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This is the first sourcebook to trace the emergence and evolution of art markets in the Western European economy, framing them within the larger narrative of the ascendancy of capitalist markets. Selected writings from across academic disciplines present compelling evidence of art's inherent commercial dimension and show how artists, dealers, and collectors have interacted over time, from the city-states of Quattrocento Italy to the high-stakes markets of postmillennial New York and Beijing. This approach casts a startling new light on the traditional concerns of art history and aesthetics, revealing much that is provocative, profound, and occasionally even comic. This volume's unique historical perspective makes it appropriate for use in college courses and postgraduate and professional programs, as well as for professionals working in art-related environments such as museums, galleries, and auction houses.
The Art of Defiance is an ethnographic portrait of how graffiti writers see their city and, in turn, how their city sees them. It explores how becoming a graffiti writer helps disenfranchised urban citizens negotiate their cultural identities, build their social capital, and gain a voice within an urban environment that would prefer they remain quiet, passive, and anonymous. In order to both demystify and complicate our understanding of the practice of graffiti writing, this book pushes past the narrative that links the origins of graffiti to criminal gangs and instead offers a detailed portrait of graffiti as a rich urban culture with its own rules and practices. To do so, it examines the cultural history of graffiti in Philadelphia from the early 1970s onward and explores what it is like to be a graffiti writer in the city today. Ultimately, Tyson Mitman aims to humanize graffiti writers and to show that what they do is not merely destructive or puerile, but, rather, adds something important to the urban experience that is a conscious and deliberate act on the part of its practitioners.
In this day and age, when art has become more of a commodity and
art school graduates are convinced that they can only make a living
from their work by attaining gallery representation, it is more
important than ever to show the reality of how a professional,
contemporary artist sustains a creative practice over time. The
forty essays collected in "Living and Sustaining a Creative Life"
are written in the artists' own voices and take the form of
narratives, statements, and interviews. Each story is different and
unique, but the common thread is an ongoing commitment to
creativity, inside and outside the studio. Both day-to-day and big
picture details are revealed, showing how it is possible to sustain
a creative practice that contributes to the ongoing dialogue in
contemporary art. These stories will inform and inspire any
student, young artist, and art enthusiast and will help redefine
what "success" means to a professional artist.
Practices of Looking, Third Edition, bridges visual, communication, media, and cultural studies to investigate how images and the activity of looking carry meaning within and between different arenas in everyday life. The third edition has been updated to represent the contemporary visual cultural landscape and includes topics like the increasingly rapid global circulation of media, the rise of design and DIY cultures, digital media art and activism, and challenges to photojournalism and news media. Challenging yet accessible, Practices of Looking, Third Edition, is ideal for courses across a range of disciplines.
Once considered marginal members of the animal world (at best) or vile and offensive creatures (at worst), insects saw a remarkable uptick in their status during the early Renaissance. This quickened interest was primarily manifested in visual images--in illuminated manuscripts, still life paintings, the decorative arts, embroidery, textile design, and cabinets of curiosity. In "The Insect and the Image," Janice Neri explores the ways in which such imagery defined the insect as a proper subject of study for Europeans of the early modern period.
It was not until the sixteenth century that insects began to appear as the sole focus of paintings and drawings--as isolated objects, or specimens, against a blank background. The artists and other image makers Neri discusses deployed this "specimen logic" and so associated themselves with a mode of picturing in which the ability to create a highly detailed image was a sign of artistic talent and a keenly observant eye. "The Insect and the Image" shows how specimen logic both reflected and advanced a particular understanding of the natural world--an understanding that, in turn, supported the commodification of nature that was central to global trade and commerce during the early modern era.
Revealing how sixteenth- and seventeenth-century artists and
image makers shaped ideas of the natural world, Neri's work
enhances our knowledge of the convergence of art, science, and
What it is like to be an animal? Ron Broglio wants to know from the inside, from underneath the fur and feathers. In examining this question, he bypasses the perspectives of biology or natural history to explore how one can construct an animal phenomenology, to think and feel as an animal other--or any other.
Until now phenomenology has grappled with how humans are embedded in their world. According to philosophical tradition, animals do not practice the self-reflexive thought that provides humans with depth of being. Without human interiority, philosophers have believed, animals live on the surface of things. But, Broglio argues, the surface can be a site of productive engagement with the world of animals, and as such he turns to humans who work with surfaces: contemporary artists.
