Abstract
In the past thirty years, the discipline of art history has experienced a series of professed crises that have greatly expanded not only the sorts of questions scholars bring to their inquiries, but also equally important the types of objects deemed worthy of analysis. Beginning with the ‘new art history’ in the 1980s, a variety of interdisciplinary approaches ranging from semiotics to social history have been marshalled in the name of wresting the work of art out of formalist hermeticism and into larger cultural fields, to consider, as Svetlana Alpers wrote in one of the earliest declarations of this new trend, ‘the work of art as a “piece of history” ’.1 While the academic study of art has regularly regarded the aesthetic object as an index of history (through such signifiers as style, iconology, and authorial performance), the new art history and the subsequent waves of postmodernisms (globalism being...
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