An art history of means: Arendt-Benjamin

Transmissibility is an essential concept for any discourse on historiography and aesthetics. In fact, this concept traverses the contemporary impasse of art historical critical practice. Although explicitly associated with Walter Benjamin, the entirety of Hannah Arendt’s work on art and history is...

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Main Author: Jae Emerling
Format: Article
Language:English
Published: Department of Art History, University of Birmingham 2009-12-01
Series:Journal of Art Historiography
Subjects:
Online Access:http://arthistoriography.files.wordpress.com/2011/02/media_139138_en.pdf
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author Jae Emerling
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description Transmissibility is an essential concept for any discourse on historiography and aesthetics. In fact, this concept traverses the contemporary impasse of art historical critical practice. Although explicitly associated with Walter Benjamin, the entirety of Hannah Arendt’s work on art and history is premised on transmissibility as well. It allows them to conceive a space of history from within the aesthetic, the world of artifice. This essay reads Benjamin and Arendt alongside and against one other in order to rethink art and history without resorting to eschatology or the histrionics of political theology. In creating this virtual historiography—Arendt-Benjamin—it conceives transmissibility as an aesthetic-historiographic concept that renders an openness between past and future, poiesis and aisthesis. Writing the history of art becomes the creation of a passage between what-has-been and artifice; it becomes the opening of history into life, an event of recollection.
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spelling doaj.art-2372ab559eda42b99151f5673cab374f2022-12-22T03:37:04ZengDepartment of Art History, University of BirminghamJournal of Art Historiography2042-47522009-12-0111JE/1An art history of means: Arendt-BenjaminJae EmerlingTransmissibility is an essential concept for any discourse on historiography and aesthetics. In fact, this concept traverses the contemporary impasse of art historical critical practice. Although explicitly associated with Walter Benjamin, the entirety of Hannah Arendt’s work on art and history is premised on transmissibility as well. It allows them to conceive a space of history from within the aesthetic, the world of artifice. This essay reads Benjamin and Arendt alongside and against one other in order to rethink art and history without resorting to eschatology or the histrionics of political theology. In creating this virtual historiography—Arendt-Benjamin—it conceives transmissibility as an aesthetic-historiographic concept that renders an openness between past and future, poiesis and aisthesis. Writing the history of art becomes the creation of a passage between what-has-been and artifice; it becomes the opening of history into life, an event of recollection.http://arthistoriography.files.wordpress.com/2011/02/media_139138_en.pdfArendtBenjaminart history
spellingShingle Jae Emerling
An art history of means: Arendt-Benjamin
Journal of Art Historiography
Arendt
Benjamin
art history
title An art history of means: Arendt-Benjamin
title_full An art history of means: Arendt-Benjamin
title_fullStr An art history of means: Arendt-Benjamin
title_full_unstemmed An art history of means: Arendt-Benjamin
title_short An art history of means: Arendt-Benjamin
title_sort art history of means arendt benjamin
topic Arendt
Benjamin
art history
url http://arthistoriography.files.wordpress.com/2011/02/media_139138_en.pdf
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