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This edited collection explores a subject of great potential for
both art historians and museologists - that of the nature of the
specimen and how it might be reinterpreted. Through its
cross-disciplinary contributions, written by a team of art
historians, artists, poets, anthropologists, critics and curators,
this book looks at how artistic encounters in museums, ranging from
anatomy museums to contemporary cabinets of curiosity, can provoke
new modes of thinking about art, science and curating. Museological
literature in the past focused on artefacts or objects; this is an
original contribution to the field and offers new readings of old
issues, inspiring new understandings of the relationships between
art, science and curating. Brings together international expertise
from art practitioners, historians, creative writers and theorists
in France, the United States, United Kingdom and New Zealand.
Contributions from creative practitioners draw upon their own
experience of producing artworks in response to specific scientific
collections while historians, anthropologists, critics and writers
examine how museums stimulate, incite and otherwise inspire
artistic awareness of science and its specimens. One of the most
important contributions this book will make is drawing together
several threads of research and practice to encourage
interdisciplinary discussion. It provides new ways of thinking
about the relationships between art, science, museums and their
objects. It concentrates on the ways in which scientific
collections kindle novel aesthetic strategies and inspire new
scholarly interpretations of art, science, curating and
epistemology. In so doing it will make a considerable contribution
to the fields of art writing, creative practice, art theory, the
history of science and curating. This book will appeal to
academics, researchers, undergraduates and postgraduates studying
fine art, curating, museology, art history, the history of science,
creative writing; visual artists, curators, and other creative
practitioners. Also of interest to museum audiences. Reading list
potential.
What does it mean for a sculpture to be described as 'organic' or a
diagram of 'morphological forces'? These were questions that
preoccupied Modernist sculptors and critics in Britain as they
wrestled with the artistic implications of biological discovery
during the 1930s. In this lucid and thought-provoking book, Edward
Juler provides the first detailed critical history of British
Modernist sculpture's interaction with modern biology. Discussing
the significant influence of biologists and scientific philosophers
such as D'Arcy Wentworth Thompson, Julian Huxley, J. S. Haldane and
Alfred North Whitehead on interwar Modernist practice, this book
provides radical new interpretations of the work of key British
Modernist artists and critics, including Henry Moore, Barbara
Hepworth, Paul Nash and Herbert Read. Innovative and
interdisciplinary, this pioneering book will appeal to students of
art history and the history of science as well as anyone interested
in the complex, interweaving histories of art and science in the
twentieth century. -- .
What does it mean for a sculpture to be described as 'organic' or a
diagram of 'morphological forces'? These were questions that
preoccupied Modernist sculptors and critics in Britain as they
wrestled with the artistic implications of biological discovery
during the 1930s. In this lucid and thought-provoking book, Edward
Juler provides the first detailed critical history of British
Modernist sculpture's interaction with modern biology. Discussing
the significant influence of biologists and scientific philosophers
such as D'Arcy Wentworth Thompson, Julian Huxley, J. S. Haldane and
Alfred North Whitehead on interwar Modernist practice, this book
provides radical new interpretations of the work of key British
Modernist artists and critics, including Henry Moore, Barbara
Hepworth, Paul Nash and Herbert Read. Innovative and
interdisciplinary, this pioneering book will appeal to students of
art history and the history of science as well as anyone interested
in the complex, interweaving histories of art and science in the
twentieth century. -- .
This is a reproduction of a book published before 1923. This book
may have occasional imperfectionssuch as missing or blurred pages,
poor pictures, errant marks, etc. that were either part of the
original artifact, or were introduced by the scanning process. We
believe this work is culturally important, and despite the
imperfections, have elected to bring it back into print as part of
our continuing commitment to the preservation of printed
worksworldwide. We appreciate your understanding of the
imperfections in the preservation process, and hope you enjoy this
valuable book.++++The below data was compiled from various
identification fields in the bibliographic record of this title.
This data is provided as an additional tool in helping to ensure
edition identification: ++++ An Index Of Surgery: Being A Concise
Classification Of The Main Facts And Theories Of Surgery, For The
Use Of Senior Students And Others, Volume 48; An Index Of Surgery:
Being A Concise Classification Of The Main Facts And Theories Of
Surgery, For The Use Of Senior Students And Others; Charles Robert
Bell Keetley Charles Robert Bell Keetley, Henry Edward Juler W.
Wood & company, 1887 Surgery
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