Theory of art Books
Indiana University Press The Chinese Atlantic
Book SynopsisTrade ReviewMetzger demonstrates that artworks can be vessels that cut pathways through surface representations and move us with the undercurrents of our global networks: art offers us the experience of sensing the world in ways that release us from the script of a totalizing representational system. The Chinese Atlantic contributes to a growing body of scholarship dedicated to exploring the role of aesthetics and cultural production in the totalizing representational system of liberal humanism. -- Hadley Howes * ANTIPODE ONLINE *Table of ContentsPrologueIntroduction1. Reeling2. Incorporating3. Flowing4. Ebbing5. EddyingEpilogueIndex
£17.99
Pennsylvania State University Press Changing Patrons
Book SynopsisTo whom should we ascribe the great flowering of the arts in Renaissance Italy? Scholars have attributed great importance to the role played by patrons, arguing that some should even be regarded as artists in their own right. This approach is challenged by Jill Burke.Trade Review“No one writing about Florentine and Italian art history will be able to ignore this elegant and probing book.”—F.W. Kent, Director,Monash University at Prato“Probing, concise and grounded in extensive research, Jill Burke’s Changing Patrons: Social Identity and the Visual Arts in Renaissance Florence is a major study in the current vein. . . . Drawing continually on archival documents, Burke does a masterly job of tracking the ascent of her two families, particularly as seen in the fortunes of their palazzo and religious commissions. Seldom have the ties between social identities and art of display objects been so convincingly shown.”—Lauro Martines Times Literary Supplement“Burke's lucidly argued and well researched study proves to be a thought-provoking read whose significance goes well beyond a circle of readers interested in the study of patronage in Quattrocento Florence.”—Gabriele Neher The Art Book“The great strengths of Changing Patrons are Burke’s archival research into the Nasi and Del Pugliese families and her willingness to examine this research from a broad societal perspective. . . . It is well researched and well informed and both broadens our knowledge of specific examples of Florentine patronage and studies these examples in new ways. . . . Burke should be praised for both indicating and demonstrating how ideas about artistic patronage might be reframed.”—Barnaby Nygren Sixteenth Century Journal“Lucid explanations of artists’ contracts and the patronage of family chapels and building committees make Jill Burke’s first book an extremely useful introduction to ‘how the fifteenth-century [Florentine] patron could use paintings, sculptures, and buildings to mediate relationships with the wider world’ (p.189), and her thoughtful, often controversial, interpretations provide material for reflection.”—Jonathan Katz Nelson Burlington Magazine“The study of patronage in Renaissance Florence has a rich history over the past half a century and Changing Patrons by Jill Burke provides a welcome new chapter. Her succinct historiographical introduction will surely provide essential reading not only for those wishing to work in this specific area but also for any student of Renaissance Florence.”—Samuel Bibby Object“Burke’s lucidly argued and well researched study proves to be a thought-provoking read whose significance goes well beyond a circle of readers interested in the study of patronage in Quattrocento Florence.”—Gabriele Neher The Art BookTable of Contents Contents List of Illustrations Acknowledgments A Note on Transcriptions and Translations Abbreviations Introduction Part I: Families, Neighbors, and Friends 1. Family Self-Fashioning 2. Private Wealth and Public Benefit: The Nasi and Del Pugliese Palaces 3. Family, Church, Community: The Appearance of Power in Santo Spirito 4. Patronage and the Art of Friendship: Piero del Pugliese's Patronage of Filippino Lippi Part II: The Individual, the Family, and the Church 5. Patronage Rights and Wrongs: Building Identity at Santa Maria a Lecceto 6. Framing Patronage: Beauty and Order at the Church of the Innocenti 7. Differing Visions: Image and Audience in the Florentine Church Part III: Identity and Change 8. Painted Prayers: Savonarola and the Audience of Images Conclusions and Questions Appendix Nasi Family Tree Del Pugliese Family Tree Unpublished Documents Poems Written About the Portrait of Piero del Pugliese by Filippino Lippi Notes Bibliography Index
£73.91
Pennsylvania State University Press Animating the Antique Sculptural Encounter in the
Book SynopsisExplores tensions in aesthetics and art theory between antique figural sculpture experienced in the round and its translation into two-dimensional representations. Examines the work and thought of Goethe, Winckelmann, Hegel, Walter Pater, Vernon Lee, and others.Trade Review“Like the author’s previous pathbreaking and widely admired book on the relation between portrait painting in the studio of Ingres and the broader problematics of painting ‘history,’ Animating the Antique is painstaking, original, and uncompromising. Weaving art history with aesthetics, the history of archaeology and of collections, and other topics, Betzer’s study of the figuration of sculpture in two-dimensional representations sets a unique insight into a multifaceted framework.”—Whitney Davis,author of Replications: Archaeology, Art History, Psychoanalysis“A beautifully written book. One of the most appealing aspects of Animating the Antique is the way it interweaves the histories of discourse and practice over nearly two hundred years. Something similar can be said about painting and sculpture, media that are typically studied largely in isolation from each other: this is the rare book to bring them together in a substantial and illuminating way.”—Michael Cole,author of Leonardo, Michelangelo, and the Art of the Figure
£77.96
Pennsylvania State University Press DestroyedDisappearedLostNever Were
Book SynopsisA collection of essays by art historians on works of art, artifacts, and monuments that are no longer extant, have disappeared, or perhaps never existed outside of language. Addresses destruction, loss, obscurity, and existential uncertainty within the history of art and the study of historical material and visual cultures.Trade Review“Destroyed—Disappeared—Lost—Never Were is the sort of scholarship that begins to fill the literal lacunae cautiously avoided by premodern art historians for so long, but perhaps no longer.”—Elisa A. Foster caa.reviews“Destroyed—Disappeared—Lost—Never Were makes a fresh contribution to the field, one that dexterously balances historical perspectives and theoretical awareness. Its short essays cover a variety of topics with a global reach but with a common concern: how the ‘existential uncertainty’ resulting from works that are no longer extant or may never have existed outside verbal evocations has shaped and continues to shape the practice of art history.”—Brigitte Buettner,author of Boccaccio’s “Des cleres et nobles femmes”: Systems of Signification in an Illuminated Manuscript“Both as a whole and as individual essays, the contents of Destroyed - Disappeared - Lost - Never Were contribute significantly to various urgent scholarly conversations in art history today. Highly original and written by experts in their respective fields, each of the book’s chapters focus on serious lacunae in the medieval discipline, unpacking them in creative ways in relation to both primary and secondary materials. Between them, these exciting essays offer novel readings of previously untreated objects, important revisions to existing historical and theoretical narratives, and original critiques of received historiographies.”—Jack Hartnell,author of Medieval Bodies: Life, Death and Art in the Middle Ages“[A] cathartic book.”—William Chester Jordan MediaevistikTable of ContentsList of IllustrationsAcknowledgementsIntroduction: Destroyed—Disappeared—Lost—Never WereBeate Fricke and Aden Kumler1. Jerusalem’s Local Sancta and Their Perishable FramesMichele Bacci2. John Lloyd Stephens and the Lost Lintel of KabahClaudia Brittenham3. The Sanguine Art: Four FragmentsSonja Drimmer4. The Dreamwork of Positivism: Archaeological Art History and the Imaginative Restoration of the LostJaś Elsner5. Finding Delight in Gardens LostDanielle B. Joyner6. Impermanence, Futurity, and Loss in Twelfth-Century JapanKristopher W. Kersey7. Lonely Bones: Relics sans ReliquariesLena Liepe8. The Manuscript Machine: Assemblages andDivisions in Jazarī’s CompendiumMeekyung MacMurdie9. Cave and Camera: Shades of Loss in theLibrary Cave of DunhuangMichelle McCoy10. Mourning the Loss of Works / Praising Their Absence: A ResponsePeter GeimerList of Contributors
£15.15
Pennsylvania State University Press Out of Bounds
Book SynopsisA collection of essays offering critical perspectives on the study of medieval art, challenging chronological, geographical, and cultural boundaries.Trade Review“Out of Bounds is a timely and valuable contribution to the growing body of works on global perspectives for the study of art history and on the place of medieval art in this global discourse. It is a welcome addition to the category of anthologies, which are among the most useful resources enabling us to grasp the expanded and reconfigured landscape of the field of medieval art.”—Eva R. Hoffman,Tufts University, Emerita“Out of Bounds is a compelling body of essays providing access to new concepts on the breadth of the medieval world in time and place and ways to study it in global, non-Eurocentric terms. Patton and Rossi stress the importance of what can be learned from regions and peoples that were once considered the nearly irrelevant periphery and recognize the challenges in seeking such new understandings.”—Helen C. Evans,Mary and Michael Jaharis Curator for Byzantine Art Emerita, Metropolitan Museum of ArtTable of ContentsList of IllustrationsPreface1. Shifting Boundaries: Medieval Art History for NowThelma K. Thomas and Alicia Walker2. On Account of the Rotundity of the Earth: Steps Toward an Inclusive Medieval ArtJill Caskey3. Medieval Masks? Meditations on Method Out of BoundsSarah M. Guérin4. Along the Art-Historical Margins of the Medieval MediterraneanMichele Bacci5. Looking at the “Center” from the “Border”: An Exchange of Franco-Ottoman Gifts and the Perception of Art Around 1400Michele Tomasi6. Alexander the Great’s Encounters with the Sacred in Medieval History Writing: From the Shahnameh to the Histoire ancienne jusqu’à CésarSuzanne Conklin Akbari7. Fashioning the Gendered, Classed, and White Self: A Sephardi Cultural ProjectEva Frojmovic8. Beyond Traditional Boundaries: Medieval Art and Architecture in Eastern EuropeAlice Isabella Sullivan9. “The Summit of the Earth”: What Armenian Texts Can Do for the History of Medieval Art and BeyondChristina MaranciContributorsIndex
£75.56
Yale University Press The A W Mellon Lectures in the Fine Arts Fifty
Book SynopsisThe A.W. Mellon Lectures in the Fine Arts were begun in 1952 at the National Gallery of Art in order to bring the best in contemporary scholarship to the public. This illustrated documentary volume tells the story of the genesis of the lectureship, featuring essays by a variety of scholars.
£25.00
Yale University Press Time Out of Joint
Book SynopsisExplores the artistic practices that employ evocation - the calling forth of past emotions, desires, frustrations, and memories - as a mode of connecting past and present. Featuring the work of artists working in a variety of media, this book challenges the conventional approach to history whereby the past is kept at a distance as historical fact.
