Theory of art Books
John Wiley and Sons Ltd Art Is Not What You Think It Is
Book SynopsisArt Is Not What You Think It Is presents a thought-provoking manifesto by two leading art historians which reconsiders current discussions on the idea of art, and offers new and challenging insights into its uses, meanings, and its very nature.Trade Review“Summing Up: Recommended. Graduate students and researchers/faculty.” (Choice, 1 August 2012)Table of ContentsList of Figures vi Preface: Art Is Not What You Think It Is viii Acknowledgments xv Introduction: Art and/as Manifesto 1 First Incursion: Artistry and Authorship 19 Second Incursion: The Dangers of Art and the Trap of the Visual 33 Third Incursion: To See the Frame that Blinds Us 52 Fourth Incursion: Deconstructing the Agencies of Art 74 Fifth Incursion: Intersections of the Local and the Global 94 Sixth Incursion: Into the Breach of Art and Religion 121 Seventh Incursion: The Art of Commodifying Artistry 142 Index 165
£21.80
John Wiley and Sons Ltd Art Is Not What You Think It Is
Book SynopsisArt Is Not What You Think It Is presents a thought-provoking manifesto by two leading art historians which reconsiders current discussions on the idea of art, and offers new and challenging insights into its uses, meanings, and its very nature.Trade Review“Summing Up: Recommended. Graduate students and researchers/faculty.” (Choice, 1 August 2012)Table of ContentsList of Figures vi Preface: Art Is Not What You Think It Is viii Acknowledgments xv Introduction: Art and/as Manifesto 1 First Incursion: Artistry and Authorship 19 Second Incursion: The Dangers of Art and the Trap of the Visual 33 Third Incursion: To See the Frame that Blinds Us 52 Fourth Incursion: Deconstructing the Agencies of Art 74 Fifth Incursion: Intersections of the Local and the Global 94 Sixth Incursion: Into the Breach of Art and Religion 121 Seventh Incursion: The Art of Commodifying Artistry 142 Index 165
£62.65
John Wiley and Sons Ltd Photographic Theory
Book SynopsisHershberger is the winner of a 2015 Insight Award from the Society for Photographic Education for his work on this book and for his overall contributions to the field! Photographic Theory: An Historical Anthology presents a compendium of readings spanning ancient times to the digital age that are related to the history, nature, and current status of debates in photographic theory. Offers an authoritative and academically up-to-date compendium of the history of photographic theory Represents the only collection to include ancient, Renaissance, and 19th-, 20th-, and 21st-century writings related to the subject Stresses the drama of historical and contemporary debates within theoretical circles Features comprehensive coverage of recent trends in digital photography Fills a much-needed gap in the existing literature Trade Review"There can be no question that those of us who teach the history of photography – and our students – have been put most deeply in Hershberger’s debt." (History of Photography Online, 1 June 2015) "This chronologically (and, to a lesser extent, thematically) organized selection of key contributions to photographic theory display both the highly exciting diversity of theoretical questions raised by the emergence, development, triumph, and eventual metamorphosis of photography and the amazing possibility to organize the sometimes savage heterogenity of this material along unobtrusive and simple art-historical lines." - Leonardo Online (1 February 2014)Table of ContentsIntroduction 1 1 Before Photography to Invention: c. 380 B.C.E.–1839 9 Camera/Vision 11 1.1 Excerpts from the Allegory of the Cave. In The Republic 12Plato, c. 380 B.C.E. 1.2 The Function of the Eye, As Explained by the Camera Obscura 17Leonardo da Vinci, c. 1520 1.3 Description of the Camera Lucida 19William H. Wollaston, 1807 Art/History 23 1.4 Excerpts on Linear Perspective. In On Painting 24Leon Battista Alberti, 1540 1.5 Account of the late Mr. [Robert] Barker 29Anonymous, 1806 1.6 Description of the Process of Painting and Effects of Light Invented by Daguerre, and Applied by Him to the Pictures of the Diorama 31Louis-Jacques-Mandé Daguerre, 1839 2 Invention to Pictorialism: 1839–c. 1880 35 What is Photography? 37 2.1 Some Account of the Art of Photogenic Drawing 38William Henry Fox Talbot, 1839 [March] 2.2 The Pencil of Nature. A New Discovery 44Nathaniel Parker Willis and Timothy O. Porter, eds., 1839 [April] 2.3 Report [on the Daguerreotype to the Chamber of Deputies] 48François Arago, 1839 [July] Art/History 55 2.4 Upon Photography in an Artistic View, and in Its Relations to the Arts 56Sir William J. Newton, 1853 2.5 La Photographie 59Antoine Joseph Wiertz, 1855 2.6 Photography 61Eastlake, Lady (Elizabeth) 1857 Camera/Vision 67 2.7 The Stereoscope and the Stereograph 68Oliver Wendell Holmes, 1859 2.8 Combination Printing. In Pictorial Effect in Photography 72Henry Peach Robinson, 1869 2.9 Annals of My Glass House 76Julia Margaret Cameron, 1874 3 Pictorialism to/and/vs. Modernism: c. 1880–c. 1920 81 Camera/Vision 83 3.1 Focussing. In Naturalistic Photography for Students of the Art 84Peter Henry Emerson, 1890 3.2 The Death of Naturalistic Photography 88Peter Henry Emerson, 1890 3.3 The Hand Camera — Its Present Importance 91Alfred Stieglitz, 1896 Interdisciplinary Approaches 95 3.4 Photo-Chemical Investigations and a New Method of Determination of the Sensitiveness of Photographic Plates 96Ferdinand Hurter and Vero C. Driffield, 1890 3.5 Logic as Semiotic: The Theory of Signs 100Charles Sanders Peirce, c. 1900 3.6 Intuition and Art. In Æsthetic: As Science of Expression and General Linguistic 105Benedetto Croce, 1902 3.7 The Cinematographical Mechanism of Thought and the Mechanistic Illusion…. In Creative Evolution 108Henri Bergson, 1907 What Should Photographs Look Like? 113 3.8 On the Straight Print 114Robert Demachy, 1907 3.9 What is a “Straight Print”? 118Frederick H. Evans, 1907 3.10 Photography and Artistic-Photography 121Marius de Zayas, 1913 4 Modernism to Postmodernism: c. 1920–c. 1960 123 Camera/Vision 125 4.1 Photography and the New God 126Paul Strand, 1922 4.2 Light: A Medium of Plastic Expression 130László Moholy-Nagy, 1923 4.3 Seeing Photographically 132Edward Weston, 1943 4.4 The Camera’s Glass Eye 136Clement Greenberg, 1946 What Should Photographs Look Like? 139 4.5 Aims 140Albert Renger-Patzsch, 1927 4.6 A Personal Credo 142Ansel Adams, 1943 4.7 Our Illustrations 147Frank R. Fraprie, 1943 4.8 Photography at the Crossroads 150Berenice Abbott, 1951 Art/History 155 4.9 Excerpts from Perspective as Symbolic Form 156Erwin Panofsky, 1927 4.10 The Age of the World Picture 161Martin Heidegger, 1938/52 4.11 Excerpts from Museum Without Walls 164André Malraux, 1947 Interdisciplinary Approaches 169 4.12 Photography and Typography 170Jan Tschichold, 1928 4.13 The Making of a Film. In Film as Art 174Rudolph Arnheim, 1932 4.14 The Ontology of the Photographic Image. In What Is Cinema? 176André Bazin, 1945 What is Photography? 181 4.15 Mechanism and Expression, the Essence and Value of Photography 182Franz Roh, 1929 4.16 Introduction to The Decisive Moment 188Henri Cartier-Bresson, 1952 4.17 Photography 192Siegfried Kracauer, 1960 5 Modernism and Postmodernism to Digital Imaging: c. 1960–c. 1990 199 Art/History 201 5.1 Equivalence: The Perennial Trend 202Minor White, 1963 5.2 Perspective. In Languages of Art 207Nelson Goodman, 1968 5.3 Can There Ever Again Be a History of Photography? 211Peter C. Bunnell, 1975 5.4 Introduction to Before Photography: Painting and the Invention of Photography 214Peter Galassi, 1981 5.5 New Metaphorics: Spirit and Symbol in Contemporary Landscape Photography 219Gretchen Garner, 1988 Camera/Vision 225 5.6 Introduction to The Photographer’s Eye 226John Szarkowski, 1966 5.7 Post-Visualization 232Jerry Uelsmann, 1967 5.8 Introduction to New Topographics 235William Jenkins, 1975 Interdisciplinary Approaches 239 5.9 Excerpts from The World Viewed 240Stanley Cavell, 1971 5.10 Notes on the Index: Seventies Art in America 246Rosalind Krauss, 1977 5.11 Photography and Fetish 251Christian Metz, 1985 5.12 Film, Photography, and Fetish: The Analyses of Christian Metz 256Ben Singer, 1988 What is Photography? 263 5.13 On the Nature of Photography 264Rudolf Arnheim, 1974 5.14 Photography, Vision, and Representation 269Joel Snyder and Neil Walsh Allen, 1975 5.15 The Directorial Mode: Notes Toward a Definition 276A. D. Coleman, 1976 5.16 Selections from Transparent Pictures: On the Nature of Photographic Realism 284Kendall L.Walton, 1984 5.17 The Photograph as Post-Industrial Object: An Essay on the Ontological Standing of Photographs 290Vilém Flusser, 1986 Identity/Politics 295 5.18 The Traffic in Photographs 296Allan Sekula, 1981 5.19 Of Mother Nature and Marlboro Men: An Inquiry into the Cultural Meanings of Landscape Photography 302Deborah Bright, 1985 5.20 Excerpts from Right of Inspection 310Jacques Derrida, 1985 5.21 Fetal Images: The Power of Visual Culture in the Politics of Reproduction 315Rosalind Pollack Petchesky, 1987 6 Postmodernism and Digital Imaging (Return to Pictorialism?): c. 1990–c. 2010 319 What is Digital Photography? 321 6.1 The Transcendental Machine? A Comparison of Digital Photography and Nineteenth-Century Modes of Photographic Representation 322Diana Emery Hulick, 1990 6.2 Photojournalism in the Age of Computers 329Fred Ritchin, 1990 6.3 Phantasm: Digital Imaging and the Death of Photography. In Metamorphoses 334Geoffrey Batchen, 1994 6.4 Escaping Reality: Digital Imagery and the Resources of Photography 338Barbara E. Savedoff, 1997 6.5 Fixing the Art of Digital Photography: Electronic Shadows 344Ellen Handy, 1998 6.6 Digital Ontologies: The Ideality of Form in/and Code Storage — or — Can Graphesis Challenge Mathesis? 350Johanna Drucker, 2001 Identity/Politics 355 6.7 Do Not Doubt the Dangerousness of the 12-Inch-Tall Politician 356David Wojnarowicz, 1991 6.8 The Politics of Focus: Feminism and Photography Theory 359Lindsay Smith, 1992 6.9 Re-Picturing Photography: A Language in the Making 365Aphrodite Désirée Navab, 2001 6.10 A Painful Labour: Responsibility and Photography 370Sharon Sliwinski, 2004 Camera/Vision 377 6.11 Clement Greenberg and Walker Evans: Transparency and Transcendence 378Mike Weaver, 1991 6.12 The Shadows on the Wall. In The Reconfigured Eye: Visual Truth in the Post-Photographic Era 382William J. Mitchell, 1992 6.13 Of Fish, Birds, Cats, Mice, Spiders, Flies, Pigs, and Chimpanzees: How Chance Casts the Historic Action Photograph into Doubt 384Robin Kelsey, 2009 Art/History 389 6.14 The Invisible Dragon: On Beauty I 390Dave Hickey, 1991 6.15 The Idiom in Photography as the Truth in Painting 394Rosemary Hawker, 2002 6.16 “Impressed by Nature’s Hand”: Photography and Authorship 399Douglas R. Nickel, 2009 Photography and Memory 407 6.17 Surviving Images: Holocaust Photographs and the Work of Postmemory 408Marianne Hirsch, 2001 6.18 Visualizing Memory: Photographs and the Art of Biography 412Deborah Willis, 2003 6.19 Remembering September 11: Photography as Cultural Diplomacy 415Liam Kennedy, 2003 6.20 Through a Glass, Darkly: Photography and Cultural Memory 421Alan Trachtenberg, 2008 Interdisciplinary Approaches 425 6.21 Curiosity and Conjecture: Mathematics, Photography, and the Imagination 426David Travis, 2003 6.22 Image as Trace: Speculations about an Undead Paradigm 429Peter Geimer, 2007 6.23 The Photographic Argument of Philosophy 436Alexander Sekatskiy, 2010 Works Cited and Further Reading 440 Credits, Sources, and Acknowledgments 449 Acknowledgments 454 Index 456
