To what extent have developments in global politics, artworld institutions and local cultures reshaped the critical directions of feminist art historians? The significant research gathered in Feminism and Art History Now engages with the rich inheritance of feminist historiography since around 1970, and considers how to maintain the forcefulness of its critique while addressing contemporary political struggles. Taking on subjects that reflect the museological, global and materialist trajectories of 21st-century art historical scholarship, the chapters address the themes of Invisibility, Temporality, Spatiality and Storytelling. They present new research on a diversity of topics that span political movements in Italy, urban gentrification in New York, community art projects in Scotland and Canada's contemporary indigenous culture. Case studies focus on the art of Lee Krasner, The Emily Davison Lodge, Zoe Leonard, Martha Rosler, Carla Lonzi and Womanhouse. Together with a synthesising introductory essay, these case studies provide readers with a view of feminist art histories of the past, present and future.

Dominic McIver Lopes articulates and defends a 'buck passing theory of art', namely that a work of art is nothing but a work in one of the arts. Having traced philosophical interest in theories of art to a reaction to certain puzzle cases of avant-garde art, he argues that none of the theories that have dominated philosophy since the 1960s adequately copes with these works. Whereas these theories have reached a dialectical impasse wherein they reiterate, and cannot resolve, disagreement over the puzzle cases, the buck passing theory illuminates the radical provocations of avant-garde art. In addition, when supplemented by a systematic framework for crafting theories of the individual arts, the buck passing theory grounds our empirical inquiries into the arts as well as our practices of appreciation and art criticism. Lopes seeks to model the diverse strategies employed by humanists and social and behavioural scientists who study the different arts. He gives the specificity of each art form a central role in our appreciative endeavours, and yet he stresses the continuity of the arts with similar, non-art activities such as fashion design, sports and games, cuisine, nature appreciation, and non-literary writing.

When these essays first appeared in Artforum in 1976, their impact was immediate. They were discussed, annotated, cited, collected, and translated-the three issues of Artforum in which they appeared have become nearly impossible to obtain. Having Brian O'Doherty's provocative essays available again is a signal event for the art world. This edition also includes "The Gallery as Gesture," a critically important piece published ten years after the others. O'Doherty was the first to explicitly confront a particular crisis in postwar art as he sought to examine the assumptions on which the modern commercial and museum gallery was based. Concerned with the complex and sophisticated relationship between economics, social context, and aesthetics as represented in the contested space of the art gallery, he raises the question of how artists must construe their work in relation to the gallery space and system. These essays are essential reading for anyone interested in the history and issues of postwar art in Europe and the United States. Teeming with ideas, relentless in their pursuit of contradiction and paradox, they exhibit both the understanding of the artist (Patrick Ireland) and the precision of the scholar. With an introduction by Thomas McEvilley and a brilliantly cogent afterword by its author, Brian O'Doherty once again leads us on the perilous journey to center to the art world: Inside the White Cube.

Interdisciplinary educational turn The challenges of a complex and volatile world require solutions that reconcile divergent perspectives and interests. In schools, interdisciplinarity has been integrated within curricula for decades, yet it is rarely applied as a collaborative practice. Communication between different fields of research is not enough. Without meaningful collaboration, opportunities to connect are lost, and teachers and students fail to benefit from the experience of lived interdisciplinarity. A new periodical, entitled EDU:TRANSVERSAL, presents the latest findings of national and international transversal research as well as the state of the art of interdisciplinarity in didactics. The aim of this annual publication is to stimulate a transversal turn in education. The first issue of a new periodical of transversal research in education New national and international interdisciplinary research on didactics With contributions by Christine Kunzli David, Anna Maria Loffredo, Hans-Joerg Rheinberger, and others

Molly Bang's brilliant, insightful, and accessible treatise is now revised and expanded for its 25th anniversary. Bang's powerful ideas remain unparalleled in their simplicity and genius: Explore the intricate and thought-provoking ideas that Bang brings to Picture This including thoughts about how the visual composition of images works to engage the emotions, and how the elements of an artwork can give it the power to tell a story. Why are diagonals dramatic? Why are curves calming? Why does red feel hot and blue feel cold? She asks the right questions to get your wheels turning while the illustrations and thoughtful designs bring the words to life. * Explores the mix of geometrical abstraction and emotional expressions, plus how a few clear principles can be used to build powerful visual statements. * Encourages you to answer the question, "How does the structure of a picture-or any visual art form-affect our emotional response?" * Includes powerful imagery and beautiful illustrations to help readers feel connected to the text. First published in 1991, Picture This has changed the way artists, illustrators, reviewers, critics, and readers look at and understand art. Molly Bang has authored and illustrated more than three dozen books and has won three Caldecott Honors, a Kate Greenaway Honor, and a Charlotte Zolotow Award, among other accolades, in her long career as a writer and artist. Picture This makes an imaginative and inspiring gift for any artist or loved one who is interested in design.

