Theory of art Books

Book SynopsisAn introduction to the study of visual culture, this book offers a view of 'visual culture' that includes not only images, but also other visual media and forms of expression, from architecture to fashion, design and the human body.Trade ReviewA recognisable guide that will be of use to undergraduates and those who want to come to terms quickly with the increasingly entrenched discourse. Where this book really rewards the reader is in the inclusion of overviews of the theoretical discussions taking place within visual cultural studies. These include perspicacious commentaries on important issues such as representation and realism, the significance of technical reproduction, and cyberculture. The Art Book It will no doubt become a core text for courses at undergraduate level... Both structure and layout are clear, the text is rigorous yet accesible and includes helpful concluding sentences and suggestions for further reading. -- Tara Hamling, University of Birmingham Art History A recognisable guide that will be of use to undergraduates and those who want to come to terms quickly with the increasingly entrenched discourse. Where this book really rewards the reader is in the inclusion of overviews of the theoretical discussions taking place within visual cultural studies. These include perspicacious commentaries on important issues such as representation and realism, the significance of technical reproduction, and cyberculture. It will no doubt become a core text for courses at undergraduate level... Both structure and layout are clear, the text is rigorous yet accesible and includes helpful concluding sentences and suggestions for further reading.Table of ContentsIntroduction; 1. Visual Culture and the Meanings of Culture; 2. Definitions of Art and the Art World; 3. Concepts of Craft; 4. Design and Modern Culture; 5. Fashion: Style, Identity and Meaning; 6. Photography and Film; 7. Architecture and Visual Culture; 8. Representation and the Idea of Realism; 9. Visual Rhetoric; 10. The Rise and Fall and Rise of the Author; 11. The Ideology of the Visual; 12. Visual Practices in the Age of Industry; 13. Technical Reproduction and Its Significance; 14. From Mass Media to Cyberculture; 15. Visual Culture and Its Institutions.

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Book SynopsisExamines the tensions between the aims of military technology and modernist aesthetics in relation to perceptionTrade ReviewA richly fascinating, very wise book which launches a brave, telling, and at times, devastating cultural critique of the military-industrial complex. The arguments which praise the modernist avant-garde for its prescience and also its techniques of resistance to war technology are startling, refreshing and brilliant. -- Professor Adam Piette, School of English, University of Sheffield An intelligent, imaginative, wide-ranging and lucid work. It marks a genuine move forward for the application of deconstruction to cultural studies. And what is especially remarkable about the book is its stunning range of examples and cases, which include Finnegans Wake, Transformer toys, Malaysian gothic thrillers, poems by Keats and Blake, the war in Bosnia, ventriloquism, diaspora and the Cold War, postcolonial formations in South East Asia. -- Professor Simon During, Department of English, Johns Hopkins University A richly fascinating, very wise book which launches a brave, telling, and at times, devastating cultural critique of the military-industrial complex. The arguments which praise the modernist avant-garde for its prescience and also its techniques of resistance to war technology are startling, refreshing and brilliant. An intelligent, imaginative, wide-ranging and lucid work. It marks a genuine move forward for the application of deconstruction to cultural studies. And what is especially remarkable about the book is its stunning range of examples and cases, which include Finnegans Wake, Transformer toys, Malaysian gothic thrillers, poems by Keats and Blake, the war in Bosnia, ventriloquism, diaspora and the Cold War, postcolonial formations in South East Asia.Table of ContentsSection 1: Aesthetics, Poetics, Prosthetics; 1. The Slow and the Blind: Unhinging the Senses to Harness Them; 2. Sighted Weapons and Modernist Opacity: Aesthetics, Poetics, Prosthetics; 3. We Make it Beautiful; 4. We Don't Make it Beautiful; Section 2: Broadcast, Hinge, Emergency; 5. Ventriloquism, Broadcast and Technologies of Narrative; 6. The Curious Logic of the Hinge; 7. Manufacturing Emergencies; 8. Among the Blind and the Delay; Section 3: Surveillance, Targeting, Containment; 9. Strategies and Technologies of Containment: Unmanning the Homeland and Containing the Political; 10. Scoping Out; 11. Satellites of Love and War.

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Book SynopsisIn developing his own conception of the 'figure', Andrew Benjamin has written an innovative and provocative study of the complex relationship between philosophy, the history of painting and their presentation of both Jews and animals.Trade ReviewAndrew Benjamin has written an original and provocative meditation on the place of the 'figure' of the animal in modern philosophy and culture. The book is remarkable for its sensitivity to the issue of visibility and the use of visual material. The engagement with the philosophical history of art is beautifully sustained and serves not only to work through the theme of figuration but also to make the philosophical narrative available to a wider range of readers. -- Howard Caygill, Goldsmith's College A stimulating book which will help those readers who, interested in the work of Agamben and the late Derrida, wish to reflect more on the image of the animal in classical continental philosophy. -- Peter Fenves, Northwestern University Of Jews and Animals is set to become a key text, alongside such works as Elisabeth de Fontenay's Le silence des betes (1998) and Jacques Derrida's The Animal That Therefore I Am (2006), in constituting a further and necessary move beyond the utilitarianism and neo-Kantianism within which 'animal philosophy' has for so long remained mired. -- Richard Iveson, Goldsmiths, University of London Parallax Andrew Benjamin has written an original and provocative meditation on the place of the 'figure' of the animal in modern philosophy and culture. The book is remarkable for its sensitivity to the issue of visibility and the use of visual material. The engagement with the philosophical history of art is beautifully sustained and serves not only to work through the theme of figuration but also to make the philosophical narrative available to a wider range of readers. A stimulating book which will help those readers who, interested in the work of Agamben and the late Derrida, wish to reflect more on the image of the animal in classical continental philosophy. Of Jews and Animals is set to become a key text, alongside such works as Elisabeth de Fontenay's Le silence des betes (1998) and Jacques Derrida's The Animal That Therefore I Am (2006), in constituting a further and necessary move beyond the utilitarianism and neo-Kantianism within which 'animal philosophy' has for so long remained mired.Table of ContentsOpening; 1. Of Jews and Animals; Part 1; 2. Living and Being: Descartes' 'Animal Spirits' and Heidegger's Dog; 3. The Insistent Dog: Blanchot and the Community without Animals; 4. Indefinite Play and the 'Name of Man': Anthropocentrism's Deconstruction; Part 2; 5. What if the other were an animal? Hegel on Jews, Animals and Disease; 6. Agamben on 'Jews' and 'Animals'; 7. Force, Justice and Jews: Pascal's Pensees 102 and 103; 8. Facing Jews; Another Opening; 9. Animals Jews.

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Book SynopsisIn developing his own conception of the 'figure', Andrew Benjamin has written an innovative and provocative study of the complex relationship between philosophy, the history of painting and their presentation of both Jews and animals. Newly available in paperback.Trade ReviewOf Jews and Animals is set to become a key text, alongside such works as Elisabeth de Fontenay's Le silence des betes (1998) and Jacques Derrida's The Animal That Therefore I Am (2006), in constituting a further and necessary move beyond the utilitarianism and neo-Kantianism within which 'animal philosophy' has for so long remained mired. -- Richard Iveson, Goldsmiths, University of London Parallax Of Jews and Animals is set to become a key text, alongside such works as Elisabeth de Fontenay's Le silence des betes (1998) and Jacques Derrida's The Animal That Therefore I Am (2006), in constituting a further and necessary move beyond the utilitarianism and neo-Kantianism within which 'animal philosophy' has for so long remained mired.Table of ContentsOpening; 1. Of Jews and Animals; Part 1; 2. Living and Being: Descartes' 'Animal Spirits' and Heidegger's Dog; 3. The Insistent Dog: Blanchot and the Community without Animals; 4. Indefinite Play and the 'Name of Man': Anthropocentrism's Deconstruction; Part 2; 5. What if the other were an animal? Hegel on Jews, Animals and Disease; 6. Agamben on 'Jews' and 'Animals'; 7. Force, Justice and Jews: Pascal's Pensees 102 and 103; 8. Facing Jews; Another Opening; 9. Animals Jews.