£77.85
Johns Hopkins University Press Mathematics in TwentiethCentury Literature and
Book SynopsisAn insightful tour of the great masters of the last century and an argument that challenges long-held paradigms, Mathematics in Twentieth-Century Literature and Art will appeal to mathematicians, humanists, and artists, as well as instructors teaching the connections among math, literature, and art.Trade ReviewFor those viewing mathematics and the creative arts as distinctly separate endeavors, Tubbs provides an insightful treatise that proves otherwise... Though the content of Tubbs's book is challenging, it is also accessible and should interest many on both sides of the perceived divide between mathematics and the arts. Choice A fascinating journey through the works of modern art and literature... This book can be seen as a guide to understanding the various movements that emerged within artistic circles in the 20th century. Tubbs does an excellent job of leading the reader through this world of ideas, gently guiding the non-mathematicians through the panorama of advanced mathematics, and mathematicians and those who are artistically naive to an appreciate of the world of modern art and literature... The book serves as a compass to guide the reader to a better understanding of modern art. -- Jay Kapraff LMS Newsletter A beautiful narration... Every chapter is well balanced between the mathematical side and the art side. -- Riccardo Moschetti Zentralblatt Math Books like Mathematics in Twentieth-Century Literature and Art help us get rid of prejudices, and indeed open our eyes to see. -- Capi Corrales-Rodriganez Mathematical Reviews Tubbs's exposition proves so clear and thorough that the mathematical novice reading Mathematics in Twentieth-Century Literature and Art receives an introductory course in the fundamentals of higher mathematics... Reluctant mathematicians will be delighted to discover that Tubbs's mathematical explanations afford new analyses of canonical artworks. Make Literary MagazineTable of ContentsPrefaceChronology1. Surrealist Writing, Mathematical Surfaces, and New GeometriesMathematical Imagery and ImagesMan Ray and Mathematical SurfacesGeometries, Flat and Curved2. Objects, Axioms, and ConstraintsBlack Squares and AxiomsGeometry without Objects / Literature without Words3. Abstraction in Art, Literature, and MathematicsThe White PaintingsAbstract NumbersStructure4. Literature, the Möbius Strip, and Infinite NumbersConcrete ArtThe Möbius Strip and LiteratureConcrete Mathematics and Infinite Numbers5. Klein Forms and the Fourth DimensionIn the LabyrinthSurfaces, Mysticism, and the Fourth Dimension6. Paths, Graphs, and TextsLiterature and ChoiceMathematical Graph TheoryA Play Based on a Graph7. Poetry, Permutations, and Zeckendorf's TheoremStructured and Programmed PoemsConcrete Poetry and Mathematical Images8. Numbers and MeaningTargets, Numbers, and EquationsNumbers: Imagined and ImaginaryRandomness, Arbitrariness, and Perfect NumbersDada PoetryDisorder and ArtArbitrariness10. The ArtworldNotesBibliographyIndex
£23.85
Johns Hopkins University Press How Literature Plays with the Brain
Book SynopsisExamines the parallels between certain features of literary experience and functions of the brain. For the neuroscientific community, this book suggests that different areas of research - the neurobiology of vision and reading, the brain-body interactions underlying emotions - may be connected to a variety of aesthetic and literary phenomena.Trade ReviewArmstrong's book is a testament to the value of the arts and the humanities since their processes and productions generate ideas that are literally the physical (neurobiological) stuff of which we are made. -- Gregory F. Tague ASEBL Journal How Literature Plays with the Brain: The Neuroscience of Reading and Art is a highly informative and carefully argued book. We recommend a close reading of it. Linguistic and Philosophical Investigations Armstrong's book is a beautiful example of how humanities scholars can accomplish a conversation across the gap between the 'two cultures' without giving up their disciplinary identity, bringing the larger picture to bear on the more particular research of the cognitive sciences. -- Karin Kukkonen Cambridge Quarterly Armstrong finds his inspiration in recent neuroscience... his overview of mirror neuron theory and the controversies that surround it, for example, outdoes in accuracy and judiciousness any other account I have seen among neuroaesthetics and cognitive literary studies. Modern Fiction Studies At present, when so many universities would gleefully discard the study of the arts in the service of a utilitarian turn in higher education, the evidence that Armstrong provides for their vital cognitive function and the coherence with which he presents that evidence is indeed both welcome and timely. Philosophy and Literature sTable of ContentsPreface1. The Brain and Aesthetic Experience2. How the Brain Learns to Read and the Play of Harmony and Dissonance3. The Neuroscience of the Hermeneutic Circle4. The Temporality of Reading and the Decentered Brain5. The Social Brain and the Paradox of the Alter EgoEpilogueNotesIndex
£25.17
Temple University Press,U.S. Comic China Representing Common Ground 18901945
Book SynopsisWendy Gan's Comic China investigates the circumstances and motivations of cross-cultural humor. How do works that trade in laughter shape our understanding of Western discourses about China? Is humor meant to be inclusive or exclusive? Does it protect or challenge the status quo? Gan suggests that the simple, straightforward laugh may actually be a far more intricate negotiation of power relations. Gan unpacks texts by authors who had little real contact with China as well as writers whose proximity to China influenced their representations. Looking beyond the familiar canon of serious modernist texts and the Yellow Peril classics of popular fiction, Gan analyzes turn-of-the-twentieth-century musical comedies set in the Far East, Ernest Bramah's chinoiserie-inspired tales, and interwar travel writing. She also considers the comic works of the missionary Arthur Henderson Smith, the former Maritime Customs Officer J.O.P. Bland, and the Shanghai journalist and advertising man Carl Crow.
£47.70
John Wiley and Sons Ltd The Art of Comics
Book SynopsisTHE ART OF COMICS The Art of Comics: A Philosophical Introduction is the first-ever collection of essays published in English devoted to the philosophical questions raised by the art of comics. The volume, which includes a preface by the renowned comics author Warren Ellis, contains ten cutting-edge essays on a range of philosophical topics raised by comics and graphic novels. These include the definition of comics, the nature of comics genres, the relationship between comics and other arts such as film and literature, the way words and pictures combine in comics, comics authorship, the language of comics, and the metaphysics of comics. The book also contains an in-depth introduction by the co-editors which provides an overview of both the book and its subject, as well as a brief history of comics and an overview of extant work on the philosophy of comics. In an area of growing philosophical interest, this volume constitutes a great leap forward in the developmTrade Review“Regardless, though, considered as a whole, The Art of Comicsis an excellent collection and one which is likely to provoke spirited debate and serve as a spur to further research within Anglo-American philosophy (and philosophy more generally) into this sadly neglected art form. I, for one, look forward to these future developments immensely. To quote one of the greats in the history of comics—excelsior!.” (British Journal of Aesthetics, 1 October 2013) “The Art of Comics would make a fine addition to any undergraduate reading list, introducing as it does several important notions in contemporary aesthetics.” (The Journal of Aesthetics & Art Criticism, 1 November 2013)Table of ContentsEditors’ Acknowledgments vii List of Figures viii Notes on Contributors ix Foreword xiiWarren Ellis The Art and Philosophy of Comics: An Introduction xivAaron Meskin and Roy T. Cook Part One: The Nature and Kinds of Comics 1 1 Redefining Comics 3John Holbo 2 The Ontology of Comics 31Aaron Meskin 3 Comics and Collective Authorship 47Christy Mag Uidhir 4 Comics and Genre 68Catharine Abell Part Two: Comics and Representation 85 5 Wordy Pictures: Theorizing the Relationship between Image and Text in Comics 87Thomas E. Wartenberg 6 What’s So Funny? Comic Content in Depiction 105Patrick Maynard 7 The Language of Comics 125Darren Hudson Hick Part Three: Comics and the Other Arts 145 8 Making Comics into Film 147Henry John Pratt 9 Why Comics Are Not Films: Metacomics and Medium‐Specific Conventions 165Roy T. Cook 10 Proust’s In Search of Lost Time : The Comics Version 188David Carrier Index 203
£66.56
John Wiley and Sons Ltd Theory in Contemporary Art since 1985
Book SynopsisUpdated and reorganized to offer the best collection of state-of-the-art readings on the role of critical theory in contemporary art, this second edition of Theory in Contemporary Art since 1985 brings together scholarly essays, artists' statements, and art reproductions to capture the vibrancy and dissonance that define today's art scene. Incorporates new and updated topics that have become central to art theory and practice over the past decade New and updated chapters cover such topics as: international biennials, historicizing of the term contemporary art, aesthetics, art and politics, feminism and pornography, ecology and art, the Middle East and conflict studies, Eastern European art and politics, gender and war, and technology Features a thematic reconfiguration of sections and new introductions to make readings userfriendly Extensively illustrated throughout with an expanded color-plate section New contributionsTable of ContentsText, Figure, and Plate Credits viii How To Use this Book xvi Notes on Contributors xix Introduction 1 Part I The Field of Contemporary Art 7 1 The Intellectual Field: A World Apart (1990) 13 Pierre Bourdieu 2 When Form Has Become Attitude – And Beyond (1994) 21 Thierry de Duve 3 One Place After Another: Notes on Site Specificity (1997) 34 Miwon Kwon 4 Biennials without Borders? (2009) 56 Chin-Tao Wu 5 Periodising Contemporary Art (2009) 64 Alexander Alberro 6 Contemporary Art and the Politics of Aesthetics (2009) 72 Jacques Rancière Part II Practices and Models/Rethinking Form and Medium 87 7 A Note on Gerhard Richter’s October 18, 1977 (1989) 94 Benjamin H. D. Buchloh 8 Notes on Surface: Toward a Genealogy of Flatness (2000) 102 David Joselit 9 Informe without Conclusion (1996) 118 Rosalind Krauss 10 Video Projection: The Space Between Screens 131 Liz Kotz 11 How to Provide an Artistic Service: An Introduction (1994) 146 Andrea Fraser 12 Conversation Pieces: The Role of Dialogue in Socially-Engaged Art (2003) 153 Grant Kester 13 Antagonism and Relational