Theory of art Books

Book SynopsisA Companion to American Art presents 35 newly-commissioned essays by leading scholars that explore the methodology, historiography, and current state of the field of American art history.Trade Review"Art historians will greet this stimulating series of companions to art history, of which this volume is the eighth, with enthusiasm." (Reference Reviews, May 2016)Table of ContentsList of Figures xi Notes on Contributors xvii Acknowledgments xxiii Introduction: American Art History Now: A Snapshot 1John Davis, Jennifer A. Greenhill, and Jason D. LaFountain Part I Writing American Art History 13 Dialogue 15 1 A Conversation Missed: Toward a Historical Understanding of the Americanist/Modernist Divide 17Joshua Shannon and Jason Weems 2 Response: Setting the Roundtable, or, Prospects for Dialogue between Americanists and Modernists 34Jennifer L. Roberts 3 A Time and a Place: Rethinking Race in American Art History 49Tanya Sheehan Dialogue 69 4 On the Social History of American Art 71Alan Wallach 5 Response: Our Cause Is What? 85Robin Kelsey 6 The Maker’s Share: Tools for the Study of Process in American Art 95Ethan W. Lasser Dialogue 111 7 The Problem with Close Looking 113Martin A. Berger 8 Response: Look Away 128Jennifer A. Greenhill 9 Looking for Thomas Eakins: The Lure of the Archive and the Object 146Kathleen A. Foster Dialogue 165 10 The Challenge of Contemporaneity, or, Thoughts on Art as Culture 167Rachael Z. DeLue 11 Response: Writing History, Reading Art 183Bryan Wolf Part II Geographies: Rethinking Americanness 191 12 Teaching Across the Borders of North American Art History 193Wendy Bellion and Mónica Domínguez Torres 13 An American Architecture? 211Dell Upton 14 The Pacific World and American Art History 228J.M. Mancini 15 “Home” and “Homeless” in Art between the Wars 246Angela Miller 16 Pueblo Painting in 1932: Folding Narratives of Native Art into American Art History 264Jessica L. Horton and Janet Catherine Berlo 17 US American Art in the Americas 281Mary K. Coffey 18 Geography Lessons: Canadian Notes on American Art History 299Frances K. Pohl 19 Only in America: Exceptionalism, Nationalism, Provincialism 317John Davis 20 Monolingualism, Multilingualism, and the Study of American Art 336Jason D. LaFountain Part III Subjectivities 357 21 Painters and Status in Colony and Early Nation 359Susan Rather 22 Pantaloons vs. Petticoats: Gender and Artistic Identity in Antebellum America 378Sarah Burns 23 Male or Man?: The Politics of Emancipation in the Neoclassical Imaginary 395Charmaine A. Nelson 24 Drawing Boundaries, Crossing Borders: Trespassing and Identity in American Art 414Randall R. Griffey 25 Lookout: On Queer American Art and History 433Richard Meyer 26 From Nature to Ecology: The Emergence of Ecocritical Art History 447Alan C. Braddock 27 Art History as Collage: A Personal Approach 468David M. Lubin Part IV Art and Public Culture 487 28 Material Religion in Early America 489Louis P. Nelson 29 Issues in Early Mass Visual Culture 507Michael Leja 30 Patrons, Collectors, and Markets 525John Ott 31 Historicism in the American Built Environment 544Kevin D. Murphy 32 The Painting of Urban Life, 1880–1930 562David Peters Corbett 33 Photography and Opium in a Nineteenth-Century Port City 581Anthony W. Lee 34 Value in the Vernacular 599Leo G. Mazow 35 Realism under Duress: The 1930s 617Andrew Hemingway Index 637

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Book SynopsisAn exploration of how graffiti murals are created and what role they play in and around New York City. Six case studies, conducted in New York City, and the surrounding areas of Trenton and Jersey City, New Jersey, explore how graffiti murals are created and what role they play in cities where buffing illegal graffiti is a lucrative business. Interveiws with those affected on a daily basis by the murals at sites around the metropolitan area are included, including property owners who have welcomed the muralists in hopes that the artwork would serve as a deterrent to vandalismand provide a more aesthetically pleasing alternative to buffing. This analysis, informed by cultural Marxism and supported by street photography, suggests a radical departure from traditional New York City policy: instead of spending money exclusively on the elimination of illegal graffiti, resources should also be devoted to the creation of graffiti murals. In the end, graffiti removal teams and mural promoters are pursuing the same goal: making the city a more visually appealing place.

