During the 1960s and 1970s, the Russian conceptual artist Ilya Kabakov was a galvanizing figure in Moscow's underground art community, ultimately gaining international prominence as the “leader” of a band of artists known as the Moscow Conceptual Circle. Throughout this time, he created texts that he would distribute among his friends, and by the late 1990s his written production amounted to hundreds of pages. Devoted to themes that range from the “cosmism” of pre-Revolutionary Russian modernism to the philosophical implications of Moscow’s garbage, Kabakov’s handmade booklets were typed out on paper, then stapled or sewn together using rough butcher paper for their covers. Among these writings are faux Socialist Realist verses, theoretical explorations, art historical analyses, accompaniments to installation projects, and transcripts of dialogues between the artist and literary theorists, critics, journalists, and other artists. This volume offers for the first time in English the most significant texts written by Kabakov. The writings have been expressly selected for this English-language volume and there exists no equivalent work in any language.

During the 1960s and 1970s, Workerism and Autonomia were prominent Marxist currents. However, it is rarely acknowledged that these movements inspired many visual artists such as the members of Archizoom, Gordon Matta-Clark and Gianfranco Baruchello. This book focuses on the aesthetic and cultural discourse developed by three generations of militants (including Mario Tronti, Antonio Negri, Bifo and Silvia Federici), and how it was appropriated by artists, architects, graphic designers and architectural historians such as Manfredo Tafuri. Images of Class signposts key moments of this dialogue, ranging from the drawings published on classe operaia to Potere Operaio's exhibition in Paris, the Metropolitan Indians' zines, a feminist art collective who adhered to the Wages for Housework Campaign, and the N group's experiments with Gestalt theory. Featuring more than 140 images of artworks, many published here for the first time, this volume provides an original perspective on post-war Italian culture and new insights into some of the most influential Marxist movements of the twentieth and twenty-first centuries worldwide.

This collection brings together artists and theoreticians to provide the first anthology of a new field: Practical Aesthetics. A work of art already contains its own criticism, a knowledge of its own which need not be conceptual or propositional. Yet today, there are many approaches to different forms of art that work on the brink between science and art, 'sensible cognition' and proposition, aesthetic knowledge and rational knowledge, while thinking with art (or the artistic material) rather than about it. This volumes presents ways of thinking with different forms of art (film, sound, dance, literature, etc), as well as new forms of aesthetic research and presentation such as Media Philosophy, the audiovisual essay, fictocriticism, the audio paper, and Artistic Research. It reveals how writing about art can become 'artistic' or 'poetic' in its own right: not only writing about artistic effects, but producing them in the first place. This takes art not as an object of (external) analysis, but as a subject with a knowledge in its own right, creating a co-composing 'conceptual interference pattern' between theory and practice. A 'practical aesthetics' thus understood, can be described as thinking with art, in order to find new ways to create worlds and thus to make the world perceivable in different ways.

As the theoretical alignments within academia shift, this book introduces a surprising variety of realism to abolish the old positivist-theory dichotomy that has haunted Art History. Demanding frankly the referential detachment of the objects under study, the book proposes a stratified, multi-causal account of art history that addresses postmodern concerns while saving it from its errors of self-refutation. Building from the very basic distinction between intransitive being and transitive knowing, objects can be affirmed as real while our knowledge of them is held to be fallible. Several focused chapters address basic problems while introducing philosophical reflection into art history. These include basic ontological distinctions between society and culture, general and "special" history, the discontinuity of cultural objects, the importance of definition for special history, scales, facets and fiat objects as forms of historical structure, the nature of evidence and proof, historical truth and controversies. Stressing Critical Realism as the stratified, multi-causal approach needed for productive research today in the academy, this book creates the subject of the ontology of art history and sets aside a theoretical space for metaphysical reflection, thus clarifying the usually muddy distinction between theory, methodology, and historiography in art history.

This book is a theoretical examination of the relationship between the face, identity, photography, and temporality, focusing on the temporal episteme of selfie practice. Claire Raymond investigates how the selfie's involvement with time and self emerges from capitalist ideologies of identity and time. The book leverages theories from Katharina Pistor, Jacques Lacan, Roegnvaldur Ingthorsson, and Hans Belting to explore the ways in which the selfie imposes a dominant ideology on subjectivity by manipulating the affect of time. The selfie is understood in contrast to the self-portrait. Artists discussed include James Tylor, Shelley Niro, Ellen Carey, Graham MacIndoe, and LaToya Ruby Frazier. The book will be of interest to scholars working in visual culture, history of photography, and critical theory. It will also appeal to scholars of philosophy and, in particular, of the intersection of aesthetic theory and theories of ontology, epistemology, and temporality.

