Seydou Keita's Art: Emblematic representation of social integration in art, showcasing cultural life in photographs, such as that of two African women on a motorbike.
Origin of Art History: Emerged in the West through the appreciation of Greek art, recognized by Johann J. Winckelmann in the 18th century.
Naturalism vs. Abstraction:
Naturalism: Seen as the peak of art, evolving from abstraction in a continuous model that prevailed until the 20th century.
Modernism's Abstraction: Viewed as a deviation from the traditional trajectory of art evolution, regarded as erratic.
Global Art Evolution: Lack of comprehensive global evolutionary models; most art historians abstained from such overarching claims due to complexity.
Social Science Theories: Since Giambattista Vico in the 17th century, social scientists attempted typologies of cultural evolution, sometimes integrating art without sufficient clarity of the concept of "art" itself.
Marxist Influence on Art History: Arnold Hauser's attempts to correlate high art with societal contexts faced political bias.
Social History in Art: Emerged in the 1970s, advocating the relevance of societal context in art, offering a contrast with poststructuralist philosophy.
Anthropological Approaches:
Emphasis on social context rather than political agendas as critical in understanding "primitive" art.
Theories often retreated to premodern observations or generalized universal claims in art history.
Jean Duvignaud's Evolutionary Art: Suggested a broad evolution of art from ancient to contemporary forms.
Social Darwinism Overview: In the 19th century, societies were classified hierarchically, with Western culture at the apex, leading to traditional notions of cultural evolution.
V. Gordon Childe's Classification: Articulated stages such as "Savagery" to "Civilization," reflective of a Eurocentric narrative.
Reassessment of Societal Value: The late 20th-century perspective treats all societies as equally valuable, shifting focus from progress to diversity, complicating scholarly discourse around cultural evolution.
Cultural Equivalence: The former hierarchical terminology regarding cultural advancements is now viewed as inappropriate and overly simplistic.
1970s Typology Revival: American anthropologists revived evolutionary concepts, now with sociological terminology: Bands, Tribes, Chiefdoms, and States.
These classifications remained critiques but aimed at understanding sociocultural integration rather than hierarchical valuation.
Critiques of Neo-Evolutionary Theory:
Field Application: Critics argue that theoretical classifications rarely reflect field realities, with cultures being blends of types rather than pure examples.
Historical Disregard: Many critiques emphasize the importance of understanding the history of societies rather than applying broad evolutionary stages.
Non-linear Processes: Modern authors highlight phenomena as reversible processes rather than fixed evolutionary stages, advocating for instability and continuous change in social structures.
Cultural Interactions: Eric Wolf and others argue for the significance of interconnectedness of cultural systems, impacting their evolution and development.
Need for Balanced Perspectives: The text indicates a requirement for research that bridges grand theoretical frameworks and detailed historical examination to reach a more comprehensive understanding of human societies.
Art Evolution: Art has historically shifted from integral to marginal roles in societies, with socio-political contexts shaping its function and perception over time.
Anthropological Influences on Art: The connection between societal organization and artistic expression, the articulation of culture through material objects, and the relevant historical contexts of these transformations are essential to understanding art's evolution.