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Books > Arts & Architecture > The arts: general issues > Theory of art
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Queer Objects
(Paperback)
Chris Brickell, Judith Collard
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R996
R945
Discovery Miles 9 450
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Queer lives give rise to a vast array of objects: the things we
fill our houses with, the gifts we share with our friends, the
commodities we consume at work and at play, the clothes and
accessories we wear, and the analogue and digital technologies we
use to communicate with one another. But what makes an object
queer? The sixty-three chapters in Queer Objects consider this
question in relation to lesbian, gay and transgender communities
across time, cultures and space. In this unique international
collaboration, well-known and newer writers traverse world history
to write about items ranging from ancient Egyptian tomb paintings
and Roman artefacts to political placards, snapshots, sex toys and
the smartphone. Fabulous, captivating, transgressive. -- .
India in Art in Ireland is the first book to address how the
relationship between these two ends of the British Empire played
out in the visual arts. It demonstrates that Irish ambivalence
about British imperialism in India complicates the assumption that
colonialism precluded identifying with an exotic other. Examining a
wide range of media, including manuscript illuminations, paintings,
prints, architecture, stained glass, and photography, its authors
demonstrate the complex nature of empire in India, compare these
empires to British imperialism in Ireland, and explore the
contemporary relationship between what are now two independent
countries through a consideration of works of art in Irish
collections, supplemented by a consideration of Irish architecture
and of contemporary Irish visual culture. The collection features
essays on Rajput and Mughal miniatures, on a portrait of an Indian
woman by the Irish painter Thomas Hickey, on the gate lodge to the
Dromana estate in County Waterford, and a consideration of the
intellectual context of Harry Clarke's Eve of St. Agnes window.
This book should appeal not only to those seeking to learn more
about some of Ireland's most cherished works of art, but to all
those curious about the complex interplay between empire,
anti-colonialism, and the visual arts.
Artistic practices have long been disturbing the relationships
between art and space. They have challenged the boundaries of
performer/spectator, of public/private, introduced intervention and
installation, ephemerality and performance, and constantly sought
out new modes of distressing expectations about what is construed
as art. But when we expand the world in which we look at art, how
does this change our understanding of critical artistic practice?
This book presents a global perspective on the relationship between
art and the city. International and leading scholars and artists
themselves present critical theory and practice of contemporary art
as a politicised force. It extends thinking on contemporary arts
practices in the urban and political context of protest and social
resilience and offers the prism of a 'critical artscape' in which
to view the urgent interaction of arts and the urban politic. The
global appeal of the book is established through the general topic
as well as the specific chapters, which are geographically,
socially, politically and professionally varied. Contributing
authors come from many different institutional and
anti-institutional perspectives from across the world. This will be
valuable reading for those interested in cultural geography, urban
geography and urban culture, as well as contemporary art theorists,
practitioners and policymakers.
The Divine Proportion reveals a number of simple patterns: It is
seen in the seed patterns of fruits, the family tree of bees, the
pyramids of Egypt, Gothic cathedrals, Renaissance paintings, the
human body, shells ... the list is endless. Mathematicians use the
Greek symbol to represent the Divine Proportion and equate it to a
number that is defined by the ratio (1 + 5) / 2 or 1.6180339....
Numbers do little, however, in describing this unique ratio that is
found everywhere in nature and for 2500 years has been an aesthetic
guide in art and architecture. Beginning with calculations found on
clay tablets in ancient Babylon, the story of Divine Proportion can
be traced alongside the history of numbers to the fractals of the
digital age. As its many forms unfold we uncover the Golden
Rectangle in the Parthenon, Golden Spirals in the human inner ear,
a Golden Angle in the petal patterns of a rose, and the Fibonacci
numbers in lilies, daisies, pineapples, and in our own DNA. With
its natural balance and elegant beauty, the Divine Proportion is a
perpetual reminder that our hope for regeneration and continuity
lies in realizing the meaningful and harmonious relationship of all
the parts to the whole. This book deals with the Divine Proportion,
a secret code that rules art, nature, and science. It is known by
many names: Golden Mean, Sacred Cut and Phi are only a few; and it
is not by chance that the Divine Proportion was given its name. It
has been called divine because over thousands of years it has been
deemed to be so.
1. Relates the fundamental principles of the interdependent
disciplines of Psychology, Art, and Creativity together in one
resource in a clear and accessible way. 2. Will be accompanied by
extensive online content developed by the author for her own MOOC,
including quizzes, reflection exercises, videos, resources, further
readings and other valuable tools that can help them connect deeply
with the content. 3. Designed for use on courses focusing on the
Psychology of Art, Creativity, or Art Therapy.