£10.99
Yale University Press The Power of Color
Book SynopsisTrade Review“[A] sumptuously illustrated survey” —Barbara Kiser, NatureCHOICE Outstanding Academic Titles, 2020“Marcia Hall covers a familiar historical path but in a way that encourages readers to look at works of art through a different and more subtle lens. She explains and illustrates her argument with wonderful clarity.”—Jo Kirby, formerly Senior Scientific Officer, National Gallery, London“Marcia Hall has written a wide-ranging, ambitious book that is the fruit of long reflection on the significance of color in early modern and modern Western painting.”—Stuart Lingo, University of Washington"This book would make an excellent addition to art history curricula, especially those built to expand students’ interest and knowledge into materials and process—both key concepts for pursuing study in conservation and curatorial work. Hall’s clear writing and ability to illustrate connections across time and space make this an excellent resource for a general audience. The extensive notes and bibliography will provide specialists with avenues for additional and deeper research."—L. L. Kriner, Berea College
£33.25
John Wiley and Sons Ltd Tattoos Philosophy for Everyone
Book SynopsisCovering philosophical issues ranging from tattooed religious symbols to a feminist aesthetics of tattoo, Tattoos and Philosophy offers an enthusiastic analysis of inking that will lead readers to consider the nature of the tattooing arts in a new and profound way. Contains chapters written by philosophers (most all with tattoos themselves), tattoo artists, and tattoo enthusiasts that touch upon many areas in Western and Eastern philosophy Enlightens people to the nature of tattoos and the tattooing arts, leading readers to think deeply about tattoos in new ways Offers thoughtful and humorous insights that make philosophical ideas accessible to the non-philosopher Trade ReviewReview from The Scotman 8 June 2012Table of ContentsI Ink, Therefore I Foreword x Rocky Rakovic I Am, Therefore I Ink: An Introduction to Tattoos – Philosophy for Everyone: I Ink, Therefore I Am xiv Robert Arp Acknowledgments xxvii SHEET I THE HISTORY AND NATURE OF TATTOOS 1 1 Tattoos and the Tattooing Arts in Perspective: An Overview and Some Preliminary Observations 3 Charles Taliaferro and Mark Odden 2 How to Read a Tattoo, and Other Perilous Quests 14 Juniper Ellis SHEET II TATTOOS AND ART 27 3 Are Tattoos Art? 29 Nicolas Michaud 4 Fleshy Canvas: The Aesthetics of Tattoos from Feminist and Hermeneutical Perspectives 38 Kimberly Baltzer-Jaray and Tanya Rodriguez SHEET III THE TATTOOED WOMAN 51 5 Female Tattoos and Graffiti 53 Thorsten Botz-Bornstein 6 Painted Fetters: Tattooing as Feminist Liberation 65 Nancy Kang SHEET IV PERSONAL IDENTITY 81 7 Tattoo You: Personal Identity in Ink 83 Kyle Fruh and Emily Thomas 8 Illusions of Permanence: Tattoos and the Temporary Self 96 Rachel C. Falkenstern 9 My Tattoo May Be Permanent, But My Memory of It Isn't 109 Clancy Smith SHEET V EXPRESSIONS OF FREEDOM 121 10 Tattoos are Forever: Bodily Freedom and the (Im)possibility of Change 123 Felipe Carvalho 11 Bearing the Marks: How Tattoos Reveal Our Embodied Freedom 135 Jonathan Heaps SHEET VI EXPERIENCES AND STORIES SURROUNDING TATTOOS 149 12 Never Merely 'There': Tattooing as a Practice of Writing and a Telling of Stories 151 Wendy Lynne Lee 13 Something Terribly Flawed: Philosophy and ‘The Illustrated Man' 165 Kevin S. Decker SHEET VII ETHICAL CONCERNS 179 14 The Vice of the Tough Tattoo 181 Jennifer Baker 15 To Ink, or Not To Ink: Tattoos and Bioethics 193 Daniel Miori 16 Writing on the Body: The Modern Morality of the Tattoo 206 Simon Woods SHEET VIII EASTERN AND RELIGIOUS PERSPECTIVES 219 17 Is a Tattoo a Sign of Impiety? 221 Adam Barkman 18 Confessions of a Tattooed Buddhist Philosopher 230 Joseph J. Lynch 19 An Atheist and a Theist Discuss a Cross Tattoo and God's Existence 242 Robert Arp Notes on Contributors 261
£18.00
The University of Michigan Press Vanguard Performance Beyond Left and Right
Book SynopsisExplores the complex relationship between avant-garde art and politics to reveal links with right-wing or fascist causes
£60.95
University of California Press The hidden order of art a study in the
Book SynopsisFeatures an argument that ranges from highly theoretical speculations to highly topical problems of modern art and practical hints for the art teacher, and it is most unlikely that I can find a reader who will feel at home on every level of the argument.Table of ContentsPreface BOOK ONE: CONTROLLING THE WORLD Part I: Order in Chaos 1. The Child's Vision of the World 2. The Two Kinds of Attention 3. Unconscious Scanning Part II: Creative Conflict 4. The Fertile Motif and the Happy Accident 5. The Fragmentation of 'Modern Art' 6. The Inner Fabric Part III: Teaching Creativity 7. The Three Phases of Creativity 8. Enveloping Pictorial Space 9. Abstraction 10. Training Spontaneity through the Intellect BOOK TWO: STIRRING THE IMAGINATION Part IV: The Theme of the Dying God 11. The Minimum Content of Art 12. The Self-Creating God 13. The Scattered and Buried God 14. The Devoured and Burned God Part V: Theoretical Conclusions 15. Towards a Revision of Current Theory 16. Ego Dissociation Appendix: Glossary References Index
£20.70
University of California Press New Essays on the Psychology of Art
Book SynopsisA collection of essays that explores concrete poetry and the metaphors of Dante, photography and the meaning of music. It deals with color composition, forgeries, and the problems of perspective, on art in education and therapy, on the style of artists' late works, and the reading of maps.
£24.30
University of California Press Beyond Recognition
Book SynopsisA guide to one of the most riveting periods of contemporary culture. It explores the relations among the discourses of contemporary art, sexuality, and power.Table of ContentsPreface Craig Owens: "The Indignity of Speaking for Others" by Simon Watney PART I • TOWARD A THEORY OF POSTMODERNISM Einstein on the Beach: The Primacy of Metaphor Photography en abyme Detachment: from the parergon Earthwords The Allegorical Impulse: Toward a Theory of Postmodernism The Allegorical Impulse: Toward a Theory of Postmodernism, Part 2 Representation, Appropriation, and Power Sherrie Levine at A&M Artworks Allan McCollum: Repetition and Difference From Work to Frame, or, Is There Life After "The Death of the Author"? PART II • SEXUALITY/POWER Honor, Power, and the Love of Women William Wegman's Psychoanalytic Vaudeville The Discourse of Others: Feminists and Postmodernism The Medusa Effect, or, The Specular Ruse Posing Outlaws: Gay Men in Feminism PART III • CULTURES Politics of Coppelia Sects and Language The Critic as Realist "The Indignity of Spe'aking for Others": An Imaginary Interview The Problem with Puerilism Analysis Logical and Ideological Improper Names Interview with Craig Owens by Anders Stephanson The Yen for Art Global Issues PART IV • PEDAGOGY Postmodern Art 1971-1986 Bibliography: Contemporary Art and Art Criticism Seminar in Theory and Criticism Bibliography: The Political Economy of Culture Visualizing AIDS Course Bibliography on Visual AIDS Bibliography Index
£27.90
University of California Press Symbolist Art Theories
Book SynopsisPresents the development and aesthetic theories of the symbolist movement in art and literature. This book traces symbolism and its roots from artist to artist and critic to critic from the 1860s to the early twentieth century.Table of ContentsList of Illustrations Acknowledgments Introduction PROLOGUE: BAUDELAIRE, DELACROIX, AND THE PREMISES OF SYMBOLIST AESTHETICS Charles Baudelaire Correspondences (c.1852-56?) ROMANTIC SYMBOLISTS Dante Gabriel Rossetti Hand and Soul (I850) On His Beata Beatrix (I87I) Edward Burne-]ones Letters to His Family (I854) Walter Pater Poems by William Morris (I868) Fernand Khnop if Memories of Burne-Jones (I898) Theophile Gautier An Early Appraisal ofPuvis de Chavannes (I86I) Jules Lafargue Pierre Puvis de Chavannes (I886) Loris-Karl Huysmans Gustave Moreau (I889) Emile Hennequin Fine Arts: Odilon Redon (I882) Odilon Redon Excerpts from To Oneseif(I898-I909) Andre Mellerio Odilon Redon (I894) Emile Verhaeren A Symbolist Painter: Fernand Khnopff (I887) James McNeill Whistler The Ten O'Clock Lecture (I885) William Ritter Bocklin's Villas by the Sea (I895) Auguste Rodin Conversations with Paul Gsell (I9II) 2 DECORATIVE ARTS AND ARCHITECTURE Owen jones Gleanings from the Great Exhibition (1851) William Morris The Decorative Arts in Modern Life (I877) Arthur H. Mackmurdo The Spiritual in Art (I884) Gustave Eiffel In Defense of the Tower (I887) Paul Gauguin At the Universal Exhibition (I889) Louis H. Sullivan Ornament in Architecture (I892) Henry van de Velde A Clean Sweep for the Future of Art (I894) 3 LITERARY SYMBOLISM Paul Bourget Baudelaire and the Decadent Movement (I88I) Paul Verlaine The Art ofPoetry (I874) Arthur Rimbaud The Unsettling of All the Senses (I87I) Jules Huret Interview with Stephane Mallarme (I89I) Maurice Maeterlinck Small Talk-the Theater (I89o) Teodor de Wyzewa Notes on Wagnerian Painting (I886) jean Moreas A Literary Manifesto-Symbolism (I886) 4 THE POST-IMPRESSIONISTS Felix Feneon Neo-Impressionism (I887) Georges Seurat Aesthetic and Technical Note (I890) Charles Henry Introduction to a Scientific Aesthetics (1885) Gustave Kahn Seurat (I89I) Paul Signac Anarchist Sympathies (I894) Edouard Dujardin Cloisonism (I888) Emile Verhaeren Ensor's Vision (I908) Paul Gauguin Letters to Emile Schuffenecker (I885, I888) G.-Albert Aurier Symbolism in Painting: Paul Gauguin (I89I) Paul Gauguin Letter to Andre Fontainas (I899) Vincent van Gogh Letters on The Night Cafe (I888) G.-Albert Aurier The Lonely Ones-Vincent van Gogh (I890) ]oris-Karl Huysmans Cezanne (I888) Paul Cezanne Excerpts from His Letters (I904, I906) Paul Serusier Nabi Principles (I889) Maurice Denis The Nabis in I890 Edvard Munch The "Saint-Cloud" Manifesto (I889-90?) Ferdinand Hodler The Mission of the Artist (1897) 5 THE ARTISTS OF THE SOUL Roger Marx The Salons of 1895 ]osephin Feladan Materialism in Art (I88I) In Search of the Holy Grail (I888) Armand Point Florence, Botticelli, La Primavera (I896) Octave Mirbeau The Artists of the Soul (I896) EPILOGUE: FORMALIST CRITICISM AND HARBINGERS OF SURREALISM Roger Fry Post Impressionism (1911) The French Post-Impressionists (1912) Clive Bell Cezanne's Pure Form (1914) Remy de Gourmont The Funeral of Style (1902) The Dissociation ofldeas (1900) Alfred ]arry Barnum (1902) Guillaume Apollinaire The New Spirit and the Poets (1917-18) Notes Index
£27.00
University of California Press InDifferent Spaces Place and Memory in Visual
