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Books > Arts & Architecture > History of art / art & design styles > General
First published in 1967, Victorian Artists documents the painting
of the Victorian period, that is, the period between the death of
Constable and William IV in 1837, the first Post-Impressionist
painting in 1910 and the end of an epoch in British painting.
Professor Bell has given special attention to some of the
pre-Raphaelite artists, and to Sickert and the Camden Town group.
These most illuminating and diverting essays, which originated as
Slade lectures at Oxford, combined with a large collection of
illustrations, make this a unique discussion of a period whose
aesthetic influence is still widely evident. This book will be of
interest to students of art and history.
This Companion documents and celebrates artistic journeys within
the framework of rich and complex cultural heritages and
traditional dance practices of the Asia-Pacific region. It presents
various dance forms from Australia, Cambodia, China, Hong Kong,
India, Indonesia, Malaysia, the Philippines, Singapore, Taiwan,
Thailand, and the South Pacific. Drawing on extensive research and
decades of performative experience as artists, choreographers,
producers, teachers, and critics, the authors approach issues of
dance and cultural diversity from a theoretical perspective while
at the same time exploring change, process, and transformation
through dance. The book discusses themes such as tradition,
contemporization, interdisciplinarity, dance education, youth
dance, dance networks, curatorial practices, and evolving
performative practices of dance companies and independents. It also
looks at regional networking, curating dance festivals and spaces
that foster collaboration, regional cooperation, and cultural
exchange, which are essential features of dance in Asia and the
Pacific. This collection will be of interest to students and
researchers of pedagogy, choreography, community dance practice,
theatre and performance studies, social and cultural studies,
aesthetics, interdisciplinary arts, and more. It will be an
invaluable resource for artists and practitioners working in dance
schools and communities.
A Treatise on Wood Engraving, Historical and Practical (1839),
combines the practical knowledge of an engraver with the critical
inquiry of an historian. Compiled and edited by William Andrew
Chatto, an established author with an interest in woodcuts, the
book was originally conceived by the wood-engraver John Jackson,
who provided the book's more than three hundred engravings. Roughly
three quarters of the Treatise is concerned with the historical
evolution of engraving, from the Egyptian hieroglyph stamps held at
the British Museum through the masterful works of Albrecht D rer to
the decline and reinvigoration of the art in the seventeenth and
eighteenth centuries. Practical analysis permeates the text as a
whole, with the final section explaining more fully how a block is
chosen, cut, and even repaired. The book is therefore of interest
to art historians, historians of the book, and even artist
practitioners interested in nineteenth-century methods.
Remember the Hand studies a body of articulate manuscript books
from the Christian monasteries of northern Iberia in the tenth and
eleventh centuries. These exceptional, richly illuminated codices
have in common an urgent sense of scribal presenceāscribes name
themselves, describe themselves, even paint their own portraits.
While marginal notes, even biographical ones, are a common feature
of medieval manuscripts, rarely do scribes make themselves so fully
known. These writers address the reader directly, asking for
prayers of intercession and sharing of themselves. They ask the
reader to join them in not only acknowledging the labor of writing
but also in theorizing it through analogy to agricultural work or
textile production, tending a garden of knowledge, weaving a text
out of words. By mining this corpus of articulate codices (known to
a school of Iberian codicologists, but virtually unstudied outside
that community), Catherine Brown recovers these scribesā
understanding of reading as a powerful, intimate encounter between
many partiesāauthors and their text, scribes and their pen,
patrons and their art-object, readers and the words and images
before their eyesāall mediated by the material object known as
the book. By rendering that mediation conspicuous and reminding us
of the labor that necessarily precedes that mediation, the scribes
reach out to us across time with a simple but profound directive:
Remember the hand. Remember the Hand is available from the
publisher on an open-access basis.