Taking on the negative claim of animals living only on the
surface and turning the premise into a positive set of
possibilities for human-animal engagement, Broglio considers
artists--including Damien Hirst, Carolee Schneemann, Olly and Suzi,
and Marcus Coates--who take seriously the world of the animal on
its own terms. In doing so, these artists develop languages of
interspecies expression that both challenge philosophy and fashion
new concepts for animal studies.
Samurai Pizza Cats! They're fighting crime all over town! In the early 1990s, this trio of mechanoid feline fighters became the favorite heroes of many afternoon anime aficionados! Samurai Pizza Cats: Official Fan Book is the ultimate celebration of the original Japanese version of the show, "Kyatto Ninden Teyandee". Inside you'll find pinup artwork, character designs and profiles, episode summaries, rough concepts, and several exclusive interviews with the show's creators.
While it is by no means exhaustive, Premonition - aims to provide a broad introduction to the highly diverse and energetic nature of Ukraine's art-scene while exploring movements and trends over the last decade or so. Some of the artists have established reputations in Ukraine and emerged in the 1990s while others have only recently graduated from art college. Yet few, if any, are well known outside their homeland. Consequently Premonition: Ukrainian Art Now presents a wonderful opportunity to provide a showcase for this exciting group of artists.
From "radical unreality" to "leggy plasticity," "Interpretation
Matters Handbook" dissects some of the most baffling examples of
art lingo going, kickstarting a conversation about written
interpretation practice in galleries.
This volume illustrates the development of art in Central Europe from 1830 - 1860 - a period which begins in the age of Biedermeier but extends well beyond it. It shows by means of a selection of representative works how art at this time developed independently and was not restricted to the historical Biedermeier era. DESCRIPTION "Is that Biedermeier?", we often ask of pictures which date from the same period but do not look typically Biedermeier. The publication concentrates on these works in particular by showi ng the wide range of painting in the years between 1830 - 1860 through portraits, landscapes and genre pictures. The main focus lies on Austrian painters like Ferdinand Georg Waldmuller, Rudolf von Alt and Friedrich von Amerling, together with artists from N orthern Italy, Hungary, Bohemia and Slovenia including Giuseppe Tominz, Jozsef Borsos, Bedrich Havranek and Francesco Hayez. There are also references to the changes in style in furniture production at that time, which also demonstrated a remarkable divers ity.
Art of Nature has no particular story, nor does it make any particular statement - except to highlight the elements of art to be found in nature and wildlife subjects as seen through the eye of the lens. The captions reinforce the message conveyed through the photography and lead the reader to see beneath the surface of things, both goading and teaching the reader how to take a closer look at the natural world and so begin to comprehend that creation is far more than it seems.
Site-based dance performance and sited movement explorations implicate dance makers, performers, and audience members in a number of dialogical processes between body, site, and environment. This book aims to articulate international approaches to the making, performing, and theorizing of site-based dance. Drawing on perspectives from three practitioner-academics based in three distinct world regions--Europe, North America, and Oceania--the authors explore a range of practices that engage with socio-cultural, political, ecological, and economic discourses, and demonstrate how these discourses both frame and inform processes of site dance making as well as shape the ways in which such interventions are conceived and evaluated. Intended for artists, scholars, and students, (Re)Positioning Site Dance is an important addition to the theoretical discourse on place and performance in an era of global socio-political and ecological transformation.
This welcome new resource for international students in art, design, and media provides clear explanations of the terminology they must master in order to fulfill their academic potential and enrich their professional careers. * Offers a much-requested new resource that fills a gap in the academic market * Tailored specifically to the needs of international students in art, design, and media * Color-coded key words and phrases for quick reference * Includes sections on study skills, academic expectations in Western institutions, methodologies, and important theorists * An ideal handbook for curators and gallery staff everywhere for whom English is a non-native language
Distinguished ethnomusicologist Philip V. Bohlman compiles Johann Gottfried Herder's writings on music and nationalism, from his early volumes of Volkslieder through sacred song to the essays on aesthetics late in his life, shaping them as the book on music that Herder would have written had he gathered the many strands of his musical thought into a single publication. Framed by analytical chapters and extensive introductions to each translation, this book interprets Herder's musings on music to think through several major questions: What meaning did religion and religious thought have for Herder? Why do the nation and nationalism acquire musical dimensions at the confluence of aesthetics and religious thought? How did his aesthetic and musical thought come to transform the way Herder understood music and nationalism and their presence in global history? Bohlman uses the mode of translation to explore Herder's own interpretive practice as a translator of languages and cultures, providing today's readers with an elegantly narrated and exceptionally curated collection of essays on music by two major intellectuals.
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