Nominated for the 2016 Art in Literature: Mary Lynn Kotz Award, Library of Virginia Owing to digitization, globalization and mass culture, what is deemed 'desirable' and 'of the moment' in art has increasingly followed the patterns of fashion. While in the past artistic styles were always inflected with signs of their modernity, today biennales and art markets are defined by the next big thing, the next sensation, the next new idea. But how do opinions of what is 'good', 'progressive' and 'cutting edge' guide styles? What is it that makes works of art fashionable and commercial? Fashionable Art critically explores the relationships between art, commerce, taste and cultural value. Each chapter covers a major style or movement, from Chinese and Aboriginal art, Cubism and Pop Art to alternative identity and outsider art, exploring how contemporary art has been shaped since the 1970s. Drawing upon a variety of theoretical frameworks, from Adorno and Bourdieu to Simmel and Zizek, expert visual cultural scholars Geczy and Millner engage with both historical and contemporary debates on this lively topic. Taking a complex view of the meaning of fashion as it relates to art, while also offering critiques of 'art as fashion', Fashionable Art is an original, key text that will be essential reading for students and scholars of art history, fashion studies and material culture.

Derek Matravers introduces students to the philosophy of art through a close examination of eight famous works of twentieth-century art. Each work has been selected in order to best illustrate and illuminate a particular problem in aesthetics. Each artwork forms the basis of a single chapter and readers are introduced to such issues as artistic value, intention, interpretation, and expression through a careful analysis of the artwork. Questions considered include what does art mean in contemporary art practice? Is the artistic value of a painting the same as how much you like it? If a painting isn't of anything, then how do we understand it? Can art be immoral? By grounding abstract and theoretical discussion in real examples the book provides an excellent way into the subject for readers new to the philosophical dimension of art appreciation.

This book examines how we perceive and understand abstract art in contrast to artworks that represent reality. Philosophical, psychological and neuroscience research, including the work of philosopher Paul Crowther, are considered and out of these approaches a complex model is developed to account for this experience. The understanding embodied in this model is rooted in facet theory, mapping sentences and partially ordered analyses, which together provide a comprehensive understanding of the perceptual experience of abstract art.

New Perspectives on Brucke Expressionism: Bridging History brings together highly-renowned international art historians in a scholarly work that offers the first full-length reassessment in English of the importance of the Brucke group to German modernism specifically and to international modernism more generally. It challenges, interrogates and updates existing orthodoxies in the field of Brucke studies by deploying new research combined with innovative interpretative approaches. This is an exciting volume of essays with an interlinking tripartite structure that charts the significance of this pioneering German avant-garde group in relation to various critical themes, namely, 'cultural and material identity', 'collectivity and selfhood', as well as 'defamation and rehabilitation'. The book is unique in the field in that it seeks to excavate specific historical research relating to the activities of the Brucke as a bohemian yet nonetheless enterprising artists' community, and considers the contributions of the key members in relation to the dynamics of that group rather than simply on an individual basis. It thoroughly explores the historiography of the Brucke artists' reception throughout the turbulent history of the twentieth century up until the present day.

Creative Encounters explores the forms and functions of contemporary interreligious dialogue by focusing on artists who are active in this field across different art forms and different religious positions. It seeks to understand how artists formulate a dialogical worldview in a religiously plural and post-secular context and what motivates them to engage in dialogue. Traditional normative theories of interreligious dialogue are called into question. Critical attention is brought to the narrow focus on dialogue as a purely intellectual quest for making the religious other, as an abstract but coherent theological and historical entity, intelligible. A contrasting view of dialogue as a question of interpersonal ethics inspired primarily by the philosophy of Buber is introduced. The study is thoroughly empirical in scope, building on in-depth interviews with artists. The analytical approach is qualitative, resting on a hermeneutically inspired epistemology.

