Interesting that we're reading this differently.
My take: I read her last paragraph as meaning: Before the kind of art
history that's now practiced in universities, only white men were
canonized. Now art history is being re-written to include woman,
African-Americans, and non-Europeans.
Here's an earlier paragraph:
"The real problem is that even in the game of source hunting and
influence tracing, ideology is already at work. Influence, linking
artists and artworks in a one-way direction, such as family descent, is
a dressed-up way of protecting the canon (and the art market), and this
machine-aided form of looking for similarity would only reinforce it."
The Digital Humanities also has a similar program for literary history,
which is just as superficial, if not silly. When scholars become
programmers, the soul of scholarship is lost.
It makes me think of art critic Jed Perl who asks the question of
critics looking at a piece of art, "What do you/feel/."
Okay, so I'm heading into territory where coders will come after me with
pitchforks. Of course, virtual ones.
-Joel
On 9/4/2014 5:57 PM, Rob Myers wrote:
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On 04/09/14 05:19 PM, Joel Weishaus wrote:
I think you're wrong about this. She concludes:
"There was, until recently, virtually no art history that ever
asked how women or African-Americans, or non-Europeans 'influenced'
the direction of art, or even traced any kind of links between such
artists and the canonised white men. It is the kind of art history
practiced in today’s universities, rather than the auction houses,
that is asking precisely these bigger questions."
I'm arguing that this activity isn't the challenge to "auction houses"
that it's presented as.
Linking art by "women or African-Americans, or non-Europeans" to "the
canonised white men" will provide it with the kind of provenance that
is important for selling artworks at auction.
So those "big questions" have answers that are no more resistant to
the art market than it's alleged those of connoisseurial art history are.
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