- Offers a new perspective on the development of architectural
theory from early Modernism to the present as informed equally and
uniquely by both philosophical trends and computational advances -
Synthesizes a new history of design theory by tracing the use of
difference in architectural theory from the end of the 18th century
to the present as it informed contemporary design theory -
Illustrated throughout with captioned diagrams and photographs
Advancing a Different Modernism analyzes a long-ignored but
formative aspect of modern architecture and art. By examining
selective buildings by the Catalan architect Lluis Domenech i
Montaner (1850-1923) and by the Slovenian designer Joze Plecnik
(1872-1957), the book reveals the fundamental political and
ideological conservatism that helped shape modernism's history and
purpose. This study thus revises the dominant view of modernism as
a union of progressive forms and progressive politics. Instead,
this innovative volume promotes a nuanced and critical
consideration of how architecture was creatively employed to
advance radically new forms and methods, while simultaneously
consolidating an essentially conservative nationalist self-image.
This book analyzes the philosophical origins of dualism in
portraiture in Western culture during the Classical period, through
to contemporary modes of portraiture. Dualism - the separation of
mind from body - plays a central part in portraiture, given that it
supplies the fundamental framework for portraiture's determining
problem and justification: the visual construction of the
subjectivity of the sitter, which is invariably accounted for as
ineffable entity or spirit, that the artist magically captures.
Every artist that has engaged with portraiture has had to deal with
these issues and, therefore, with the question of being and
identity.
This volume addresses key questions related to how content in
thought is derived from perceptual experience. It includes chapters
that focus on single issues on perception and cognition, as well as
others that relate these issues to an important social construct
that involves both perceptual experience and cognitive activities:
aesthetics. While the volume includes many diverse views, several
prominent themes unite the individual essays: a challenge to the
notion of the discreet, and non-temporal, unit of perception, a
challenge to the traditional divide between perception and
cognition, and a challenge to the traditional divide between
unconscious and conscious intentionality. Additionally, the
chapters discuss the content of perceptual experience, the value of
traditional notions of content, disjunctivism, adverbialism, and
phenomenal experience. The final section of essays dealing with
perception and cognition in aesthetics features work in
experimental aesthetics and unique perspectives from artists and
gallerists working outside of philosophy. Perception, Cognition and
Aesthetics is a timely volume that offers a range of unique
perspectives on debates in philosophy of mind surrounding
perception and cognition. It will also appeal to scholars working
in aesthetics and art theory who are interested in the ways these
debates influence our understanding of art.
"Hope" and "modernism" are two words that are not commonly linked.
Moving from much-discussed negative affects to positive forms of
feeling, Hope and Aesthetic Utility in Modernist Literature argues
that they should be. This book contends that much of modernist
writing and thought reveals a deeply held confidence about the
future, one premised on the social power of art itself. In chapters
ranging across a diverse array of canonical writers - Henry James,
D.W. Griffith, H.D., Melvin Tolson, and Samuel Beckett - this text
locates in their works an optimism linked by a common faith in the
necessity of artistic practice for cultural survival. In this way,
the famously self-attentive nature of modernism becomes a means,
for its central thinkers and artists, of reflecting on what DeJong
calls aesthetic utility: the unpredictable, ungovernable capacity
of the work of art to shape the future even while envisioning it.
The Evolution of Contemporary Arts Markets looks at the historical
evolution of the art market from the 15th century to the present
day. Art is both an expression of human creativity and an object of
economic value and financial refuge at times of economic
turbulence. Historically, the art market evolved with the
development of capitalism, finance and technical change, and art
schools responded to social events such as wars, revolutions and
waves of democratization. The author discusses the main features of
modern art markets such as complexity in art valuation, globalism,
segmentation, financialization, indivisibility, liquidity and
provenance issues. The book studies the impact of wealth inequality
and economic cycles and crises on the art market and features a
chapter focusing specifically on the art market in China. This
accessible publication is ideal for a broad, interdisciplinary
audience including those involved in the economic and financial
fields as well as art lovers, art market participants and social
and cultural scholars.