Marie Laurencin, in spite of the noticeable reputation she made in
Paris in the first half of the twentieth century, has attracted
only sporadic attention by late-twentieth century art historians.
Until now the substance of her art and the feminist issues that
were entangled in her life have been narrowly examined or reduced
by an author's chosen theoretical format; and the terms of her
lesbian identity have been overlooked. In this case study of une
femme inadaptee and an unfit feminist, Elizabeth Kahn re-situates
Laurencin in the on-going feminist debates that enrich the
disciplines of art history, women's studies and literary criticism.
Kahn's thorough reading of the artist's visual and literary
production ensures a comprehensive overview which addresses notable
works and passages but also integrates those that are less well
known. Incorporating feminist theory and building on the work of
contemporary feminist art historians, she avoids the heroics of
conventional biography, instead allowing her subject to participate
in the historical collective of women's work. Provocative and
engagingly written, this fresh new study of Marie Laurencin's life
and works also explores the multiple valences by which to connect
the histories of, and find new connections between, women artists
across the twentieth century.
What makes a work of art a masterpiece? Discover the answers in the
fascinating stories of how these artworks came to be and the
circumstances of their long-lasting impact on the world. Beginning
with Botticelli's The Birth of Venus, we travel through time and a
range of styles and stories - including theft, scandal, artistic
reputation, politics and power - to Warhol's Campbell's Soup Cans,
challenging the idea of what a masterpiece can be, and arriving in
the twenty-first century with Amy Sherald's portrait of Michelle
Obama, a modern-day masterpiece still to be tested by time. Each
artwork has a tale that reveals making a masterpiece often involves
much more than just a demonstration of artistic skill: their path
to fame is only fully disclosed by looking beyond what the eye can
see. Rather than trying to describe the elements of greatness,
Making a Masterpiece takes account of the circumstances outside the
frame that contribute to the perception of greatness and reveals
that the journey from the easel to popular acclaim can be as
compelling as the masterpiece itself. Featuring: Birth of Venus,
Sandro Botticelli Mona Lisa, Leonardo da Vinci Judith Beheading
Holofernes, Artemisia Gentileschi Girl with a Pearl Earring,
Johannes Vermeer Under the Wave off Kanagawa, Katsushika Hokusai
Fifteen Sunflowers, Vincent van Gogh Portrait of Adele Bloch-Bauer
I (Woman in Gold, Gustav Klimt American Gothic, Grant Wood
Guernica, Pablo Picasso Self-Portrait with Thorn Necklace and
Hummingbird, Frida Kahlo Campbell's Soup Cans, Andy Warhol Michelle
LaVaughn Robinson Obama, Amy Sherald Discover the stories of how,
why and what makes a masterpiece in this compelling and
comprehensive title.
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.
Artists, designers and researchers are increasingly seeking new
ways to understand and explore the creative and practical
significance of the senses. This ground-breaking book brings art
and design into the field of sensory studies providing a clear
introduction to the field and outlining important developments and
new directions. A compelling exploration of both theory and
practice, Sensory Arts and Design brings together a wide variety of
examples from contemporary art and design which share a sensory
dimension in their development or user experience. Divided into
three parts, the book examines the design applications of new
technology with sensing capacities; the role of the senses in
creating new imaginative environments; and the significance of the
senses within different cultural practices. The thirteen chapters
cover a highly diverse range of issues - from the urban
environment, architecture and soundscapes to gustatory art,
multisensory perception in painting, music and drawing, and the
relationship between vision and smell. Initiated by Insight, a
research group at Lancaster Institute for the Contemporary Arts
-widely recognised as a center of research excellence - the project
brings together a team of experts from Britain, Europe and North
America. This timely book is destined to make a significant
contribution to the scholarly development of this emerging field.
An important read for students and scholars in sensory studies,
design, art, and visual culture.
W.J.T. Mitchell - one of the founders of visual studies - has been
at the forefront of many disciplines such as iconology, art history
and media studies. His concept of the pictorial turn is known
worldwide for having set new philosophical paradigms in dealing
with our vernacular visual world. This book will help both students
and seasoned scholars to understand key terms in visual studies -
pictorial turn, metapictures, literary iconology, image/text,
biopictures or living pictures, among many others - while
systematically presenting the work of Mitchell as one of the
discipline's founders and most prominent figures. As a special
feature, the book includes three comprehensive, authoritative and
theoretically relevant interviews with Mitchell that focus on
different stages of development of visual studies and critical
iconology.
