|
Books > Arts & Architecture > The arts: general issues > Theory of art
Part of the acclaimed series of anthologies which document major
themes and ideas in contemporary art. An essential collection of
texts reflecting on the cultural and political complexities of
translation in global contemporary artistic practices. The movement
of global populations, and subsequently the task of translation,
underlies contemporary culture: the intricacies of ancient and
modern Jewish diaspora, waves of colonisation and the
transportation of slaves are now superimposed by economic and
environmental migration, forced political exiles and refugees. This
timely anthology will consider translation's ongoing role in
cultural navigation and understanding, exploring the approaches of
artists, poets and theorists in negotiating increasingly protean
identities: from the intrinsic intimacy of language, to
translation's embedded structures of knowledge production and
interaction, to its limitations of expression and, ultimately, its
importance in a world of multiple perspectives. Artists surveyed
include Meric Algun Ringborg, Geta Bratescu, Tanya Bruguera, Chto
Delat, Chohreh Feyzdjou, Susan Hiller, Glenn Ligon, Teresa
Margolles, Shirin Neshat, Helio Oiticica, Pratchaya Phinthong, Kurt
Schwitters, Yinka Shonibare, Mladen Stilinovic, Erika Tan, Kara
Walker, Wu Tsang. Writers include Hannah Arendt, James Baldwin,
Walter Benjamin, Judith Butler, Luis Camnitzer, Jean Fisher, Stuart
Hall, bell hooks, Sarat Maharaj, Martha Rosler, Bertrand Russell,
Simon Sheikh, Gayatri Spivak, Hito Steyerl, Lawrence Venuti.
1. The first handbook to be published in the burgeoning field of
Neuroaesthetics 2. Brings together leading academics from the field
to present their cutting-edge research
To read this book is to step into the studio of a painter. These
writings, rich sources of information, share thoughts, processes
and practices that together demonstrate links between geometry,
visual perception, history and literature. Murmurations is
constitutive of an ever-expanding studio and in its midst a life-a
painter's life-comes to take place.
The Routledge Companion to Expressionism in a Transnational Context
is a challenging exploration of the transnational formation,
dissemination, and transformation of expressionism outside of the
German-speaking world, in regions such as Central and Eastern
Europe, the Baltics and Scandinavia, Western and Southern Europe,
North and Latin America, and South Africa, in the first half of the
twentieth century. Comprising a series of essays by an
international group of scholars in the fields of art history and
literary and cultural studies, the volume addresses the
intellectual discussions and artistic developments arising in the
context of the expressionist movement in the various art centers
and cultural regions. The authors also examine the implications of
expressionism in artistic practice and its influence on modern and
contemporary cultural production. Essential for an in-depth
understanding and discussion of expressionism, this volume opens up
new perspectives on developments in the visual arts of this period
and challenges the traditional narratives that have predominantly
focused on artistic styles and national movements.
A revisionist reading of modern art that examines how artworks are
captured as property to legitimize power In this provocative new
account, David Joselit shows how art from the nineteenth to the
twenty-first centuries began to function as a commodity, while the
qualities of the artist, nation, or period themselves became
valuable properties. Joselit explores repatriation, explaining that
this is not just a contemporary conflict between the Global South
and Euro-American museums, noting that the Louvre, the first modern
museum, was built on looted works and faced demands for restitution
and repatriation early in its history. Joselit argues that the
property values of white supremacy underlie the ideology of
possessive individualism animating modern art, and he considers
issues of identity and proprietary authorship. Joselit redefines
art's politics, arguing that these pertain not to an artwork's
content or form but to the way it is "captured," made to represent
powerful interests-whether a nation, a government, or a celebrity
artist collected by oligarchs. Artworks themselves are not
political but occupy at once the here and now and an "elsewhere"-an
alterity-that can't ever be fully appropriated. The history of
modern art, Joselit asserts, is the history of transforming this
alterity into private property. Narrating scenes from the emergence
and capture of modern art-touching on a range of topics that
include the Byzantine church, French copyright law, the 1900 Paris
Exposition, W.E.B. Du Bois, the conceptual artist Adrian Piper, and
the controversy over Dana Schutz's painting Open Casket-Joselit
argues that the meaning of art is its infinite capacity to generate
experience over time.
Digital artist Zheng Wei Gu (AKA Guweiz) shares his anime-inspired
world in this beautifully produced and insightful book, leading you
through his fantasy world with a portfolio packed with gritty
detail and a surreal vibe. Guweiz began drawing when he was 17,
inspired by an anime art tutorial on YouTube. Discovering a natural
talent, he carried on drawing and quickly amassed a fan-base for
his edgy illustration style. Throughout this book, readers will
discover his artistic journey from the very beginning, with
behind-the-scenes details about how some of his most popular pieces
were created. He reveals his secrets for turning influences into
truly original digital art, including that all-important narrative
that takes drawing and painting beyond the purely visual.