This is the first book to present an aesthetics of virtual reality
media. It situates virtual reality media in terms of the philosophy
of the arts, comparing them to more familiar media such as
painting, film and photography. When philosophers have approached
virtual reality, they have almost always done so through the lens
of metaphysics, asking questions about the reality of virtual items
and worlds, about the value of such things, and indeed, about how
they may reshape our understanding of the "real" world. Grant
Tavinor finds that approach to be fundamentally mistaken, and that
to really account for virtual reality, we must focus on the medium
and its uses, and not the hypothetical and speculative instances
that are typically the focus of earlier works. He also argues that
much of the cultural and metaphysical hype around virtual reality
is undeserved. But this does not mean that virtual reality is
illusory or uninteresting; on the contrary, it is significant for
the altogether different reason that it overturns much of our
understanding of how representational media can function and what
we can use them to achieve. The Aesthetics of Virtual Reality will
be of interest to scholars and advanced students working in
aesthetics, philosophy of art, philosophy of technology,
metaphysics, and game studies.
This Companion documents and celebrates artistic journeys within
the framework of rich and complex cultural heritages and
traditional dance practices of the Asia-Pacific region. It presents
various dance forms from Australia, Cambodia, China, Hong Kong,
India, Indonesia, Malaysia, the Philippines, Singapore, Taiwan,
Thailand, and the South Pacific. Drawing on extensive research and
decades of performative experience as artists, choreographers,
producers, teachers, and critics, the authors approach issues of
dance and cultural diversity from a theoretical perspective while
at the same time exploring change, process, and transformation
through dance. The book discusses themes such as tradition,
contemporization, interdisciplinarity, dance education, youth
dance, dance networks, curatorial practices, and evolving
performative practices of dance companies and independents. It also
looks at regional networking, curating dance festivals and spaces
that foster collaboration, regional cooperation, and cultural
exchange, which are essential features of dance in Asia and the
Pacific. This collection will be of interest to students and
researchers of pedagogy, choreography, community dance practice,
theatre and performance studies, social and cultural studies,
aesthetics, interdisciplinary arts, and more. It will be an
invaluable resource for artists and practitioners working in dance
schools and communities.
This volume fluctuates between conceptualizations of movement;
either movements that buildings in the medieval Mediterranean
facilitated, or the movements of the users and audiences of
architecture. From medieval Anatolia to Southern France and the
Genoese colony of Pera across Constantinople, The Fluctuating Sea
investigates how the relationship between movement and the
experiences of a multiplicity of users with different social
backgrounds can provide a new perspective on architectural history.
The book acknowledges the shared characteristics of medieval
Mediterranean architecture, but it also argues that for the
majority of people inhabiting the fragmented microecologies of the
Mediterranean, architecture was a highly localized phenomenon. It
is the connectivity of such localized experiences that The
Fluctuating Sea uncovers. The Fluctuating Sea is a valuable source
for students and scholars of the medieval Mediterranean and
architectural history.
The revolutionary boy at the barricades was memorably envisioned in
Eugene Delacroix's painting Liberty Leading the People (1830) and
Victor Hugo's novel Les Miserables (1862). Over the course of the
nineteenth century, images of the Paris urchin entered the
collective social imaginary as cultural and psychic sites of
memory, whether in avant-garde or more conventional visual culture.
Visual and literary paradigms of the mythical gamin de Paris were
born of recurring political revolutions (1830, 1832, 1848, 1871)
and of masculine, bourgeois identity constructions that responded
to continuing struggles over visions and fantasies of nationhood.
With the destabilization of traditional, patriarchal family models,
the diminishing of the father's symbolic role, and the
intensification of the brotherly urchin's psychosexual relationship
with the allegorical motherland, what had initially been socially
marginal eventually became symbolically central in classed and
gendered inventions and repeated re-inventions of "fraternity,"
"people," and "nation." Within a fundamentally split conception of
"the people," the bohemian boy insurrectionary, an embodiment of
freedom, was transformed by ongoing discourses of power and reform,
of victimization and agency, into a capitalist entrepreneur,
schoolboy, colonizer, and budding military defender of the
fatherland. A contested figure of the city became a contradictory
emblem of the nation.