Aesthetics (2004) 166 Claire Bishop Part III Culture/Identities/Political Agency 195 14 The War on Culture (1990) 203 Carole S. Vance 15 AIDS: Cultural Analysis/Cultural Activism (2002) 211 Douglas Crimp 16 Architecture of the Evicted (1990) 220 Rosalyn Deutsche 17 Gender is Burning: Questions of Appropriation and Subversion (1993) 235 Judith Butler 18 Looking for Trouble (1993) 252 Kobena Mercer 19 The Mythology of Difference: Vulgar Identity Politics at the Whitney Biennial (1993) 263 Charles A. Wright, Jr 20 Haunted TV (1992) 280 Avital Ronell 21 The Architecture of Porn: Museum, Urban Detritus, and Cinematic Stag-rooms (2012) 289 Beatriz Preciado 22 Cultural Workers as Organic Intellectuals (2008) 299 Chantal Mouffe Part IV Postcolonial Critiques 309 23 The Marco Polo Syndrome: Some Problems around Art and Eurocentrism (1993) 314 Gerardo Mosquera 24 In the “Heart of Darkness” (1993) 322 Olu Oguibe 25 The Syncretic Turn: Cross-Cultural Practices in the Age of Multiculturalism (1996) 329 Jean Fisher 26 Authenticity, Reflexivity, and Spectacle: Or, the Rise of New Asia is not the End of the World (2004) 338 Lee Weng Choy 27 All-Owning Spectatorship (1991) 354 Trinh T. Minh-Ha 28 Ruins, Fragmentation, and the Chinese Modern/Postmodern (1998) 371 Wu Hung Part V Art Subjects/Historical Subjects 381 29 Re-politicizing Art, Theory, Representation and New Media Technology (2008) 388 Marina Grinić 30 Miming the Master: Boy-Things, Bad Girls, and Femmes Vitales (1996) 395 Mary Kelly 31 Zones of Indistinction: Giorgio Agamben’s ‘Bare Life’ and the Politics of Aesthetics (2009) 416 Anthony Downey 32 The Database (2001) 435 Lev Manovich 33 For the Love of Abstraction (2008) 455 Blake Stimson 34 The Politics of Sustainability: Art and Ecology (2009) 466 T. J. Demos Appendix: Letters and Responses Contingent Factors: A Response to Claire Bishop’s “Antagonism and Relational Aesthetics” 486 Liam Gillick Index 498
£45.55
John Wiley and Sons Ltd Creative Writing and Art History
Book SynopsisCreative Writing and Art History considers the ways in which the writing of art history intersects with creative writing. Essays range from the analysis of historical examples of art historical writing that have a creative element to examinations of contemporary modes of creative writing about art.Table of Contents6 Notes on Contributors 8 Chapter 1 'A narrative of what wishes what it wishes it to be': An Introduction to 'Creative Writing and Art History' Catherine Grant 22 Chapter 2 Writing Perceptions: The Matter of Words and the Rollright Stones Nicholas Chare 46 Chapter 3 (Blind Summit) Art Writing, Narrative, Middle Voice Gavin Parkinson 66 Chapter 4 Connoisseurship, Painting, and Personhood Jeremy Melius 88 Chapter 5 Under the Hat of the Art Historian: Panofsky, Berenson, Warburg Francesco Ventrella 110 Chapter 6 'The Liar': Fictions of the Person Patricia Rubin 130 Chapter 7 'Scattered notes': Authorship and Originality in Paul Gauguin's Diverses choses Linda Goddard 148 Chapter 8 'Sudden gleams of (f)light': 'Intuition as Method'? Charlotte de Mille 166 Chapter 9 Rotten Sun C. F. B. Miller 190 Chapter 10 Notes on Writing as Vertigo Satish Padiyar 201 Index
£24.70
MP-NCA Uni of North Carolina Arts Work in the Age of Biotechnology Shaping
Book SynopsisBy combining science and art and design, artists offer new insights about genetic engineering by bringing it out of the lab and into public places to challenge viewers' understandings about the human condition, the material of our bodies, and the consequences of biotechnology.
£23.96
Duke University Press How to Make Art at the End of the World
Book SynopsisNatalie Loveless examines the institutionalization of artistic research-creation—a scholarly activity that considers art practices as research methods in their own right—and its significance to North American higher education.Trade Review“In this beautifully argued, eminently readable book, stories are the center of attention. Morphing art and knowledge in the neoliberal university situates thinking and pedagogy. Curiosity-driven transdisciplinary practice is both motor and object of analysis. Natalie Loveless asks how stories craft worlds in politically and sensually attuned modes. I treasure the extensive knowledge of modernist performance art and art activism broadly, as well as rich semiotic and psychoanalytic readings of stories and performance. This book is itself a loving act of research-creation.” -- Donna J. Haraway, author of * Staying with the Trouble: Making Kin in the Chthulucene *“In her evocative book How to Make Art at the End of the World, Natalie Loveless has captured the most urgent and far-reaching question concerning our cultural environment, that is, how to inhabit it in an era of geopolitical uncertainty. This is a daunting task; her ambitious answer, grounded in examples of alternative critical pedagogies, aims to reduce the toxic colonial footprint in arts education by developing a sustainable research-creation model based on differential multiplicities. And that gives us hope.” -- Mary Kelly, Judge Widney Professor, USC Roski School of Art and Design“In this succinct book, Natalie Loveless explores the claim that art-making practices are well situated to challenge and change existing knowledge-making practices in the contemporary research university…. Her primary audience, researchers in art and fine art, will find the manifesto gives a sophisticated form to an emerging desire—an eros and 'attunement'—to not just study the world, but to have an impact on it.” -- David Theodore * RACAR * “A necessary read for artists and scholars who are drawn to, or already working with, artistically driven methods of teaching and researching.... Through the text, readers will gain a deeper understanding of how research-creation, beyond doing artistic research, is about creatively intervening in feminist and anti-racist research practices.” -- Jo Billows and Stephanie Springgay * Journal for Artistic Research *
£67.15
Cornell University Press Art of the Ordinary
Book SynopsisCutting across literature, film, art, and philosophy, Art of the Ordinary is a trailblazing, cross-disciplinary engagement with the ordinary and the everyday. Because, writes Richard Deming, the ordinary is always at hand, it is, in fact, too familiar for us to perceive it and become fully aware of it. The ordinary he argues, is what most needs to be discovered and yet is something that can never be approached, since to do so is to immediately change it.Art of the Ordinary explores how philosophical questions can be revealed in surprising placesas in a stand-up comic's routine, for instance, or a Brillo box, or a Hollywood movie. From negotiations with the primary materials of culture and community, ways of reading self and other are made available, deepening one's ability to respond to ethical, social, and political dilemmas. Deming picks out key figures, such as the philosophers Stanley Cavell, Arthur Danto, and Richard Wollheim; poet John Ashbery; artist AndyTrade ReviewA trailblazing, cross-disciplinary engagement with the ordinary and the everyday. * Critics at Large *Table of ContentsIntroduction: In Respect of the Ordinary 1. Leading an Ordinary Life: Philosophy and the Ordinary 2. Something Completely Different: Steven Wright, Comedy, and the Uncanny Ordinary 3. How to Dwell: John Ashbery and the Poetics of the Ordinary 4. Artful Things: Looking at Warhol, Looking at the Everyday
£25.19
Cornell University Press The Minjian AvantGarde
Book SynopsisThe Minjian Avant-Garde studies how experimental artists in China mixed with, brought changes to, and let themselves be transformed by minjian, the volatile and diverse public of the post-Mao era. Departing from the usual emphasis on art institutions, global markets, or artists'' communities, Chang Tan proposes a new analytical framework in the theories of socially engaged art that stresses the critical agency of participants, the affective functions of objects, and the versatility of the artists in diverse sociopolitical spheres.Drawing from hitherto untapped archival materials and interviews with the artists, Tan challenges the views of Chinese artists as either dissidents or conformists to the regime and sees them as navigators and negotiators among diverse political discourses and interests. She questions the fetishization of marginalized communities among practitioners of progressive art and politics, arguing that the members of minjian are often mor
£35.15
Stanford University Press Artful Design: Technology in Search of the
Book SynopsisWhat we make, makes us. This is the central tenet of Artful Design, a photorealistic comic book that examines the nature, purpose, and meaning of design. A call to action and a meditation on art, authenticity, and social connection in a world disrupted by technological change, this book articulates a fundamental principle for design: that we should design not just from practical needs but from the values that underlie those needs. Artful Design takes readers on a journey through the aesthetic dimensions of technology. Using music as a universal phenomenon that has evolved alongside technology, this book breaks down concrete case studies in computer-mediated toys, tools, games, and instruments, including the best-selling app Ocarina. Every chapter elaborates a set of general design principles and strategies that illuminate the essential relationship between aesthetics and engineering, art and design. Ge Wang implores us to both embrace and confront technology, not purely as a means to an end, but in its potential to enrich life. Technology is never a neutral agent, but through what we do with it—through what we design with it—it provides a mirror to our human endeavors and values. Artful Design delivers an aesthetic manifesto of technology, accessible yet uncompromising.Trade Review"[Artful Design] touches on architecture, product design, video games, and other media, unraveling the universal design concepts woven into all creative work. Wang infuses the comic with plenty of humor and a sense of wonder at the infinite possibilities of art and technology."—Publishers Weekly
£34.00
John Wiley and Sons Ltd Faceworld
Book SynopsisWe have long accepted the face as the most natural and self-evident thing, believing that in it we could read, as if on a screen, our emotions and our doubts, our anger and joy. We have decorated them, made them up, designed them, as if the face were the true calling card of our personality, the public manifestation of our inner being. Nothing could be further from the truth. Rather than a window opening onto our inner nature, the face has always been a technical artefact—a construction that owes as much to artificiality as to our genetic inheritance. From the origins of humanity to the triumph of the selfie, Marion Zilio charts the history of the technical, economic, political, legal, and artistic fabrication of the face. Her account of this history culminates in a radical new interrogation of what is too often denounced as our contemporary narcissism. In fact, argues Zilio, the “narcissism” of the selfie may well reconnect us to the deepest sources of the human manufacture of faces—a reconnection that would also be a chance for us to come to terms with the non-human part of ourselves. This highly original reflection on the fabrication of the face will be of great value to students and scholars of media and culture and to anyone interested in the pervasiveness of the face in our contemporary age of the selfie.Trade Review'highly convincing'Aesthetica'Fascinating'Art Quarterly