Step-by-step tutorials share techniques and tips to help you create
these sorts of effects in your art, resulting in images with the
depth of detail and intrigue that Guweiz has made his trademark.
The artist's unique urban take on the popular manga/anime style is
gripping right from the first page, from the surreal take on
Japanese lifestyle to the urban fantasy he creates.
Counterfactual thinking has become an established method to
evaluate decisions in a range of disciplines, including history,
psychology and literature. Elke Reinhuber argues it also has
valuable applications in the fine arts and popular media. A
fascination with the path not taken is a logical consequence of a
world saturated with choices. Art which provokes and explores these
tendencies can help to recognise and contextualise the impulse to
avoid or endlessly revisit individual or collective decisions.
Reinhuber describes the term in broad strokes through the
disciplines to show how counterfactualism finds shape in
contemporary art forms, especially in photography, film, and
immersive and interactive media art (such as 360 Degrees content,
virtual reality and augmented reality). She analyses the different
stages of counterfactuals with examples where artists experience
counterfactual thoughts in the process of art production, explore
these thoughts in their artwork, and where the artwork itself
evokes counterfactual thoughts in the audience. A fascinating
exploration for scholars and students of art, media and the
humanities, and anybody else with an interest in choices, the art
of decisionmaking and counterfactualism.
First published in 1965, Mannerism is the rediscovery and
revaluation of Mannerism, that long misjudged artistic style which
came into its own during the crisis of the Renaissance.
Expressionism, Surrealism and Abstract Art prepared the ground for
a new understanding of Mannerism, and Dr. Hauser shows how this
revaluation signifies an even deeper caesura in intellectual
history than the crisis of the Renaissance itself in which
Mannerism arose. These propositions however, only touch on the
problem which is exhaustively treated by Hauser in all its
historical and thematical variations. The author does not confine
himself to the observation of development from the point of view of
the history of art. In Part One he considers the emergence of the
scientific worldview during the Renaissance, the economic and
social revolution, religious movements and political ideas, the
problem of alienation, and narcissism as keys to the understanding
of Mannerism. Part Two, which deals with the history of Mannerism
both in Italy and abroad, gives not only remarkable analyses of
works of art with the aid of 322 reproductions, but also considers
leading representatives of the literature of the Mannerism in
Italy, Spain, France, and England. Again, in Part Three, parallel
and connecting lines are drawn between art and literature to make
the rules of form and the contents clearly recognisable. The book
will be of interest to students of art history and literature.
First published in 1962, Hogarth and his Place in European Art
attempts to convey the historical relevance, both in its native and
European context, of perhaps the most outstanding English painter
of the eighteenth century. Dr. Antal applies his method of
establishing the close relationship between the political and
social history and the arts and letters of the period. Thus, the
book goes far beyond the limits of art historical appreciation. It
gives a panoramic picture of the first half of the eighteenth
century in England with all its social, literary, and artistic
connotations. He shows how England, which during those years became
both politically and economically the most advanced country in
Europe, could provide in Hogarth, in spite of the slender native
tradition, the most progressive artistic personality of his time -
whose work revealed the views and tastes of a broad cross-section
of society. He traces Hogarth's stylistic origins back to their
European sources and analyses his impact on contemporary European
and English art as well as the influence he exerted on generations
to come. This book will be of interest to students of art, art
history, literature, and European history.
First published in 1956, Fuseli Studies deals with the many-sided
artistic achievements of Zurich-born Fuseli's baffling personality,
who was one of the most erudite and renowned intellectuals of his
day in Europe. The author's intention has been to place his subject
in clear historical perspective within his own epoch, and thus
traces Fuseli's contacts back to sixteenth-century mannerism and
forward to twentieth-century expressionism. In this book, the
social background of that absorbing period covering the artist's
working years at the turn of the nineteenth century is evoked not
only in analysing his style, poised between classicism and
romanticism of the age, but also accounting for its appeal and
relevance to the present day. This book will be of interest to
students of art, art history, European history, and literature.