Book SynopsisExplores the construction of identities in the psychical space between perception and consciousness, drawing upon psychoanalytic theories to describe the constitution and maintenance of 'self' and 'us' - in imaginary spatial and temporal relations to 'other' and 'them' - through the all-important relay of images.Table of ContentsPreface Introduction 1 Geometry and Abjection 2 Perverse Space 3 Newton's Gravity 4 Chance Encounters 5 Seiburealism 6 Paranoiac Space 7 The City in Pieces 8 Barthes's Discretion 9 Brecciated Time Notes Illustrations Index
£26.10
University of California Press Reclaiming Female Agency
Book SynopsisChallenges art history from a feminist perspective. Following their Feminism and Art History: Questioning the Litany (1982) and The Expanding Discourse: Feminism and Art History (1992), this volume identifies female agency as a central theme of feminist scholarship. It also features essays on artists and issues from the Renaissance onwards.Trade Review"Extremely stimulating and useful. The authors lay out a strategy for future art historians and theorists." - Paula Harper, University of Miami"Table of ContentsPreface and Acknowledgments Introduction: Reclaiming Female Agency 1. Here's Looking at Me: Sofonisba Anguissola and the Problem of the Woman Artist Mary D. Garrard 2. Learning to Be Looked At: A Portrait of (the Artist as) a Young Woman in Agnes Merlet's Artemisia Sheila ffolliott 3. Artemisia's Hand Mary D. Garrard 4. The Antique Heroines of Elisabetta Sirani Babette Bohn 5. Pictures Fit for a Queen: Peter Paul Rubens and the Marie de' Medici Cycle Geraldine A. Johnson 6. The Portrait of the Queen: Elisabeth Vigee-Lebrun's Marie-Antoinette en chemise Mary D. Sheriff 7. Depoliticizing Women: Female Agency, the French Revolution, and the Art of Boucher and David Erica Rand 8. Nudity a la grecque in 1799 Darcy Grimaldo Grigsby 9. A Woman's Pleasure: Ingres's Grande Odalisque Carol Ockman 10. Conduct Unbecoming: Daumier and Les Bas-Bleus Janis Bergman-Carton 11. The Gendering of Impressionism Norma Broude 12. Selling, Seduction, and Soliciting the Eye: Manet's Bar at the Folies-Bergere Ruth E. Iskin 13. Mary Cassatt: Modern Woman or the Cult of True Womanhood? Norma Broude 14. The "Strength of the Weak" as Portrayed by Marie Laurencin Bridget Elliott 15. New Encounters with Les Demoiselles d'Avignon: Gender, Race, and the Origins of Cubism Anna C. Chave 16. The New Woman in Hannah Hoch's Photomontages: Issues of Androgyny, Bisexuality, and Oscillation Maud Lavin 17. Claude Cahun, Marcel Moore, and the Collaborative Construction of a Lesbian Subjectivity Julie Cole 18. Louise Bourgeois's Femmes-Maisons: Confronting Lacan Julie Nicoletta 19. Reconsidering the Stain: On Gender and the Body in Helen Frankenthaler's Painting Lisa Saltzman 20. Minimalism and Biography Anna C. Chave 21. The "Sexual Politics" of The Dinner Party: A Critical Context Amelia Jones 22. Cultural Collisions: Identity and History in the Work of Hung Liu Allison Arieff 23. Shirin Neshat: Double Vision John B. Ravenal Contributors Index
£39.10
University of California Press Cezannes Other
Book SynopsisIn the voluminous scholarship that's been written on Paul Cezanne, little has been said about the 24 portraits in oil that Cezanne made of his wife, Hortense Fiquet Cezanne, over an extended twenty-year period. This title focuses on these paintings as a group and looks at the differences that render many of them unrecognizable as the same person.Trade Review"This rich substantial reading raises Cezanne studies to a new level... Highly recommended." Choice "[Sidlauskas's] eloquent and penetrating visual analyses are a pleasure to read... [An] impressive and important book." Women's Art Journal "Sidlauskas's observations are detailed, sensitive and sometimes truly poetic." -- Karsten Schubert Burlington MagazineTable of ContentsAcknowledgments Introduction: Seeing Cezanne 1. The Counter-Muse A Brief History 2. The Color of Emotion 3. The Materiality of Vision 4. Toward an Ideal Dissolving Difference Conclusion: The Woman in Question Appendix: Paintings of Hortense Fiquet Cezanne Notes Bibliography List of Illustrations Index
£60.35
University of California Press Peter Selz
Book SynopsisA biography of Peter Selz that traces the journey of this Jewish-German immigrant from Hitler's Munich to the United States and on to an important career as a pioneer historian of modern art. It illuminates key historical and cultural events of the twentieth-century, describing Selz's extraordinary career.Trade Review"An intellectual bildungsroman recounting a life in art that never stopped evolving." Artillery "A paean to a man who is both vastly experienced and eternally youthful in his outlook." Huffington Post "Life is short, art is long, but sometimes it's the other way, too." San Francisco Chronicle "A fascinating account of an individual who has made many contributions to art history." Washington Ind Rev Of Bks "An enjoyable account of a man who seemed always to be in the right place at the right time with the right passions." Artnet Magazine "Like a moving still life... Peter Selz was a great subject, and Karstrom matched him with a great biography." -- Wayne Andersen European Legacy "An essential read for anyone seriously involved in the field." Whitehot Magazine "With Selz at the helm, the Berkeley Art Museum redefined many aspects of modern art and brought overdue attention to California artists." Berkeleyside "A captivating story... This Selz biography offers not only a study into the life of a renowned art figure but also an analysis of the art world of the twentieth century as a whole." -- Kate Sowada Oral History Review "California art enthusiasts and libraries will especially appreciate this detailed and well-researched, scholarly book." Library JournalTable of ContentsPreface: Setting the Scene 1. Childhood: Munich, Art, and Hitler 2. New York: Stieglitz, Rheingold, and 57th Street 3. Chicago to Pomona: New Bauhaus and Early Career 4. Back to New York: Inside MoMA 5. MoMA Exhibitions: From New Images of Man to Alberto Giacometti 6. POP Goes the Art World: Departure from New York 7. Berkeley: Politics, Funk, Sex, and Finances 8. Students, Colleagues, and Controversy 9. A Career in Retirement: Returning to Early Themes and Passions 10. A Conclusion: Looking at Kentridge and Warhol Notes Selected Bibliography and Exhibition History Acknowledgments Index
£18.90
University of California Press Critical Landscapes
Book SynopsisFrom Francis Alys and Ursula Biemann to Vivan Sundaram, Allora & Calzadilla, and the Center for Urban Pedagogy, some of the most compelling artists today are engaging with the politics of land use. This book brings together a range of international voices and artworks to illuminate this critical mass of practices.Trade Review"The book is a wonderful hybrid, both a collection of essays and a catalog of projects by artists engaged in contemporary land use. Unlike landscape architecture, land use-according to the book's editors-more directly engages the relationship between environmental and economic structures, not to mention demands for spatial and environmental justice." Public BooksTable of ContentsIntroduction Emily Eliza Scott and Kirsten Swenson, "Contemporary Art and the Politics of Land Use" I. Against the Abstraction of Space 1. Julian D. Myers-Szupinska, "After the Production of Space" 2. Trevor Paglen, "Experimental Geography: from Cultural Production to the Production of Space" 3. Sarah Kanouse, "Critical Daytrips: Tourism and Land-based Practice" Short entries on individual artworks: 4. Ursula Biemann, Sahara Chronicle (2006-9) 5. Kirsten Swenson, on Francis Alys, When Faith Moves Mountains (2002) 6. Amy Balkin, An Archive of Melting and Sinking (2012-) 7. Ruth Erickson, on the Otilith Group, The Radiant (2012) 8. Edgar Arceneaux & Julian Myers-Szupinska, Mirror Travel in the Motor City (2005-) II. Land Claims: Space and Subjectivity 9. Julia Bryan-Wilson, "Aftermath: Two Queer Artists Respond to Nuclear Spaces" 10. Jeannine Tang, "Look Again: Subjectivity, Sovereignty, and Andrea Geyer's Spiral Lands" 11. Kelly C. Baum, "Earth Keeping, Earth Shaking" Short entries on individual artworks: 12. Nuit Banai, on Sigalit Landau, DeadSee (2005) 13. Yazan Khalil, What is a Photograph? (2013) 14. Aaron Bobrow-Strain, on Allora & Calzadilla, Land Mark (footprints) (2001-2) 15. Shiloh Krupar, Where Eagles Dare (2013) 16. Nicholas Brown, The Vanishing Indian Repeat Photography Project (2011-) 17. Lorenzo Pezzani, on Decolonizing Architecture, Return to Jaffa (2012) 18. The Institute for Infinitely Small Things, The Border Crossed Us (2011) III. Geographies of Global Capitalism 19. T.J. Demos, "Another World, and Another: Notes on Uneven Geographies" 20. Ashley Dawson, "Documenting Accumulation by Dispossession" Short entries on individual artworks: 21. Dongsei Kim on Teddy Cruz, The Political Equator (2005-11) 22. Kelly C. Baum, on Santiago Sierra, Sumision(Submission, formerly Word of Fire) (2006-7) 23. James Nisbet, on Simon Starling, One Ton II (2005) 24. Giulia Paoletti, on George Osodi, Oil Rich Niger Delta (2003-7) 25. Ursula Biemann, Deep Weather (2013) 26. Luke Skrebowski, on Tue Greenfort, Exceeding 2 Degrees (2007) 27. Lize Mogel, Area of Detail (2010) IV. Urbanization With No Outside 28. Janet Kraynak, "The Land and the Economics of Sustainability" 29. Ying Zhou, "Growing Ecologies of Contemporary Art: Vignettes from Shanghai" Short entries on individual artworks: 30. Chunghoon Shin, on Flying City, All Things Park (2004) 31. David Pinder, on Nils Norman, The Contemporary Picturesque (2001) 32. Jenna Lloyd and Andrew Burridge, on Laura Kurgan, Million Dollar Blocks (2005) 33. Lize Mogel, on The Center for Urban Pedagogy, What Is Affordable Housing? (2010) 34. Robby Herbst, on Olga Koumoundouros, Notorious Possession (2012) 35. Paul Monty Paret, on eteam, International Airport Montello (2005-8) 36. Saloni Mathur, on Vivan Sundaram, Trash (2005-8)
£27.00
John Wiley and Sons Ltd About Michael Baxandall
Book SynopsisA distinguished group of art historians reflect on the work of Michael Baxandall, in terms of its importance for their own formation, its location in the development of a new art history, and its influence on the broader languages and theories of contemporary cultural theory.Table of Contents1. Patterns in the Shadows: Attention in/to the Writings of Michael Baxandall: Michael Anne Holly (University of Rochester). 2. Aspects of the Critical Reception and Intellectual History of Baxandall's Concept of the Period Eye: Alland Langdale (University of British Columbia). 3. Limewood, Chiromancy and Narratives of Making. Writing about the Materials and Processes of Sculpture: Malcolm Baker (Victoria and Albert Museum). 4. Michael Baxandall and the Shadows in Plato's Cave: Alex Potts (University of Reading). 5. Last Words (Rilke, Wittgenstein)(Duchamp): Molly Nesbit (Vassar University). 6. Women under the Gaze, a Renaissance Genealogy: Paolo Berdini (Stanford University). 7. A Baxandall Bibliography: Allan Langdale (University of California at Santa Barbara).
