Whether it is being studied or critiqued; the art canon is usually understood as an authoritative list of important works and artists. This collection breaks with the idea of a singular; transcendent canon. Through provocative case studies; it demonstrates that the content of any canon is both historically and culturally specific and dependent on who is responsible for the canonrsquo;s production and maintenance. The contributors explore how; where; why; and by whom canons are formed; how they function under particular circumstances; how they are maintained; and why they may undergo change.Focusing on various moments from the seventeenth century to the present; the contributors cover a broad geographic terrain; encompassing the United States; France; Germany; the Netherlands; Poland; Taiwan; and South Africa. Among the essays are examinations of the working and reworking of a canon by an influential nineteenth-century French critic; the limitations placed on what was acceptable as canonical in American textbooks produced during the Cold War; the failed attempt to define a canon of Rembrandtrsquo;s works; and the difficulties of constructing an artistic canon in parts of the globe marked by colonialism and the imposition of Eurocentric ideas of artistic value. The essays highlight the diverse factors that affect the production of art canons: market forces; aesthetic and political positions; nationalism and ingrained ideas concerning the cultural superiority of particular groups; perceptions of gender and race; artistsrsquo; efforts to negotiate their status within particular professional environments; and the dynamics of art history as an academic discipline and discourse. This volume is a call to historicize canons; acknowledging both their partisanship and its implications for the writing of art history.Contributors. Jenny Anger; Marcia Brennan; Anna Brzyski; James Cutting; Paul Duro; James Elkins; Barbara Jaffee; Robert Jensen; Jane C. Ju; Monica Kjellman-Chapin; Julie L. McGee; Terry Smith; Linda Stone-Ferrier; Despina Stratigakos
#676960 in eBooks 2004-07-26 2004-07-26File Name: B00EHL11O2
Review
0 of 0 people found the following review helpful. An Excellent Written Musical Representation of the Early 70sBy Larry W. CollinsIt is my belief that music may be the best description and/or represetation available of an era. If I want to know what an era was actually like I search out and listen to the music of that era first. The sound; the rhythm; the feel of any era lies in its music. That music most likely accompanied every major and minor moment/event of that era (or life as we knew it then); and had a hand in their creation and growth and was also a signal of the eras demise.This book is a perfect example of what Im talking about. This music was a part of life as we knew it back then; whether you liked these songs or not. Parties; picnics; parks; school; romance; fights; family; literature; etc.; you name it. These songs are a part of that era. I even go so far as to say they are a major part of the alchemy that made the 70s the 70s. The music has an assist in the eras creations; whatever it is youre talking about. Music touched it all.To have not only the music but the moment explained so well is a treasure to a hippie-in-hiding like myself. Reading this stoned me naturally and re-reading only makes the good vibes stronger.Thank you; very much to the Breithaupt brothers for this book.0 of 0 people found the following review helpful. Absolutely wonderful nostalgic read!By sisterlukeI read this book from start to finish in one sitting. It brought back so many memories of the early 70s. There was only one thing that I thought could have been slightly expanded. In the "God Help Us - Religious Pop" chapter it was stated that there were three songs from the "Jesus Christ Superstar" album that made the charts: "Superstar" by Murray Head; "Everythings Alright" by Yvonne Elliman; and "I Dont Know How to Love Him" by Helen Reddy. While this was the case; I thought the authors might have mentioned the fact that Yvonne Elliman also recorded "I Dont Know How to Love Him" and that her version; along with Helen Reddys was on the charts at the same time. From what I can remember; Reddys version placed higher on the charts; but I believe that Ellimans version was the better of the two. In a related subject; I also remember that when the soundtrack to "Superstar" was recorded; Yvonne Elliman was given the option of either being paid a flat fee for her part or a percentage of the sales proceeds; she regretfully opted for the lump sum. She said that she needed the money and had no idea that the album would sell as well as it did. Needless to say; she would have made a ton of money if she took the percentage of the sales instead.4 of 5 people found the following review helpful. A time tripBy A CustomerPerhaps the teenagers of today perceive the music of the 70s as one; indivisible universe. But for those who were teenagers at the time (like me) there is a clear division between the first and the second half. This book is about the first half. Those were the days before punk rock and fabricated disco music. It was a time of innocence and fun; the years of the first Beatles solo albums; progressive rock; glam rock and silly; harmless; disposable singles. For people like me; this book is a trip down memory lane - I; like the Breithaupt brothers; also discovered my passion for music in 1971. But it also provides invaluable reference about those formative years of what turned out to be a "classic" decade for pop music.