£45.00
John Wiley and Sons Ltd On Tropical Grounds
Book SynopsisOn Tropical Groundsdevelops a new approach to the avant-garde and Surrealism in Caribbean and Atlantic studies. The book examines how islands and their tropical associations figure in the cultural and political imaginaries of the Caribbean and the Atlantic and identifies genealogies of local responses to continental fantasies of exotic insularity. Examining written and visual works that reflect on the Hispanic and Francophone Caribbean and the Canary Islands, as well as critical debates around discourses of insularity in island and metropolitan spaces, the book considers notions of ethnic purity, originality, imitation, appropriation, cosmopolitanism, and self-exoticism to challenge the idea that avant-garde practices were pre-eminently urban and metropolitan cultural forms.The book argues that attention to the relational dimension implicit in exchanges around ideas of anti-colonial struggle, radical social transformation, and anti-fascist resistance should inform an
£54.00
University of Minnesota Press The Truth Is Always Grey: A History of Modernist
Book SynopsisChanging how we look at and think about the color grey Why did many of the twentieth century’s best-known abstract painters often choose grey, frequently considered a noncolor and devoid of meaning? Frances Guerin argues that painters (including Jasper Johns, Cy Twombly, Agnes Martin, Brice Marden, Mark Rothko, and Gerhard Richter) select grey to respond to a key question of modernist art: What is painting? By analyzing an array of modernist paintings, Guerin demonstrates that grey has a unique history and a legitimate identity as a color. She traces its use by painters as far back as medieval and Renaissance art, through Romanticism, to nineteenth- and twentieth-century modernism to show how grey is the perfect color to address the questions asked by painting within art history and to articulate the relationship between painting and the historical world of industrial modernity. A work of exceptional erudition, breadth, and clarity, presenting an impressive range of canonical paintings across centuries as examples, The Truth Is Always Grey is a treatise on color that allows us to see something entirely new in familiar paintings and encourages our appreciation for the innovation and dynamism of the color grey.Trade Review"The Truth Is Always Grey is a work of exceptional erudition, breadth, and clarity. The range and force of Frances Guerin's examples are truly impressive, showing how attention to one color alone allows us to see relations between bodies of work across period and nation in unexpected ways."—Brian Price, author of Neither God nor Master: Robert Bresson and Radical Politics"Frances Guerin's discussion of grey in modern European and American abstract painting is extensive, original, and grafted on alternative critical opinions. She has done a magisterial job in selecting and combining a variety of points of views on grey as a color of major significance, in its own right, throughout the history of art."—Angela Dalle Vacche, Georgia Institute of Technology"In this timely book Frances Guerin addresses the central but neglected subject of grey in painting. Both material and philosophical in her analysis, she gives us a well researched, vibrant, and thoroughly engaging reconsideration of that widely underestimated color."—Anthea Callen, author of The Work of Art"This engaging book advances study of color and contemporary painting."—CHOICE "This is a history of the colour grey that incorporates numerous in-depth analyses and arguments: a history that was much overdue, and certainly worth reading." —Visual StudiesTable of ContentsContentsIntroduction: The Color Grey 1. What Is Grey Painting? Tracing a Historical Trajectory2. Visualizing Modern Life: Photography’s Influence on Nineteenth-Century Grey Painting3. Grey Abstraction: Form and Function in American Postwar Painting4. Beyond Modernist Abstraction: The Social Significance of Grey Painting 5. Reinvention and Perpetuation: The Possibility of Grey for Gerhard RichterEpilogue: The Irresolution of GreyAcknowledgmentsNotesIndex
£23.39
University of Minnesota Press Four Metaphors of Modernism: From Der Sturm to
Book SynopsisExploring the significance of metaphor in modern art “Where do the roots of art lie?” asked Der Sturm founder Herwarth Walden. “In the people? Behind the mountains? Behind the planets. He who has eyes to hear, feels.” Walden’s Der Sturm—the journal, gallery, performance venue, press, theater, bookstore, and art school in Berlin (1910–1932)—has never before been the subject of a book-length study in English. Four Metaphors of Modernism positions Der Sturm at the center of the avant-garde and as an integral part of Euro-American modern art, theory, and practice.Jenny Anger traces Walden’s aesthetic and intellectual roots to Franz Liszt and Friedrich Nietzsche—forebears who led him to embrace a literal and figurative mixing of the arts. She then places Der Sturm in conversation with New York’s Société Anonyme (1920–1950), an American avant-garde group modeled on Der Sturm and founded by Katherine Sophie Dreier, Marcel Duchamp, and Man Ray. Working against the tendency to examine artworks and artist groups in isolation, Anger underscores the significance of both organizations to the development and circulation of international modernism. Focusing on the recurring metaphors of piano, glass, water, and home, Four Metaphors of Modernism interweaves a historical analysis of these two prominent organizations with an aesthetic analysis of the metaphors that shaped their practices, reconceiving modernism itself. Presented here is a modernism that is embodied, gendered, multisensory, and deeply committed to metaphor and a restoration of abstraction’s connection with the real.Trade Review"Four Metaphors of Modernism is a tour de force demonstration of the centrality of metaphor to the modernist project both in Europe and America. Through comparative analysis, Jenny Anger charts the surprising aesthetic and philosophical continuities informing two key modernist ventures."—Mark Antliff, Duke University"The book not only brings together various strands of scholarship with brand new archival research, it is also the first major effort to systematically trace the connections between the German Der Sturm and the American Société Anonyme. Jenny Anger’s highly original and engaging instigation of connections between these two key modernist institutions is particularly noteworthy for the author’s nuanced discussion of gender, which builds on her earlier published work and will no doubt further cement her reputation as a major contributor within this area."—Anna Brzyski, University of KentuckyTable of ContentsOverture Act 1. PianoAct 2. WaterAct 3. GlassAct 4. HomeRepriseAcknowledgmentsNotesBibliographyIndex
£86.40
University of Minnesota Press Four Metaphors of Modernism: From Der Sturm to
Book SynopsisExploring the significance of metaphor in modern art “Where do the roots of art lie?” asked Der Sturm founder Herwarth Walden. “In the people? Behind the mountains? Behind the planets. He who has eyes to hear, feels.” Walden’s Der Sturm—the journal, gallery, performance venue, press, theater, bookstore, and art school in Berlin (1910–1932)—has never before been the subject of a book-length study in English. Four Metaphors of Modernism positions Der Sturm at the center of the avant-garde and as an integral part of Euro-American modern art, theory, and practice.Jenny Anger traces Walden’s aesthetic and intellectual roots to Franz Liszt and Friedrich Nietzsche—forebears who led him to embrace a literal and figurative mixing of the arts. She then places Der Sturm in conversation with New York’s Société Anonyme (1920–1950), an American avant-garde group modeled on Der Sturm and founded by Katherine Sophie Dreier, Marcel Duchamp, and Man Ray. Working against the tendency to examine artworks and artist groups in isolation, Anger underscores the significance of both organizations to the development and circulation of international modernism. Focusing on the recurring metaphors of piano, glass, water, and home, Four Metaphors of Modernism interweaves a historical analysis of these two prominent organizations with an aesthetic analysis of the metaphors that shaped their practices, reconceiving modernism itself. Presented here is a modernism that is embodied, gendered, multisensory, and deeply committed to metaphor and a restoration of abstraction’s connection with the real.Trade Review"Four Metaphors of Modernism is a tour de force demonstration of the centrality of metaphor to the modernist project both in Europe and America. Through comparative analysis, Jenny Anger charts the surprising aesthetic and philosophical continuities informing two key modernist ventures."—Mark Antliff, Duke University"The book not only brings together various strands of scholarship with brand new archival research, it is also the first major effort to systematically trace the connections between the German Der Sturm and the American Société Anonyme. Jenny Anger’s highly original and engaging instigation of connections between these two key modernist institutions is particularly noteworthy for the author’s nuanced discussion of gender, which builds on her earlier published work and will no doubt further cement her reputation as a major contributor within this area."—Anna Brzyski, University of KentuckyTable of ContentsOverture Act 1. PianoAct 2. WaterAct 3. GlassAct 4. HomeRepriseAcknowledgmentsNotesBibliographyIndex
£23.39
Boydell & Brewer Ltd A Critical History of German Film, Second Edition