Contemporary art is obsessed with the politics of identity. Visit any contemporary gallery, museum or theatre, and chances are the art on offer will be principally concerned with race, gender, sexuality, power and privilege.The quest for truth, freedom and the sacred has been thrust aside to make room for identity politics. Mystery, individuality and beauty are out; radical feminism, racial grievance and queer theory are in. The result is a drearily predictable culture and the narrowing of the space for creative self-expression and honest criticism.Sohrab Ahmari's book is a passionate cri de coeur against this state of affairs. The New Philistines takes readers deep inside a cultural scene where all manner of ugly, inept art is celebrated so long as it toes the ideological line, and where the artistic glories of the Western world are revised and disfigured to fit the rigid doctrines of identity politics.The degree of politicisation means that art no longer performs its historical function, as a mirror and repository of the human spirit - something that should alarm not just art lovers but anyone who cares about the future of liberal civilisation.

In Six Years Lucy R. Lippard documents the chaotic network of ideas that has been labeled conceptual art. The book is arranged as an annotated chronology, into which is woven a rich collection of original documents including texts by and taped discussions among and with the artists involved and by Lippard, who has also provided a new preface for this edition. The result is a book with the character of a lively contemporary forum that provides an invaluable record of the thinking of the artists - an historical survey and essential reference book for the period.

On the toxicity of the immediate What changes when we religiously worship the toxic? In this era of catastrophe, can a cosmic connection be achieved through a cult of pollution? Toxic Temple is an artistic-philosophical quest to understand the current parlous state of the world. We offer our inner contradictions and destructive lusts as objects of worship. We enter wastelands instead of new territory, leaving space for artifacts, expressing solidarity with the factual. We encounter colorful assemblages of things that connect the known cosmos, tread the shaky ground of novel divinity, inhale pungent odors that transport us to the sublime. Garbage dumps are the new temples. In a mania of sadistic composure we breathe in the here and now. Transformative forces are released, free radicals; rituals that expose the chaos that lurks beneath the surface. New transdisciplinary ecosophical approaches Multimedia art project with comprehensive documentation and numerous illustrations With contributions by Julieta Aranda, Heather Davis, Elisabeth Falkensteiner, and Julia Grillmayr, among others

The authors show how the idea of art has developed in the last 5,000 years and how we have reached the point we are at now. They provide a complete survey of all of the aesthetic, historical and practical questions that surround the idea of art.

For decades, aesthetics has been subjected to a variety of critiques, often concerning its treatment of beauty or the autonomy of art. Collectively, these complaints have generated an anti-aesthetic stance prevalent in the contemporary art world. Yet if we examine the motivations for these critiques, Michael Kelly argues, we find theorists and artists hungering for a new kind of aesthetics, one better calibrated to contemporary art and its moral and political demands. Following an analysis of the work of Stanley Cavell, Arthur Danto, Umberto Eco, Susan Sontag, and other philosophers of the 1960s who made aesthetics more responsive to contemporary art, Kelly considers Sontag's aesthetics in greater detail. In On Photography (1977), she argues that a photograph of a person who is suffering only aestheticizes the suffering for the viewer's pleasure, yet she insists in Regarding the Pain of Others (2003) that such a photograph can have a sustainable moral-political effect precisely because of its aesthetics. Kelly considers this dramatic change to be symptomatic of a cultural shift in our understanding of aesthetics, ethics, and politics. He discusses these issues in connection with Gerhard Richter's and Doris Salcedo's art, chosen because it is often identified with the anti-aesthetic, even though it is clearly aesthetic. Focusing first on Richter's Baader-Meinhof series, Kelly concludes with Salcedo's enactments of suffering caused by social injustice. Throughout A Hunger for Aesthetics, he reveals the place of critique in contemporary art, which, if we understand aesthetics as critique, confirms that it is integral to art. Meeting the demand for aesthetics voiced by many who participate in art, Kelly advocates for a critical aesthetics that confirms the power of art.