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Book SynopsisNew in Paperback. Examines the tensions between the aims of military technology and modernist aesthetics in relation to perception. This book analyses the operation of mechanical and electronic technologies in connection with two seemingly disparate fields: state-of-the-art military equipment of the 20th and 21st centuries and the experimental art, music and writing of the late-19th and early-20th century. Reading the art and writing of Djuna Barnes, Joseph Conrad, Marcel Duchamp, James Joyce, Mina Loy, Stephane Mallarme, the Italian Futurists and H. G. Wells against Apache attack helicopters, Network-Centric Warfare, satellites, decoys, sirens and radios, this book addresses issues such as targeting, surveillance, visibility and the invisible, broadcast and media, the military body, diasporas, geopolitics and beauty.Table of ContentsSection 1: Aesthetics, Poetics, Prosthetics; 1. The Slow and the Blind: Unhinging the Senses to Harness Them; 2. Sighted Weapons and Modernist Opacity: Aesthetics, Poetics, Prosthetics; 3. We Make it Beautiful; 4. We Don't Make it Beautiful; Section 2: Broadcast, Hinge, Emergency; 5. Ventriloquism, Broadcast and Technologies of Narrative; 6. The Curious Logic of the Hinge; 7. Manufacturing Emergencies; 8. Among the Blind and the Delay; Section 3: Surveillance, Targeting, Containment; 9. Strategies and Technologies of Containment: Unmanning the Homeland and Containing the Political; 10. Scoping Out; 11. Satellites of Love and War.

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Book SynopsisStephen Zepke shows how the idea of sublime art waxes and wanes in the work of Jean-Francois Lyotard, Gilles Deleuze and Felix Guattari, Jacques Derrida, Jacques Ranciere and the recent Speculative Realism movement.

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Book SynopsisVisually appealing, conceptually startling, and intellectually engaging-these phrases aptly describe the art of Liliana Porter. Florencia Bazzano-Nelson''s study focuses on the principal theme in the Argentine-born artist''s work since the 1970s: her playful but subversive dismantling of the limits that separate everyday reality from the world of illusion and simulacra. Over the years, Porter''s own evolving interest in perception lead the author to explore a series of interconnected and timely issues in her artistic production, such as the representative function of art, the structural links between art and language, and the witty re-signification of the art-historical images and mass-produced kitsch figurines she has so often featured in her art. Strongly founded in critical theory, Bazzano-Nelson''s approach considers Porter''s art as the site of conceptually exciting dialogues with Jorge Luis Borges, René Magritte, Michel Foucault, and Jean Baudrillard. Her carefully crafted interTable of ContentsContents: Introduction; Liliana Porter's personal journey; The Magritte Series; In search of imminemt revelations; The subversive inner child; Malice in wonderland; Conclusion; Bibliography; Index.

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Book SynopsisA former fruit seller and volunteer soldier, Khosrow Hassanzadeh cuts an unusual figure in Tehran's high society art scene. Hassanzadeh's multi-layered, humanist works place individuals at the centre of things and examine harsh political realities. This work shows why Khosrow Hassanzadeh is one of Iran's leading contemporary artists.

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Book SynopsisThe notion of aesthetic illusion relates to a number of art forms and media. Defined as a pleasurable mental state that emerges during the reception of texts and artefacts, it amounts to the reader's or viewer's sense of having entered the represented world while at the same time keeping a distance from it. Aesthetic Illusion in Literature and the Arts is an in-depth study of the main questions surrounding this experience of art as reality.Beginning with an introduction providing historical background to modern discussions of illusion, it deals with a wide range of theoretical issues. The collection explores the nature and function of the aesthetic illusion as well as the role of affect and emotion, the implications of aesthetic illusion for the theory of fiction, the variable forms of aesthetic illusion and its relationship to other components of aesthetic response. Aesthetic Illusion in Literature and the Arts brings together a team of scholars from philosophy, literatuTrade Review[A] valuable contribution to the developing philosophical literature on immersion. If you're interested in the topic, or in closely-related issues such as "fictional worlds," it should be on your reading list. * Notre Dame Philosophical Reviews *This comprehensive outlook on the familiar yet elusive phenomenon of being absorbed, perceptually stimulated, or even deceived by art will be appreciated by academics, art practitioners, and arts audiences alike. The essays are well-referenced and conceptually precise, and the authors' appetite for polemics is exemplary, making the collection as a whole a rich and enjoyable read. * Anežka Kuzmicová, Research Fellow, Stockholm University, Sweden *A fascinating array of reflections on the place of the concept of illusion in theorizing about the arts and aesthetic experience. Central to the sort of illusion of most concern here is an experience of an artwork that has a double character, being at once both absorbing and immersive, on the one hand, and distanced and detached, on the other. That there is illumination of this phenomenon to be had for readers of this volume is no illusion. * Jerrold Levinson, Distinguished University Professor, University of Maryland, USA *Table of Contents1. Introduction Tomáš Koblížek (Institute of Philosophy, The Czech Academy of Sciences) PART I: Illusion and Media 2. Aesthetic Illusion(s)? Werner Wolf (Centre for Intermediality Studies, University of Graz) 3. More Than Meets the Eye: Layers of Artistic Representation Thomas G. Pavel (Department of Comparative Literature, University of Chicago) 4. Mediating Immediacy Göran Rossholm (Department of Culture and Aesthetics, Stockholm University) 5. Neither Here nor There, but Now. Film Experience and the Aesthetic Illusion Enrico Terrone (Department of Philosophy, University of Torino) PART II: Illusion and the Mind 6. Reading for the Mind: Aesthetic Illusion, Fictional Characters, and the Role of Interpretation Marco Caracciolo (Comparative Literature, University of Freiburg) 7. A Puzzle of Fiction and Cognitive Impenetrability Fredrik Stjernberg (Department of Culture and Communication, Linköping University) 8. Illusion, Distance and Appropriation Martin Pokorný (Comparative Literature, Charles University, Prague) 9. Fact, Fiction and Projection: The Inescapability of Austerlitz’s Impulse Josep Corbí (Department of Metaphysics and Theory of Knowledge, University of Valencia) PART III: Illusive Worlds 10. La Comédie Humaine and the Illusion of Reality Lubomir Doležel (Comparative Literature, University of Toronto) 11. Fiction, Illusion, Reality and Radical Narration Petr Kotátko (Institute of Philosophy, The Czech Academy of Sciences) 12. A Moral Life of Things: Making and Breaking of Aesthetic Illusion in Lyric Poetry Karel Thein (Faculty of Arts, Charles University, Prague) 13. The Novel and the Aesthetic Illusion Jirí Koten (Faculty of Education, University of Usti nad Labem) PART IV: Questioning Illusion 14. How Should We Talk About Reading Experiences? Arguments and Empirical Evidence Emily Troscianko (Faculty of Medieval and Modern Languages, University of Oxford) 15. Aesthetic Illusion between the Prague School and Fictional Worlds Theory Bohumil Fort (Language Institute, The Czech Academy of Sciences) 16. Skeptical Reflections on the Concept of Aesthetic Illusion Anders Pettersson (Department of Culture and Media Studies, Umea University) List of Contributors Index of Names Index of Topics