Book SynopsisThe most comprehensive, readable history of German cinema now appears in an expanded, up-to-date new edition that is particularly useful for students and teachers of German film history. From early masterpieces such as The Cabinet of Dr. Caligari (1920) and Metropolis (1927) to the post-1945 films of Fassbinder, Herzog, and Wenders, German film constitutes a crucial part of the history of world cinema. It helped to shape Hollywood cinema and had a major impact on other cinemas as well. This tried and tested book, popular in college classrooms and among general-interest readers, is the most comprehensive and readable introduction to the history of German cinema, specifically designed to meet the needs of those who want a comprehensible, accessible introduction to the subject. There is no other book that covers the history of German cinema in the same depth and also explores the genesis and meaning of the most important masterpieces in German film history. It does so in chapters devoted to each of thirty-two individual films and in seven interchapters that provide context for historical periods from early German cinema to postunification. The book now appears in an improved, expanded, and up-to-date second edition that covers five additional films, expands the coverage of women's cinema, and brings the history of filmmaking in Germany up to the present moment. The book is specifically designed to appeal to cinema aficionados and for use in college classrooms, where it has been greeted with acclaim by students and teachers alike. Stephen Brockmann is Professor of German at Carnegie Mellon University.Trade ReviewBrockmann's analysis of films that are both representative and accessible results in a text that offers the kind of broad understanding of German film history that is a prerequisite for further work in the field. As a result, [the book] can serve as an ideal text for teaching. Its strength lies precisely in its breadth: it is an engagingly and clearly written introduction to the distinct periods of German film history and the key moments and significance of some of the best-known films belonging to that history. . . . Th[e] second edition . . . only increases the usefulness of the text for those looking for an introduction to the field as well as those engaged in teaching the material. -- Anjeana K. Hans * GERMAN STUDIES REVIEW *Table of ContentsIntroduction: Critical Film History and German Studies PART ONE: EARLY GERMAN FILM HISTORY 1895-1918 Early German Film History 1895-1918: Historical Overview Der Student von Prag (1913) and Learning to Look PART TWO: WEIMAR CINEMA 1919-1933 Weimar Cinema 1919-1933: Historical Overview Das Cabinet des Dr. Caligari (1920) or Film as Hypnosis Der letzte Mann (1924) or Learning to Move Die Abenteuer des Prinzen Achmed (1926): The Birth of the Feature-Length Animation Film Metropolis (1927) or Technology and Sex Der blaue Engel (1930) and Learning to Talk M (1931) or Sound and Terror PART THREE: NAZI CINEMA 1933-1945 Nazi Cinema 1933-1945: Historical Overview Triumph des Willens (1935): Documentary and Propaganda Hallo Janine (1939): Dancing and Singing to Happiness Die große Liebe (1942) or Love and War PART FOUR: GERMAN CINEMA AT THE ZERO HOUR 1945-1949 German Cinema at the Zero Hour 1945-1949: Historical Overview Die Mörder sind unter uns (1946): The Rubble Film PART FIVE: POSTWAR EAST GERMAN CINEMA 1949-1989 Postwar East German Cinema 1949-1989: Historical Overview Sonnensucher (1958) or Searching for the Socialist Sun Spur der Steine (1966) or Traces of Repression Die Legende von Paul und Paula (1973) or East Germany in the '70s Solo Sunny (1980) or Even Socialism Can't Stave Off Loneliness PART SIX: POSTWAR WEST GERMAN CINEMA 1949-1989 Postwar West German Cinema 1949-1989: Historical Overview Grün ist die Heide (1951) and the Reinvention of the German Homeland in Living Color Die Brücke (1959): Film and War Der junge Törless (1966) or Recapturing Tradition Aguirre, der Zorn Gottes (1972): Film and the Sublime Deutschland im Herbst (1978) or Film and Politics Die Ehe der Maria Braun (1979) or West Germany Rebuilds Die Blechtrommel (1979) or Coming to Terms with the Nazi Past Die bleierne Zeit (1981): Film and Terrorism Männer (1985) and the New German Film Comedy Der Himmel über Berlin (1987): Berlin, City of Angels PART SEVEN: GERMAN FILM AFTER REUNIFICATION 1990-2019 German Film after Reunification 1990-2019: Historical Overview Der bewegte Mann (1994) or West German Self-Absorption Rossini (1997) or West German Self-Absorption Criticized Lola rennt (1998) or Cool Germania Good Bye Lenin! (2003) or Farewell to the Socialist Motherland Gegen die Wand (2004) or Germany Goes Multicultural Das Leben der anderen (2006) or the Power of Art Toni Erdmann (2016) and the Passing of a Generation Conclusion: The Future of German Cinema? Index
£53.99
Boydell & Brewer Ltd Visualizing the Holocaust: Documents, Aesthetics,
Book SynopsisCollection of essays exploring the controversies surrounding images of the Holocaust. Visual representations are an essential but highly contested means of understanding and remembering the Holocaust. Photographs taken in the camps in early 1945 provided proof of and visceral access to the atrocities. Later visualrepresentations such as films, paintings, and art installations attempted to represent this extreme trauma. While photographs from the camps and later aesthetic reconstructions differ in origin, they share goals and have raised similar concerns: the former are questioned not as to veracity but due to their potential inadequacy in portraying the magnitude of events; the latter are criticized on the grounds that the mediation they entail is unacceptable. Some have even questioned any attempt to represent the Holocaust as inappropriate and dangerous to historical understanding. This book explores the taboos that structure the production and reception of Holocaust images and the possibilities that result from the transgression of those taboos. Essays consider the uses of various visual media, aesthetic styles, and genres in representations of the Holocaust; the uses of perpetrator photography; the role of trauma in memory; aesthetic problems of mimesis and memory in the work of Lanzmann, Celan, and others; and questions about mass-cultural representations of the Holocaust. David Bathrick is Emeritus Professor of German at Cornell University, Brad Prager is Associate Professor of German at the University of Missouri, and Michael D. Richardson is Associate Professor of German at Ithaca College.Trade ReviewAdds another substantial document to analyses of visual representations of the Holocaust. * BIOGRAPHY *Has the feel of an intense seminar. . . . What emerges from these essays is a fresh look at the canon of Holocaust representation, and therefore a new appreciation for what is seen, and how memory shapes our attempt to salvage something from the ashes. -- Michael Berenbaum * JOURNAL FOR GENOCIDE STUDIES *Innovative approaches to one of the most difficult issues in German film and visual culture. * H-NET REVIEWS *An important contribution . . . . These essays transcend the anxieties surrounding Holocaust representation that began with Adorno's aesthetic interdiction and are attuned to the fruitful possibilities of analyzing the production and reception of Holocaust imagery. * SHOFAR *A welcome, well-wrought contribution to the scholarship about how we deal with traumatic events, ethically, poetically, visually, and aurally. * GERMAN QUARTERLY *An excellent collection of essays which, without exception, are informative, well researched, reasonably argued, and lucidly written. * GERMAN STUDIES REVIEW *Seeks to explore recent debate . . ., bringing together a range of essays on the theory and practice of visual representation of the Shoah. At the heart of this collection is inevitably the vexed issue of the Bilderverbot, the much-spoken-about 'unspeakability' of the Holocaust. * MODERN LANGUAGE REVIEW *The strength of this volume lies in its wealth of materials and the diverse fields of study which it informs. It is theoretically astute and generously illustrated . . . thus making for a highly inspiring read. . . . [A]n essential sourcebook for scholars, graduate and undergraduate students in Holocaust and Visual Studies . . . . * MONATSHEFTE *Table of ContentsIntroduction: Seeing Against the Grain: Re-visualizing the Holocaust - David Bathrick On the Liberation of Perpetrator Photographs in Holocaust Narratives - Brad Prager The Interpreter's Dilemma: Heinrich Jöst's Warsaw Ghetto Photographs - Daniel H. Magilow Whose Trauma Is It? Identification and Secondary Witnessing in the Age of Postmemory - Elke Heckner No Child Left Behind: Anne Frank Exhibits, American Abduction Narratives, and Nazi Bogeymen - Lisa J. Nicoletti Auschwitz as Hermeneutic Rupture, Differend, and Image malgré tout: Jameson, Lyotard, Didi-Huberman - Sven-Erik Rose Claude Lanzmann's Shoah and the Internionality of the Image - Michael D'Arcy For and Against the Bilderverbot: The Rhetoric of "Unrepresentability" and Remediated "Authenticity" in the German Reception of Steven Spielberg's Schindler's List Reception of Steven Spielberg's Schindler's List - Karyn Ball Celan's Cinematic: Anxiety of the Gaze in Night and Fog and "Engführung" - Eric Kligerman Affect in the Archive: Arendt, Eichmann and The Specialist - Darcy C. Buerkle Home-Movies, Film Diaries, and Mass Bodies: Péter Forgác's Free Fall Into the Holocaust - Jaimey Fisher Laughter and Catastrophe: Train of Life and Tragicomic Holocaust Cinema - David Brenner "Heil Myself!": Impersonation and Identity in the Comedic Representation of Hitler - Michael D. Richardson
£28.04
Getty Trust Publications Dialogue on the Errors and Abuses of Painters
Book SynopsisGiovanni Andrea Gilio's "Dialogue on the Errors and Abuses of Painters" (1564) is one of the first treatises on art published in the post-Tridentine period. It remains a key primary source for the discussion of the reform of art as it unfolded at the time of the Council of Trent and the Catholic Reformation. Relatively little is known about Gilio himself, a cleric from Fabriano, Italy, although he was evidently familiar with Cardinal Alessandro Farnese's lively court circle in Rome as he dedicated his book to the cardinal. His text-available in English in full for the first time-takes the form of a spirited dialogue among six protagonists, using the voices of each to present different points of view. Through their dialogue Gilio grapples with a host of issues, from the relationship between poetry and painting, to the function of religious images, to the effects such images have on viewers. The primary focus is the proper representation of history, and Michelangelo's Last Judgment fresco in the Sistine Chapel is the exemplary case. Indeed, Michelangelo's painting is both praised and condemned as an example of the possibilities and limits of art. Although Gilio's dialogue is often quoted by art historians to point out the more controlling view of art and artists by the Roman Catholic Church, the unabridged text reveals the nuanced and provisional debates, happening during this critical era.
£45.60
Getty Trust Publications London and the Emergence of a European Art
Book SynopsisIn the late 1700s, as the events of the French Revolution roiled France, London displaced Paris as the primary hub of international art sales. Within a few decades, a robust and sophisticated art market flourished in London. 'London and the Emergence of a European Art Market, 1780-1820' explores the commercial milieu of art sales and collecting at this turning point. In this collection of essays, twenty-one scholars employ methods ranging from traditional art historical and provenance studies to statistical and economic analysis; they provide overviews, case studies and empirical reevaluations of artists, collectors, patrons, agents and dealers, institutions, sales and practices. Drawing from pioneering digital resources-notably the Getty Provenance Index-as well as archival materials, such as trade directories, correspondence, stock books and inventories, auction catalogs and exhibition reviews, these scholars identify broad trends, reevaluate previous misunderstandings and consider overlooked commercial contexts to illuminate artistic taste. From individual case studies to econometric overviews, this volume is groundbreaking for its diverse methodological range that illuminates artistic taste and flourishing art commerce at the turn of the nineteenth century.