There exists a series of contemporary artists who continually defy the traditional role of the artist/author, including Art & Language, Guerrilla Girls, Bob and Roberta Smith, Marvin Gaye Chetwynd and Lucky PDF. In Death of the Artist, Nicola McCartney explores their work and uses previously unpublished interviews to provoke a vital and nuanced discussion about contemporary artistic authorship. How do emerging artists navigate intellectual property or work collectively and share the recognition? How might a pseudonym aid 'artivism'? Most strikingly, she demonstrates how an alternative identity can challenge the art market and is symptomatic of greater cultural and political rebellion. As such, this book exposes the art world's financially incentivised infrastructures, but also examines how they might be reshaped from within. In an age of cuts to arts funding and forced self-promotion, this offers an important analysis of the pressing need for the artistic community to construct new ways to reinvent itself and incite fresh responses to its work.

`Eco' awareness has had an enormous impact across all cultural and political spectrums, not least in the art world. This accessible and thought-provoking book is the first in-depth exploration of the ways in which contemporary artists are confronting nature, the environment, climate change and ecology. Organized into six chapters, the book moves through the various levels of artists' engagement, from those who act as independent commentators, documenting and reflecting on nature, to those who use the physical environment as the raw material for their art, and those committed activists who set out to make art that transforms both our attitudes and our habits. More than 300 illustrations feature the work of 95 artists and art collectives from all over the world, including The Artist as Family, Nyaba Leon Ouedraogo, Yao Lu, Tue Greenfort, Eva Jospin, Ravi Agarwal, Nadav Kander, Naoya Hatakeyama, Tattfoo Tan, Berndnaut Smilde, Simon Starling, and Jennifer Allora and Guillermo Calzadilla.

Repressive Regimes, Aesthetic States, and Arts of Resistance investigates the tensions between politics and aesthetics by exploring the ways in which various "arts" are mobilized in the service of political repression and human emancipation. Building upon theories of the arts/politics and aesthetics/states relation, the book utilizes illuminating historical case studies to reveal the roles public arts have played in the construction of different types of "aesthetic" states: in ancient Rome during the transition from Republic to Empire, in modern Europe during the transition from feudalism to capitalism, and in the postmodern United States under the conditions of advanced capitalism. After comparing theories to practices of statecraft, the book goes on to explore contemporary arts of resistance against corrupt corporate practices and repressive political regimes. In light of these examples, it becomes evident there is an ongoing world-historical battle between those who "aestheticize the political" to perpetuate repressive regimes and those who "politicize the aesthetic" to make states less repressed and peoples more reasonable.

A provocative account of the philosophical problem of 'difference' in art history, Tintoretto's Difference offers a new reading of this pioneering 16th century painter, drawing upon the work of the 20th century philosopher Gilles Deleuze. Bringing together philosophical, art historical, art theoretical and art historiographical analysis, it is the first book-length study in English of Tintoretto for nearly two decades and the first in-depth exploration of the implications of Gilles Deleuze's philosophy for the understanding of early modern art and for the discipline of art history. With a focus on Deleuze's important concept of the diagram, Tintoretto's Difference positions the artist's work within a critical study of both art history's methods, concepts and modes of thought, and some of the fundamental dimensions of its scholarly practice: context, tradition, influence, and fact. Indicating potentials of the diagrammatic for art historical thinking across the registers of semiotics, aesthetics, and time, Tintoretto's Difference offers at once an innovative study of this seminal artist, an elaboration of Deleuze's philosophy of the diagram, and a new avenue for a philosophical art history.