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Book SynopsisJean-François Lyotard (1924-1998) was one of the most important French philosophers of the Twentieth Century. He was the author of classic philosophical texts such as Discourse, Figure; Libidinal Economy; The Differendand The Postmodern Condition: a report on knowledge. Kiff Bamford is Reader in Contemporary Art in the School of Art, Architecture and Design, Leeds Beckett University, UK. He is author of Lyotard and the figural in Performance, Art and Writing' (Bloomsbury, 2012) and 'Jean-François Lyotard: Critical Lives' (2017).Trade Review[T]his is a book to accompany the reading of Lyotard’s work, and, as such, it is not a minor accompaniment, but a full and enriching one. * Endoxa *Reading these interviews and statements, one is brought back to a period of intense thinking, that was never separated from passionate commitments and controversies. Whether agreeing or disagreeing – no longer always for the same reasons as then – one feels again the excitement, the surprise, the admiration Jean-François Lyotard could not avoid to produce with his interlocutors, even his opponents. With time passing, his stature as a philosopher, a critic and a public intellectual endures and grows * Etienne Balibar, Anniversary Chair in Modern European Philosophy, Kingston University London, UK *For philosophers: myriad ideas to plunder. For historians: a trove on late-twentieth century intellectuals. For artists: a multitude of provocations. For activists: bitter lessons and sweet encouragement. For Lyotard: precious testimony to a wild and sensitive mind * James Williams, Honorary Professor of Philosophy¸ Deakin University, Australia *This book brings together many of Lyotard’s most important interviews and articles. Each chapter is accessibly written and the introduction is exemplary in giving the context of his works--a must have for those new to Lyotard as well as scholars of writings. * Peter Gratton, Associate Professor of Philosophy, Southeastern Louisiana University, USA *Table of Contentsprelims preface 1. Introduction by Kiff Bamford 2. ‘Slowly, tenderly’ by Philippe Bonnefis, Emory University, 1998 3. ‘Letter to Jean-François Lyotard from Gilles Deleuze’, undated (c. 1976) 4. ‘On Theory: An interview’ with Brigite Devismes VH 101, 1970 5. ‘Doing away with the illusion of politics’ with Gilbert Lascault, La Quinzaine littéraire, 1972 6. ‘Remarks on Jean-François Lyotard’ by Gilles Deleuze, La Quinzaine littéraire, 1972 7. ‘The ‘intensities’ are what imports, not the meaning’ with Christian Descamps, La Quinzaine littéraire, 1975 8. Joint letter by Jean-François Lyotard and Gilles Deleuze: ‘Concerning the Vincennes Psychoanalysis Department’, Les Temps Modernes, 1974 9. ‘A ‘Barbarian’ speaks about Socialism’ with Bernard-Henri Levy, Le Nouvel Observateur, 1976 10. ‘Incommensurable narrations’ with Patrick de Haas, Art Press International, 1977 11. ‘Will Vincennes survive?’ with Christian Descamps, La Quinzaine littéraire, 1980 12. Debate on ‘Discussions, or: phrasing “after Auschwitz”’ with Jacques Derrida; Jean-Luc Nancy; Jacob Rogozinski et al. Les fins de l’homme : À partir du travail de Jacques Derrida, 1980 13. ‘In reading your work ...’ with Geoges Van Den Abbeele; including the short text ‘Decor’ by Jean-François Lyotard, Diacritics, 1984 14. ‘Philosophy: the case for the defence’ with Jacques Derrida, Le Monde, 1984. 15. ‘Les Immatériaux’ with Jacques Saur and Philippe Bidaine, CNAC magazine, March 1985 16. ‘Les Immatériaux’ with Bernard Blistène, Flash Art, 1985 17. ‘Chrysalide’s little narratives’ with Élie Théofilakis, From Modernes et Après : Les Immatériaux, 1985 18. ‘Otherwise than knowledge’ Debate with Emmanuel Levinas at the Centre Sèvres, From Autrement que Savoir, Paris, 1986 19. ‘The Enlightement, the Sublime: philosophy and aesthetics’ with Willem van Reijen and Dick Veerman, 1987, Les Cahiers de Philosophie 20. ‘Lyotard and Vidal-Naquet talking about the Algerian war still’ with Pierre Vidal-Naquet, Libération, 1989 21. ‘Before the Law, After the Law’ with Elisabeth Weber, 1991, From Questioning Judaism: Interviews by Elisabeth Weber 22. ‘What is Justice?’ with Richard Kearney, 1994, From States of Mind: Dialogues with Contemporary Thinkers 23. ‘Responding Questions’ Interview with Eberhard Gruber, 1995, From The Hyphen: Between Judaism and Christianity 24. ‘The real extreme’ with Gérald Sfez, Rue Descartes, 1995 25. ‘La Vie de Malraux (Malraux’s life) must be read as a collection of legends’ with Philippe Bonnefis, Magazine littéraire, 1996 notes bibliography index

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Book SynopsisBeholding considers the spatially situated encounter between artwork and spectator. It argues that artworks created for specific places or conditions structure a reciprocal encounter, which is completed by the presence of a beholder. These are works which demand the ''beholder''s share'', but not, as Ernst Gombrich famously claimed, to sustain an illusion. Rather, Beholding reconfigures Gombrich''s notion of the beholder''s share as a set of ''licensed'' imaginative and cognitive projections.Each chapter frames a particular work of art from the remit of a complementary theoretical text. The book establishes a transhistorical notion of the spatially situated encounter, and considers the role of the architectural host in bringing the beholder's orientation into play. The book engages a diverse range of practices: from Renaissance painting and group portraiture to intermedia practices of installation and performance art. Written within the broad remit of reception aestheticsTrade ReviewA beautifully-written interdisciplinary book that acknowledges the permeability of the once strong divisions that separated art, architecture, the cinema and design. Artist and theorist Ken Wilder explains, through his theory of beholding, how the audience’s viewing conditions can shape their understanding of an art work. -- Stephen Farthing, artist, UKTable of ContentsList of Plates List of Figures Preface Acknowledgments Introduction Part I: Sacred Imagery Chapter 1: The Beholder As Witness Chapter 2: Of Clouds and Terrestrial Beholders Chapter 3: The Melancholic Beholder Part II: Group Portraiture Chapter 4: The Artist as Beholder Chapter 5: Two Modes of Beholding Chapter 6: Theatricality and the Beholder PART III: Abstraction Chapter Seven: Beholding a ‘Reversible’ Space Chapter Eight: Virtual Space and the ‘Literal’ Beholder Chapter Nine: On Repetition and Beholding PART IV: Intermedia Chapter Ten: The Complicit Beholder Chapter Eleven: The Beholder in the Expanded Field Chapter Twelve: The Dislocated Beholder Bibliography Notes

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Book SynopsisMargot Bouman is Assistant Professor of Visual Culture at The New School, New York, USA and founding director of the B.F.A. in Design History and Practice offered at Parsons School of Design, New York, USA.

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Book SynopsisTheories of Performance: Critical and Primary Sources offers a comprehensive collection of key writings on a subject which has come to permeate fields as diverse as theatre, comparative literature, philosophy, law, history, English, and science and technology studies, in what has been termed the transdisciplinary performative turn'. The collected essays draw upon writing from these diverse disciplines - and more - together illustrating how performance has become an ever more vibrant and plastic discursive practice. It includes a wide range of historical and more contemporary perspectives from the northern and southern hemispheres, with writing drawn from South and Southeast Asia, East Asia, Europe, Russia and the post-Soviet context, the Americas, Africa and the Caribbean. Expansive in their representation, the four volumes address current questions of protest culture, race and gender politics, biopolitics, indigenous studies and perspectives, postcolonialism and decoloniality,

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Book SynopsisIs architecture an art, like literature or music? Or is it more akin to science or engineering? Can buildings be artworks, just like paintings and sculptures, or does their fundamentally functional nature mean they cannot be considered pure works of art? Questions of architecture, art, and aesthetics do not allow for simple answers. But by asking such questions, we can usefully reveal the ways in which the concepts and meanings of architecture have changed over the centuries, and how they continue to change in the contemporary era. Is Architecture Art? explores the key conceptual questions about the aesthetic appreciation of architecture and its persistently contested status as an artform. It engages the work of thinkers ranging from Hume and Kant to Adorno, Tafuri, and Rancière, and draws on accessible and thought-provoking accounts of historical and contemporary architectural and art theory. Taking novel approaches to issues that will be familiar t

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Book SynopsisElaine Cheasley Paterson is Associate Professor of Craft History at Concordia University, Montreal, Canada. Susan Surette is a Postdoctoral Fellow in the Department of Art History and Critical Studies at Nova Scotia College of Art and Design University, Halifax, Canada and a professional artist.Trade ReviewSloppy Craft is edited with precision and wit. It is an important, of the moment, contribution to craft writing. It crosses boundaries of practice with elegance and rigour, defining Sloppy Craft in ways that are appealing as well as polemical. There is writing of the first order from some of the most significant authors in the field. -- Simon Olding Director, Crafts Study Centre, UKElaine Cheasley Paterson and Susan Surette have brought together diverse, uniformly thoughtful writings making the case that the concept of Sloppy Craft is not a contradictory one. Much as the artists in this book explore art practices that simultaneously challenge and reassert traditions of art-making disciplines, so do its authors illuminate how “sloppy craft” similarly challenges and reasserts traditions of skill. Sloppy Craft is an exciting, necessary new addition to the growing discourse on craft and contemporary art. -- Maria Elena Buszek, the University of Colorado Denver, USASloppy Craft’s collection of essays is a welcome addition to a relatively small canon of craft theory in the twenty-first century. It offers a broad array of perspectives to consider, and these always within historical contexts. * International Journal of Education Through Art *Table of ContentsForeword: Anne Wilson, School of the Art Institute of Chicago, USA Introduction: Elaine C. Paterson and Susan Surette, Concordia University, Canada Section One – Explorations of Postdisciplinarity through ‘Sloppy Craft’ Introduction ‘Male Trouble’: Sewing, Amateurism and Gender, Joseph McBrinn, University of Ulster, Ireland Sloppy Craft as Temporal Drag, Elissa Auther and Elyse Speaks, University of Colorado, USA An Impression of Déjà vu: Craft, the Visual Arts and the Need to get Sloppy, Denis Longchamps, Concordia University, Canada Section Two – The Implications of ‘Sloppy Craft’ Introduction Doomed to Failure, Sandra Alfoldy, NSCAD University, USA The Value of ‘Sloppy Craft’: Creativity and Community, Juliette MacDonald, Edinburgh College of Art, UK Why is Sloppy and Postdisciplinary Craft Significant and What are its Historical Precedents?, Gloria Hickey, curator and writer, USA From Maria Martinez to Kent Monkman: Performing Sloppy Craft in Native America, Elizabeth Kalbfleisch, Concordia University, Canada Section Three – ‘Sloppy Craft’ in Practice and Pedagogy: A Conversation Introduction Eliza Au, Ceramist, Emily Carr University of Art and Design, British Columbia, Canada Jean-Pierre Larocque, Ceramist, Concordia University, Montreal, Canada Kelly Thompson, Fibres, Concordia University, Montreal, Canada Conor Wilson, Ceramist, Royal College of Art, London, UK Peter Wilson, Ceramist, Charles Sturt University in Bathurst, Australia Postscript - Reprint of Glenn Adamson’s text ‘When Craft gets Sloppy,’ from Crafts No 211 (March/April, 2008), 36-40 Index