This book explores the contemporary legacy of Hiroshima and
Nagasaki following the passage of three quarters of a century, and
the role of art and activism in maintaining a critical perspective
on the dangers of the nuclear age. It closely interrogates the
political and cultural shifts that have accompanied the transition
to a nuclearised world. Beginning with the contemporary
socio-political and cultural interpretations of the impact and
legacy of the destruction of Hiroshima and Nagasaki, the chapters
examine the challenges posed by committed opponents in the cultural
and activist fields to the ongoing development of nuclear weapons
and the expanding industrial uses of nuclear power. It explores how
the aphorism that "all art is political" is borne out in the close
relation between art and activism. This multi-disciplinary approach
to the socio-political and cultural exploration of nuclear energy
in relation to Hiroshima/Nagasaki via the arts will be of interest
to students and scholars of peace and conflict studies, social
political and cultural studies, fine arts, and art and aesthetic
studies.
Look At This If You Love Great Art is a must read for anyone with a
passion for exceptional art. Featuring 100 of the best artworks
ever produced, inside is a collection of insightful summaries on
just what it is that makes each one so vital. Art writer Chloe
Ashby talks you through the pieces that resonate with her,
revealing the fascinating stories behind them and offering her
considered take on why each work should be regarded as a pinnacle
of artistic endeavour. With entries curated to offer a unique
juxtaposition of styles, mediums and schools of art, expect a
contemporary take on classic artworks, where titans of art history
cross paths with under-appreciated examples from outside the
traditional canon, and where rebellious visionaries blaze trails
that still influence today's cutting-edge artists. Covering all the
most important genres of art -Abstraction, Pop Art, Surrealism,
Renaissance art, Impressionism and more - this engaging summary
only deals with artworks that really matter and the reasons why you
have to see them.
Comprised of 45 chapters, written especially for this volume by an
international team of leading experts, The Routledge Companion to
the Philosophies of Painting and Sculpture is the first handbook of
its kind. The editors have organized the chapters helpfully across
eight parts: I: Artforms II: History III: Questions of Form, Style,
and Address IV: Art and Science V: Comparisons among the Arts VI:
Questions of Value VII: Philosophers of Art VIII: Institutional
Questions Individual topics include art and cognitive science,
evolutionary origins of art, art and perception, pictorial realism,
artistic taste, style, issues of race and gender, art and religion,
art and philosophy, and the end of art. The work of selected
philosophers is also discussed, including Diderot, Hegel, Ruskin,
Gombrich, Goodman, Wollheim, and Danto. With a volume introduction
from the editors and comprehensively indexed, The Routledge
Companion to the Philosophies of Painting and Sculpture serves as a
point of entry to the subject for a broad range of students as well
as an up-to-date reference for scholars in the field.
Baudelaire and Photography
Based on the BBC television series, John Berger's Ways of Seeing is
a unique look at the way we view art, published as part of the
Penguin on Design series in Penguin Modern Classics. 'Seeing comes
before words. The child looks and recognizes before it can speak.'
'But there is also another sense in which seeing comes before
words. It is seeing which establishes our place in the surrounding
world; we explain that world with words, but word can never undo
the fact that we are surrounded by it. The relation between what we
see and what we know is never settled.' John Berger's Ways of
Seeing is one of the most stimulating and influential books on art
in any language. First published in 1972, it was based on the BBC
television series about which the Sunday Times critic commented:
'This is an eye-opener in more ways than one: by concentrating on
how we look at paintings . . . he will almost certainly change the
way you look at pictures.' By now he has. John Berger (b. 1926) is
an art critic, painter and novelist.born in Hackney, London. His
novel G. (1972) won both the James Tait Black Memorial Prize and
the Booker Prize. If you enjoyed Ways of Seeing, you might like
Susan Sontag's On Photography, also available in Penguin Modern
Classics. 'Berger has the ability to cut right through the
mystification of professional art critics ... he is a liberator of
images: and once we have allowed the paintings to work on us
directly, we are in a much better position to make a meaningful
evaluation' Peter Fuller, Arts Review 'The influence of the series
and the book ... was enormous ... It opened up for general
attention areas of cultural study that are now commonplace' Geoff
Dyer in Ways of Telling 'One of the most influential intellectuals
of our time' Observer
In an era when ease of travel is greater than ever, it is also easy
to overlook the degree to which voyages of the body - and mind -
have generated an outpouring of artistry and creativity throughout
the ages. Exploration of new lands and sensations is a fundamental
human experience. This volume in turn provides a stimulating and
adventurous exploration of the theme of travel from an
art-historical perspective. Topical regions are covered ranging
from the Grand Tour and colonialism to the travels of Hadrian in
ancient times and Georgia O'Keeffe's journey to the Andes; from
Vasari's Neoplatonic voyages to photographing nineteenth-century
Japan. The scholars assembled consider both imaginary travel, as
well as factual or embellished documentation of voyages. The essays
are far-reaching spatially and temporally, but all relate to how
art has documented the theme of travel in varying media across time
and as illustrated and described by writers, artists, and
illustrators. The scope of this volume is far-reaching both
chronologically and conceptually, thereby appropriately documenting
the universality of the theme to human experience.