£21.61
John Wiley and Sons Ltd The Gothic
Book Synopsis* Provides an overview of the most significant issues and debates in Gothic studies. * Explains the origins and development of the term Gothic. * Explores the evolution of the Gothic in both literary and non-literary forms, including art, architecture and film.Trade Review"The overall result is wonderfully informative and suggestive for the beginning student, while offering some striking additional insights spread across the book for advanced students of Gothic who have yet to consider such contexts for it as postcolonialism, 'goth' subcultures and 'Hallucination and the Narcotic'." Gothic StudiesTable of ContentsHow to Use This Book. Chronology. Introduction. Backgrounds and Contexts. Civilisation and the Goths. Gothic in the Eighteenth Century. Gothic and Romantic. Science, Industry and the Gothic. Victorian Gothic. Art and Architecture. Gothic and Decadence. Imperial Gothic. Gothic Postmodernism. Postcolonial Gothic. Goths and Gothic Subcultures. Gothic Film. Gothic and the Graphic Novel. Writers of Gothic. William Harrison Ainsworth (1805-82). Jane Austen (1775-1817). J. G. Ballard (1930-). Iain Banks (1954-). John Banville (1945-). Clive Barker (1952-). William Beckford (1760-1844). E. F. Benson (1867-1940). Ambrose Bierce (1842-1914). Algernon Blackwood (1869-1951). Robert Bloch (1917-1994). Elizabeth Bowen (1899-1973). Mary Elizabeth Braddon (1835-1915). Charlotte Brontë (1816-1855) and Emily Brontë (1818-1848). Charles Brockden Brown (1771-1810). Edward George Bulwer-Lytton (1803-1873). James Branch Cabell (1879-1958). Ramsey Campbell (1946-). Angela Carter (1940-1992). Robert W. Chambers (1865-1933). Wilkie Collins (1824-1889). Marie Corelli (1855-1924). Charlotte Dacre (1771/1772?-1825). Walter de la Mare (1873-1956). August Derleth (1909-1971). Charles Dickens (1812-1870). 'Isak Dinesen' (1885-1962). Arthur Conan Doyle (1859-1930). Lord Dunsany (1878-1957). Bret Easton Ellis (1964-). William Faulkner (1897-1962). Elizabeth Gaskell (1810-1865). William Gibson (1948-). William Godwin (1756-1836). H. Rider Haggard (1856-1925). Nathaniel Hawthorne (1804-1864). James Herbert (1943-). William Hope Hodgson (1877-1918). E. T. A. Hoffmann (1776-1822). James Hogg (1770-1835). Washington Irving (1783-1859). G. P. R. James (1799-1860). Henry James (1843-1916). M. R. James (1862-1936). Stephen King (1947-). Rudyard Kipling (1865-1936). Francis Lathom (1777-1832). J. Sheridan Le Fanu (1814-1873). Sophia Lee (1750-1824). Vernon Lee (1856-1935). M. G. Lewis (1775-1818). David Lindsay (1878-1945). H. P. Lovecraft (1890-1937). George MacDonald (1824-1905). Arthur Machen (1863-1947). James Macpherson (1736-1796). Richard Matheson (1926-). Charles Robert Maturin (1780-1824). Herman Melville (1819-1891). Joyce Carol Oates (1938-). Margaret Oliphant (1828-1897). Mervyn Peake (1911-1968). Edgar Allan Poe (1809-1849). John Polidori (1795-1821). Radcliffe, Ann (1764-1823). Reeve, Clara (1729-1807). G. W. M. Reynolds (1814-1879). Anne Rice (1941-). Walter Scott (1771-1832). Mary Wollstonecraft Shelley (1797-1851). Charlotte Smith (1740-1806). Robert Louis Stevenson (1850-1894). Bram Stoker (1847-1912). Horace Walpole (1717-1797). H. G. Wells (1866-1946). Edith Wharton (1862-1937). Oscar Wilde (1854-1900). Key Works. Horace Walpole, The Castle of Otranto (1764). William Beckford, Vathek (1786). Ann Radcliffe, The Mysteries of Udolpho (1794). William Godwin, Caleb Williams (1794). M. G. Lewis, The Monk (1796). Mary Shelley, Frankenstein (1818, revised 1831). C. R. Maturin, Melmoth the Wanderer (1820). James Hogg, The Private Memoirs and Confessions of a Justified Sinner (1824). Emily Brontë, Wuthering Heights (1847). Wilkie Collins, The Woman in White (1860). Sheridan Le Fanu, Uncle Silas (1864). Robert Louis Stevenson, The Strange Case of Dr Jekyll and Mr Hyde (1886). Bram Stoker, Dracula (1897). Henry James, The Turn of the Screw (1898). Robert Bloch, Psycho (1959). Anne Rice, Interview with the Vampire (1976). Stephen King, The Shining (1977). Bret Easton Ellis, American Psycho (1991). Themes and Topics. The Haunted Castle. The Monster. The Vampire. Persecution and Paranoia. Female Gothic. The Uncanny. The History of Abuse. Hallucination and the Narcotic. Guide to Further Reading. Index
£99.86
John Wiley and Sons Ltd Sociology of the Arts
Book SynopsisThis is a comprehensive overview of the sociology of art and an authoritative work of scholarship by a leading expert in the field. The international selection of perspectives, empirical research, and case studies makes this book essential for teaching and studying the sociology of art. Synthesizes the various theoretical models of art sociology. Provides empirical examples of books, films, television shows, dance, and music, as well as exemplars of sociological work on the arts. Discusses works from both fine and popular ends of the cultural spectrum. Explores how art is created, distributed, received, consumed, and used by people who experience it. Trade Review"In the twenty-five years that I have worked and taught in the field of sociology, this is the first textbook that I can remember enjoying and learning a lot from. Alexander’s Sociology of the Arts brings to life both cutting-edge research and classic works in the sociology of literature, music, art, and popular culture. Students will discover what fascinating things researchers have learned by studying the arts sociologically. And specialists will know what is happening in the forefront of the field." Ann Swidler, University of California at Berkeley "Sociology of the Arts is a most welcome addition to the field. With a high level of sophistication, but without unnecessary jargon, Dr. Alexander clearly lays out the different frameworks of analysis that have emerged in recent years." Vera Zolberg, New School for Social Research "This is an informative and thoughtful text for courses in the sociology of art." D. Harper, Univesity of RochesterTable of ContentsPreface. 1. Introduction: What is Art?. Part I: The Relationship between Art and Society. 2. Reflection Approaches. Case Study. The Reflection of Race in Children's Books. 3. Shaping Theory. Case Study. Violence and Television. 4. A Mediated View: The Cultural Diamond. Part II: The Cultural Diamond. A. The Production of Culture. 5. Art Worlds. Case Study. From Academy to Public Sale. 6. Culture Industries. Case Study. Innovation and Diversity in the Production of Music. 7. Networks and Nonprofits. Case Study. Piccolos on the Picket Line: A Strike in the Symphony. 8. Artists. Case Study. Nothing Succeeds Like Success: Careers in the Film Industry. 9. Globalization. Case Study. The Return of the Elgin (or Parthenon) Marbles?. B. The Consumption of Culture. 10. Reception Approaches. Case Study. Romance Novels as Combat and Compensation. 11. Audience Studies. Case Study. Cowboys, Indians, and Western Movies. 12. Art and Social Boundaries. Case Study. Framing Heavy Metal and Rap Music. Part III: Art in Society. 13. The Art Itself. Case Study. The Renaissance Way of Seeing. 14. The Constitution of Art in Society. Case Study. A Strange Sensation: Controversies in Art. Part IV: Conclusion. 15. Studying Art Sociologically. Notes. References.
