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Distributed for UCL Press

Interpreting Art

Art interpretation in practice, not theory.

How do people make sense of works of art? And how do they write to make others see the same way? There are many guides to looking at art, histories of art history and art criticism, and accounts of various theories and methods, but this book offers something very unlike the normal search for difference and division: it examines the general and largely unspoken norms shared by interpreters of many kinds.
 
Interpreting Art highlights the norms, premises, and patterns that tend to guide interpretation along the way. Why, for example, is the concept of artistic intention at once so reviled and so hard to let go of? What is involved when an interpretation appeals to an artwork’s reception? How can context be used by some to keep things under control and by others to make the interpretation of art seem limitless? And how is it that artworks only seem to grow in complexity over time?
 
This volume reveals subtle features of art writing central to the often unnoticed interpretative practices through which we understand works of art. In doing so, the book also sheds light on possible alternatives, pointing to how writers on art might choose to operate differently in the future.

136 pages | 38 color plates | 6 1/4 x 9 1/4

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Art: Art Criticism


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Reviews

It's wonderful to have a book that focuses on what art historians actually do when we interpret art, as opposed to the claims we make about our methods and their histories… Interpreting Art shows how apparently well-understood paths of interpretation are actually half-articulated ideals that are as likely to run away with our texts as support them, and for that reason it should be on the desk of every doctoral student when they set out to write.

James Elkins, School of the Art Institute of Chicago

In this lucid, sensible and insightful book, Sam Rose investigates interpretive practices common to almost all professional art historians, regardless of their objects of study, their professed "methods" and their schools of historical thought. Anyone curious about the “how” of art history as an intellectual and aesthetic endeavour will find Rose to be an invaluable guide.

Whitney Davis, University of California at Berkeley

Table of Contents

List
of Figures

Acknowledgements

1
Introduction

2
Artists

3
Contexts

4
Reception

5
Complexity

6
Depths

Bibliography

Index

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