Creative Writing and Art History considers the ways in which the writing of art history intersects with creative writing. Essays range from the analysis of historical examples of art historical writing that have a creative element to examinations of contemporary modes of creative writing about art. Considers the ways in which the writing of art history intersects with creative writing Covers a diverse subject matter, from late Neolithic stone circles to the writing of a sentence by Flaubert The collection both contains essays that survey the topic as well as more specialist articles Brings together specialist contributors from both sides of the Atlantic

This is a book about how art history is written. It includes detailed analyses of a dozen important texts, and theories about what counts as "interesting" or "experimental" writing on art. There are chapters on texts by Rosalind Krauss, T.J. Clark, Alexander Nemerov, Gilles Deleuze, Helene Cixous, Leo Steinberg, Jean-Louis Schefer, and others; a chapter on institutions that teach experimental writing on art; analyses of rival concepts of the essay; and chapters on the absence of literary criticism in the disciplines of art history, visual studies, art theory, and art criticism.

The End of Diversity in Art Historical Writing is the most globally informed book on world art history, drawing on research in 76 countries. In addition some chapters have been crowd sourced: posted on the internet for comments, which have been incorporated into the text. It covers the principal accounts of Eurocentrism, center and margins, circulations and atlases of art, decolonial theory, incommensurate cultures, the origins and dissemination of the "October" model, problems of access to resources, models of multiple modernisms, and the emergence of English as the de facto lingua franca of art writing.

"Principles of Art History Writing traces the changes in the way in which writers about art represent the same works. These differ in such deep ways as to raise the question of whether those at the beginning of the process even saw the same things as those at the end did. Carrier uses four case studies to identify and explain changing styles of restoration and the history of interpretation of selected works by Piero, Caravaggio, and van Eyck." -- Back cover

Since art history is having a major identity crisis as it struggles to adapt to contemporary global and mass media culture, this book intervenes in the struggle by laying bare the troublesome assumptions and presumptions at the field's foundations in a series of essays.

Writing is scarcely taught in art history, visual studies, and art theory, except for commonplace advice about clarity, organization, and concision. Yet in language departments and in literary criticism, writing is the subject of complex and intensive critique. This book is about ways that art history, in particular, can engage the extensive discourse on writing that has developed since the 1960s.Part One offers a preliminary definition of what might count as "interesting" or "experimental" writing on art; in three short chapters it surveys the recalcitrance of art history, visual culture, and art criticism when it comes to engaging writing as anything other than an expository tool.There is no consensus, in art history, about which art historians are exemplary in terms of writing, and which could be models for future work. Part Two offers detailed close readings of exemplary texts by Rosalind Krauss, T.J. Clark, Alexander Nemerov, and others, including writers not normally considered as art historians, including H�l�ne Cixous and Gilles Deleuze. These are unlike existing reviews and essays, because they consider these texts as writing rather than as contributions to history or theory. Part Three briefly sets out some relevant terms such as "criticism," "critique," and "criticality," and then offers a longer survey of viable concepts of the essay, divided into eleven headings. The essay is a traditionally ill-defined category, so it is helpful to explore the range of meanings it has been given in order to see which might be appropriate for writing on art. The book concludes with a chapter surveying the institutions in North America and Europe that teach "experimental" writing on art, usually in programs on criticism or philosophy.This is the first of two books exploring theories of writing that engages or incorporates images. Book 2, Writing with Images, expands the subject by considering fiction and images beyond art.

Why do we keep returning to certain pictures? What is it we are looking for? How does our understanding of an image change over time? This investigates the nature of visual complexity, the capacity of certain images to sustain repeated attention, and how pictures respond and resist their viewers' wishes.