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• W224788914 abstract "Are we currently living and operating in a period after the New Art History? Or is this project still underway? Is it just reaching its climax? Where can we (in various parts of Europe and the world) locate ourseves on this axis? These were the questions addressed at the conference After the 'New Art History'1, organised by the Journal of Art Historiograpy and held at the Barber Art Gallery, University of Birmingham, during the 26th and 27th March 2012.1.The New Art History was first discussed under this name (albeit with a question mark)2 exactly thirty years ago while summarising the developments that had begun during the 1970s. The fertility and visibility of critical theory, as well as other fundamental changes (such as the increasing involvement of the art of minorities; feminist and postcolonial discourse; disrupting a single dominant narrative; the emergence of micro-histories) that then entered the debates over art history were the very topic of this colloquium.Already the fact that the event celebrated anniversaries and jubilees in many ways justified looking at the breaks and turns of the last thirty-forty years (and their consequences). Besides the New Art History's 'birthday7, it was exactly ten years since the controversial closure of the Centre for Contemporary Cultural Studies, operating at the University of Birmingham. Closing down an institute that had been shaping the whole field of Cultural Studies, the Birmingham School (Richard Hoggart, Stuart Hall, Raymond Williams, Angela McRobbie, Dick Hebdige etc.)3 that had played a relevant - though perhaps indirect - part in the birth of New Art History was, too, dismantled.The New Art History as a specific term was rooted with a volume4 by the same title from 1986, this time without a question mark already. Some years later Norman Bryson's anthology of French critical thinkers (Julia Kristeva, Jean Baudrillard, Louis Marin, Michel Foucault, Roland Barthes among others),5 however, preferred to interpret the New Art History as an umbrella term for critical theory as well as the whole range of turns and shifts within the humanities that also began to shake art history, both internally and externally. In the United States the New Art History has never had quite the same meaning. The last comprehensive attempt to offer an overview of the New Art History as a phenomenon was made by Jonathan Harris in 20016.The current conference also revealed that even an unequivocal definition of the New Art History produces huge difficulties.2.In the light of the subsequent speakers the keynote paper by Griselda Pollock (University of Leeds) turned out to be raising key issues indeed. She claimed to dislike most of the art history produced today, and posed a provocative question: Has anything fundamentally changed over the last thirty or forty years? She argued that in spite of everything, art history is still centered around (white) men, still chronological, colonised, hierarchical, still largely oriented at classifying and labelling. Pollock thus heatedly called into question the actual impact of these allegedly radical reorganisations, or their scope to be more precise. Have the decades of efforts by many art historians really produced nothing but a slight shift in perpective, a mere readjustment of the discipline?For Pollock the New Art History embodied a sort of a U-tum - an absolute redefinition of previous research, owing thanks for this accomplishment to the work of T. J. Clark since the 1970s (whereas in the US similar debates had independently started in the 1960s already). The problem lies in the fact that even a phenomenon as wide and influential as the social history of art (Clark's New Art History is primarily Marxist, while Pollock's is feminist) is often seen as simply another means to diversify the picture. Another speaker from Leeds, who was also concerned with feminism, Joanne Heath, found that the radical feminism of the 1970s has by now become a fully qualified and academic methodological tool, but it is precisely this tendency that was in the focus of what Pollock was warning us about: feminism becoming merely one point of view among many. …" @default.
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• W224788914 title "What has become of the New Art History" @default.
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