£104.36
Harvard University Press Friends of Interpretable Objects
Book SynopsisTamen shows how inanimate objects take on life through interpretation—notably as they are collected and housed in museums. He claims that an object becomes interpretable only in the context of a “society of friends.” Thus, he suggests, our tendency as humans to interpret the phenomenal world gives objects both a life and a society.Trade ReviewBecause Tamen is willing to go out on various disciplinary and logical limbs, this is a book like no other. It will appeal to students of literature and the visual arts, it will be debated by the more humanistic of philosophers, and it will perform noble cross-over activity between those disciplines and material from theories of law, science, and ecology. The book will work in this admirable way for those who are open-minded, inquisitive, and seducible by some lovely instances of intellectual wit. -- Leonard Barkan, Princeton UniversityFriends of Interpretable Objects is an idiosyncratic, breath-taking inquiry into the human capacity to cherish the material object world and to hate it, to hold it responsible, and to grant it its own humanity...This book should be read by art historians, anthropologists, curators, literary critics, and anyone who has ever shouted at a car or kicked a door. -- Bill Brown, author of A Sense of ThingsAs its wacky title might indicate, this is a book of striking originality. Its subject, broadly speaking, is art, whose works are the interpretable objects of the title. In another sense, however, Tamen's concern is to show how inanimate objects take on life through their interpretation...There is quite simply nothing like it...The learning is real...Written in a highly idiosyncratic style, learned but not hermetically so, Friends of Interpretable Objects takes wide aim at an audience that could conceivably come from many walks of life: from the museum world, from art history, law, philosophy, not to mention that educated general reader whose voracious habits take in a far richer banquet of ideas than we can ever imagine. -- Ingrid Rowland, Professor of Art History, University of ChicagoThe art world and interpreting institutions of museums can learn from Tamen's artful journey across disciplines and ways of knowing and experiencing the world around us. Friends of Interpretable Objects opens up the museum and places artworks into networks of interpretation that make them part of the cognitive worlds we share with diverse animate and inanimate bodies and objects. -- John G. Hanhardt, Senior Curator of Film and Media Arts, Guggenheim MuseumIn an exquisitely idiosyncratic book of enormous intellectual ambition crammed into a tiny space...Tamen wants to redefine aesthetics, by way of intently focused chapters on, inter alia, Byzantine theology and image-smashing, human rights, and bodies (of corporations and of babies). In his scheme, the interpretable object (which might be what we recognize as an artwork, but does not need to be) exists by virtue of its 'friends'--those people who gather round it and, so to speak, talk to it, as we might do with a statue or painting. How do objects 'talk back' from within a museum or a church? Suavely Wittgensteinian and insatiably curious, Tamen's arguments are hardly devalued by the lack of any earth-shattering conclusion. -- Stephen Poole * The Guardian *
£25.16
Harvard University Press Philosophys Artful Conversation
Book SynopsisTheory—an embattled discourse for decades—faces a new challenge from those who want to model the methods of all scholarly disciplines on the sciences. What is urgently needed, says D. N. Rodowick, is a revitalized concept of theory that can assess the limits of scientific explanation and defend the unique character of humanistic understanding.Trade ReviewIn this beautiful meditation on film and philosophy, D. N. Rodowick guides us through original combinations of thinkers, artworks, and ideas to argue for new ethical possibilities for the humanities. His studies transcend disciplinary boundaries in style and approach such that new ways of reflecting on deep social and existential problems come to the fore, carried by exceptional learning and feel. His surprising alliance of Cavell and Deleuze allows for the most moving and wise appreciation of film as ethical domain available today. -- James Williams, University of Dundee
£34.81
Harvard University Press Photography and the Art of Chance
Book SynopsisAs anyone who has wielded a camera knows, photography has a unique relationship to chance. It also represents a struggle to reconcile aesthetic aspiration with a mechanical process. Robin Kelsey reveals how daring innovators expanded the aesthetic limits of photography in order to create art for a modern world.Trade ReviewIn examining 20th-century photography, [Kelsey] fearlessly wades into the war of words among critics, curators, philosophers and artists alike trying to nail down the jelly-like nature and importance of photography. His prose is concise and academically framed but with a pleasing lack of jargon that makes this book accessible to a non-academic reader, unlike many books published on photo history in the past two decades… Kelsey’s book is a first incursion into an issue that has not been well explored in print, and its conclusions and assertions will certainly be the start of many years of arguments… It should be a standard text for those studying the history of photography in depth. But it also gives lay readers an opportunity to look afresh at the canon of photography and gain a deeper understanding of the constant tension between the camera’s mechanical nature and the photographer’s art. -- Roger Watson * Wall Street Journal *[A] revisionist and erudite history of the medium. -- Christopher Turner * Times Literary Supplement *This intriguing study delves into a subject that has troubled photographers since the invention of the medium in the 1840s: how do the happy accidents arising from a mechanical process relate to human dexterity in creating artistic images? Kelsey’s subjects range from early practitioners, including Fox Talbot and Stieglitz, to modernist innovators and 20th-century news photography. * Apollo *Kelsey interweaves history, art, philosophy, psychology, and more with chance and photography to explore the complexity of photography’s roles and its challenges and changes to the visual arts. -- C. Chiarenza * Choice *This ambitious text, both scholarly and affecting, combines art history, psychology, and the history of philosophy and science into a shrewd exploration of ‘how meaning is produced in a medium prone to chance.’ …Though Kelsey’s primary focus is the development of photography, the end result is a wholly informative, refreshing, and rich perspective on photography and Modernism. * Publishers Weekly (starred review) *Photography and the Art of Chance takes up a venerable question: how can a photograph be art, when it is made with a machine that registers phenomena beyond the operator’s full awareness? With great originality, Kelsey shows that photography’s history is entangled with the history of chance, and he complicates our understanding of the medium in a refreshing way. -- Douglas R. Nickel, Brown UniversityA brilliant choice of theme for an encompassing, revisionist history of photography that shows canonical figures at their best; chance is the flip side of techne and the motor of avant-garde aesthetics, as well as a key subject in the history of modern consciousness. Kelsey’s explanatory clarity and gift for concision, meanwhile, are no accident. -- Matthew S. Witkovsky, The Art Institute of ChicagoPhotography and the Art of Chance brilliantly interweaves the history of photography with a broader history of art and an intellectual history of chance. This interdisciplinary approach helps Kelsey sidestep claims about the ontological status of photography that separate the medium entirely from other forms…Perhaps more remarkable than the book’s breadth is that Kelsey moves across fields with a language that is both specific and accessible enough to make his book a satisfying read for a varied audience…Photography and the Art of Chance will reward specialists and general audiences, providing insights to a spectrum of readers disconcerted, resigned, or even enlivened by the apparent randomness and indifference that still characterizes so much of our modern lives. -- Lauren Kroiz * caa.reviews *
£25.16
Harvard University Press Authors in Court
Book SynopsisMark Rose uses case studies to show how gender and gentility have influenced the self-presentation of authors in court and how the personal styles, public personas, and histories of novelists, dramatists, poets, photographers, and cartoonists have influenced the development of legal doctrine around issues of copyright.
£24.26
Princeton University Press Inventing Falsehood Making Truth
Book SynopsisCan painting transform philosophy? This title looks at Neapolitan art around 1700 through the eyes of the philosopher Giambattista Vico. It presents the masterpieces of late Baroque painting in early eighteenth-century Naples from an entirely new perspective.Trade Review"[A] highly compelling account of an important subject... Bull is to be congratulated on presenting such a thought-provoking study ... welcome addition to the study of early modern art and thought."--Alexander Marr, Apollo "[T]antalizingly meaty."--Choice "[A]rt historians and critics will find in it a fascinating account of how paintings can initiate and/or facilitate philosophical reflection."--Giorgio Baruchello, European Legacy "This is a daring and highly imaginative book."--Helen Langdon, Burlington MagazineTable of ContentsAcknowledgments ix Prologue xi ONE Vico 1 TWO Icastic Painting 43 THREE Fantastic Painting 69 FOUR Theological Painting 101 Epilogue 121 Notes 127 Index 141
£27.00
Princeton University Press Take a Closer Look
Book SynopsisWhat happens when we look at a painting? What do we think about? What do we imagine? How can we explain, even to ourselves, what we see or think we see? And how can art historians interpret with any seriousness what they observe? This title deals with these questions.Trade ReviewOne of Choice's Outstanding Academic Titles for 2014 "In six short essays, Arasse shows what it is to enter into the complexity of a work, inspect the nooks and crannies, and reject conventional wisdom."--Phillippe Dagen, Le Monde "The casual nature of [Arasse's] language cannot mask his tremendous erudition, all while emphasizing his ease in navigating within the pieces and his familiarity with the Zeitgeist."--Armelle Godeluck, Lire "[The chapters in Take a Closer Look] have the depth of scholarly essays and the irreverent charm of the best fiction."--Michele Gazier, Telerama "Take a Closer Look is an outstanding example of what is possible when the stiff formalities of scholarly prose are cast aside in favour of a more playful, imaginative approach... [A] delightful guide to seeing art with new eyes."--K. E. Gover, Times Higher Education "In this publication of work by the eminent late art historian Arasse, the author searches for the meaning of master paintings. He discusses details of work that are often overlooked, and thus provides descriptions of things usually not seen."--ChoiceTable of ContentsCara Giulia: Mars and Venus Surprised by Vulcan, Tintoretto 1 The Snail's Gaze: The Annunciation, Francesco del Cossa 17 Paint It Black: The Adoration of the Magi, Bruegel the Elder 39 Mary Magdalene's "Fleece" 71 The Woman in the Chest: The Venus of Urbino, Titian 89 The Eye of the Master: Las Meninas, Velazquez 129 Illustration Credits 161 Index 163
£31.50
Princeton University Press Moved to Tears
Book SynopsisTrade Review"A Choice Outstanding Academic Title of the Year""This is a must-read for art historians, museum curators and those who are studying to enter these fields, as a buyer or a viewer might ask about it after this read (because the subject is particularly communicative)." * Pennsylvania Literary Journal *"Bedell shows how subtly and certainly sentimentalism pervades the work of nineteenth-century American artists. She shows that sentimentalism, by pulling on heartstrings, by creating sympathetic ties, was a force that artists used to their own ends as they went about their work of making appealing art. "---Karen Zukowski, Nineteenth Century
£38.25
Princeton University Press A History of Art History
