Materializing Art History

Item discusses Marxist art history in relation to the social history of art.

A significant contribution to investigations of the social and cultural impact of new media and digital technologies

Lucy R. Lippard's famous book, itself resembling an exhibition, is now brought full circle in an exhibition (and catalog) resembling her book. “Conceptual art, for me, means work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or 'dematerialized.'” —Lucy R. Lippard, Six Years In 1973 the critic and curator Lucy R. Lippard published Six Years, a book with possibly the longest subtitle in the bibliography of art: The dematerialization of the art object from 1966 to 1972: a cross-reference book of information on some esthetic boundaries: consisting of a bibliography into which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically and focused on so-called conceptual or information or idea art with mentions of such vaguely designated areas as minimal, anti-form, systems, earth, or process art, occurring now in the Americas, Europe, England, Australia, and Asia (with occasional political overtones) edited and annotated by Lucy R. Lippard. Six Years, sometimes referred to as a conceptual art object itself, not only described and embodied the new type of art-making that Lippard was intent on identifying and cataloging, it also exemplified a new way of criticizing and curating art. Nearly forty years later, the Brooklyn Museum takes Lippard's celebrated experiment in curated concatenation as a template, turning a book that resembled an exhibition into an exhibition materializing the ideas in her book. The artworks and essays featured in this publication recall the thrill that was tangible in Lippard's original documentation, reminding us that during the late sixties and early seventies all possible social and material parameters of art (making) were played with, worked over, inverted, reduced, expanded, and rejected. By tracing Lippard's own activities in those years, the book also documents the early blurring of boundaries among critical, curatorial, and artistic practices. With more than 200 images of work by dozens of artists (printed in color throughout), this book brings Lippard's curatorial experiment full circle.

Art history has enriched the study of material culture as a scholarly field. This interdisciplinary volume enhances this literature through the contributors' engagement with gender as the conceptual locus of analysis in terms of femininity, masculinity, and the spaces in between. Collectively, these essays by art historians and museum professionals argue for a more complex understanding of the relationship between objects and subjects in gendered terms. The objects under consideration range from the quotidian to the exotic, including beds, guns, fans, needle paintings, prints, drawings, mantillas, almanacs, reticules, silver punch bowls, and collage. These material goods may have been intended to enforce and affirm gendered norms, however as the essays demonstrate, their use by subjects frequently put normative formations of gender into question, revealing the impossibility of permanently fixing gender in relation to material goods, concepts, or bodies. This book will appeal to art historians, museum professionals, women's and gender studies specialists, students, and all those interested in the history of objects in everyday life.

How do objects mediate human relationships, and possess their own social and political agency? What role does material culture - such as prestige consumption as well as commodity aesthetics, biographies, and ownership histories - play in the production of social and political identities, differences, and hierarchies? How do (informal) consumer subcultures of collectors organize and manage themselves? Drawing on theories from anthropology and sociology, specifically material culture, consumption, museum, ethnicity, and post-socialist studies, Materializing Difference addresses these questions via analysis of the practices and ideologies connected to Gabor Roma beakers and roofed tankards made of antique silver. The consumer subculture organized around these objects - defined as ethnicized and gendered prestige goods by the Gabor Roma living in Romania - is a contemporary, second-hand culture based on patina-oriented consumption. Materializing Difference reveals the inner dynamics of the complex relationships and interactions between objects (silver beakers and roofed tankards) and subjects (Romanian Roma) and investigates how these relationships and interactions contribute to the construction, materialization, and reformulation of social, economic, and political identities, boundaries, and differences. It also discusses how, after 1989, the political transformation in Romania led to the emergence of a new, post-socialist consumer sensitivity among the Gabor Roma, and how this sensitivity reshaped the pre-regime-change patterns, meanings, and value preferences of prestige consumption.

The latest historical and anthropological archaeology, epigraphy, and art history on Southeast Asia, these articles offer new understandings of classical Hindu and Buddhist cultures of Southeast Asia and their relationship to the regionÍs medieval cultures. The articles are presented under four headings: Art, religion and politics (Buddhist monuments in Java and Cambodia); Southeast Asian transformations (cultural exchange with South Asia); Technology (workmanship in art and material culture); and Southeast Asia between past and present.

Despite the wide interest in material culture, art, and aesthetics, few studies have considered them in light of the importance of the social imagination - the complex ways in which we conceptualize our social surroundings. This collection engages the “material turn” in the arts, humanities, and social sciences through a range of original contributions on creativity in diverse global and contemporary social settings. The authors engage with everyday objects, art, rituals, and ethnographic exhibitions to analyze the relationship between material culture and the social imagination. What results is a better understanding of how the material embodies and influences our idea of the social world.

Memory matters. It matters because memory brings the past into the present, and opens it up to the future. But it also matters literally, because memory is mediated materially. Materiality is the stuff of memory. Meaningful objects that we love (or hate) function not only as aide-mémoire but are integral to memory. Drawing on previous scholarship on the interrelation of memory and materiality, this book applies recent theories of new materialism to explore the material dimension of memory in art and popular culture. The book’s underlying premise is twofold: on the one hand, memory is performed, mediated, and stored through the material world that surrounds us; on the other hand, inanimate objects and things also have agency on their own, which affects practices of memory, as well as forgetting. By accounting for the material world as a medium through which acts of remembering and forgetting take place, the chapters of this book offer new insights on such topics as the study of ruins, the exchange and circulation of souvenirs, digitization and the Internet of Things, fashion and technology, as well as the material dimensions of corporeality and traumatic re-enactment.