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Book SynopsisPaul Duncum is Professor Emeritus at the University of Illinois, USA, and Adjunct Professor at the University of Tasmania, Australia. He is the author of Picture Pedagogy (Bloomsbury, 2020).Trade Review[P]layful yet serious and will attract a large audience. * International Journal of Education through Art *From Plato to Pokémon GO, Duncum brilliantly examines the enduring entanglements between art and popular culture … This book is for everyone who wants to avoid the interminable arguments that seem to dominate all things ‘aesthetics.’ * Kevin Tavin, Aalto University, Finland *Popular Pleasures is well-researched and has flashes of brilliant insight … The book will benefit students of many visual culture disciplines, including art education, art history, graphic arts and media communications. * Kerry Freedman, Northern Illinois University, USA *Immaculately researched and eloquently written, this engaging book highlights both the irresistible sensory appeal and economic, political, and ideological interest behind popular images. * Olga Ivashkevich, University of South Carolina, USA *Table of ContentsList of Illustrations Introduction But What is Aesthetics? And What is Popular? Popular Pleasures and Politics Previous Attempts So What’s Different Here? The Mind/Body Context Scope and Outline Chapter 1: A Realistic Style What is Realism? Idolatry and Ideology The Search for Realism Painting Screen Imagery The Pleasures of Realism Making Comparisons Appreciating the Skill Evaluating Realism is Easy Pulling Back the Curtain Realism and Reality When Too Much Realism is Bad When Seeing Shouldn’t be Believing Fake versus the Bona Fide Veridical, Virtual, and Verifiable Chapter 2: The Illusionistic Illusion versus Realism Magic, Miracles and the Devil The Persistence of Illusion Trompe-l’oeil Three-Dimensional Movies Optical Illusion Devices Stage Magic Magic, Wonder and Mischief Being Deceived Being in the Know Conflating Realism with Illusion Illusion and Delusion Illusion and Life Chapter 3: The Bright and Busy Terms and Taste The Doctrine of Decorum Reason and Restraint Modernist Minimalism The Relativity of Restraint Serious versus Superficial Purpose Brightness and Business Delighting the Eye Enhancing the Ordinary Resisting Restraint Bright, Busy and Biology The Seriousness of Selling Bright, Busy and Business Chapter 4: The Highly Emotional An Empire of Emotions Emotion versus Emotionalism The Rhetoric of Emotions versus the Aesthetics of Emotions The Theory of Emotional Rhetoric The Pictorial Practice of Rhetoric The Rise of Sentiment Rejecting Rhetoric The Rise of Romanticism Expression versus Imitation Fine Art and Popular Entertainment What Arouses Emotion? Why Do Emotional Lures Work? Catharsis versus Cognitive Coping Escaping Identifying Searching for Authenticity Seeking Attachment Participating For Better or Worse Chapter 5: The Sentimental Surveying Sentimentality A Discourse of Abuse A Sentimental Journey The Sugar of Sentimentality The Comfort of an Aestheticized Sanctuary Longing for a Past as Pleasant Love and Compassion as their Own Rewards The Ironic Distance of Camp and Kitsch Social Progress Exercising Power The Sins of Sentimentality Disempowering and Harming Sentimentality’s Subjects Disempowering and Infantilizing Viewers Poor Public Policy Sense and Sentimentality Chapter 6: The Vulgar Vulgarity and its Variants Vulgarity and Fine Art A Historical Perspective Grotesques and Carnival Vulgar Porn Scatology Vulgarity and Reform Viva Vulgarity! Disgust and Delight Transgression Social Bonding Joyful Resistance Haunting and Humanness Vile Vulgarity Transgression and Suppression Ridicule and Reaction Vexing Vulgarity Chapter 7: The Violent Violence and is Variants A Violent Present A Violent Past Explaining Violent Entertaiment Excitation Transfer Simultaneous Emotional Pleasures Fear and Mastery Seeking Stimulus Everything But Violence Algorithmic Allure The Problems of Violence Purgation Does Not Work Diminishing Returns Mental Scripts of a Hostile World A Cycle of Violence An End to Violence? Chapter 8: The Horrific Horror, Terror, and Dread Sublime Terror versus Popular Horror Horror Hedonism Performative Pleasures Escape and Stimulation Transfixed Fascination Making Moral Judgments Wish Fulfillment and/or Recognition Transgressive Liberation Repetition Horror and Humor Horror, Hostility and Hate Repression Unleashing Hatred Uncanny Uncertainty Chapter 9: The Miraculous Miracles and Marvels The Skeptical Discourse An Enchanted Universe of Miracles Wonder Curiosity Creating Social Identity Finding Patterns and Purpose Debunking Absurdities Parodying Absurdities Escaping into Fantasy Being Confounded Spectacles of Wonder Miracles and Mirage Rejecting Rationality Vulnerability and Vultures The Wonder of It All Chapter 10: The Exotic Exoticism Explored The Exotic Discourse Exotic Enchantment Wonder Spice Seasoning Cultural Renewal Defining Difference Feeling Culturally Superior Taking Symbolic Possession Being Reassured Distortion, Disparagement and Denigration Selectivity and Distortion Inferiority Complexes Superiority Complexes Denial and Projection Exiting the Exotic Chapter 11: The Erotic Exploring the Erotic Sexual Discourse The High Culture Alibi Enjoying the Erotic Voyeurism Fetishism Sadism, Masochism and Sadomasochism Identification Exhibitionism Queer and Queering Prohibition, Permission, and Perfection Permissiveness and Perfection Pornification Selling Sex Sex, Sin and Suppression Chapter 12: The Spectacular Sizing Up the Spectacular The Spectacular versus Sensationalism Size Matters Wonder Thrills and Spills Immersion Ego Loss Humor When Might Makes Right Requiring Submission Failing to See/ Failing to Feel Ignoring the Unspectacular Tedium Summarizing of the Spectacular Chapter 13: The Narrative The Nature of Narrative The Modernist Rejection of Narrative Narrative Norms Narrative’s Gratifications Organizing Complexity Satisfying Curiosity Escaping into Alternative Realities Emotional Identification Everything Else The Stories We Tell The End Chapter 14: The Formulaic Recipes and Road Maps Formulaic Fine Art Formulae and Form Why Formulae Work Easy Communication Reducing Complexity Further Ongoing Comfort and Anxiety Innovation Reading Complexly Formulae and their Challenges Boredom Formulae and Falsity Finishing with Formulae Chapter 15: The Humorous Humor and Mirth Humor and the Haughty Humor versus Gravitas Why We Smile, Snigger and Snort. Feeling Superior Descending Incongruity Emotional Release Humor’s Disciplinary and Dark Side Anaesthesia of the Heart Imposing Social Discipline Ridicule and Repression Humor and Hate Humor and Hostility References Index