Book SynopsisTrade Review"Shortlisted for the Apollo Awards Book of the Year, Apollo Magazine""Wood’s history is one of only a handful of book-length attempts to offer a synthetic treatment of the history of art history. . . . Owing to its extraordinary range and original insights, it is destined to become the standard work for many years to come."---Sam Rose, Apollo Magazine"This substantial volume is more than just a chronicle of half-forgotten scholarship or a thrashing out of methodological issues of little import. In fact, A History of Art History will be eye-opening for anyone who cares about art."---Barry Schwabsky, Hyperallergic"Wood’s account of what art historians do – and how they have done it over the centuries – is a typically learned and polemical work that challenges the reader with its many approaches and arguments." * Apollo Magazine *"The research compiled here does not stumbled into abstractions that the topic invites, but really delivers an accuratehistory of the changes in this culture-defining field . . . this book is really needed."---Anna Faktorovich, Pennsylvania Literary Review"Well informed and extremely personal, this is a brilliant overview of writings on art, from responses to the recovery of art representing ancient gods c. 800 CE through to the anti-formalist revolution of the present day. The amount of carefully considered information packed into this compact volume is breathtaking. Wood (NYU) takes on not only professional writers on art but also practitioners such as Piranesi and William Blake—whose emotional critiques of the past made them, in effect, historians of art. Writing in a rather leisurely narrative style, Wood places selected authors within a precise historical moment. Original perceptions are scattered like bonbons—for example, an analysis of Aby Warburg and Alois Riegl locates them as very different but very much related classifiers of the image within late 19th and early 20th century devotion to formalism. There is a fascinating chapter on the foundation of the Louvre in the context of the French Revolution. . . . The book stands as a much-needed contribution at a time when the discipline badly needs an appreciative, even-handed view of the past."---Debra Pincus, Choice"Wood’s intimacy with the material is self-evident. He offers any number of remarkably lucid exegeses of complex and easily misunderstood concepts (Riegl’s Kunstwollen) and texts (Hegel’s Lectures on Aesthetics), and brings in numerous lesser-known thinkers."---Rachel Wetzler, Art in America"[A History of Art History] by Christopher Wood will live constantly on my priority bookshelf. Wood’s welcome synthesis of the essential sources from which art history created itself as a discipline is revelatory on many levels, not least because it clarifies the extent to which such a historiography can never be totally comprehensive nor totally consensual. . . . Every informed reader will come away from the book with some startling new coalescence of insight."---Sally Hickson, Renaissance and Reformation"Magisterial . . . [A History of Art History] includes little-known factual gems, eloquent witticisms, or unexpected insights. . . . Undoubtedly, Wood has set the bar high for any future overview in terms of the diversity of his interests and analytic depth."---Thijs Weststeijn, History of Humanities"Christopher Wood cares for the idea that art history could consist in what he calls a ‘biography of form’. This is one of the chief sympathies underpinning his huge and hugely impressive chronological narrative A History of Art History."---Julian Bell, London Review of Books"Christopher S. Wood’s A History of Art History is a robust volume that traces and critically examines the evolution of art history as a discipline, beginning with the late middle ages and leading up to the emergence of contemporary art history. . . . It is . . . [the] close re-examination of the role of the art historian, of individuals and their writing, that Wood offers a rethinking of art’s history."---Jenna Dufour, ARLIS/NA"A History of Art History is the obvious result of considerable labour and learning. It offers innumerable individual observations of interest. . . . [I]t is of inestimable value in prompting renewed reflection on what might be gained from exploring the past of the discipline and how one might define it."---Matthew Rampley, Estetika"[A History of Art History is] an accessible and timely book on art history’s history is a gap that needed to be filled…Wood reforms various aspects of art history as we know it."---Sjoukje van der Meulen, CAA Reviews"This is a project made possible only by years, perhaps decades, of reading. The depth of Wood’s accumulated knowledge means this is a book that will appeal as much to veteran art historians as it will a more general audience."---Surya Bowyer, MAKE: Literary Magazine"Refreshing and encouraging. . . . A History of Art History is an erudite, if very personal, tour of a discipline forever redefining its central tasks. . . . Wood’s chronological collection of approaches to thinking about art’s history is an illuminating juxtaposition of rival, often mutually incompatible claims to what art history is and might be."---Lisa DeBoer, Fides Historia Review
£28.50
Princeton University Press Restoration
Book SynopsisTrade Review"Winner of the Silver Medal, Laura Shannon Prize in Contemporary European Studies, Nanovic Institute, University of Notre Dame""[A] handsomely illustrated and profoundly revealing and stimulating book."---Michael Prodger, Literary Review"A slender, handsomely produced volume on the art of the restoration period. . . . The depth and breadth of [Crow’s] learning is stupendous."---Tim Blanning, Art Newspaper"Restoration is a welcome addition to the literature on art after the collapse of the French Empire."---A. L. Palmer, Choice Reviews
£31.50
Princeton University Press Bravura
Book SynopsisTrade Review"Suthor invigorates this subject in myriad ways, not least by the sheer verve of her writing and the ambition of her project. The book is itself a bravura performance, galloping through several centuries of European art history with considerable wit and erudition."---Alexander Marr, Apollo Magazine"[A] pioneering book. . . . this brilliant and well-illustrated book confirms that bravura was one of the most cognitively demanding techniques of Renaissance painting. The brilliance of Suthor’s analysis lies in her fresh terminology and perceptive language of description of even the smallest and most easily overlooked details of composition, and in her critical ability to relate such intricacies to larger issues taken up in paintings and in criticism. She writes in engaging, precise language, and makes persuasive connections with contemporary art criticism and modern aesthetics and cultural theory."---Goran Stanivukovic, Renaissance and Reformation"Bravura surveys the breadth of meaning that bravura conveys, probing the subtleties of the concept from multiple viewpoints. . . . This breadth, which makes it possible to see patterns and similarities over centuries and national boundaries, is refreshing in our age of narrowly defined specialist studies and helps us see the consistency over longer periods in European art, something that is often lost in our focus on differences. . . . [Suthor’s] skill at integrating theory and practice is commendable and provides a service to the theorists and biographers who were artists themselves, reminding those who would study paintings in isolation from the ideas valued by their makers that they do so at serious peril."---Janis Bell, Renaissance Quarterly
£51.00
Pluto Press Cultural Offensive Americas Impact on British Art
Book SynopsisA fascinating study of the reception and resistance to the Americanisation of art in the cold war periodTrade Review'Highly accessible for artists and non-artists alike' -- PreviewTable of ContentsIntroduction 1. First Encounters with Post-war America and American Culture: the 1940s 2. The ICA, the IG and America during the 1950s 3. The Impact of Abstract Expressionism during the 1940s and '50s 4. Abstraction and Pop in Britain during the 1960s 5. The Lure of America: British Artists in the United States 6. Over Here: American Artists in Britain 7. Criticism and Resistance 8. The Decline of American Influence and the Rise of BritArt Conclusion Notes and references Bibliography Index
£25.19
Pluto Press Constructed Situations
Book SynopsisA ground-breaking rethink of the radical Situationist art movement drawn from a life's worth of research.Trade Review'Frances Stracey was an original and committed interpreter of the Situationist International, who saw their work not just as art history but as contributing to an ongoing challenge to commodified life, down into our own times' -- McKenzie Wark, author of The Beach Beneath the Street'The most penetrating inquiry into Situationist strategy yet to appear' -- Times Higher Education'Fuelled by her remarkable insights into the work of the image in an image-culture, Frances Stracey offers a ground-breaking and timely account of Situationist 'situations'. Not only does she restore a place for women as radical subjects within the movement but she fearlessly shows us what is at stake in living such a project now' -- Briony Fer, Professor of Art History, University College London'Stracey returns the SI to a living tradition of critique and negation in art. It is her work on women in the SI and the debate on gender and class, identity and the universal, though, that defines her investigation of the 'situation'' -- Professor John Roberts, author of The Art of Interruption: Realism, Photography and the Everyday'Challenging the prevalent woolly and dehistoricised readings, Frances Stracey advances a powerful and incisive reconstruction of SI practice' -- Gail Day is senior lecturer in the School of Fine Art, History of Art and Cultural Studies at the University of Leeds and author of Dialectical Passions: Negation in Postwar Art Theory'Stracey does not reduce the Situationist movement to a form of art praxis or media theory. She takes the Situtationist's claim to have developed a modern approach to revolution seriously and focuses on the 'construction of situations' as a practical alternative to the spectacle. She addresses the difficult problem of assessing what parts of the Situationist legacy may still inspire contemporary critical cultural forms' -- Anselm Jappe, author of Guy DebordTable of ContentsList of Figures Series Preface Preface Acknowledgements Introduction: Lessons in Failure Excursus I: The Society of the Spectacle Excursus II: Constructed Situations Reconstructing Situations 1. Surviving History: A Situationist Archive 2. Industrial Painting: Towards a Surplus of Life 3. Destruktion af RSG-6: The Latest Avant-Garde 4. Consuming the Spectacle: The Watts Riot and a New Proletariat 5. Situationist Radical Subjectivity and Photo-Graffiti 6. The Situation of Women Coda: Learning from the SI Notes Index
£72.25
Pluto Press The Situationist International
Book SynopsisUp-to-date collection on the Situationist International, rethinking their relevance for todayTrade Review'It's hard to see how this book could be surpassed in rigor and scope. As its authors carefully unpack the complex manifold of situationism, readers begin to grasp again the political, aesthetic, philosophical, and cultural totality of consumer capitalism that the Situationists argued we can leave. This mid-twentieth-century critique and speculation remains an undeniable wonder' -- Simon Sadler, Professor of Design at the University of California, Davis and author of 'The Situationist City''Philosophy, critical theory, artistic practice, strategies and tactics of social contestation, transnational networks and internecine clashes all came together in the Situationist International. In this volume, new archival resources and a new generation of scholars point the way to a richer, more complete picture of the movement and its place in the 20th and 21st centuries' -- Kevin Repp, Curator of Modern European Books & Manuscripts at the Beinecke Rare Book and Manuscript LibraryTable of ContentsIntroduction: The Situationist International in Critical Perspective - Alastair Hemmens and Gabriel Zacarias PART I: KEY CONTEXTS 1. Debord’s Reading of Marx, Lukács and Wittfogel: A Look at the Archives - Anselm Jappe 2. The Unsurpassable: Dada, Surrealism and the Situationist International - Krzysztof Fijalkowski 3. Lettrism - Fabrice Flahutez 4. The Situationists, Hegel and Hegelian Marxism in France - Tom Bunyard 5. The Situationist International and the Rediscovery of the Revolutionary Workers’ Movement - Anthony Hayes 6. The Shadow Cast by the Situationist International on May ’68 - Anna Trespeuch-Berthelot 7. The Situationists’ Anti-colonialism: An Internationalist Perspective - Sophie Dolto and Nedjib Sidi Moussa 8. Gender and Sexuality in the Situationist International - Ruth Baumeister 9. Revolutionary Romanticism in the Twentieth Century: Surrealists and Situationists - Michael Löwy PART II: KEY CONCEPTS 10. The Spectacle - Alastair Hemmens and Gabriel Zacarias 11. The Constructed Situation - Gabriel Zacarias 12. Unitary Urbanism: Three Psychogeographic Imaginaries - Craig Buckley 13. The Abolition of Alienated Labour - Alastair Hemmens 14. Détournement in Language and the Visual Arts - Gabriel Zacarias 15. The Situationists’ Revolution of Everyday Life - Michael E. Gardiner 16. Radical Subjectivity: Considered in its Psychological, Economic, Political, Sexual and, Notably, Philosophical Aspects - Alastair Hemmens 17. The ‘Realisation of Philosophy’ - Tom Bunyard 18. Recuperation - Patrick Marcolini 19. Internationalism - Bertrand Cochard Bibliography Notes on Contributors Index
£25.19
Pluto Press Conversations on Violence
Book SynopsisLeading thinkers discuss the experience and repercussions of violence, exploring its varied manifestations in the world todayTrade Review'Brad Evans in one of the brightest critical minds of his generation' -- Henry A. Giroux'Violence has been extraordinarily difficult to account for in conception and explanation. This compelling collection of first-rate contributions goes a long way to addressing these difficulties ... it serves as an anchor for critical thinking on the complex range, power and impacts of violence' -- David Theo Goldberg, author of Dread: Facing Futureless Futures (2021)'Conversations on Violence may have a foreboding title, but the collected interviews with artists, academics, activists, and entertainers is lively, stimulating, and engaging it is more like a salon than a crime scene. The topics discussed are serious and urgent from climate change, to the re-emergence of fascism, to sexual assault but the brilliant minds included here address these issues in direct and clear-eyed ways that point to fairer, safer, and more fully realized modes of existence in the future' -- Deborah Berke, Dean of the Yale School of Architecture and founding partner of Deborah Berke PartnersReviews for the previous volume, Violence: Humans in Dark Times also by Brad Evans 'Notable contemporary thinkers and creators give their individual perspectives in this compelling look at violence. ... A provocative volume that challenges humanity to correct its runaway course toward an increasingly violent future by learning from its violent past' Kirkus Reviews 'The purpose of the work is to challenge humanity to create more meaningful solutions when it comes to these kinds of violence--or at least to name violence without inadvertently inciting even more anger. . . . passion roars through every chapter . . . This book delivers on what it promises, which is an achievement' The Los Angeles Review of Books 'Many of us live today with a pervasive sense of unease, worried that our own safety is at risk, or that of our loved ones, or that of people whose bad circumstances appear to us through networked media. Violence feels ever-present. Natasha Lennard and Brad Evans help us to analyze those feelings, talking with a wide range of thinkers in order to gain insight into the worst of what humans do, and challenging us to imagine a world in which violence is no longer a given. Their book is full of surprising insights and intelligent compassion' Sarah Leonard, co-editor of The Future We Want: Radical Ideas for the New Century 'In