From the first page to the last, from Thomas Kinkaid (really ) to Matthew Barney, this book serves as a launching pad. Conclusions are perpetually delayed. Resolutions are continually postponed. The text is written for takeoff, not arrival. It is a first step for readers' explorations of current modes of art making and for their own future artistic achievements. The much-anticipated follow-up to "Art on the Edge... and Over," Linda Weintraub's highly accessible introduction to contemporary art since the 1970s, "In the Making: Creative Options for Contemporary Art" explores essential but sometimes elusive facets of art making today. In her trademark writing style--straightforward and jargon-free--Weintraub sets out to itemize the conceptual and practical concerns that go into making contemporary art in all its endless permutations. In six clearly defined thematic sections--"Scoping an Audience," "Sourcing Inspiration," "Crafting an Artistic 'Self'," "Expressing an Artistic Attitude," "Choosing a Mission," and "Measuring Success"--Weintraub moves artist by artist, in 40 individual chapters, using each to explain a different aspect of art making. Isaac Julien makes work for a highly specific audience; Michal Rovner communicates through metaphor and symbol; Charles Ray disrupts the viewer's assumptions; Pipilotti Rist is inspired by female emotions; William Kentridge is moved by apartheid and redemption; Vanessa Beecroft epitomizes the biography of a smart, attractive, Caucasian woman; and Matthew Barney achieves success through resistance. Through a compelling combination of renowned and up-and-coming artists, Weintraub creates a complex understanding of how to make and look at contemporary art--but in a simple, easily digestible format and language.
In addition to being a fine read for anyone who simply wants to understand how to look at contemporary art, "In the Making" is also an exceptional pedagogical tool, one that addresses what is fast becoming a huge gap in art education. Teaching artistic techniques no longer provides young artists with a sufficient education--a full range of conceptual issues needs to be considered in any well-rounded studio practice. Yet these very same conceptual issues are often those that are dealt with textually in art history and criticism classes. Weintraub persuasively offers a series of texts that fit squarely into this gap, addressing issues that concern anyone who is learning how to make art or how to understand it.
In addition, "In the Making" includes a series of interviews in which many of the artists discuss the practical issues of their life's work. Conducted by Weintraub's students at Oberlin College, the interviews pose questions about the artists' schooling, their studio space, and how they support themselves if their main income doesn't come from their art--the kind of questions every art student has always wanted to ask the artists whose work they see on gallery walls.

In May 2008, five temporary art events by artists Alastair MacLennan, Maura Hazelden, Simon Whitehead, Anna Lucas and Yvonne Buchheim, took place in public spaces in Cardigan exploring themes of ritual, community and place. Holy Hiatus sought to examine the ways that artists can draw audiences into different, often unexpected experiences of place through ritual. The temporary, mobile and in some cases, understated nature of the works meant that the impact was often subtle, but the artworks nonetheless created a ripple of effect for audiences, leading witnesses to wonder what they had just seen and to what extent had they knowingly, or unknowingly, participated in it? The book also offers a contextual framework for the project within a field of cultural theory that ranges from contemporary art to anthropology, sociology and religious studies

Common challenges and practical solutions for practicing open-ended art in early childhood classrooms. Open-ended art is defined as art activity where children are free to use their imagination as they explore a variety of materials without a planned outcome. When teachers embrace open-ended art, they emphasize the process of creating and observe the developmental growth being experienced by the children. Open-ended art provides children an important opportunity to think about, feel, and express ideas. It allows teachers to slow down the pace of the day and appreciate the beauty that comes from simple experimentation with art materials. There are many books available to educators that include art ideas and projects, but Open-Ended Art for Young Children goes beyond the basics to highlight why the field of early childhood education advocates for open-ended art and explains how to adapt to new ways of thinking about art. Authors Dr. Tracy Galuski and Dr. Mary Ellen Bardsley present, chapter by chapter, the challenges teachers encounter when faced with best practices and expectations related art process and product. Each chapter begins with a classroom vignette that describes the challenge, followed by a plethora of solutions grounded in research and illustrated through practical examples. Each chapter includes full-color pictures and photos and ends with an activity or investigation for reflection.

Why are visual artworks experienced as having intrinsic significance or normative depth? Why are some works of art better able to manifest this significance than others? In this 2002 book Paul Crowther argues that we can answer these questions only if we have a full analytic definition of visual art. Crowther's approach focuses on the pictorial image, broadly construed to include abstract work and recent conceptually-based idioms. The significance of art depends, however, essentially on the transhistorical nature of the pictorial image, the way in which its illuminative power is extended through historical transformation of the relevant artistic medium. Crowther argues against fashionable forms of cultural relativism, while at the same time showing why it is important that an appreciation of the history of art is integral to aesthetic judgment.