Art historians have long reflected on space – how does an image fit into a book or altarpiece from which it’s been detached? But time has also not been neglected. Heinrich Wölfflin (1941), for example, argued it was incorrect to imagine Renaissance sculptures reflecting a single moment in time. Indeed, the reconstruction of space and time would be standard dual aims of historicist art history. Nevertheless, a ‘temporal turn’ has been advocated within art history in order to bring time and its theoretical conflicts (anachronism, heterochronism) to the fore. The edited book under review reflects this trend, which is closely related to the ‘materialist’ turn of affective, networked reality as a model for understanding art historiographic scholarship in the contemporary moment.

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评论：Dan Karlholm 和 Keith Moxey (eds) 艺术史上的时间：时间性、年代学和时代错误

艺术史学家长期以来一直在反思空间——一幅图像如何融入一本书或与之分离的祭坛画？但时间也没有被忽视。例如，海因里希·沃尔夫林 (Heinrich Wölfflin) (1941) 认为，想象文艺复兴时期的雕塑反映了一个单一的时刻是不正确的。事实上，空间和时间的重建将是历史主义艺术史的标准双重目标。尽管如此，艺术史中一直提倡“时间转向”，以突出时间及其理论冲突（时代错误、异时性）。正在审查的编辑书籍反映了这一趋势，这与情感网络现实的“唯物主义”转向密切相关，作为理解当代艺术史学学术的模型。