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Book SynopsisAn artist and a mathematician debate, find common ground, and jointly create an assemblage that is neither (or both) an artwork and a mathematical model.A week-long residency project brought together artist Conrad Shawcross and mathematician Matthew Watkins to reflect on the ways in which artists use (or misuse) scientific and mathematical concepts. Secrets of Creation documents this fascinating meeting of worlds, presenting both the week's discussions and debates, and the project upon which Shawcross and Watkins subsequently embarked.Navigating a route that tacked between formalism and natural language, experts and laymen, quantity and quality, poetics and mechanics, Shawcross and Watkins gradually forged a shared discourse in which the concerns of the artist and those of the mathematician could find a common ground. The project ended with their joint creation of an assemblage that was neither (or both) an artwork and a mathematical model.

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Book SynopsisA Companion to Public Art is the only scholarly volume to examine the main issues, theories, and practices of public art on a comprehensive scale.Table of ContentsNotes on Contributors x Acknowledgements xviii A Companion to Public Art: Introduction 1Cher Krause Knight and Harriet F. Senie Part I Traditions 13 Introduction 15Cher Krause Knight and Harriet F. Senie Artists’ Philosophies Memory Works 25Julian Bonder Public Art? 30Antony Gormley Natural Phenomena as Public Monuments 34Alan Sonfist Memorializing the Holocaust 37James E. Young Chilean Memorials to the Disappeared: Symbolic Reparations and Strategies of Resistance 51Marisa Lerer Modern Mural Painting in the United States: Shaping Spaces/Shaping Publics 75Sally Webster and Sylvia Rhor Locating History in Concrete and Bronze: Civic Monuments in Bamako, Mali 93Mary Jo Arnoldi The Conflation of Heroes and Victims: A New Memorial Paradigm 107Harriet F. Senie Part II Site 119 Introduction 121Cher Krause Knight and Harriet F. Senie Artists’ Philosophies Give That Site Some Privacy 129eteam (Hajoe Moderegger and Franziska Lamprecht) The Grandiose Artistic Vision of Caleb Neelon 135Caleb Neelon Sculptural Showdowns: (Re)Siting and (Mis)Remembering in Chicago 139Eli Robb In the Streets Where We Live 164Kate MacNeill Powerlands: Land Art as Retribution and Reclamation 176Erika Suderburg Waterworks: Politics, Public Art, and the University Campus 191Grant Kester Augmented Realities: Digital Art in the Public Sphere 205Christiane Paul Part III Audience 227 Introduction 229Cher Krause Knight and Harriet F. Senie Artists’ Philosophies Practical Strategies: Framing Narratives for Public Pedagogies 239Suzanne Lacy Public Art in a Post]Public World: Complicity with Dark Matter 245Gregory Sholette Audiences Are People, Too: Social Art Practice as Lived Experience 251Mary Jane Jacob Contextualizing the Public in Social Practice Projects 268Jennifer McGregor and Renee Piechocki Art Administrators and Audiences 285Charlotte Cohen and Wendy Feuer Poll the Jury: The Role of the Panelist in Public Art 296Mary M. Tinti Participatory Public Art Evaluation: Approaches to Researching Audience Response 310Katherine Gressel Part IV Frames 335 Introduction 337Cher Krause Knight and Harriet F. Senie Artists’ Philosophies The Virtual Sphere Frame: Toward a New Ontology and Epistemology 347John Craig Freeman The Elusive Frame: “Funny,” “Violent,” and “Sexy” 353 The Time Frame: Encounters with Ephemeral Public Art 359Patricia C. Phillips The Memory Frame: Set in Stone, a Dialogue 376Amanda Douberley and Paul Druecke The Patronage Frame: New York City’s Mayors and the Support of Public Art 386Michele H. Bogart The Process Frame: Vandalism, Removal, Re]Siting, Destruction 403Erika Doss The Marketing Frame: Online Corporate Communities and Artistic Intervention 422Jonathan Wallis The Mass Media Frame: Pranking, Soap Operas, and Public Art 435Cher Krause Knight Epilogue 457Cameron Cartiere Index 465