CLEVER AND CONTEMPORARY ILLUSTRATIONS - 50 witty illustrations by
Baltimore-based illustrator, designer and educator George Wylesol
THE PERFECT GIFT - Design-led, high-spec illustrated product for
maximum gifting potential LEARN ABOUT ART, YOUR WAY - These
portable cards can be taken with you everywhere and encourage the
development of a highly personal approach to art TEXT BY ART
EDUCATOR - Accessible ideas for learning about art from practicing
art educator DISCOVER THE SERIES - Collect the series with
mindfulness-based Ways of Tuning Your Senses, and
wanderlust-whetting Ways of Travelling, also by Laurence King
Transform your relationship to art with 50 illustrated prompts.
Rethink how you see - each card offers a different way of looking
at anything from graffiti to sculpture, painting to tapestry. Have
a fresh encounter with whatever artwork comes your way.
As the Creative City model for urban regeneration founders, Anthony
Iles and Josephine Berry Slater take stock of an era of highly
instrumentalised public art making. Focusing on artists and
consultants who have engaged critically with the exclusionary
politics of urban regeneration, their analysis locates such
practice within a schematic history of urban development's
neoliberal mode. Breaking down into a report and collection of
interviews, this investigation consistently focuses on the
possibility and forms of critical public art within a regime that
fetishises 'creativity'. How, they ask, is critical art shaped by
its interaction with this aspect of biopolitical governance?
Featuring projects and interviews with Alberto Duman, Freee, Nils
Norman, Laura Oldfield Ford and Roman Vasseur.
Replete with interviews with key practitioners (both in the book
and online) will give up-to-date information on the techniques,
forms and concepts used by leading figures in contemporary Live
Visuals.
Drawing on an interdisciplinary panel of contributors, this book
presents a stimulating dialogue between economics and art theory
and considers how this might aid our understanding of both areas of
research. The collection explores themes which both fields share,
including rationality, abstraction and model building, the nature
of social reality, representation and transformation. The
contributions employ a broad range of methods to investigate the
links between economics and art, and their coverage includes
architecture, history of ideas, art theory, literature studies and
beyond. This innovative volume will be of interest to advanced
students and scholars of economic theory, cultural economics,
literary and art theory and it intends to be a starting point for
new avenues of interdisciplinary research.
If today students of social theory read Jurgen Habermas, Michael
Foucault and Anthony Giddens, then proper regard to the question of
culture means that they should also read Raymond Williams, Julia
Kristeva and Slavoj Zizek. The second edition of the Routledge
Handbook of Social and Cultural Theory is fully revised and updated
to provide students, teachers and researchers with a comprehensive,
critical guide to the major traditions of thought in social and
cultural theory, as well as tracing the complex intellectual
connections between these distinct but related approaches to
understanding society and culture. The Handbook, edited by
acclaimed sociologist Anthony Elliott, develops a powerful argument
for bringing together social and cultural theory more
systematically than ever before. Key social and cultural theories,
ranging from classical approaches to postmodern, psychoanalytic and
post-feminist approaches, are drawn together and critically
appraised. There are also new chapters on mobilities and
migrations, as well as posthumanism. The Handbook, written in a
clear and direct style will appeal to a wide audience of students
and scholars. The extensive references and sources will direct
students to areas of further study.
"One of the most important books on color ever written."-Michael
Hession, Gizmodo "Interaction of Color with its illuminating visual
exercises and mind-bending optical illusions, remains an
indispensable blueprint to the art of seeing. . . . An essential
piece of visual literacy."-Maria Popova, Brain Pickings Josef
Albers's classic Interaction of Color is a masterwork in art
education. Conceived as a handbook and teaching aid for artists,
instructors, and students, this influential book presents Albers's
singular explanation of complex color theory principles. Originally
published by Yale University Press in 1963 as a limited silkscreen
edition with 150 color plates, Interaction of Color first appeared
in paperback in 1971, featuring ten color studies chosen by Albers,
and has remained in print ever since. With over a quarter of a
million copies sold in its various editions since 1963, Interaction
of Color remains an essential resource on color, as pioneering
today as when Albers first created it. Fifty years after
Interaction's initial publication, this anniversary edition
presents a significantly expanded selection of close to sixty color
studies alongside Albers's original text, demonstrating such
principles as color relativity, intensity, and temperature;
vibrating and vanishing boundaries; and the illusion of
transparency and reversed grounds. A celebration of the longevity
and unique authority of Albers's contribution, this landmark
edition will find new audiences in studios and classrooms around
the world.