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Book SynopsisSarah Cohen is Professor of Art History and Women's Studies at the University at Albany, USA. She has published extensively on representations of the body, both human and animal. Her first book Art, Dance and the Body in French Culture the Ancien Régime was published in 2000.Trade ReviewThis book considers the inherent vitality and agency of both art objects and animal bodies [and] brings art and intellectual history into dialogue with new work on material culture and human-animal studies … It uses the theoretical lessons of human-animal studies to produce moving new readings of eighteenth-century French visual and material culture. * CAA Reviews *In this landmark study of rare distinction, Sarah Cohen effortlessly combines superlative scholarship with engaging prose. She enlightens her readers with stunningly new insights about things we thought we understood, but did not. We will be engaged with this brilliant book for a very long time. * Christopher M. S. Johns, Former Norman & Roselea Goldberg Professor of History of Art, Vanderbilt University, USA *In this intellectually path-breaking book, Cohen shows how animal imagery prompted new ideas about knowledge, sensation, and the permeable boundary between human and nonhuman life. Her passion for the material comes through on every page. * Meredith Martin, Associate Professor of Art History, New York University, USA *Shedding welcome light on a hitherto under-examined aspect of eighteenth-century French art, Sarah Cohen convincingly aligns representations of animals with a new valorisation of sensory experience that challenged traditionally anthropocentric values. * Emma Barker, Senior Lecturer in Art History, The Open University, UK *Table of ContentsIntroduction 1. The Social Animal 2. The Sensitive Animal 3. Monkey Artists 4. The Language of Brutes 5. Animating Porcelain 6. The Soul of Matter Conclusion Bibliography Index

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Book SynopsisÉva Forgács is adjunct Professor of Art History at Art Center College of Design in Pasadena, California, USA.Table of ContentsList of Illustrations Acknowledgments List of Abbreviations Introduction 1. The sky is the limit: Malevich at the Vitebsk junction, 1919 2. The 8th Congress of the Bolshevik Party and El Lissitzky’s grasp of suprematism, 1919 3. Theo van Doesburg, artist and strategist 4. The irreconcilable conflict between constructivism and suprematism in Moscow 5. The Mirage of world revolution: Post-revolution, postwar Berlin and Moscow 1918-1922 6. As many narratives as narrators: Russian accounts of the new Russian art in the west 7. The First Russian Exhibition in Berlin, 1922, and its reception 8. Respectfully challenging the master: Lissitzky and Malevich 9. The book that was not. Van Doesburg’s thumbs-down on the Malevich volume 10. The book that was not. Van Doesburg’s thumbs-down on the Malevich volume 11. The Postwar Scene and The Stedelijk Museum, Amsterdam’s Malevich exhibition, 1957 12. The New Left’s role in retrieving the interwar avant-gardes and reclaiming the Russian Avant-Garde in the 1960s Notes Bibliography Index

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Book SynopsisAddressing Spinoza's perennial question: why do the masses fight for their servitude as if it was salvation?, Capitalism and the Limits of Desire examines the ways in which self-love as the care of the self has become intertwined with self-love as the pursuit of pleasure.With ongoing austerity and misery for so many, why does capitalism seem to be so insurmountable, so impossible to move beyond? John Roberts offers a compelling response: it is because we love the love of self that capitalism enables, even though it brings anxiety and self-scrutiny. Capitalism in the form of commodities, and, more importantly, the online platforms through which we express ourselves, has become so much of who we are, of how we define self-love as self-pleasure that it is difficult to imagine ourselves outside of it.Roberts contends that disentangling ourselves from this collapsing of self into capitalism is possible and that understanding the insidious nature of capitalist thinking even when it coTrade ReviewWhy is challenging or overcoming capitalism such a difficult project when its economic, social, and environmental failures are abundantly clear? John Roberts proposes a unique answer, it is because capital has become part of our very conception of ourselves, our self-love. * Jason Read, Professor of Philosophy, University of Southern Maine, USA *John Roberts's Capitalism and the Limits of Desire intervenes at the very core of contemporary debates on the libidinal economy, insisting that we need to work through the complex nexus of economic logic and the production of enjoyment, if we want to effectively organise our resistance against the catastrophic tendencies of capitalism. Roberts also provides us with a much-needed orientation in the multiplicity of classical and contemporary takes on the function of enjoyment and affects in the reproduction of capitalism. * Samo Tomšic, Research Associate in Philosophy, Humboldt University, Berlin, Germany *Table of Contentsprelims acknowledgements Introduction: Chapter 1: Capitalism, jouissance and subjective ruination Chapter 2: Individuation, ‘egoism’ and social reproduction Chapter 3: Self-love, jouissance and desire Chapter 4: Perfectionism, individuation and self-realization Conclusion bibliography index

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Book SynopsisWhen artists, scientists, and designers unite they create new ways of thinking and alternative paths to problem solving.The first book to trace the story of British organic modernism, this ground-breaking open access study tells the story of a collective culture of artists, scientists, and designers in 20th century united by a holistic understanding of the organic world and devoted to collaboration, cooperation, and cross-pollination of the arts and biological sciences.Tracing how artists, scientists, and designers cooperated in various capacities from the Great Depression to postwar cybernetics, this book follows the evolution of philosophical organicism from the British Bauhaus, modern architecture, and surrealism; through to post-war socialism, the welfare state, epigenetics, biology-based art exhibitions; robotic art and design, cybernetics and ecology in art. Reacting against blunt reductionism, organic modernists implemented organicist and emergentist ph

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Book SynopsisSarah Hegenbart is Lecturer in Art History at Technical University Munich, Germany, and currently acting as a substitute for the professorship in art research with a focus on contemporary art at the Braunschweig University of Art. Prior to this, she worked as an Associate Lecturer at the Courtauld Institute, where she also undertook her doctoral research, and as Curator of Art at the Pembroke Art Gallery at the University of Oxford, UK.Mara-Johanna Kölmel is Associate Director of the exhibition platform peer to space Berlin, Germany. She obtained her PhD from Leuphana University Lüneburg and holds an MA in Art History from the Courtauld Institute. Mara has performed curatorial roles for Akademie Schloss Solitude, Kunsthalle Hamburg & the Biennale of Sydney.Trade ReviewProviding new ways of combatting the current and continued onslaught of right-wing aggression, Dada Data offers the potential for a way forward through a variety of curatorial, political and social interventions. * Cole Collins, Teaching Fellow in Modern and Contemporary Art, Edinburgh College of Art, The University of Edinburgh, UK *Smart and focused, challenging and illuminating, Dada Data is a much-needed study, arriving at a timely moment but also promising to have long-term implications for the study of aesthetic resistance and counter-cultural practice. * Thomas Haakenson, Associate Professor in Humanities and Sciences, California College of the Arts, USA, and author of Grotesque Visions: The Science of Berlin Dada (2021) *Offering a spectrum of fascinating and surprising interpretations on the influence of post-truth politics on contemporary art, and bringing together a range of international researchers and curators, Dada Data is recommended for anyone who would like to gain an informed overview of these cultural crossovers. * Jörg Trempler, Chair of Art History and Image Science, University of Passau, Germany *Table of ContentsList of Illustrations Notes on Contributors Acknowledgements Introduction: From Dada Tricks to Post-Truth Politics, Mara-Johanna Kölmel (Leuphana University Lüneburg, Germany & The Courtauld Institute of Art, UK) and Sarah Hegenbart (Technical University Munich, Germany) 1. FROM DADA TO DATA 1.1. Dadadatadada: From Dada to Data and Back Again, Mara-Johanna Kölmel (Leuphana University Lüneburg, Germany & The Courtauld Institute of Art, UK) 1.2. Clouds, Critique & Contradiction: Programming Dissent in Dada and Data Art, Meredith Hoy (Herberger Institute for Design and the Arts, Arizona State University, USA) 1.3. The Legacy of the Berlin Dada Media Hoaxes in Contemporary Parafictive Acts, Rebecca Smith (Liverpool School of Art and Design, Liverpool John Moores University, UK) Visual Essay by Montage Mädels 2. GLOBAL DADA 2.1. Sheida Soleimani, Cyborg: Photomontage in an Expanding Network, Matthew Biro (University of Michigan, USA) 2.2. Black Dada Data: Collage as a Tool of Resistance against White Supremacy Thinking in the Digital Age, Sarah Hegenbart (Technical University Munich, Germany) 2.3. Dada’s African South, Roger van Wyk (Independent Curator and Director of Educentric) 2.4 Paula Rego: A Dada Attitude against Authority in the Post-War Period, Leonor de Oliveira (Universidade NOVA de Lisboa, Portugal) Visual Essay by donna Kukama 3. BIG DADA DATA 3.1. Big Dada, Big Data: Schwitters’s Merzbau, the Private and the Trash, Natalie Koerner (Royal Danish Academy of Fine Arts / University of Copenhagen, Denmark) 3.2. Identity, Ecology, and the Arts in the Age of Big Data Mining, Roberto Simanowski (University of Basel, Switzerland) 3.3 The Digital Revolution as Counter-Revolution, Joshua Simon (Pennsylvania Academy of Fine Arts, USA) Visual Essay by Kemang Wa Lehulere 4. DADA x ALT-RIGHT. FAKING THE TRUTH 4.1. Down the Rabbit Hole of The Alt-Right Complex: Artists Exploring Far Right Online Culture, Inke Arns (Curator and Artistic Director, Hartware MedienKunstVerein, Germany) 4.2. Fashwave: The Alt-Right’s Aestheticization of Politics and Violence, Maik Fielitz (Institute for Peace Studies and Security Policy at the University of Hamburg, Germany) and Lisa Bogerts (Independent Researcher, Germany) 4.3. Post-Internet Art and the Alt-Right Visual Culture, Vid Simoniti (University of Liverpool, UK) Visual Essay by IOCOSE 5. DADA DATA TACTICS 5.1. Pixel Pirates: Theft as Strategy in the Art of Joan Ross and Soda Jerk, Jaime Tsai (National Art School, Sydney, Australia) 3.3. Precarious Data Aesthetics. An Exploration of Tactics, Tricksters and Idiocy in Data, Annet Dekker (Independent Researcher, Writer and Curator) 5.3. The Multiple Narratives of Post-Truth Politics, Told through Picture, Jack Southern (University of Gloucestershire, City and Guilds of London Art School, UK) Index