Violence, Brad Evans and Natasha Lennard have created, alongside their interview subjects, a kaleidoscopic exploration of the concept of violence, in terrains expected and not, in prose taut and unexpectedly gorgeous. Their philosophical rigor provides the reader with an intellectual arsenal against the violence of the current moment' Molly Crabapple, author of Drawing Blood 'This is a book that will make everyone feel clever. Reflections on violence, both actual, and the possibility of, mediating so much of social interaction, also makes for critical reading. The range of interviews with leading academics, to filmmakers and artists, is impressive, at once immediate and relevant, but also profoundly philosophical. More essentially, though, the conversations underline the need and suggest ways to resist and organize in a visionary way, in the extraordinary times we live in' Razia Iqbal, BBC News 'Standing on their own, the interview subjects featured in Violence: Humans In Dark Times might be identified as the foremost intellectuals, artists, and activists engaged with questions of how violence moves, acts, and is witnessed in the world. But summoned together in this collection by two political thinkers distinguished by both their unmatched intellects and their willingness to deploy those intellects in acts of service rather than performance, their voices materialize as a creative space large and fertile enough to lay the groundwork for an actionable hope. The result is a groundbreaking testament to the vital role of the abstract and the theoretical for understanding the depth to which violence is entrenched in human experience and consciousness and to the necessity of empathetic intellectual stewards like Lennard and Evans to direct such understanding into transformative action. We would be wise to read this collection with a similar eye toward service, and in so doing, open ourselves up to the rare mercy of no longer having to stand on our own' Alana Massey, author of All The Lives I Want 'A timely, eloquent series of interviews that interrogate the correlation of violence with gender discrimination, white intolerance, unilateral state power, politics, art and climate change' Shelley Walia, FrontlineTable of ContentsIntroduction - Brad Evans & Adrian Parr 1. The Poetry of Resistance - Malcolm London 2. Breaking the World - Marina Abramovic 3. Trans-species Encounters - David Rothenberg 4. Recovering from an Addicted Life - Russell Brand 5. Non-Violence & the Ghost of Fascism - Todd May (Clemson University) 6. Without Exception: On the Ordinariness of Violence - Lauren Berlant (University of Chicago) 7. The Anatomy of Destruction - Gil Anidjar (Columbia University) 8. The Intimate Witness: Art and the Disappeared of History - Chantal Meza 9. The Death of Humanitarianism - Mark Duffield (Global Insecurities Centre) 10. The Expulsion of Humanity - Saskia Sassen (Columbia University) 11. When Art is Born of Resistance - Martha Rosler 12. The Tragedy of Existence - Simon Critchley (New School for Social Research) 13. The Violence of the Algorithm - Davide Panagia (University of California) 14. Thinking Art in a Decolonial Way - Lewis Gordon 15. What does an Anti-Fascist Life Feel Like? - Natasha Lennard (New School for Social Research) 16. Life in Zones of Abandonment - Henry A. Giroux 17. The Violence of Absent Emergencies - Santiago Zabala 18. The Ghosts of Civilised Violence - Alex Taek-Gwang Lee (Kyung Hee University, Seoul) 19. Violence is Freedom - Roy Scranton (University of Notre-Dame) 20. Slavery in America - Ana-Lucia Araujo (Howard University) 21. Why We Should All Read Walter Benjamin Today - James Martel (San Francisco State University) 22. Unlearning History - Ariella Aisha Azoulay (Brown University) 23. When Death Travels - Gareth Owen 24. The Poverty of Violence - Ananya Roy (UCLA) 25. The Violence of Denial - Linda Melvern 26. Why We Should All Read Malcolm X Today - Kehinde Andrews (Birmingham City University) 27. America is Not a Fascist State. It’s an Authoritarian one - Ruth Ben-Ghiat (New York University) 28. The Atmosphere of Violence - Fatima Bhutto 29. The Inherited Memory of Art - Mark Bradford 30. Look Closer, Then You Will See - Isaac Cordal 31. The Revolutionary Potential of Pacificism - Richard Jackson (University of Otago, NZ) Index
£72.25
Pluto Press Conversations on Violence
Book SynopsisLeading thinkers discuss the experience and repercussions of violence, exploring its varied manifestations in the world todayTrade Review'Brad Evans in one of the brightest critical minds of his generation' -- Henry A. Giroux'Violence has been extraordinarily difficult to account for in conception and explanation. This compelling collection of first-rate contributions goes a long way to addressing these difficulties ... it serves as an anchor for critical thinking on the complex range, power and impacts of violence' -- David Theo Goldberg, author of Dread: Facing Futureless Futures (2021)'Conversations on Violence may have a foreboding title, but the collected interviews with artists, academics, activists, and entertainers is lively, stimulating, and engaging it is more like a salon than a crime scene. The topics discussed are serious and urgent from climate change, to the re-emergence of fascism, to sexual assault but the brilliant minds included here address these issues in direct and clear-eyed ways that point to fairer, safer, and more fully realized modes of existence in the future' -- Deborah Berke, Dean of the Yale School of Architecture and founding partner of Deborah Berke PartnersReviews for the previous volume, Violence: Humans in Dark Times also by Brad Evans 'Notable contemporary thinkers and creators give their individual perspectives in this compelling look at violence. ... A provocative volume that challenges humanity to correct its runaway course toward an increasingly violent future by learning from its violent past' Kirkus Reviews 'The purpose of the work is to challenge humanity to create more meaningful solutions when it comes to these kinds of violence--or at least to name violence without inadvertently inciting even more anger. . . . passion roars through every chapter . . . This book delivers on what it promises, which is an achievement' The Los Angeles Review of Books 'Many of us live today with a pervasive sense of unease, worried that our own safety is at risk, or that of our loved ones, or that of people whose bad circumstances appear to us through networked media. Violence feels ever-present. Natasha Lennard and Brad Evans help us to analyze those feelings, talking with a wide range of thinkers in order to gain insight into the worst of what humans do, and challenging us to imagine a world in which violence is no longer a given. Their book is full of surprising insights and intelligent compassion' Sarah Leonard, co-editor of The Future We Want: Radical Ideas for the New Century 'In Violence, Brad Evans and Natasha Lennard have created, alongside their interview subjects, a kaleidoscopic exploration of the concept of violence, in terrains expected and not, in prose taut and unexpectedly gorgeous. Their philosophical rigor provides the reader with an intellectual arsenal against the violence of the current moment' Molly Crabapple, author of Drawing Blood 'This is a book that will make everyone feel clever. Reflections on violence, both actual, and the possibility of, mediating so much of social interaction, also makes for critical reading. The range of interviews with leading academics, to filmmakers and artists, is impressive, at once immediate and relevant, but also profoundly philosophical. More essentially, though, the conversations underline the need and suggest ways to resist and organize in a visionary way, in the extraordinary times we live in' Razia Iqbal, BBC News 'Standing on their own, the interview subjects featured in Violence: Humans In Dark Times might be identified as the foremost intellectuals, artists, and activists engaged with questions of how violence moves, acts, and is witnessed in the world. But summoned together in this collection by two political thinkers distinguished by both their unmatched intellects and their willingness to deploy those intellects in acts of service rather than performance, their voices materialize as a creative space large and fertile enough to lay the groundwork for an actionable hope. The result is a groundbreaking testament to the vital role of the abstract and the theoretical for understanding the depth to which violence is entrenched in human experience and consciousness and to the necessity of empathetic intellectual stewards like Lennard and Evans to direct such understanding into transformative action. We would be wise to read this collection with a similar eye toward service, and in so doing, open ourselves up to the rare mercy of no longer having to stand on our own' Alana Massey, author of All The Lives I Want 'A timely, eloquent series of interviews that interrogate the correlation of violence with gender discrimination, white intolerance, unilateral state power, politics, art and climate change' Shelley Walia, FrontlineTable of ContentsIntroduction - Brad Evans & Adrian Parr 1. The Poetry of Resistance - Malcolm London 2. Breaking the World - Marina Abramovic 3. Trans-species Encounters - David Rothenberg 4. Recovering from an Addicted Life - Russell Brand 5. Non-Violence & the Ghost of Fascism - Todd May (Clemson University) 6. Without Exception: On the Ordinariness of Violence - Lauren Berlant (University of Chicago) 7. The Anatomy of Destruction - Gil Anidjar (Columbia University) 8. The Intimate Witness: Art and the Disappeared of History - Chantal Meza 9. The Death of Humanitarianism - Mark Duffield (Global Insecurities Centre) 10. The Expulsion of Humanity - Saskia Sassen (Columbia University) 11. When Art is Born of Resistance - Martha Rosler 12. The Tragedy of Existence - Simon Critchley (New School for Social Research) 13. The Violence of the Algorithm - Davide Panagia (University of California) 14. Thinking Art in a Decolonial Way - Lewis Gordon 15. What does an Anti-Fascist Life Feel Like? - Natasha Lennard (New School for Social Research) 16. Life in Zones of Abandonment - Henry A. Giroux 17. The Violence of Absent Emergencies - Santiago Zabala 18. The Ghosts of Civilised Violence - Alex Taek-Gwang Lee (Kyung Hee University, Seoul) 19. Violence is Freedom - Roy Scranton (University of Notre-Dame) 20. Slavery in America - Ana-Lucia Araujo (Howard University) 21. Why We Should All Read Walter Benjamin Today - James Martel (San Francisco State University) 22. Unlearning History - Ariella Aisha Azoulay (Brown University) 23. When Death Travels - Gareth Owen 24. The Poverty of Violence - Ananya Roy (UCLA) 25. The Violence of Denial - Linda Melvern 26. Why We Should All Read Malcolm X Today - Kehinde Andrews (Birmingham City University) 27. America is Not a Fascist State. It’s an Authoritarian one - Ruth Ben-Ghiat (New York University) 28. The Atmosphere of Violence - Fatima Bhutto 29. The Inherited Memory of Art - Mark Bradford 30. Look Closer, Then You Will See - Isaac Cordal 31. The Revolutionary Potential of Pacificism - Richard Jackson (University of Otago, NZ) Index
£18.04
John Wiley and Sons Ltd The Philosophy of Art
Book SynopsisTrade Review"A valuable introduction which is unusual in both offering students extremely clear accounts of philosophers’ efforts in the field and also highly provocative and relevant questions for them to use as ways of digesting the material." Consciousness, Literature and the Arts "Gracyk's Philosophy of Art mingles deft presentation of philosophical positions with insightful examples of artworks that illustrate or challenge those positions. This clear and methodical introduction considers fine art as well as popular culture, and the text is interspersed with thought-provoking exercises. An excellent read for students and professionals alike." Carolyn Korsmeyer, University at Buffalo (SUNY) "Gracyk's book introduces classical questions in philosophy of art and fresh contemporary issues that will capture the interest of undergraduates. Written in a clear, accessible style, it is replete with examples drawn from the fine arts and popular culture. Gracyk succeeds in being both rigorous and engaging. Highly recommended." James O. Young, University of Victoria "With its fresh and even-handed approach to the most recent developments, its delightful use of example, and its clean prose, this book is the perfect introduction to how to use philosophy to think clearly, creatively, and deeply about art and the aesthetic." Dominic McIver Lopes, University of British ColumbiaTable of ContentsAcknowledgementsPreface1 Meaning, Interpretation, and Picturing1 Representations and pictures2 Theories of picturing3 Intentions and transparency in pictures and photographs4 Indiscernible counterparts5 Fine art2 Art as Expression1 Overview of expression theories2 Tolstoy's account of expressive art3 Collingwood's account of expressive art4 The expressive persona 5 Expression as arousal6 Revising the arousal theory7 Expression as cognitive recognition3 Meaning and Creativity1 Plato on creativity2 Kant on genius3 Metaphorical exemplification4 Hegel and Marx5 Material bases of creativity6 Feminism and creativity4 Fakes, Originals, and Ontology1 Multiples and singularities2 Abstract objects3 Problems and implications4 Fakes and originals5 Objections and alternatives5 Authenticity and Cultural Origins1 Two kinds of contextualism2 Four kinds of appropriation3 Moral concerns4 Culture5 Authenticity6 Modernity and authenticity6 Defining Art1 Philosophical definition2 Historical background 3 Functional definitions4 Institutional definitions 5 Historical definitions6 The cluster account7 Aesthetics1 Aesthetic judgments and properties2 Supervenience3 Two complications4 Aesthetics and nature 5 Formalism and detachment 6 Making special 7 Pleasure and appreciation8 Beyond the Fine Arts1 Popular and mass art2 Standard criticisms of popular art3 Social consequences of popular culture4 Gender and race5 Everyday aesthetics9 Artistic and aesthetic value1 Three kinds of value2 The uniqueness thesis3 Value empiricism4 Instrumental value 5 An alternative analysis6 Appreciation7 Cognitive value10 ConclusionReferencesIndex
£22.21
John Wiley & Sons Narratives Unfolding
a huge range and FREE tracked UK delivery on ALL orders.