This volume reframes the development of US-American avant-garde art
of the long 1960s—from minimal and pop art to land art,
conceptual art, site-specific practices, and feminist art—in the
context of contemporary architectural discourses. Susanneh Bieber
analyzes the work of seven major artists, Donald Judd, Robert
Grosvenor, Claes Oldenburg, Robert Smithson, Lawrence Weiner,
Gordon Matta-Clark, and Mary Miss, who were closely associated with
the formal-aesthetic innovations of the period. While these
individual artists came to represent diverse movements, Bieber
argues that all of them were attracted to the field of
architecture—the work of architects, engineers, preservationists,
landscape designers, and urban planners—because they believed
these practices more directly shaped the social and material spaces
of everyday life. This book’s contribution to the field of art
history is thus twofold. First, it shows that the avant-garde of
the long 1960s did not simply develop according to an internal
logic of art but also as part of broader sociocultural discourses
about buildings and cities. Second, it exemplifies a methodological
synthesis between social art history and poststructural formalism
that is foundational to understanding the role of art in the
construction of a more just and egalitarian society. The book will
be of interest to scholars working in art history, architecture,
urbanism, and environmental humanism.
This interdisciplinary collection of essays brings together
scholars in the fields of art history, theatre, visual culture, and
literature to explore intersections between the European
avant-garde (c. 1880–1945) and themes of health and hygiene, such
as illness, contagion, cleanliness, and contamination. Examining
the artistic oeuvres of some of the canonical names of modern art
– including Edgar Degas, Edvard Munch, Pablo Picasso, George
Orwell, Marcel Duchamp, and Antonin Artaud – this book
investigates instances where the heightened political, social, and
cultural currencies embedded within issues of hygiene and contagion
have been mobilised, and subversively exploited, to fuel the
critical strategy at play. This edited volume promotes an
interdisciplinary and socio-historically contextualised
understanding of the criticality of the avant-garde gesture and
cultivates scholarship that moves beyond the limits of traditional
academic subjects to produce innovative and thought-provoking
connections and interrelations across various fields. The book will
be of interest to scholars working in art history, literature,
theatre, cultural studies, modern history, medical humanities, and
visual culture.
This book bridges the gap between the many insights into art
provided by research in evolutionary theory, psychology and
neuroscience and those enduring normative issues best addressed by
philosophy. The sciences have helped us understand how art
functions, our art preferences, and the neurological systems
underlying our engagement with art. But we continue to rely on
philosophy to tell us what is truly good in art, how we should
engage with art, and the conceptual basis for this engagement.
Naturalized Aesthetics: A Scientific Framework for the Philosophy
of Art integrates a systematic and comprehensive naturalism,
grounded in the sciences, with an "ecology" of art. It shows how
the environments in which we make and experience art - our
"engineered art niches" - affect the practice and experience of art
and generate normativity - the goods and the shoulds - in our
engagement with art. There are, in effect, two "streams" of
normativity, according to this book: a niche-dependent, social,
impersonal and objective stream and a niche-independent,
individual, personal and subjective stream. Recognition of these
two streams allows us to make progress in long-standing and
unresolved philosophical disputes about how to interpret, evaluate
and conceive art. Key Features: Provides a structured and critical
introduction to the scientific accounts of art based on
evolutionary thinking, psychology and neuroscience. Develops an
"ecology" of art based on the insight that we engage with art in
engineered niches. Presents a naturalistic account of normativity
based on the recognition of two streams: a niche-dependent, social,
impersonal and objective stream; and a niche-independent,
individual, personal and subjective stream. Serves as an
introduction and critical analysis of the debates about the
interpretation, evaluation and definitions of art.
'Approaching the different and manifold sequences in this
book...one will gradually come to realise that metamorphosis can
become an ideal for knowledge, a guiding path for self-knowledge
and knowledge of the world - as intuitive contemplation and as
artistic creation.' - Dr Peter Wolf What is metamorphosis? Through
the medium of art, sculptor Gertraud Goodwin invites us to enter
the realm of time and continuously changing movement in this highly
original book. With chapters by various artists and writers,
interwoven with her key insights, Goodwin offers numerous points of
entry to understanding the mystery of metamorphosis.
Profusely-illustrated in colour, we are shown many sequences of
images - of sculptures, reliefs and graphic works - which, with the
aid of informed commentary, we are invited to 'read'. These images
belong together, developing from one to the next - just as single
experiences and events in life belong to our biographies. One
motif, one movement, passes through all stages, from simple
beginnings and more differentiated formations, to a culmination -
and, from there, back to a more mature simplicity and
concentration, which makes a new beginning possible.' In relation
to the transcendent, where ordinary words fail, the language of
form, texture and relations in space, like those of music in time,
offer alternatives to words, perhaps less encumbered by
preconceptions. These pages offer many examples of the beauties and
mysteries of metamorphosis, which is itself an essential component
of Nature's creative language.' - Dr Philip Kilner
|
You may like...
ABC
Boris Achour
Hardcover
R765
Discovery Miles 7 650
|