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Book SynopsisAs the last generation of underground artists in the Soviet Union and the first on the post-Soviet scene, Moscow conceptualists provide a unique point of view on the breakup of the USSR, the changing role of unofficial art in a repressive state, and the beginning of a new world order in both art and politics. Offering a counter-narrative to the tradition of Socialist Realism that dominates Soviet art history, this book provides insight into the production and activism of the experimental artists that worked in Moscow during this watershed moment in Russian history. Based on extensive original research and in-depth interviews with the original artists, Nicholas demonstrates how the work of these radical, unconventional artists challenged the Soviet authorities, official doctrine, and even other colleagues in the nonconformist art world. They rebelled against political and artistic restraints alike, turning everyday texts and engaged performances into powerful statement

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Book SynopsisDonald Rodney (1961-1998) was one of the most gifted, perceptive, and innovative contemporary British artists of his time. A protagonist from the first generation of Black British-born art students in the early 1980s, Rodney and his peers brought a new dynamic to British art a hitherto unseen interplay between aesthetics, politics, humour and Black consciousness. Donald Rodney: Art, Race and the Body Politic is the first book-length study of a protean practice which spanned the early 1980s to the late 1990s and included a prodigious output of work across painting, photography, collage, assemblage, sculpture, installation, and new technologies.Across eight meticulously researched chapters, the book examines the social and cultural events which inspired Rodney''s artwork and the responses it elicited. From his formative years in the West Midlands as a leading exponent of Black Art', to a subsequent decade of unbridled visual innovation and social critique, the book venture

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Book SynopsisIn 1945, French political prisoners returning from the concentration camps of Germany coined the phrase ''the concentrationary universe'' to describe the camps as a terrible political experiment in the destruction of the human. This book shows how the unacknowledged legacy of a totalitarian mentality has seeped into the deepest recesses of everyday popular culture. It asks if the concentrationary now infests our cultural imaginary, normalizing what was once considered horrific and exceptional by transforming into entertainment violations of human life. Drawing on the political philosophy of Hannah Arendt and the analyses of violence by Agamben, Virilio, Lacoue-Labarthe and Nancy, it also offers close readings of films by Cavani and Haneke that identify and critically expose such an imaginary and, hence, contest its lingering force.Table of ContentsList of Illustrations Acknowledgements Series Preface: Concentrationary Memories: The Politics of Representation, Griselda Pollock and Max Silverman Introduction A Concentrationary Imaginary?, Griselda Pollock Part I. Thinking 1. Framing Horror, Adriana Cavarero 2. Between Realism and Fiction: Arendt and Levi on Concentrationary Imaginaries, Olivia Guaraldo 3. Totality, Convergence, Synchronization, Ian James Part II. Desire 4. Wrap me up in Sadist Knots: Representations of Sadism—From Naziploitation to Torture Porn, Aaron Kerner 5. Redemption or Transformation: Blasphemy and the Concentrationary Imaginary in Liliana Cavani’s The Night Porter (1974), Griselda Pollock Part III. Camp 6. Seep and Creep: the Concentrationary Imaginary in Martin Scorsese’s Shutter Island (2010), Benjamin Hannavy Cousen 7. Haneke and the Camps, Max Silverman 8. Spec(tac)ularizing ‘Campness’: Nikita and La Femme Nikita the Series, Brenda Hollweg Notes Bibliography Notes on Contributors Index

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Book SynopsisJennifer S. Griffiths completed a PhD in the History of Art at Bryn Mawr College, USA. She has been lecturing on Italian art in Italy for over a decade. Her articles on gender, art, and representation have appeared in the International Yearbook of Futurism Studies, Design and Culture, Woman's Art Journal, Art Journal, Woman's Studies Quarterly, Annali d'Italianistica, and elsewhere.Trade ReviewThis volume broadens current debates on Futurism by offering a ground-breaking study on a female artist actively involved in the destruction and dismantling of consolidated feminine stereotypes in Italian art and society. Maris Mori deserves recognition for the exuberant dynamism and sensitivity of her painting. Griffiths’ critical reading based on solid documentary evidence offers a more precise chronology of her life and works and, above all, of her conceptual elaboration of the ‘feminine’, located by her in the creative power of the maternal body. This volume will prove invaluable for all scholars of Futurism, modern art and gender studies. * Günter Berghaus, General Editor of the Bibliographic Handbook of Futurism and Senior Research Fellow at the University of Bristol, UK *“The first English book on this unjustly neglected artist, and a delightful read, Marisa Mori and the Futurists will introduce Mori to a greater public and encourage further scholarship that understands feminism as a historical enterprise. Exploring the complexity of what a feminist intervention in modernism means, Griffiths’s book refuses to pin down, once and for all, the contributions of Mori—surely, a feminist gesture in itself.” * John Gerard Champagne, Professor of English, Pennsylvania State University, USA *This book is a well informed and thoughtful case study about an intriguing Italian futurist female artist, seen in the historical context of Italian fascism and analyzed through a powerful feminist lens. It is a welcome contribution to the growing body of criticism that is making Italian avant-garde women better known internationally. * Lucia Re, Research Professor of Italian, University of California, Los Angeles, USA *Table of ContentsList of Illustrations Acknowledgements Introduction Chapter 1: The Life of a Woman Artist Chapter 2: Between Tradition and Modernity Chapter 3: Edible Futurist Breasts Chapter 4: Aerovita Appendix “Vita della donna artista” in translation Notes Bibliography Index

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Book SynopsisWhat can creativity achieve in an era of ecocide? How are people using creative and artistic practices to engage with (and resist) the destruction of life on earth? What are the relationships between creativity and repair in the face of escalating global environmental crises? Across twelve compelling case studies, this book charts the emergence of diverse forms of artistic practice and brings together accounts of how artists, scholars and activists are creatively responding to environmental destruction. Highlighting alternative approaches to creativity in both conventional art settings and daily life, the book demonstrates the major influence that ecological thought has had on contemporary creative practices. These are often more concerned with subtle processes of feeling, experience and embodiment than they are with charismatic eco-art' works. In doing so, this exploratory book develops a conception of creativity as an anti-ecocide endeavour, and provides timely theoretical and pracTrade ReviewThis book address some of the most urgent ecological issues of our time from a wide range of creative perspectives. As such, it offers readers a variety of valuable prompts to alternative and much needed ways of thinking and acting. * Iain Biggs, Visiting Research Fellow, Environmental Humanities Research Centre, Bath Spa University, UK *‘A real gem which can immediately be taken to the classroom and into one’s own writing. The myriad disciplinary voices work exceptionally well here, all trying to look through and beyond ecocidal gloom, violence and mourning towards something more attentive, feeling and radically grounded. It adds something urgent yet subtle to the scholarship.' * Andrew Patrizio, Professor of Scottish Visual Culture, University of Edinburgh, UK, and author of The Ecological Eye: Assembling an Ecocritical Art History (2018) *Table of ContentsList of Illustrations Introduction, Anna Pigott (Swansea University, UK), Owain Jones (Bath Spa University, UK) and Ben Parry (Bath Spa University, UK) 1. A conversation through listening to everyday walks, Michelle Duffy (University of Newcastle, Australia), Kaya Barry (Aalborg University, Denmark), Caroline Scarles (University of Surrey, UK), Peter Varley (Northumbria University, UK) and Michele Lobo (Deakin University, Australia) 2. Entangled encounters with an estuary: Making-with, making as coping,Lydia Halcrow(Independent researcher, UK) 3.Behavioural adaptation through reflective imagination via artistic experience in an era of ecocide, Alejandra Wah (University of Groningen, Netherlands) 4. Deep materialism and care-taking: A study of material relationships for the twenty-first century, Alison Harper (Independent researcher, UK) and Sarah Chave (University of Exeter, UK) 5. Willow, weaving, worlding and a politics of change, Anna Pigott (Swansea University, UK) 6. Be mindful: Plant intelligence, art and patience,Sue Spaid (Independent researcher) 7.The beckoning silence: Reconnecting humanity and nature on the Silent Trail, Laila Chin-Hui Fan (Ph.D. candidate at National Normal University, Taiwan) 8.Ancient boglands and the Irish peat industry: Does culture mitigate ecocide? Tim Collins (Collins & Goto Studio, UK) and Reiko Goto (Collins & Goto Studio, UK) 9.Interim Bangalore: Bodies as Sensory Data Collectors, Laura Denning (Independent researcher) 10.Rewriting the machinic Capitalocene: Using speculative fictional methods, Charlie Tweed (Bath Spa University, UK) 11. Incendiary: Curating art protest in the toxic airs of Stroud’s rural green idyll, Patricia Brien(Ph.D. candidate at Bath Spa University, UK) 12. A zone to defend: The role of art and ritual in prefiguration, Ben Parry (Bath Spa University, UK) 13. Did the sky used to be full of birds? Claire Loder (Independent researcher, UK) Index

