge (Monograph (DRM-Free))
254 pages | 50 B/W Illus.
Addressed to students of the image--both art historians and students of visual studies--this book investigates the history and nature of time in a variety of different environments and media as well as the temporal potential of objects. Essays will analyze such topics as the disparities of power that privilege certain forms of temporality above others, the nature of temporal duration in different cultures, the time of materials, the creation of pictorial narrative, and the recognition of anachrony as a form of historical interpretation.
"This sophisticated collection is essential reading for anyone in the humanities attending to the 'temporal turn' in the making and understanding of images."
- Mark A. Cheetham, University of Toronto
Table of Contents:
Introduction: Dan Karlholm and Keith Moxey
Part I. Historical Time
Chapter 1: Is History to Be Closed, Saved, or Restarted? Considering Efficient Art History
Chapter 2: What Time is it in the History of Art?
Part II: Post-Colonial Time
Chapter 3: Time processes in the history of the Asian Modern
Chapter 4: Colonial Modern: A Clash of Colonial and Indigenous Chronologies
Chapter 5: Artists, amateurs and the pleated time of Ottoman modernity
Chapter 6: The Time of Translation: Victor Burgin and Sedad Eldem in Virtual Conversation
Part III: Artist's Time
Chapter 7: Arresting What Would Otherwise Slip Away: The Waiting Images of Jacob Vrel
Chapter 8: Twisted Time: Fernando Bryce’s Art of History
Miguel Ángel Hernández Navarro
Part IV: Narrative Time
Chapter 9: Heterochronies: The Gospel According to Caravaggio
Part V: Ontological Time
Chapter 10: The Phenomenal Sublime: Time, Matter, Image in Mesopotamian Antiquity
Chapter 11: Resisting Time: On How Temporality Shaped Medieval Choice of Materials
Chapter 12: Sarah Sze’s The Last Garden and the Temporality of Wonder
Part VI: Photographic Time
Chapter 13: Showtime and Exposure Tie. The Contradictions of Social Photography and the Critical Role of Sensitive Plates for Rethinking the Temporality of Artworks
Chapter 14: ‘Objects moving are not impressed’: Reading into the blur