Lorenzetti's frescoes in Siena serve as the starting point of
Ian Heywood's critical work, as well as the initial occurrence of
the recurring city motif which he utilizes to reveal the
connections between theory, discourse, language, and modernity. The
city, as Heywood shows, is a symbol of collective life and the
social bond and is directly related to the equally powerful motif,
and question, of language.
Social Theories of Art offers a criticism of influential
theoretical work that identifies both the poverty of much
contemporary "art theory" and the important but underacknowledged
ethical implications of theorizing. Operating through the writings
of Becker, Wolff, Burger, and others, Heywood shows how, despite
these theorists' efforts to identify art's distinctive value, their
theoretical accounts are degraded by reductionism and social
violence. Heywood then broadens his canvas to explore the notion of
ethical reflexivity to conclude with a consideration of the gap
between the actual and the theoretical aspects of art.
Heywood writes clearly, illuminating the problematic
relationship between seminar and studio, and his findings will hold
interest for students of art history, fine art, sociology, and
philosophy."
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