Color Workbook presents a wide-ranging overview of color theory and design combined with student activities that reinforce color concepts through hands-on experience. With a practical focus partnered with accessible explanations and application exercises, this program continues to prove successful with students and instructors. The new edition contains enhanced images and updated interactive activities for students to apply the concepts in each chapter. When paired with the new MySearchLab with eText, this program has never been more engaging and accessible. Learning Goals Upon completing this book, readers should be able to: * Identify color theoretical concepts * Learn color techniques * Recognize the use of design elements and principles * Apply color theories into one's personal artwork Note: MySearchLab with eText does not come automatically packaged with this text. To purchase MySearchLab with eText, please visit www.mysearchlab.com or you can purchase a ValuePack of the text + MySearchLab (at no additional cost): ValuePack ISBN-10: 0205877117 / ValuePack ISBN-13: 9780205877119.

An extraordinary collaboration between contemporary art and critical discourse, "Narrating the Catastrophe" guides readers through unfamiliar textual landscapes where "being" is defined as an act rather than a form. Drawing on Paul Ricoeur's notion of intersubjective narrative identity as well as the catastrophe theory of Gilles Deleuze, Jac Saorsa establishes an alternative perspective from which to interpret and engage with the world around us. A highly original--and visually appealing--take on a high-profile issue in contemporary critical debate, this book will appeal to all those interested in visual arts and philosophy.

In 1877, Ruskin accused Whistler of 'flinging a pot of paint in the public's face'. Was he right? After all, Whistler always denied that the true function of art was to represent anything. If a painting does not represent, what is it, other than mere paint, flung in the public's face? Whistler's answer was simple: painting is music - or it is poetry. Georges Braque, half a century later, echoed Whistler's answer. So did Braque's friends Apollinaire and Ponge. They presented their poetry as music too - and as painting. But meanwhile, composers such as Satie and Stravinsky were presenting their own art - music - as if it transposed the values of painting or of poetry. The fundamental principle of this intermedial aesthetic, which bound together an extraordinary fraternity of artists in all media in Paris, from 1885 to 1945, was this: we must always think about the value of a work of art, not within the logic of its own medium, but as if it transposed the value of art in another medium. Peter Dayan traces the history of this principle: how it created our very notion of 'great art', why it declined as a vision from the 1960s and how, in the 21st century, it is fighting back.

The arrival of the Anthropocene brings the suggestion that we are only now beginning to speculate on an inhuman world that is not for us, only now confronting fears and anxieties of ecological, political, social, and philosophical extinction. While pointing out that reflections on disaster were not foreign to what we historically call romanticism, Last Things pushes romantic thought toward an altogether new way of conceiving the "end of things," one that treats lastness as neither privation nor conclusion. Through quieter, non-emphatic modes of thinking the end of human thought, Khalip explores lastness as what marks the limits of our life and world. Reading the fate of romanticism-and romantic studies-within the key of the last, Khalip refuses to elegize or celebrate our ends, instead positing romanticism as a negative force that exceeds theories, narratives, and figures of survival and sustainability. Each chapter explores a range of romantic and contemporary materials: poetry by John Clare, Emily Dickinson, John Keats, Percy Shelley, and William Wordsworth; philosophical texts by William Godwin, David Hume, Immanuel Kant, and Jean-Jacques Rousseau; paintings by Hubert Robert, Caspar David Friedrich, and Paterson Ewen; installations by Tatsuo Miyajima and James Turrell; and photography by John Dugdale, Peter Hujar, and Joanna Kane. Shuttling between temporalities, Last Things undertakes an original reorganization of romantic thought for contemporary culture. It examines an archive on the side of disappearance, perishing, the inhuman, and lastness.

"Context Providers" explores the ways in which digital art and culture are challenging and changing the creative process and our ways of constructing meaning. The authors introduce the concept of artists as context providers--people who establish networks of information in a highly collaborative creative process, blurring boundaries between disciplines. Technological change has affected the function of art, the role of the artist, and the way artistic productions are shared, creating a need for flexible information filters as a framework for establishing meaning and identity. "Context Providers" considers the work of media artists today who are directly engaging the scientific community through collaboration, active dialogue, and creative work that challenges the scientific.