In this study, first published in 1979, Landow contends that Hunt's
version of Pre-Raphaelitism concerned itself primarily with an
elaborate system of painterly symbolism rather than with a
photographic realism as has been usually supposed. Like Ruskin,
Hunt believed that a symbolism based on scriptural typology - the
method of finding anticipations of Christ in Hebrew history - could
produce an ideal art that would solve the problems of Victorian
painting. According to Hunt, this elaborate symbolism could
simultaneously avoid the dangers of materialism inherent in a
realistic style, the dead conventionalism of academic art, and the
sentimentality of much contemporary painting. George Landow
examines Hunt's work in the context of this argument and, drawing
on much unknown or previously inaccessible material, shows how he
used texts, frames, and symbols to create a complex art of
mediation that became increasingly visionary as the artist grew
older. This book is ideal for students of art history.
Art interprets the visible world. Physics charts its unseen
workings. The two realms seem completely opposed. But consider that
both strive to reveal truths for which there are no words--with
physicists using the language of mathematics and artists using
visual images. In Art & Physics, Leonard Shlain tracks their
breakthroughs side by side throughout history to reveal an
astonishing correlation of visions. From the classical Greek
sculptors to Andy Warhol and Jasper Johns, and from Aristotle to
Einstein, artists have foreshadowed the discoveries of scientists,
such as when Monet and Cezanne intuited the coming upheaval in
physics that Einstein would initiate. In this lively and colorful
narrative, Leonard Shlain explores how artistic breakthroughs could
have prefigured the visionary insights of physicists on so many
occasions throughout history. Provicative and original, Art &
Physics is a seamless integration of the romance of art and the
drama of science--and an exhilarating history of ideas.
Heidegger and the Work of Art History explores the impact and
future possibilities of Heidegger's philosophy for art history and
visual culture in the twenty-first century. Scholars from the
fields of art history, visual and material studies, design,
philosophy, aesthetics and new media pursue diverse lines of
thinking that have departed from Heidegger's work in order to
foster compelling new accounts of works of art and their
historicity. This collected book of essays also shows how studies
in the history and theory of the visual enrich our understanding of
Heidegger's philosophy. In addition to examining the philosopher's
lively collaborations with art historians, and how his longstanding
engagement with the visual arts influenced his conceptualization of
history, the essays in this volume consider the ontological and
ethical implications of our encounters with works of art, the
visual techniques that form worlds, how to think about 'things'
beyond human-centred relationships, the moods, dispositions, and
politics of art's history, and the terms by which we might rethink
aesthetic judgment and the interpretation of the visible world,
from the early modern period to the present day.
The first book to devote serious attention to questions of scale in
contemporary sculpture, this study considers the phenomenon within
the interlinked cultural and socio-historical framework of the
legacies of postmodern theory and the growth of global capitalism.
In particular, the book traces the impact of postmodern theory on
concepts of measurement and exaggeration, and analyses the
relationship between this philosophy and the sculptural trend that
has developed since the early 1990s. Rachel Wells examines the
arresting international trend of sculpture exploring scale,
including American precedents from the 1970s and 1980s and work by
the 'Young British Artists'. Noting that the emergence of this
sculptural trend coincides with the end of the Cold War, Wells
suggests a similarity between the quantitative ratio of scale and
the growth of global capitalism that has replaced the former status
quo of qualitatively opposed systems. This study also claims the
allegorical nature of scale in contemporary sculpture, outlining
its potential for critique or complicity in a system dominated by
quantitative criteria of value. In a period characterised by
uncertainty and incommensurability, Wells demonstrates that scale
in contemporary sculpture can suggest the possibility of, and even
an unashamed reliance upon, comparison and external difference in
the construction of meaning.
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