£45.00
Getty Trust Publications On Modern Beauty - Three Paintings by Manet,
Book SynopsisAs the discipline of art history has moved away from connoisseurship, the notion of beauty has become increasingly problematic. Both culturally and personally subjective, the term is difficult to define and nearly universally avoided. In this insightful book, Richard R. Brettell, one of the leading authorities on Impressionism and French art of the nineteenth and early twentieth centuries, dares to confront the concept of modern beauty head-on. This is not a study of aesthetic philosophy, but rather a richly contextualised look at the ambitions of specific artists and artworks at a particular time and place. Brettell shapes his manifesto around three masterworks from the collection of the J. Paul Getty Museum: Edouard Manet's 'Jeanne' (Spring), Paul Gauguin's 'Arii Matamoe' (The Royal End) and Paul Cezanne's 'Young Italian Woman at a Table'. The provocative and wide-ranging discussion reveals how each of these exceptional paintings, though depicting very different subjects-a fashionable actress, a severed head and a weary working woman-enacts a revolutionary, yet enduring, icon of beauty.Trade Review"Brettell's skill at leading the viewer through formal as well as art historical details of certain paintings can be eye-opening to both novice students of art appreciation as well as art historians and curators, leading them to a lifetime of aesthetic pleasure." -- Caroline Boyle-Turner "H-France"; "An extraordinarily ambitious . . . commentary, one of those rare revelatory art history books that opens your eyes, and, it can be said, a real page-turner, a cliched phrase that only applies very rarely, in my experience, to art history writing." -- "Hyperallergic"; "On Modern Beauty is a well-illustrated and thought-provoking book about different aspects of beauty in French painting of the period." -- "Alexander Adams Art"
£16.14
Getty Trust Publications The Life of Lambert Lombard (1565); and Effigies
Book SynopsisDominicus Lampsonius's The Life of Lambert Lombard (1565) is the earliest published biography of a Netherlandish artist. This neo-Latin account of the life of the painter, architect, and draftsman Lambert Lombard of Liege offers a theoretical exposition on the nature and ideal practice of Netherlandish art, emphasizing Lombard's intellectual curiosity, interest in antiquity, attentive study of the human body, and exemplary generosity as a teacher. This volume offers the first English edition of the The Life of Lambert Lombard, complemented by a new translation of the inscriptions Lampsonius composed to accompany the Effigies of Several Famous Painters from the Low Countries (1572), a cycle of twenty-three engraved portraits of Netherlandish artists developed in collaboration with the print publisher Hieronymus Cock. Together, The Life of Lambert Lombard and Effigies established frameworks for a distinctly Netherlandish history of art. Responding to a growing sense of Netherlandish cultural and political identity on the eve of the Dutch Revolt, these texts proposed a critical alternative to Giorgio Vasari's Lives of the Artists and its Italian model of art historical development, celebrating local ingenuity and skill. They remain the starting point for any history of the northern Renaissance.Trade Review"With exemplary clarity and critical acumen, Edward Wouk, Helen E. B. Dalton, and Julene Abad Del Vecchio's superb translation of two crucial texts on art by Dominicus Lampsonius, humanist man of letters and painter, demonstrates how this important art theoretician promulgated an alternative historiography of art, and specifically, an alternative to Vasari's Vite, viewing northern workshop practice through the lens of Latin rhetorical and poetic sources, both ancient and modern. This edition of Lampsonius's The Life of Lambert Lombard and Effigies of Several Famous Painters from the Low Countries will prove as canonical as the source texts it now makes widely accessible."--Walter S. Melion, Asa Griggs Candler Professor of Art History, Emory University;; "Readers of this superb volume, which provides an introduction to Dominicus Lampsonius and English translations of two of his theoretical texts, will benefit from Edward Wouk's remarkable erudition, clarity, and insights into European art. Presenting debates about the stakes that gave rise to Lampsonius's publications, Wouk weaves together encounters, collaborations, and connections drawn from letters, texts, stories, language, and the graphic arts. This nuanced retelling of artistic engagement with antiquity, local traditions, and practices on both sides of the Alps creates a dynamic picture of trans-European exchanges, processes of translation, and Netherlandish inventiveness."-- Bronwen Wilson, Professor of Renaissance and Early Modern Art, UCLA;; "Begun as a long-distance conversation with Vasari, whose Lives of the Artists established the modern historiography of art with Italy as its origin and center, Dominicus Lampsonius's writings offer a vital alternative: a decentering counter-history of artistic ideas, practices, techniques and developments flourishing north of the Alps. Edward Wouk's clear and copiously annotated translations of Lampsonius's elusive texts will greatly expand our understanding of the European tradition." -Joseph Leo Koerner, Harvard University ;; “In this book, Edward Wouk generously makes available in English translation two foundational works in the literature of Netherlandish art. Beyond this, he provides a meticulously documented and rigorously argued introduction that significantly advances the revolution in the understanding of elite art in the sixteenth-century Netherlands that has taken place since the publication of Walter Melion’s Picturing the Netherlandish Canon in 1991. The book really is essential reading for everyone seriously interested in this topic.” —Joanna Woodall, The Courtauld Institute of Art
£45.00
New Village Press Arts for Change: Teaching Outside the Frame
Book SynopsisBeverly Naidus shares her passion and strategies for teaching socially engaged art, offering, as well, a short history of the field and the candid views of more than thirty colleagues. A provocative, personal look at the motivations and challenges of teaching socially engaged arts, Arts for Change overturns conventional arts pedagogy with an activist's passion for creating art that matters. How can polarized groups work together to solve social and environmental problems? How can art be used to raise consciousness? Using candid examination of her own university teaching career as well as broader social and historical perspectives, Beverly Naidus answers these questions, guiding the reader through a progression of steps to help students observe the world around them and craft artistic responses to what they see. Interviews with over 30 arts education colleagues provide additional strategies for successfully engaging students in what, to them, is most meaningful.Trade Review"Discussing art and its applications to countless issues, and how people have empowered themselves through it, Arts for Change is a look at arts, politics, and culture as a whole through modern America. Arts for Change is an intriguing read, especially recommended for those who transmit messages through their art." * Midwest Book Review *"This book offers an important glimpse into the personal development of one engaged artist/educator who seeks to keep growing through her dialogue with others, colleagues and students alike." -- Anusha Venkataraman * Community Arts Network *"Arts for Change is not just a book for teachers; it is a book that invites everyone to think about how the individual affects the collective." -- Andrea Avila * Canadian Art Teacher *"Naidus does an excellent job of drawing in all kinds of readers by weaving story and academic reflection together as opposing yet familiar textures. The overall effect is a powerful account in which theory develops through history, personal story, and the words of others, making Arts for Change an enlightening read." -- Kelly Campbell-Busby * Journal of Community Engagement and Scholarship *"Arts for Change is essential reading for artists, art teachers, educational administrators, and students of art. It brings to life a pedagogical practice, employed for years by a significant number of socially-engaged activist artists, known but to few outside this community." -- Nina Felshin, author * But Is It Art? The Spirit of Art as Activism *"Naidus argues passionately for a different kind of art, one that builds social muscle and can make a difference in the world. I predict this book will inspire exciting and innovative trends in both art and education and critical theory, tilting them more in the direction of interdisciplinary and socially engaged practices. And I agree with Naidus' core proposition that the times demand nothing less." -- Suzi Gablik, author, * The Re-Enchantment of Art and Conversations Before the End of Time *
£64.00
Liverpool University Press Economy: Art, Production and the Subject in the
Book SynopsisWhat happened in art following the consolidation of capitalist globalisation after 1989? Drawing on work in art history, curating, critical theory, political economy and sociology, essays in Economy: Art, Production and the Subject in the 21st Century frame and substantiate the increasing attendance to economic relations as a defining trend in contemporary art’s history and one that brought to an end the hegemony of the cultural subject encountered in postmodern discourse. Contributions include reflections on art in its relation to property as well as to speculation and finance, immaterial labour and the avant-garde, the lessons of the past in pursuing an aesthetics of the economy, the ethics of care and the role of the art document, queer politics and class, the new feminist critique of economic subjects, migration, precarity and empowerment, the ambivalence of the commons, and a range of perspectives on the possibility of opposition, in the art world and beyond, to the biopolitical rule of global capital as the arbiter of human relations. Building on, extending and querying the curatorial project ECONOMY (Edinburgh and Glasgow 2013), the book puts forward a proposition that cuts across a number of ‘turns’ in the art of the past two decades, including socially engaged practices, seeking to connect localised approaches with the broader organisation of production and the unprecedented apparentness of the economy in the passage from the 20th to the 21st century. Contributors: Massimo de Angelis, Angela Dimitrakaki, Melanie Gilligan, Kirsten Lloyd, Renate Lorenz, Dimitris Papadopoulos & Vassilis Tsianos, Andrea Phillips, John Roberts, Alberto Toscano, Gregory Sholette, Marina Vishmidt. Editors: Angela Dimitrakaki is Senior Lecturer in Contemporary Art History and Theory at the University of Edinburgh Kirsten Lloyd is Teaching Fellow in History of Art at the University of Edinburgh and Associate Curator at Stills, EdinburghTrade ReviewReviews 'Fascinating, extremely well-written and absorbing - this book targets effectively today's urgent debates.' Esther Leslie, Birkbeck University of LondonTable of ContentsAcknowledgements List of Illustrations Contributors INTRODUCTION ‘The Last Instance’: The Apparent Economy, Social Struggles and Art in Global Capitalism Angela Dimitrakaki and Kirsten Lloyd PART 1: PRODUCTION 1. Art as Property Andrea Phillips 2. Art and the Problem of Immaterial Labour: Reflections on Its Recent History John Roberts 3. Indifferent Agent: Speculation as a Mode of Production in Art and Capital Marina Vishmidt 4. Women’s Lives, Labour, Contracts, Documents: The Biopolitical Tactics of Feminist Art, Act Two and a Half Angela Dimitrakaki 5. Seeing Socialism: On the Aesthetics of the Economy, Production and the Plan Alberto Toscano PART 2: SUBJECTS 6. DIWY: Precarity in Embodied Capitalism Vassilis Tsianos and Dimitris Papadopoulos 7. Being with, across, over and through: Art’s Caring Subjects, Ethics Debates and Encounters Kirsten Lloyd 8. The Long Working Hours of Normal Love Renate Lorenz 9. Occupy the Art World? Notes on a Potential Artistic Subject Gregory Sholette 10. (Re)Making the World: An Interview with Melanie Gilligan on Capitalist Exchange, Subject Formation and ‘Social Synthesis’ Angela Dimitrakaki and Kirsten Lloyd 11. Economy, Capital and the Commons Massimo de Angelis Index
£109.50
Collective Ink Thoughts on an Index Not Freely Given
Book SynopsisIn this ambitious theoretical encounter with five imaginary artists from the 1980s, John Roberts produces a set of richly constructed artistic thought experiments. But in creating the work on the page these thought experiments are not thereby novelistic fictions. On the contrary, the fictiveness of each artist's work and biography is formed from Roberts's critical engagement with the historical and theoretical determinates of the work he has created - artwork and its theoretical engagement forming an interdependent whole.
£10.97
Liverpool University Press Wyndham Lewis's Cultural Criticism and the
Book SynopsisWyndham Lewis was both a serious proponent and forthright critic of modernism. His assault upon his contemporaries foreshadowed the twenty-first century scholarly interest in the networks, professions, and coteries – rather than the myths and heroics – of modernism. Lewis, after a long period of neglect, now sits increasingly at the heart of a revised field of modernist studies.This book explores Lewis’s cultural criticism as a valuable body of writing which posed questions that have yet to be answered about subsidy and the function of the artist, about professionalism and ethics, about who should pay for the arts, and what the artist’s obligations should be in return. It is the first book-length study of this body of critical writing, through which Lewis articulated the central and most lasting of his critical preoccupations: the question of how the work of the artist is to be valued, and the artist to be paid, in a professionalised society. This book makes an important contribution to the long overdue reassessment of a complex, contrarian figure, spanning the disciplines of literature and the visual arts, who asked pressing questions about the role and status of the artist, and ultimately about the value (economic, civic, political) of the work of art.
