[NetBehaviour] [spectre] post-doc grant programme (blocked postings)

Joel Weishaus joelweishaus at gmail.com
Fri Sep 5 03:24:54 CEST 2014


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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> Hash: SHA1
>
> 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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