First published in 1987, The Heritage Industry sets out to protect
the present and the future of life in Britain from their most
dangerous enemy: a creeping takeover by the past. The author sets
today's obsession with yesterday in the context of a climate of
social and political decline. The economic uncertainties and
cultural convulsions of post-war life have made the past seem a
pleasanter and safer place. But how true is that image of the past,
and whose past is it, anyway? Hewison questions the way
institutions like the National Trust are helping to create a past
that never was. While the real economy crumbles, a new force is
taking over: the Heritage Industry, a movement dedicated to turning
the British Isles into one vast open-air museum. This book will be
of interest to students of history, art and cultural studies.
First published in 1986, Too Much records the tumultuous period
between 1960 and 1975 when, more than at any other time in history,
the arts were a battleground for the conflicting forces of social
change. With the new affluence of the Sixties the cultural
conformism of the previous decade was rejected in favour of new
forms of expression. Pop Art, pop music, fringe theatre and
performance poetry helped to create the semi-mythological image of
'Swinging London.' The liberation ethic was feted as it masked the
insecurities of a society in decline but, as a real political
challenge to the status quo, it also led to conflict. The
confrontation between official culture and the underground came in
1968, a year with its own mythical resonance. This book will be of
interest to students of art, media studies and cultural studies.
Updated with expanded coverage of twenty-first century
architecture, this new edition uniquely comprises a detailed survey
of Western architecture as well as architecture from the Middle
East, Africa, Central and South America, India, Russia, China and
Japan. Significant revision also includes photographs and textual
discussion of around 50 new buildings. Written in a clear and
engaging style, the text encourages readers to examine the
pragmatic, innovative and aesthetic attributes of buildings.
Artistic, economic, environmental, political, social and
technological contexts are discussed. The global reach of the text
is matched by a rich assortment of photographs from around the
world and a greater array of detailed line drawings than in any
architectural survey. The authors have created a formidable body of
work that ranges over much of the world's architectural heritage
and testifies to some of the greatest achievements of the human
spirit.
This volume uses the travels of Roman governors to explore how
authority was defined in and by the public places of Greek cities.
By demonstrating that the places where imperial officials and local
notables met were integral to the strategies by which they
communicated with one another, Greek Cities and Roman Governors
sheds new light on the significance of civic space in the Roman
provinces. It also presents a fresh perspective on the monumental
cityscapes of Roman Asia Minor, epicenter of the greatest building
boom in classical history. Though of special interest to scholars
and students of Roman Asia Minor, Greek Cities and Roman Governors
offers broad insights into Roman imperialism and the ancient city.
Mapping Paradigms in Modern and Contemporary Art defines a new
cartographic aesthetic, or what Simonetta Moro calls
carto-aesthetics, as a key to interpreting specific phenomena in
modern and contemporary art, through the concept of poetic
cartography. The problem of mapping, although indebted to the
"spatial turn" of poststructuralist philosophy, is reconstructed as
hermeneutics, while exposing the nexus between topology,
space-time, and memory. The book posits that the emergence of
"mapping" as a ubiquitous theme in contemporary art can be
attributed to the power of the cartographic model to constitute
multiple worldviews that can be seen as paradigmatic of the
post-modern and contemporary condition. This book will be of
particular interest to scholars in art history, art theory,
aesthetics, and cartography.
The American Construction Industry meticulously chronicles the
evolution of the construction industry from its roots in the
medieval guild system to the high-tech jobsite of tomorrow. While
celebrating more than two millennia of progress and innovation,
this resource for students and professionals uncovers the ways of
working that crossed the Atlantic with the earliest European
settlers and will continue to define building trades in the United
States today and in the years and decades to come. Full color
illustrations bring the past to life and provide visual links to
the present day.
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