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Book SynopsisA critical overview of contemporary design and its place within the broader context of art history A Companion to Contemporary Design since 1945 introduces readers to a collection of specially commissioned essays exploring the complex areas of design that emerged through the latter half of the twentieth century, design history, design methods, design studies and more recently, design thinking. The book delivers a thoughtful overview of all design disciplines and also strives to stimulate inter-disciplinary debate and examine unconsidered convergences among design applications in different fields. By offering a new perspective on design, the articles assembled here present a challenging account of the boundaries between design history and its cognate disciplines, especially art history. The volume comprises five sectionsTime, Place, Space, Objects and Audiencesthat discuss environments for design and how we interact with designed objects and spaces. Notable features include: 24 new eTable of ContentsList of Illustrations viii About the Editor xii Notes on Contributors xiii Acknowledgments xviii Series Editor’s Preface xix Introduction 1 Anne Massey Part I Time 7 1 Contemporary Design History 9 Sarah Teasley 2 Nostalgia 32 Elizabeth Guffey 3 Design Futures 51 Damon Taylor Part II Place 73 4 Transnationalism for Design History: Knowledge Production and Decolonization Through East Asian Design History 75 Yuko Kikuchi 5 African Fashion Design and the Mobilization of Tradition 91 Victoria L. Rovine 6 Urban Sights: From Outdoor Streets to Interior Urbanism 111 Gregory Marinic Part III Space 137 7 Virtual Space 139 Rina Arya 8 Interior Atmosphere 157 Lois Weinthal 9 Home Truths: Identity and Materiality in the Postwar Interior 173 Ben Highmore 10 Design of Contemporary Mega-Events 189 Graeme Evans Part IV Object 215 11 The Vibrant Object 217 Alexa Griffith Winton 12 The Consumed Object 240 Jonathan Bean 13 The Object of Design History: Lessons for the Environment 260 Kjetil Fallan 14 The Fashionable Object 284 Christopher Breward 15 The Written Object: Design Journalism, Consumption, and Literature Since 1945 299 Grace Lees‐Maffei 16 Destabilizing the Scenario of Design: Queer/Trans/ Gender‐Neutral 326 John Potvin Part V Audiences 351 17 Luxury and Design: Another Time, Another Place 353 Jonathan Faiers 18 Amateur Design 373 Paul Atkinson 19 The Professionalization of Interior Design 393Mark Taylor and Natalie Haskell 20 Design Education in Higher Education 412 Vicky Gunn 21 Design Against Consumerism 436 Paul Micklethwaite 22 Guilty Pleasures: Taste, Design, and Democracy 457 Malcolm Quinn Index 479

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Book SynopsisJennifer L. Creech is Instructor of German at Oregon State University, USA. She is the author of Mothers, Comrades and Outcasts in East German Women's Films (2016) and co-editor of Spectacle: German Visual Culture, Vol. 2 (2015)Thomas O. Haakeson is Associate Professor in Humanities & Sciences at California College of the Arts, USA. He is the author of Grotesque Visions: The Science of Berlin Dada (2021), and co-editor of Spectacle: German Visual Culture, Vol. 2 (2015)Trade ReviewFrom biblical arousals to RAF corpse art; from Joy's feminist pornography to Dr Bitch Ray's bodily interventions, there is much to admire in this thought-provoking essay collection on the visual culture and politics of the body in real-world German contexts. * Michael Hau, author of Performance Anxiety: Sport and Work in Germany from the Empire to Nazism (2017), and Head of History, Monash University, Australia *How to Make the Body is a rich, multi-faceted volume that demonstrates the value of focusing on the body, and embodiment, in examining various aspects of visual culture in 20th and 21st-century German contexts […] and with a strong and welcome emphasis on feminist and queer approaches. * Rick McCormick, Professor of German, Nordic, Slavic, and Dutch, University of Minnesota, USA *Engaging with a diverse array of events, texts, and representations of lived experience, How to Make the Body powerfully mobilizes a range of cutting-edge theoretical approaches to generate new understandings of embodiment vital to German Studies and beyond. * Sara F. Hall, Associate Professor of Germanic Studies, University of Illinois Chicago, USA *Table of Contents1. Jennifer L. Creech and Thomas O. Haakenson, “Introduction: How to Make the Body” 2. Alison Stewart, “Arousal, the Bible, and Bruegel’s Codpieces: The Male Body in Early Modern Visual Culture” 3. David Ciarlo, “The Construction of the Aryan Body in German Visual Advertising, 1908-33” 4. Jill Holaday, “Die Gruppe Zero: Transforming Trauma to Transcendence” 5.Ilka Rasch, “RAF Corpse Art: The Living Dead in the Work of Gerhard Richter, Ernst Volland, Astrid Proll and Andres Veiel” 6. Sebastian Heiduschke, “Penis-bodied Specimen in the Exhibit Körperwelten (‘Body Worlds’)” 7. Jennifer L. Creech, “For the Porn Connoisseur: Cinema Joy” 8. Zachary Fitzpatrick, “Orientalized Bodies at Work: Cultural Zaniness in Berlin's Sayonara Tokyo Revue” 9. Thomas O. Haakenson, “Ai Weiwei’s Body in Berlin” 10. Jamele Watkins, “Afrolocken: Natural Hair in German Literature and Media” 11. Faye Stewart, “Poppthority: The Politics of Dr. Bitch Ray’s Bodily Interventions” 12. Lucy Ashton, “Becoming Invisible/ Against Visibility: Hito Steyerl’s How Not to be Seen: A Fucking Didactic Educational. MOV File”