Part of the acclaimed series of anthologies which document major themes and ideas in contemporary art. This anthology explores the ethical, aesthetic and political significance of practices, positions and theories connected to health in contemporary art. In an era of diet pills, record antidepressant usage, yoga and health-management apps, wellness is one of the defining issues of contemporary life, dictating every intimate aspect of our lives. Historically, art has been entwined with the values of medicine, beauty and the productive body that have defined the western scientific paradigms; contemporary artists are increasingly confronting and reshaping these ideologies, incorporating personal and singular approaches to vexed experiences surrounding questions of health and identity. Raw, confrontational and affective, the writings in Health engage with the ways the vulnerability of our bodies and the maladies that seize them also reveal structural aspects of our societies, particularly how sickness intersects with sexuality, ethnicity, gender and class. This reader questions the myths, stigmas and cultural attitudes that shape people's perceptions of illness and normativity. Artists surveyed include Oreet Ashery, Lorenza Boettner, The Canaries and Taraneh Fazeli, Dora Garcia, Felix Gonzalez-Torres, Rashid Johnson, Mahmoud Khaled, Carolyn Lazard, Guillermo Gomez Pena, Simone Leigh, Mujeres Creando, Park McArthur, Dineo Seshee Bopape, Jo Spence, Patrick Staff, Pedro Reyes, Tabita Rezaire. Writers include Khairani Barokka, Dodie Bellamy, Rizvana Bradley, bell hooks, Eve Kosofsky Sedgwick, Audre Lorde, Maria Puig de la Bellacasa, Susan Sontag, R.D. Laing, Paul B. Preciado.

Connects Cold War material and conceptual technologies to 21st century arts, society and cultureFrom futures research, pattern recognition algorithms, nuclear waste disposal and surveillance technologies, to smart weapons systems, contemporary fiction and art, this book shows that we live in a world imagined and engineered during the Cold War. Key FeaturesMakes connections between Cold War material and conceptual technologies, as they relate to the arts, society and cultureDraws on theorists such as Paul Virilio, Jacques Derrida, Luce Irigaray, Friedrich Kittler, Jean Baudrillard, Michel Foucault, Michel Serres, Bernard Stiegler, Peter Sloterdijk and Carl SchmittThe contributors include leading humanities and critical military studies scholars, and practising artists, writers, curators and broadcastersContributorsJohn Beck is Professor of Modern Literature and Director of the Institute for Modern and Contemporary Culture at the University of Westminster, London.Ryan Bishop is Professor of Global Arts and Politics, Director of Research and Co-Director of the Winchester Centre for Global Futures in Art Design & Media at the Winchester School of Art, University of Southampton. Ele Carpenter is a curator and writer, and senior lecturer in MFA Curating and convenor of the Nuclear Culture Research Group at Goldsmiths, University of London. Fabienne Collignon is Lecturer in Contemporary Literature at the University of Sheffield. Mark Cote is Lecturer in Digital Culture and Society at King's College London.Daniel Grausam is Lecturer in the Department of English at Durham University. Ken Hollings is a writer and broadcaster, visiting tutor at the Royal College of Art and Associate Lecturer at Central Saint Martins School of Art and Design. Adrian Mackenzie is Professor of Technological Cultures at Lancaster University. Jussi Parikka is a media theorist and writer, and Professor of Technological Culture and Aesthetics at Winchester School of Art, University of Southampton. John W. P. Phillips is Associate Professor in the Department of English at the National University of Singapore. Adam Piette is Professor of English at the University of Sheffield. James Purdon is Lecturer in Modern and Contemporary Literature at the University of St Andrews.Aura Satz is an artist and Moving Image Tutor at the Royal College of Art.Neal White is an artist and Professor of Media Art at the Faculty of Media and Communication, Bournemouth University.

Contemporary art is deeply engaged with the subject of classical myth. Yet within the literature on contemporary art, little has been said about this provocative relationship. Composed of fourteen original essays, Contemporary Art and Classical Myth addresses this scholarly gap, exploring, and in large part establishing, the multifaceted intersection of contemporary art and classical myth. Moving beyond the notion of art as illustration, the essays assembled here adopt a range of methodological frameworks, from iconography to deconstruction, and do so across an impressive range of artists and objects: Francis Alys, Ghada Amer, Wim Delvoye, Luciano Fabro, Joanna Frueh, Felix Gonzales-Torres, Duane Hanson, Yayoi Kusama, Roy Lichtenstein, Kara Walker, and an iconic photograph by Richard Drew subsequently entitled The Falling Man. Arranged so as to highlight both thematic and structural affinities, these essays manifest various aspects of the link between contemporary art and classical myth, while offering novel insights into the artists and myths under consideration. Some essays concentrate on single works as they relate to specific myths, while others take a broader approach, calling on myth as a means of grappling with dominant trends in contemporary art.

For the past century psychoanalysts have attempted to understand the psychology of art, artists and aesthetic experience. This book examines how contemporary psychoanalytic theory provides insight into understanding the psychological sources of creativity, Modern Art and modern artists.