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Book SynopsisThe artwork of Maria Bussmann, a trained academic German philosopher and a significant visual artist, provides an ideal test case for a philosophical study of visual art. Bussmann has internalized the relationship between art and philosophy. In this exploration of the history of German aesthetics through Bussmann's work, David Carrier places the philosophical tradition in the context of contemporary visual culture. Each chapter focuses on the arguments of a major philosopher whose concerns Bussmann has dealt with as an artist: Kant, Hegel, Merleau-Ponty, Wittgenstein and Arendt. Offering comparative accounts of artists and philosophers whose work is of especial relevance, Carrier shows how Bussmann responds visually to writings of philosophers in art that has an elusive but essential relationship to theorizing. Tackling the question of whether philosophical subjects can be presented visually, Carrier offers a fresh perspective on the German idealist position through the visual art ofTrade ReviewFew contemporary artists have opened up the dialogue between the conceptual and the visual more insistently than Maria Bussmann. Carrier takes the reader boldly into the challenging world of her philosophically-inspired, genre-defying drawings as he probes her engagement with philosophers from Spinoza, Kant and Hegel to Wittgenstein, Merleau-Ponty and Arendt. * Allen Speight, Professor of Philosophy, Boston University, USA *David Carrier’s singular and fascinating book provides its readers with a philosopher-art historian-art critic’s stimulating reflections on aesthetics and also detailed interpretations of numerous works of a visual artist, also a philosopher, whose visual representations engage in dialogue with philosophic theories. This makes for a rich brew of ideas, philosophical and interpretative, all presented with clarity and reasoned argument. It provides both pleasure and illumination from its beginning to its end. * Herbert Morris, Emeritus Professor of Philosophy, Emeritus Professor of Law and Emeritus Dean of Humanities, UCLA, USA *Table of ContentsPersonal Preface Introduction: Philosophy as a Subject for Visual Art 1. Identity/Metamorphosis/Translation 2. An Introduction to Maria Bussmann’s Translations 3. Are Translations of Philosophy into Visual Art Possible? 4. Ludwig Wittgenstein, Tractatus Logico-Philosophicus 5. Maurice Merleau-Ponty, The Visible and the Invisible 6. Hannah Arendt 7. Lawrence Carroll and Maria Bussmann 8. Illustrations, Graphic Novels, Diagrams 9. An Art History Made by Bussmann 10. the Composition and Interpretation of Bussmann’s Art Conclusion: The Contribution of Bussmann’s Art to Philosophical Aesthetics Maria Bussmann: Selected Solo and Group Exhibitions Maria Bussmann: Selected Public and Private Collections Bibliography Index

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Book SynopsisIris Moon is Assistant Curator in the Department of European Sculpture and Decorative Arts at the Metropolitan Museum of Art, New York, USA. She is author of The Architecture of Percier and Fontaine and the Struggle for Sovereignty in Revolutionary France (2016).Richard Taws is Reader in the History of Art at University College London. He is author of The Politics of the Provisional: Art and Ephemera in Revolutionary France (2013), and co-editor, with Genevieve Warwick, of Art and Technology in Early Modern Europe (2016). With a collective of scholars in various disciplines, he co-authored Interacting with Print: Elements of Reading in the Era of Print Saturation, 1700-1900 (2018).

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Book SynopsisLouis Netter is Senior Lecturer in Illustration at the University of Portsmouth, UK.Trade ReviewIt looks at the subject broadly, with an eye on the contemporary practice and possible futures -- Fred Lynch * Rhode Island School of Design, USA *This insightful volume charts the history of why reportage drawings have been used to discover, detail and document life into immediate statements that define our being -- Andrew Selby * University of Loughborough, UK *Table of ContentsIntroduction 1. Reportage Drawing: History and the Contemporary Act 2. The graphic construct of Reportage Drawing and the re-creative experiences 3. The perception and reception of drawing 4. The Reductive Line: caricature and comment 5. Experience, place and meaning making 6. The Graphic Construct - Jill Gibbon 7. The Graphic Construct - Mapping my own practice 8. The Graphic Construct - Gary Embury 9. Artist spotlight - Mario Minichiello 10. Artist spotlight - Loup Blaster 11. Artist spotlight - Mercy Kagia 12. Artist spotlight - Dominika Wroblewska 12. The currency of reportage drawing 14. Concluding Comments Bibliography Index

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Book SynopsisDialogues with Degas demonstrates the ongoing relevance of Edgar Degas to 20th- and 21st-century ideas and art practices.The first in-depth examination of this major artist's impact on contemporary art, this book explores how contemporary practitioners have used Degas's creativity as a springboard to engage imaginatively and critically with themes of colonialism, gender, race and class. Individual chapters are devoted to dialogues between Degas's art and works produced by Frank Auerbach, Cecily Brown, Xinyi Cheng, Ryan Gander, Maggi Hambling, Damien Hirst, Howard Hodgkin, Chantal Joffe, Leon Kossoff, R.B. Kitaj, Juan Muñoz, Paula Rego, Jenny Saville, Yinka Shonibare, Cy Twombly and Rebecca Warren.Through close analyses of selected paintings, drawings, prints and sculptures, Kathryn Brown explores how Degas's technical and compositional experiments have been extended or challenged in innovative ways. By experimenting with the materials and methods of exiTrade ReviewThoughtfully positioning the work of Edgar Degas in dialogue with that of certain contemporary artists, Brown compellingly reveals not just his ongoing relevance, but also the rich possibilities presented by an art history that is global, diverse, non-linear and inclusive. * MARNI KESSLER, Professor and Director of Graduate Studies, Kress Foundation Department of Art History, University of Kansas, USA *Kathryn Brown makes an adventurous charting of the cultural, social, and aesthetic loops and swoops of Degas’s art through the practices of leading contemporary artists. Dialogical and tantalisingly transversal in its sights and insights, vivid in its writing, this book is a major advance in art criticism. * SUSAN HARROW, Ashley Watkins Professor of French, University of Bristol, UK *Exhilarating in her focus on women and ‘minority’ painters, Kathryn Brown recalibrates our understanding of Degas through the prism of modern art. Brown’s vivid analysis of post-WWII artists’ engagement with Degas – including Kitaj, Rego, Hambling, Xinyi Cheng and Twombly – explores the enduring impact of Degas’s provocative art. * ANTHEA CALLEN, Professor Emeritus of Visual Culture, and Professor Emeritus, The Australian National University, Australia *Bringing Degas’ oeuvre thrillingly to life, this book demonstrates how, in grappling with his more problematic aspects, contemporary artists have added a whole range of complexities of their own. * REBECCA FORTNUM, Professor of Fine Art and Head of the School of Fine Art, The Glasgow School of Art, UK *Table of ContentsAcknowledgements List of Colour Plates List of Figures Introduction Influence and Antagonism Art out of Time Structure and Approach 1. Degas and the School of London R. B. Kitaj and the Anxious Condition of Art Making The Anti-Dreyfusard Master Leon Kossoff and Frank Auerbach Draw Degas 2. Influence as Excess Misogyny Paula Rego’s Dog Women Cecily Brown: New Provocations 3. Vitrines, Vacancy, and Immanent Things: Little Fourteen-Year-Old Dancer Medicine and Moral Judgment: Damien Hirst Entangled Histories: Yinka Shonibare Ryan Gander’s Empathetic Storytelling 4. Degas Doubled Rebecca Warren as Twin Juan Muñoz and Miss La La’s Legacy 5. Pearl Divers: Prying Loose the Past Maggi Hambling’s Monotypes: Queer Phenomenology and the Gaze Chantal Joffe’s Bathers: Self and Other Xinyi Cheng: Modern Masculinities 6. The Final Act Jenny Saville: Colour Shock Howard Hodgkin’s Hero Conclusion Cy Twombly and Degas’s Hat Degas Unbound Notes Bibliography Index