£109.50
Liverpool University Press Economy: Art, Production and the Subject in the
Book SynopsisWhat happened in art following the consolidation of capitalist globalisation after 1989? Drawing on work in art history, curating, critical theory, political economy and sociology, essays in Economy: Art, Production and the Subject in the 21st Century frame and substantiate the increasing attendance to economic relations as a defining trend in contemporary art’s history and one that brought to an end the hegemony of the cultural subject encountered in postmodern discourse. Contributions include reflections on art in its relation to property as well as to speculation and finance, immaterial labour and the avant-garde, the lessons of the past in pursuing an aesthetics of the economy, the ethics of care and the role of the art document, queer politics and class, the new feminist critique of economic subjects, migration, precarity and empowerment, the ambivalence of the commons, and a range of perspectives on the possibility of opposition, in the art world and beyond, to the biopolitical rule of global capital as the arbiter of human relations. Building on, extending and querying the curatorial project ECONOMY (Edinburgh and Glasgow 2013), the book puts forward a proposition that cuts across a number of ‘turns’ in the art of the past two decades, including socially engaged practices, seeking to connect localised approaches with the broader organisation of production and the unprecedented apparentness of the economy in the passage from the 20th to the 21st century. Contributors: Massimo de Angelis, Angela Dimitrakaki, Melanie Gilligan, Kirsten Lloyd, Renate Lorenz, Dimitris Papadopoulos & Vassilis Tsianos, Andrea Phillips, John Roberts, Alberto Toscano, Gregory Sholette, Marina Vishmidt. Editors: Angela Dimitrakaki is Senior Lecturer in Contemporary Art History and Theory at the University of Edinburgh Kirsten Lloyd is Teaching Fellow in History of Art at the University of Edinburgh and Associate Curator at Stills, EdinburghTrade ReviewReviews 'Fascinating, extremely well-written and absorbing - this book targets effectively today's urgent debates.' Esther Leslie, Birkbeck University of LondonTable of ContentsAcknowledgements List of Illustrations Contributors INTRODUCTION ‘The Last Instance’: The Apparent Economy, Social Struggles and Art in Global Capitalism Angela Dimitrakaki and Kirsten Lloyd PART 1: PRODUCTION 1. Art as Property Andrea Phillips 2. Art and the Problem of Immaterial Labour: Reflections on Its Recent History John Roberts 3. Indifferent Agent: Speculation as a Mode of Production in Art and Capital Marina Vishmidt 4. Women’s Lives, Labour, Contracts, Documents: The Biopolitical Tactics of Feminist Art, Act Two and a Half Angela Dimitrakaki 5. Seeing Socialism: On the Aesthetics of the Economy, Production and the Plan Alberto Toscano PART 2: SUBJECTS 6. DIWY: Precarity in Embodied Capitalism Vassilis Tsianos and Dimitris Papadopoulos 7. Being with, across, over and through: Art’s Caring Subjects, Ethics Debates and Encounters Kirsten Lloyd 8. The Long Working Hours of Normal Love Renate Lorenz 9. Occupy the Art World? Notes on a Potential Artistic Subject Gregory Sholette 10. (Re)Making the World: An Interview with Melanie Gilligan on Capitalist Exchange, Subject Formation and ‘Social Synthesis’ Angela Dimitrakaki and Kirsten Lloyd 11. Economy, Capital and the Commons Massimo de Angelis Index
£32.95
Liverpool University Press Wyndham Lewis's Cultural Criticism and the
Book SynopsisWyndham Lewis was both a serious proponent and forthright critic of modernism. His assault upon his contemporaries foreshadowed the twenty-first century scholarly interest in the networks, professions, and coteries – rather than the myths and heroics – of modernism. Lewis, after a long period of neglect, now sits increasingly at the heart of a revised field of modernist studies.This book explores Lewis’s cultural criticism as a valuable body of writing which posed questions that have yet to be answered about subsidy and the function of the artist, about professionalism and ethics, about who should pay for the arts, and what the artist’s obligations should be in return. It is the first book-length study of this body of critical writing, through which Lewis articulated the central and most lasting of his critical preoccupations: the question of how the work of the artist is to be valued, and the artist to be paid, in a professionalised society. This book makes an important contribution to the long overdue reassessment of a complex, contrarian figure, spanning the disciplines of literature and the visual arts, who asked pressing questions about the role and status of the artist, and ultimately about the value (economic, civic, political) of the work of art.
£29.99
Liverpool University Press The Fictional Arts: An Inter-Art Journey from
Book SynopsisThis book is a comprehensive introduction to the analysis of fictional worlds in a set of fifteen arts, including theatre, opera, figurative ballet, mime, audio drama, figurative drawing/painting, figurative sculpture, strip cartoon, animation, puppet theatre, still photography, photo-novel, silent movie, cinema and TV drama. Due to their extreme differences, the combination of different arts in the description of a single fictional world, and the translation from one medium to another, are considered problematic. While such differences do not concern fictional creativity, which applies the same poetic and rhetoric rules whatever the medium, it is widely accepted that the problem lies in the extreme differences between the mediums of description. In contrast, this study explores their common grounds. These arts are iconic in nature, and if 'iconicity' is re-defined in terms of imprinting images on matter and mediation of language, and as reflecting the common roots of these mediums in a preverbal mode of imagistic thinking, therein is an explanation of their possible combination and translation from one medium to another without impairing the receivers' reading, interpreting and experiencing capacities. Eli Rozik analyses numerous fictional worlds in all these arts, produced during the last 2,500 years of artistic creativity, especially in theatre, art and cinema. This book presupposes that principles underlying the generation of descriptions of fictional worlds by the theatre medium, as proposed in two earlier works (Generating Theatre Meaning and Fictional Thinking), also apply to all the iconic/fictional arts. The text-book format of the volume has been purposefully designed to address the needs of undergraduate and postgraduate students, suiting the structure of university courses and providing all necessary information to access the images/artistic works discussed in the volume via the web and Google. This inter-art journey from theatre theory to the arts is compelling reading for all those involved and engaged in artistic creativity.
£100.00
Liverpool University Press Dialectical Conversions: Donald Kuspit’s Art
Book SynopsisFew art critics in Western art history have ever had the broad-ranging impact over several decades of Donald Kuspit, a philosopher and psychoanalyst who from 1970 until the present has been a commanding figure on the international stage. A student of German thinker Theodor Adorno under whom he earned the first of his three doctorates, Kuspit introduced a new type of philosophical art criticism into the art world. He drew on both phenomenology and Critical Theory before he then increasingly adopted psychoanalysis. Since Kuspit himself has always measured his own place in the history of art criticism by how rigorously he engages with competing approaches, this book is a searching survey of Kuspit’s role in triggering several historic shifts within art criticism, beginning with his now legendary 1974 article in Artforum, “A Phenomenological Approach to Artistic Intention.” Dense and demanding, yet deft and incisive, Kuspit’s multi-faceted art criticism has become world famous for reasons that artists, critics, art historians, and philosophers from at least ten different nations explain from various points of view. Divided into three parts and introduced by a lengthy introduction, the book features comments by recognized artists like Rudolf Baranik, Anselm Kiefer, and April Gornik, as well as critical commentaries by many scholars and critics from around the world on the richness of Kuspit’s insights into art.Table of ContentsList of illustrations List of contributors Acknowledgements Introductory Essay by David Craven, “Donald Kuspit’s Achievement,” Donald Kuspit, “My Journey: From New York to Frankfurt & Back,” Lawrence Alloway & Donald Kuspit, “An Editorial about Art Criticism” (1979), The 1983 Jewett Mather Award for Art Criticism to Donald Kuspit by Jeanne Siegel, Brian O’Doherty, and Diane Vanderlip, I. Essays about Kuspit by Artists and Interviews with Artists: 1. Rudolf Baranik, “The Innovative Art Criticism of Kuspit,” 2. Anselm Kiefer “A Dialogue with Kuspit at Documenta,” 3. Georg Baselitz “A Conversation with Kuspit at the Guggenheim,” 4. April Gornik “The Significance of Kuspit’s Criticism for Artists,” 5. Rosalyn Schwartz “The Impact of Kuspit’s Criticism on Artists,” II. Essays about Kuspit by Art Critics and Art Historians: A. The USA 6. Ray Kass & Howard Risatti, “Donald Kuspit & Clement Greenberg in Dialogue,” 7. Matthew Biro, “Modern & Postmodern Art Criticism: The Unique Place of Kuspit,” 8. Matthew Baigell, “Donald Kuspit’s Jewish Consciousness,” 9. Joseph Masheck, “On Kuspit, Kant, and Greenberg,” 10. Patricia Mathews, “The Engagé Art of May Stevens,” 11. Diane Waldman, “Kuspit and the New Subjectivism in the 1980s,” 12. Brian Winkenweder, “Kuspit’s Humanness, Subjectivity and Psychoanalysis,” B. Asia, Canada, Europe, and Latin America 13. Ananda Chakrabarty, “Soulages’s Paintings and Kuspit’s Criticism,” 14. Richard Leslie, “Dialogues in Difference: Alloway & Kuspit,” 15. Anna María Guash, “Talking With Kuspit in Barcelona,” 16. Raúl Quintanilla, “Reagan’s Anti-Aesthetic and Kuspit’s Criticisms,” 17. Tijen Tunali, “Abstract Art as Ideological Critique: Kuspit on Kandinsky,” III. Selected Papers about Kuspit’s Accomplishment at the International Association of Philosophy in Leeds (2003): “A Close Encounter with Donald Kuspit” 18. Mark Van Proyen, “Criticism and the ‘Metaphysics’ of Art: Donald Kuspit,” 19. Lucy Bowditch, “Kuspit on Gerhard Richter and the Teutonic Chill,” 20. Randall K. Van Schepen, “Dialectic & Selfhood in Kuspit’s Art Criticism,” 21. Lynn M. Somers-Davis, “A Taste for Sham: Examples of Perversion & Suffering,” A Selected Bibliography of Donald Kuspit’s Writings
£109.50
Zone Books Leonardo's Incessant Last Supper
Book Synopsis
£40.50
Zone Books Defaced: The Visual Culture of Violence in the
Book Synopsis
£19.00
Zone Books Defaced: The Visual Culture of Violence in the
Book Synopsis
£19.00
Liverpool University Press Art, Crime and Madness: Gesualdo, Carravagio,
Book SynopsisThis book explores the relationship between creative innovation, deviance and morbidity. To innovate, one has to be able to view the medium and the object of creativity in a different, hitherto unexplored manner. The essence of art is creative innovation, coupled with an ability, in varying degrees, to transcend the boundaries of consciousness. But this 'ability' is also the prerogative of the mentally deranged. Likewise, the criminal and the deviant are more likely to transcend normative barriers while creating, hence the wide range of criminal and deviant behaviour in society. Although the inverse hypothesis does not hold -- the mere existence of deviance or morbidity does not predispose the individual to creativity -- nevertheless criminal and mad behaviour are often very innovative. This thesis is illustrated by historical case histories of creative deviance and genius madness, and contemporary observations. The painter Michelangelo Merisi Caravaggio killed a man while still a teenager, and a second victim during a ball game. In his lifetime he was considered degenerate, but today he is considered the greatest painter of the Italian Settecento, and his portrait adorns the Hundred-Thousand Lira note. Jean Genet the homosexual thief was born out of wedlock and as a teenager he transgressed almost all the paragraphs of the French criminal code. But he became a famous French playwright, the mouthpiece for criminals and deviants. His plays built up a philosophical apology for the raison d'etre of the criminal group.Trade Review"Rich in detail and psychocultural analysis this book will take its place beside Freud's Moses and other classics of art interpretation..." -- Graeme R Newman, Professor, School of Criminal Justice."Broad intellectual range, curiosity, deep and profound knowledge and authenticity. The whole spirit of Shlomo Shoham's reasoning is both refreshing and challenging..." -- Dr Manfred Wimmer, Konrad Lorenz Institute for Evolution and Cognition Research.Table of ContentsContents: Foreword by Roger Hood; Preface; Acknowledgements; Introduction: Mytho-Empiricisim; The Personality and its Disruption; Hubris, Suppression and Stigma; Don Carlo Gesualdo -- A Murdered Love; Caravaggio -- The Violent Enlightenment; Jean Genet -- A Criminal Manifesto; The Creative Villains; Genius and Madness; St. Vincent -- Absolute Authenticity; Antonin Artaud -- Outside of Time; Notes; Giora Shoham's Published Works and His Theory of Personality; Index.