The Artist s Mind revisits the lives of eight modern artists including Henri Matisse, Marcel Duchamp, Jackson Pollock and Andy Warhol, from a psychoanalytical viewpoint. It looks at how opportunities for a new approach to art at the turn of the twentieth century offered artists a chance to explore different forms of creativity and artistic ambition. Key areas of discussion include:

• developmental sources of the aesthetic sense
• psychological functions of creativity and art
• psychology of beauty, ugliness and the Sublime.
• co-evolution of the modern self, modernism and art.
• cultural context of creativity, artistic identify and aesthetic experience.

Through the examination of great artists lives and psychological dynamics, the author articulates a new psychoanalytic aesthetic model that has both clinical and historical significance. As such this book is essential reading for all those with an interest in the origins and fate of Modern Art.

Cross-Cultural Issues in Art provides an engaging introduction to aesthetic concepts, expanding the discussion beyond the usual Western theorists and Western examples.

Steven Leuthold discusses both contemporary and historical issues and examples, incorporating a range of detailed case studies from African, Asian, European, Latin American, Middle Eastern and Native American art. Individual chapters address broad intercultural issues in art, including Art and Culture, Primitivism and Otherness, Colonialism, Nationalism, Art and Religion, Symbolism and Interpretation, Style and Ethnicity, A Sense of Place, Art and Social Order, Gender, and the Self, considering these themes as constructs that frame our understanding of art.

Cross-Cultural Issues in Art draws upon ideas and case studies from cultural and critical studies, art history, ethno-aesthetics and area studies, visual anthropology, and philosophy, and will be useful for undergraduate and postgraduate courses in these fields.

"In American Silences," Joseph Anthony Ward offers a unique analysis of the use and effects of silence in modern American realistic art. Beginning with the nineteenth-century literature that laid the foundation for silence in art, he moves to a brief analysis of Sherwood Anderson's "Winesburg, Ohio" and Ernest Hemingway's "In Our Time," showing how they, along with several other crucial works of twentieth-century American realism, incorporate the power of the silent into their expression without sacrificing the subjects and techniques of traditional realism.

Examining "Let Us Now Praise Famous Men," James Agee's commentary on the life of tenant farmers, documented with photographs by Walker Evans, Ward traces the book's pattern of ""silence, then silence disturbed by sound, and ultimately silence restored."" Ward further supports his theory with a study of Agee's "A Death in the Family and Evans' American Photographs." Ward sees Agee's admiration of photography as a connection between the silence of the scenes he writes about and the silence of Evans' photographs. The use of silence is perhaps even more obvious in the paintings of Edward Hopper. Although throughout the book Ward suggests both the positive and negative qualities of silence in art, Hopper's paintings provide little in the way of postiveness.

For Ward, the art of silence is an art of extreme concentration that seeks essences rather than superficiality that nearly transcends realism itself. The theme of silence in American realism is a significant new one, but Ward's interpretation of the prose and his analysis of the photographs and paintings, many of which are reproduced in this book, establish validity for art as the voice of silence.

International expositions or "world's fairs" are the largest and most important stage on which millions routinely gather to directly experience, express, and respond to cultural difference. Rather than looking at Asian representation at the hands of colonizing powers, something already much examined, Asian Self-Representation at World's Fairs instead focuses on expressions of an empowered Asian self-representation at world's fairs in the West after the so-called golden age of the exhibition. New modes of representation became possible as the older "exhibitionary order" of earlier fairs gave way to a dominant "performative order," one increasingly preoccupied with generating experience and affect. Using case studies of national representation at selected fairs over the hundred-year period from 1915-2015, this book considers both the politics of representation as well as what happens within the imaginative worlds of Asian country pavilions, where the performative has become the dominant mode for imprinting directly on human bodies.

"Visual Cultures" is the first study of the place of visuality and literacy in specific nations around the world, featuring authoritative, insightful essays on the value accorded to the visual and the verbal in Japan, Poland, China, Russia, Ireland, and Slovenia.

Focusing on the national instead of the global, distinguished art critic James Elkins offers a critique of general histories of visuality, such as those of Martin Jay or Jean Baudrillard, as well as a critique of local histories of visuality, as in "Third Text" and other postcolonial studies. The content is not only analytic, but also historical, tracing changes in the significance of visual and verbal literacy in each nation. "Visual Cultures" also explores questions of national identity and the many issues Elkins raises suggest a wealth of promising avenues for future research.