£98.60
John Wiley & Sons Canadian Painters in a Modern World 19251955
Book SynopsisA window onto the perspectives of Canadian artists during three eventful decades of local and global history.Trade Review"An engaging reference book for historians across the humanities, Lora Senechal Carney’s Canadian Painters in a Modern World, 1925–1955 finesses a broad swath of history and culture with remarkable grace and clarity." Roald Nasgaard, Florida State University"[Lora Senechal Carney] makes it clear that the art of the period was, in its various movements and through its various personalities, not only innovative, but often explosive, aimed at overturning the status quo to fashion the world anew." National Gallery of Canada Magazine
£35.10
Cornell University Press Panofsky and the Foundations of Art History
Book SynopsisNo one has been more influential in the contemporary practice of art history than Erwin Panofsky, yet many of his early seminal papers remain virtually unknown to art historians. As a result, Michael Ann Holly maintains, art historians today do not...
£42.30
Cornell University Press The Domain of Images
Book SynopsisIn the domain of visual images, those of fine art form a tiny minority. This original and brilliant book calls upon art historians to look beyond their traditional subjects—painting, drawing, photography, and printmaking—to the vast array of "nonart"...Trade ReviewFor whatever reason, some of the most daring, experimental writing in the field of art history is now coming out of Chicago.... Purely in terms of output, Elkins is phenomenal.... His work is about 'art history on the edge,' about aspects of art and design that defy categorization and that easily fall through the cracks. * Ballast Quarterly Review *James Elkins will deliver more pleasurable reflections per square image than you ever dreamed possible from an art historian. * Toronto Globe and Mail *
£28.49
University of Toronto Press Theory Rules
Book SynopsisIn art theory, as in cultural life generally, there has a long been tension between theory and artistic practice. The desire to resolve these tensions has been a principal impulse shaping artistic work and criticism over the last century. The last decade has seen the emergence of a broad, interdisciplinary body of theoretical work with a distinctive relationship to artistic practice, providing a common reference in artworks to the principles and vocabularies of theory.The sixteen essays in this collection were originally presented at an international conference entitled `Art as Theory / Theory and Art,' held at the University of Ottawa in late 1991. The contributors - critics, curators, and practising artists from Canada, the United States, Europe, and Australia, look at the current relationships between theory and practice in the fields of art, communication, and cultural studies from a wide range of viewpoints. Areas of interest include the institutionalization of theory,
£25.19
University of Nebraska Press Modern Art at the Border of Mind and Brain
Book SynopsisHuman beings have made images continuously for more than thirty thousand years. The oldest known cave paintings are between six and ten times older than the first forms of written language. Images help us organize our thoughts and represent them in our memory. We make images, Jonathan Fineberg argues, because we need them to aid not only in structuring our social and psychological self-conceptions but also in developing the circuitry of our brains.Modern Art at the Border of Mind and Brain is a broad investigation by one of the foremost scholars of modern art of the relationship between modern art and the structure of the mind and brain. Based on Fineberg's Presidential Lectures at the University of Nebraska, his book examines the relationship between artistic production, neuroscience, and the way we make meaning in form. Drawing on the art of Robert Motherwell, Joan Miró, Alexander Calder, Christo, Jean Dubuffet, and others, Fineberg helps us understandTrade Review"Based on Fineberg's reputation, it could be expected that Modern Art at the Border of Mind and Brain would be a valuable addition for collections centered on art theory. But it's what makes this book special–its text and visuals–that extends its appropriateness into general art collections."—Carl Schmitz, Art Libraries Society of North America“This is your brain. This is your brain on art. Jonathan Fineberg shows us just how art’s very ambiguity and subjectivity enables the brain to adapt and grow in ways that help us navigate our brave new multiverse. His book is an endlessly fascinating account of the mechanics of our perceptions when confronted with the ruptures of the new. It’s a wild ride!”—Fred Tomaselli, artist, New York “‘Art, like falling in love, simultaneously disorganizes and nurtures the self toward a creative reordering,’ writes Fineberg. It’s hard not to love his book, informed by fifty years of writing about art and intelligently engaging neuroscience and psychoanalysis to make a case for the fundamental importance of art. With elegant and concise prose the author crafts a particularly eloquent argument for the power of abstract art as an articulation of thought in form. Looking at art allows us to confront the new and bewildering. Seeing literally alters our brains.”—Dorothy Kosinski, director of the Phillips Collection, Washington DC“Don’t be deceived by the brevity of this book. In it Jonathan Fineberg gives a thrilling and inspiring account of the fundamental problem in abstract art: the representation of visual forms. It should be must-reading for all who are interested in neuroesthetics and the elusive problem of form representation.”—Semir Zeki, professor of neuroesthetics at University College London, Fellow of the Royal Society, and author of Splendors and Miseries of the Brain Table of ContentsForewordIntroduction1. Motherwell’s Mother: An Iconography in Abstraction2. The Ineffable, the Unspeakable, and the Inspirational: A Grammar3. The Nature Theater: Art and Politics4. Desire Lines in the MindEpilogueAcknowledgmentsNotesIndex
£27.90
Stanford University Press Art as a Social System
Book SynopsisThis is the definitive analysis of art as a social and perceptual system by Germany''s leading social theorist of the late twentieth century. It not only represents an important intellectual step in discussions of artin its rigor and in its having refreshingly set itself the task of creating a set of distinctions for determining what counts as art that could be valid for those creating as well as those receiving art worksbut it also represents an important advance in systems theory.Returning to the eighteenth-century notion of aesthetics as pertaining to the knowledge of the senses, Luhmann begins with the idea that all art, including literature, is rooted in perception. He insists on the radical incommensurability between psychic systems (perception) and social systems (communication). Art is a special kind of communication that uses perceptions instead of language. It operates at the boundary between the social system and consciousness in ways that profoundly irritate commuTrade Review"Art as a Social System deserves to be read as a brilliant synthesis of every major philosophy of art, from Baumgarten to Kristeva, and as an ambitious attempt to understand art history in its entirety. . . . It seems inevitable that North American academics in the humanities will soon confront this challenging work."—Literary Research / Recherche Litteraire"Thus, what is most interesting about Luhmann's view of art is also what is most interesting about his general theory: its sophisticated and elaborate explorations in the evolutionary development of the media of communication, which are perhaps unparalleled in contemporary theory."—American Journal of Sociology"Overall this is a fascinating, stimulating and thought-provoking book not always in ways that may have been intended by the author."—John Danvers"This book is a pleasure to read. It is literate, informed, unpretentious, and patient...The book is a spectacular example of one anthropologist's selection of the technical world as an object of study after generations of sociocultural anthropologists' bias against the same."—ISISTable of ContentsContents 1 2 3 4 5 6 7
£105.40
Stanford University Press On Representation
Book SynopsisAt his death in 1992, the eminent philosopher, critic, and theorist Louis Marin left, in addition to a dozen influential books (including Sublime Poussin, Stanford, 1999), a corpus of some three hundred articles and essays published in journals and anthologies. A collection of twenty-two essays that appeared between 1971 and 1992, this book interrogates the theory and practice of representation as it is carried out by both linguistic and graphic signs, and thus the complex relation between language and image, between perception and conception.The essays are grouped in four parts that reflect the continuity and coherence of Marin''s interests in semiology, narrative, visuality, and painting. The interdisciplinary horizon of the book draws on multiple scholarly resourcesthe cultural history of the seventeenth century, the philosophy of language, the tools of discourse analysis, the history of art and aesthetics, the analysis of receptionto address a stunning diversity of
£112.20
Stanford University Press On Representation
Book SynopsisAt his death in 1992, the eminent philosopher, critic, and theorist Louis Marin left, in addition to a dozen influential books (including Sublime Poussin, Stanford, 1999), a corpus of some three hundred articles and essays published in journals and anthologies. A collection of twenty-two essays that appeared between 1971 and 1992, this book interrogates the theory and practice of representation as it is carried out by both linguistic and graphic signs, and thus the complex relation between language and image, between perception and conception.The essays are grouped in four parts that reflect the continuity and coherence of Marin''s interests in semiology, narrative, visuality, and painting. The interdisciplinary horizon of the book draws on multiple scholarly resourcesthe cultural history of the seventeenth century, the philosophy of language, the tools of discourse analysis, the history of art and aesthetics, the analysis of receptionto address a stunning diversity of
£28.80
Stanford University Press Marc Chagall on Art and Culture
Book SynopsisMarc Chagall (1887-1985) traversed a long route from a boy in the Jewish Pale of Settlement, to a commissar of art in revolutionary Russia, to the position of a world-famous French artist. This book presents for the first time a comprehensive collection of Chagall''s public statements on art and culture. The documents and interviews shed light on his rich, versatile, and enigmatic art from within his own mental world. The book raises the problems of a multi-cultural artist with several intersecting identities and the tensions between modernist form and cultural representation in twentieth-century art. It reveals the travails and achievements of his life as a Jew in the twentieth century and his perennial concerns with Jewish identity and destiny, Yiddish literature, and the state of Israel. This collection includes annotations and introductions of the Chagall texts by the renowned scholar Benjamin Harshav that elucidate the texts and convey the changing cultural contexts of Chagall'Trade Review"[Marc Chagall on Art and Culture and Marc Chagall and His Times] represent important contributions to the fields of art history, twentieth-century history, and Russian studies, and Marc Chagall and His Times in particular will, I suspect, be a standard work for those studying Chagall's life for years to come." -- Canadian Journal of History/ Annales canadiennes of d'histoire
£78.30