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Book SynopsisThings change. Broken and restored, reused and remade, objects transcend their earliest functions, locations, and appearances. While every era witnesses change, the eighteenth century experienced artistic, economic, and demographic transformations that exerted unique pressures on material cultures around the world. Locating material objects at the heart of such phenomena, Material Cultures of the Global Eighteenth Century expands beyond Eurocentric perspectives to discover the mobile, transcultural nature of eighteenth-century art worlds. From porcelain to betel leaves, Chumash hats to natural history cabinets, this book examines how objects embody imperialism, knowledge, and resistance in various ways. By embracing things both elite and everyday, this volume investigates physical and technological manipulations of objects while attending to the human agents who shaped them in an era of accelerating global contact and conquest. Featuring ten essays, the volume foregrounds diverTrade ReviewWith ten vibrant studies that treat a striking array of media across an ambitious geographic scope, this volume charts some of the liveliest directions in today’s eighteenth-century art history, which has decisively embraced the everyday object and the dynamism of change as a generative critical lens. * Nancy Um, Associate Director for Research and Knowledge Creation, Getty Research Institute, USA *A new history of eighteenth-century art is being written in books like Material Cultures of the Global Eighteenth Century. Ten highly original, meticulously researched, and conceptually exciting essays encourage us to think expansively about material culture’s role in shaping global history. * Stacey Sloboda, Paul H. Tucker Professor of Art History, University of Massachusetts Boston, USA *This important volume puts material culture and its protean meaning-making at the center of eighteenth-century art history. Bellion's and Smentek's lucid introduction, and the innovative scholars they bring into conversation, are united by their admirable attentiveness to objects and voices from around the globe. * Amy Freund, Associate Professor and The Kleinheinz Family Endowed Chair in Art History, Southern Methodist University, USA *Table of ContentsList of Illustrations Notes on Contributors Acknowledgements Introduction, “Things Change”, Wendy Bellion, University of Delaware, USA; Kristel Smentek, MIT, USA 1. ‘A Sort of Picture or Image of my Self’: Amoy Chinqua’s Almost Ancestral Portrait of Joseph Collet, Winnie Wong, University of California, Berkeley, USA 2. Shooting for Freedom: Examining the Material World of Self-Emancipated Persons, Tiffany Momon, Sewanee: The University of the South, USA 3. Something Old, Something New: Repurposing and the Production of Ephemeral Festival Architecture in 18th-Century Paris, Matthew Gin, University of North Carolina at Charlotte, USA 4. Botanical Fantasy in Silk: Transformations of A Rococo Floral Design from England to China, Mei Mei Rado, Los Angeles County Museum of Art, USA 5. Making Marble Edible: Madame de Pompadour, Friendship, and the Multiple Lives of Porcelain, Susan M. Wager, University of New Hampshire, Durham, USA 6. The Sovereign Betel in Eighteenth-Century Bengal and Bihar, Zirwat Chowdhury, University of California, Los Angeles, USA 7. Isaiah Thomas’s Stamp Acts at the Halifax Gazette: Printers and Tacit Protest in Revolutionary America, Jennifer Y. Chuong, Humboldt-Universität zu Berlin, Germany 8. Between Art and Nature: The Dauphin’s Treasure at the Royal Cabinet of Natural History in Madrid, Tara Zanardi, Hunter College, CUNY, USA 9. California Indian Basket Weavers, Spanish Imperialism, and Eighteenth-Century Global Networks, Yve Chavez, University of California, Santa Cruz, USA 10. British Prints between Caricature and Ethnography, Douglas Fordham, University of Virginia, USA Index

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Book SynopsisWendy Bellion is Sewell C. Biggs Chair in American Art History and Associate Dean for the Humanities at the University of Delaware, USA. Her research focuses on North American art and the Atlantic World in the eighteenth and nineteenth centuries. She is the author of Citizen Spectator: Art, Illusion, and Visual Perception in Early National America (2011) and Iconoclasm in New York: Revolution to Reenactment (2019).Kristel Smentek is Associate Professor of Art History in the Department of Architecture at the Massachusetts Institute of Technology, USA. Her research engages eighteenth-century European graphic and decorative arts in their transcultural contexts. She is the author of Mariette and the Science of the Connoisseur in Eighteenth-Century Europe (2014), co-editor of Dare to Know: Prints and Drawings in the Age of Enlightenment (2022), and co-curator of the accompanying exhibition at the Harvard Art Museums.

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Book SynopsisArt as Organism shows that the digital image was a rich and expansive artistic medium of modernism. Linking its emergence to the dispersion of biocentric aesthetic philosophies developed by Bauhaus pedagogue Laszlo Moholy-Nagy, from 1920s Berlin to the Massachusetts Institute of Technology in the 1970s, Charissa Terranova uncovers seminal but overlooked references to biology, the organism, feedback loops, emotions, and the Gestalt, along with an intricate genealogy of related thinkers across disciplines. Unearthing a forgotten narrative of modernism, one which charts the influence that biology, General Systems Theory, and cybernetics had on modern art, Terranova interprets new major art movements such as the Bauhaus, Op Art, and Experiments in Art and Technology by referencing contemporary insights from architects, embryologists, electrical engineers, and computer scientists. From kinetic and interactive art to early computer art and installations spanning an entire cTable of ContentsPreface Introduction: The Haptic Unconscious: László Moholy-Nagy’s Organismic Aesthetics 1. Bauhaus Biology: The Beginnings of Biofunctionalism 2. Gyorgy Kepes and the Light image as Bio-Image: Pop Art-and-Science, Integration, and Distribution 3. The Distributed Image of the City: The Collaboration between Gyorgy Kepes and Kevin Lynch 4. Wet Perception: Op Art and New Tendencies, between the Gestalt and Ecological Psychology 5. The Digital Image in Art: The Generative Turn, Computational and Biological

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Book SynopsisIzabel Galliera is Assistant Professor of Art History in the Department of Art & Design at Susquehanna University in Pennsylvania, USA. Her research has been published in the Journal of Curatorial Studies and appears in the forthcoming collections Collaborating Now: Art in the Twenty First Century (2016) and Redefining Creativity: Multi-Layered Collaborations in Art and Art Historical Practice (2016).Trade ReviewSocially Engaged Art after Socialism is the first comprehensive scholarly treatment of the important new forms of socially engaged art that emerged in Central and Eastern Europe following the demise of the USSR. Its publication represents an important intervention in the emerging critical and theoretical debate around socially engaged art, and will allow us to further broaden the geopolitical scope of this important research. * Grant Kester, Professor of Art History, University of California, San Diego, USA and author of 'Conversation Pieces: Community and Communication in Modern Art' *Table of ContentsList of Illustrations Acknowledgements Introduction 1. Points of Contention: Socially Engaged Art Practice in Contemporary Theory 2. Civil Society, and Social, Cultural and Political Capital 3. Historical Antecedents: Participatory Art under Socialism, 1956–89 PART I FROM SECOND SOCIETY TO CIVIL SOCIETY 4. Civil Society in a Period of Post-Socialist Transition 5. Antipolitics: Exhibitions at the Soros Centres for Contemporary Art 6. Sofia: Participatory Public Art and Emerging Contemporary Art Institutions PART II FROM LOCALIZED PUBLIC SITES TO EU TRANSNATIONAL PUBLIC SPHERES 7. Place-Making: Framing Art in Public Spaces Curatorially 8. Representing Counterpublics in Bucharest, Budapest and Sofia 9. Contesting the Politics of Belonging in the Post-1989 EU Community PART III INSTITUTIONALIZED AND INSTITUTIONALIZING 10. Institutionalized Community Arts Programmes 11. Big Hope: Reviving Leftist Activism in Budapest 12. Self-Institutionalizing as Political Agency Conclusion Notes Bibliography Index

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