£27.95
Paul Holberton Publishing Ltd Late Medieval Panel Paintings: Materials, Methods, Meanings: Volume II
Book SynopsisThis beautiful and extensively illustrated catalogue presents in-depth case studies of twenty-four rare and remarkable Late Medieval panel paintings, many from the German-speaking regions of Europe, but also from Spain, France and the Southern Netherlands. These works – often fragments of larger altarpieces designed for liturgical performance and communal or private devotion – can be monumental and dramatic or small and intimate, but all on close examination prove to be rich in meaning – even in cases where the painters remain anonymous, and the precise contexts of their creation have become obscured or fragmented. The collected essays will encompass a broad spectrum of artistic styles, techniques, and interests, including in some instances the works’ original frames, and the attendant meanings they give to the imagery housed within. The group will also be augmented by a rare and important small-scale tapestry altarpiece with close links to panel painting. The inclusion of such a piece, one of the many newly resurfaced works to be included in the catalogue, will offer an innovative approach to the scholarship of Medieval paintings, and enrich our understanding of the cross-pollination of ideas between mediums and the role played by painters in tapestry production at the turn of the sixteenth century.The book, a follow-up to Susie Nash’s important 2011 catalogue, considers the physical history, original form, condition and technique of the assembled works, using wood analysis and dendrochronology, paint samples, infra-red, x-rays and macro photography to document the materials and methods involved in their making and the alterations and transformations they have undergone with time. This new information is combined with close readings of their imagery and its presentation to explore issues of meaning, creative process, patronal intervention and artistic intention, leading in many cases to new reconstructions, attributions, dates and iconographic readings.The text is extensively illustrated with a series of images of all of the works, along with technical photographs and comparative material.Trade ReviewBeautifully illustrated … a thoroughly researched, closely argued, and informative book which proves the necessity of the integration of technical and art historical." * Peregrinations: Journal of Medieval Art and Architecture *
£38.00
Bard Graduate Center, Exhibitions Department Revisions – Zen for Film
Book SynopsisHow do works of art endure over time in the face of aging materials and changing interpretations of their meaning? How do decay, technological obsolescence, and the blending of old and new media affect what an artwork is and can become? And how can changeable artworks encourage us to rethink our assumptions of art as fixed and static? Revisions is a unique exploration of all of these questions. In this catalog, which accompanies an exhibition at the Bard Graduate Center, Hanna B. Holling examines Zen for Film, also known as Fluxfilm no. 1, one of the most evocative works by Korean-American artist Nam June Paik. Created during the early 1960s, this piece consists of a several-minutes-long screening of blank film; as the film ages and wears in the projector, the viewer is confronted with a constantly evolving work. Because of this mutability, the project, as HA lling shows, undermines any assumption that art can be subject to a single interpretation. By focusing on a single artwork and unfolding the inspirations, transitions, and residues that have occurred in the course of that work's existence, Revisions offers an in-depth look at how materiality enhances visual knowledge. A fresh perspective on a piece with a rich history of display, this catalog invites interdisciplinary dialogue and asks precisely what-and when-an artwork might be.
£18.05
Diaphanes AG Aesthetic Theory
Book SynopsisTheodor Adorno’s famous aesthetic theory was not merely a theory of the aesthetic; it also made a wider claim about the aesthetic implications of all theory. At the same time we have to deal with aesthetic objects and events in which an aesthetic theory is inherent, which show themselves as art. From both sides—theory and aesthetics—a link can be made to the etymological meaning of theōria, which understands the theoretical as a seeing or perspective. Featuring lucid essays by major thinkers, the book examines this link, focusing equally on the aesthetic implications of theory and the theoretical implications of aesthetic events.
£30.00
Diaphanes AG After the Crisis: Contemporary States of
Book SynopsisAfter the Crisis offers a platform for discussions between some of today's leading artists, writers, theorists, curators, and historians aimed at questioning the very status of photography today. Contributors come from the realms of critical theory, fiction, performance art, fashion photography, and museums, as well as film and design, and their conversations bring together history and the contemporary. Comparing the current situation of photographic images with the crisis experienced by representation at the time of the birth of photography, they set our relationship with photographic images in the digital era in perspective. Through these discussions, we come to sense the existential burden of being surrounded by images, while also beginning to grasp the historical depth of a questioning of images that started long before the current generation and engages with crucial political and cultural issues of our time.
£20.00
Diaphanes AG Manifesto of Artistic Research
Book SynopsisSince its beginnings in the 1990s, artistic research has become established as a new format in the areas of educational and institutional policy, aesthetics, and art theory. It has now diffused into almost all artistic fields, from installation to experimental formats to contemporary music, literature, dance, or performance art. But from its beginnings—under labels like “art and science” or “scienceart” or “artscience” that mention both disciplines in one breath—it has been in competition with academic research, without its own concept of research having been adequately clarified. This manifesto attempts to resolve the problem and to defend the term. Further, this manifesto defends the radical potential of artistic research against those who toy all too carefully with university formats, wishing to ally their work with scientific principles. Its aim is to emphasize the autonomy and particular intellectuality of artistic research, without seeking to justify its legitimacy or adopt alien standards.
£17.50
Diaphanes AG Art and Contemporaneity
Book Synopsis
£22.50
Diaphanes AG Vision in Motion – Streams of Sensation and
Book SynopsisVision is not just a simple recognition of what passes through our field of sight, the reflection and observation of light and shape. Even before Freud posited dreams as a way of "seeing" as we sleep, the writings of philosophers, artists, and scientists from Goethe to Cezanne have argued that to understand vision as a mere mirroring of the outside world is to overlook a more important cognitive act of seeing that is dependent on time. Bringing together a renowned international group of contributors, Vision in Motion explores one of the most vexing problems in the study of vision and cognition: To make sense of the sensations we experience when we see something, we must configure many moments into a synchronous image. This volume offers a critical reexamination of seeing that restores a concept of "vision in motion" that avoids reducing the sensations we experience to narrative chronological sequencing. The contributors draw on Hume, Bergson, and Deleuze, among others, to establish a nuanced idea of how we perceive.
£46.55
Diaphanes AG Towards an Aesthetics of Production
Book SynopsisThroughout the twentieth century, art history has been too narrowly focused on formalism. As a result, analyses regularly reduced works of art to their materials, texture, and composition. By contrast, art historian Sebastian Egenhofer takes Gilles Deleuze's readings of Spinoza, Nietzsche, and Bergson as the basis for a new resistance to the overly reductive account of art history. After laying out his argument for a new aesthetics of production in introductory chapters that discuss the work of Spinoza, Nietzsche, and Bergson, as well as Heidegger and Kant, Egenhofer applies this theoretical framework to case studies on Michael Asher, Marcel Duchamp, Thomas Hirschhorn, and Piet Mondrian. An aesthetics of production does not, he argues, imply a nostalgia for the artisanal or for a work of art's singularity, but a way to bring together elements of critical materialism with a thorough reevaluation of the modern art and abstraction.
£22.50
Lars Muller Publishers New Works from Bauhaus Workshops: Bauhausbucher
Book SynopsisThe Bauhaus sought to unite life, craftsmanship, and art under one roof. In this volume, Walter Gropius provides a comprehensive overview of the Bauhaus workshops. He explains the basic principles guiding the teaching, describes contemporary developments in architecture, and illuminates the Bauhaus point of view on household utensils, which was geared toward finding the most suitable form for the respective object. Here, Gropius presents the Bauhaus workshops in Weimar devoted to furniture, metals, textiles, and ceramics, among other subjects.
£31.50
NUS Press Culture City. Culture Scape.
Book SynopsisA much-needed resource on the practice of public art commissions and community engagement through the arts in urban Asia. Distributed for the NTU Centre for Co ntemporary Art Public art integrates landscape architecture, urban planning, and cultural management to create a sense of place. This book, dstributed for the NTU Centre for Contemporary Art, documents a major public art commission in Singapore, featuring works by artists Dan Graham, Zul Mahmod, TomÁs Saraceno, and Yinka Shonibare, and represents a unique collaboration between Nanyang Technology University Centre for Contemporary Art Singapore and Mapletree Investments—a Singaporean state-owned property developer with global operations. Essays and interviews with the artists tell the story of the regional histories, urban politics, and collaboration that went into the successful creation of a public space. Culture City. Culture Scape. is a much-needed resource on the role that art can play in public education and social corporate investment in urban Asia.Trade Review"The book offers insights on lesser-known topics through the discussion of public artworks at Mapletree Business City II.... All in all, Culture City. Culture Scape is a welcomed reference book on the discourse of public art in Singapore. With a critical, interdisciplinary approach, it successfully marries cultural and corporate interests to provide public education." * Art and Market *Table of Contents Greetings Joseph Liow Edmund Cheng Culture City. Culture Scape. Notes from the Curators Ute Meta Bauer and Khim Ong In the Public Sphere: Art and Education at Mapletree Business City Edmund Cheng with Ute Meta Bauer About the Artworks and Artists Yinka Shonibare CBE (RA): Wind Sculpture I Zul Mahmod: Sonic Pathway Tom?ís Saraceno: Stillness in Motion ÔÇö 3 Airborne Self-Assemblies Dan Graham: Elliptical Pavilion In Conversation Yinka Shonibare CBE (RA) with Sophie Goltz Zul Mahmod with Khim Ong Tom?ís Saraceno with Ute Meta Bauer Dan Graham with Ute Meta Bauer Permanent Public Artworks Yinka Shonibare CBE (RA) Zul Mahmod Tom?ís Saraceno Dan Graham Public Art Education: Situated in Singapore Sophie Goltz Mapletree-NTU CCA Singapore Public Art Education Programme Image Credits Acknowledgements Colophon
£18.86
National Gallery Singapore The Artist Speaks: Kim Lim
Book SynopsisKnown primarily as a sculptor who produced abstract wooden pieces and stone-carved works, Kim Lim channelled natural materials into paradoxical expressions of stillness and motion, substance and weightlessness. Her practice explores the relationship between art and nature, drawing inspiration from her varied travels across Asia and her life in Europe. In this publication, her process of shaping materials into contours of curves, lines and surfaces over three decades of artistry takes centre stage. Writings, sketches and notes shed new light on her masterpieces, offering a glimpse into Lim’s personal and artistic life.
£18.00
