Landscape and Space
Comparative Perspectives from Chinese, Mesoamerican, Ancient Greek, and Roman Art
Edited by Jaś Elsner
Author Information
Edited by Jaś Elsner, Humfry Payne Senior Research Fellow in Classical Archaeology and Art, Corpus Christi College, Oxford
Jaś Elsner is Professor of Late Antique Art at the University of Oxford and Humfry Payne Senior Research Fellow in Classical Archaeology and Art at Corpus Christi College, Oxford. He is also Visiting Professor of Art and Religion at the University of Chicago, and External Scientific Member of the Kunsthistorisches Institut in Florenz. He is a Member of the American Academy of Arts and Sciences and of the Max Planck Society, as well as a Fellow of the British Academy. He works on all areas of art and religion in antiquity and the early middle ages across Europe and Western Asia, including pilgrimage, travel-writing, and the description of art in texts, and is particularly interested in the problems of comparativism in art history. Along with the other contributors to this book, he is a member of the Center for Global Ancient Art at the University of Chicago which is committed to comparative study of archaeological and art historical issues in all cultures across the ancient world.
Contributors:
Claudia Brittenham is Associate Professor of Art History and the College at the University of Chicago. Her research focuses on the art of Mesoamerica, especially Central Mexico and the Maya area, with particular interests in the materiality of art and the politics of style. She is the author of The Murals of Cacaxtla: The Power of Painting in Ancient Central Mexico (University of Texas Press, 2015), The Spectacle of the Late Maya Court: Reflections on the Murals of Bonampak (University of Texas Press, 2013; co-authored with Mary Miller), and Veiled Brightness: A History of Ancient Maya Color (University of Texas Press, 2009; co-authored with Stephen Houston, Cassandra Mesick, Alexandre Tokovinine, and Christina Warinner)
Richard Neer is Barbara E. and Richard J. Franke Distinguished Service Professor in Art History, Cinema & Media Studies and the College at the University of Chicago, where he is also Director of the Franke Institute for the Humanities. From 2010 to 2018 he was the Executive Editor of the journal Critical Inquiry, where he continues to serve as a co-editor. He has published widely on Greek art, early modern French painting, stylistics, and cinema. His most recent volumes are Art and Archaeology of the Greek World: A New History, 2500-100 BCE, 2nd edition (Thames & Hudson, 2018); Davidson and His Interlocutors, co-edited with Daniele Lorenzini (special issue of Critical Inquiry, Winter 2019); and Pindar, Song, and Space: Towards a Lyric Archaeology, co-authored with Leslie Kurke (Johns Hopkins, 2019). He is also editor of Conditions of Visibility, another volume from the Center for Global Ancient Art (Oxford University Press, 2019)
Wu Hung is Harrie A. Vanderstappen Distinguished Service Professor of Art History and the College at the University of Chicago, and Director of the Center for the Art of East Asia and Consulting Curator of the Smart Museum of Art. He is an elected member of the American Academy of Arts and Sciences and the American Philosophical Society, and sits on the boards and advisory committees of many research institutes and museums in both the United States and China. He has published widely on both traditional and contemporary Chinese art, experimenting with different ways to integrate these conventionally separate phases into new kinds of art historical narratives, as exemplified by two of his most recent books, A Story of Ruins: Presence and Absence in Chinese Art and Visual Culture (Princeton University Press, 2012) and Zooming In: Histories of Photography in China (University of Chicago Press, 2016). Several of his ongoing projects follow this direction to explore the interrelation between art medium, pictorial image, and architectural space, the dialectical relationship between absence and presence in Chinese art and visual culture, and the relationship between art discourse and practice.
The contributors to this volume are the founding members of the Center for Global Ancient Art at the University of Chicago.