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Book SynopsisTrade ReviewThis astute monograph offers a survey of Hungarian avant-garde art of the 1960s-80s that is at once accessible and methodologically rigorous. Its elucidation of the entanglements between the first (official) public sphere and its counterpart, the second (unofficial) public sphere, is thoroughly invigorating. * Klara Kemp-Welch, The Courtauld Institute of Art, University of London, UK *‘This timely and expertly researched study of unofficial Kádár-era art explores the resourcefulness and ingenuity of Hungarian artists keen to push the limits of artistic freedom. The book is indispensable for anyone interested in the question what it meant to be radical for an artist in post-1956 Hungary, and beyond.’ * Sven Spieker, University of California, Santa Barbara, USA *Drawing on a wealth of research, Cseh-Varga provides a new and accessible interpretation of radical art phenomena in Hungary under socialism. The book points to the importance of the public sphere for the democratic ambitions and battles with authority of the East European neo-avant-garde. * Edit Sasvári, Art historian and Director of the Kassák Múzeum, Budapest, Hungary *Table of Contents1. Acknowledgements 2. Introduction 3. Public Spheres and Spatiality 4. The Happening and the Consolidation of the Art of the Second Public Sphere 5. Places of Resonance – Artist Studios 6. Official Venues, Semi-Official Art: Party-Run Locations 7. Turning Private into Public – Apartment Culture 8. Avant-Garde above the Ground 9. Conclusion 10. Bibliography

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Book SynopsisUroš Cvoro (UNSW Sydney, Australia) researches artistic and cultural strategies dealing with the multiple challenges of post-global exchange such as conflict, economic collapse, and migration. His books include Turbo-Folk Music and Cultural Representations of National Identity in Former Yugoslavia (2014), Transitional Aesthetics: Contemporary Art at the Edge of Europe (Bloomsbury, 2018), and Post-Conflict Monuments in Bosnia and Herzegovina: Unfinished Histories (2020).Kit Messham-Muir (Curtin University, Australia) researches contemporary art and visual culture that addresses war, terror, and political violence. He wrote Double War: Shaun Gladwell, visual culture and the wars in Afghanistan and Iraq (2015). He is Lead Chief Investigator of the Art in Conflict project, which receives a Linkage Project grant from the Australian Research Council of $293,380 over 2018-2021.Table of ContentsList of Illustrations Acknowledgments Introduction: Zero Hour, Ground Zero Chapter 1: The Trauma Artist Chapter 2: Weaponising Affect Chapter 3: The Gamification of Terror Chapter 4: Weaponisation of History Chapter 5: Military Humanism Chapter 6: Militant Humanism: Repurposing War Infrastructure Conclusion: Weaponised Art Bibliography Index

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Book SynopsisCarolyn S. Loeb is Associate Professor Emerita in Art & Architectural History in the Residential College in the Arts and Humanities at Michigan State University, USA. She has published on public art and urban redevelopment in Berlin, among other subjects.Trade Review“Grounded in a close and critical reading of a number of works of public art and monuments in contemporary Berlin, The City as Subject draws on a sophisticated array of scholarship rooted in critical urban studies and the history of memory, providing something of a blueprint for activist artists and citizens in other places.” * Joe Perry, Associate Professor of History, Georgia State University, USA *Table of ContentsList of Plates List of Figures Preface and acknowledgments 1. Introduction: Public Art and the Affirmation of the City 2. West Berlin Walls, Street Art, and the Right to the City 3. City Spaces: Contemporary Public Sculpture in Berlin 4. The Memorial Landscape of the Berlin Wall 5. Conclusion: Public Art within an Urban Discourse Bibliography Index

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Book SynopsisCurie Scott is an independent education consultant specializing in arts and health, based in the UK. After working as a medical doctor, she transitioned into Higher Education. Previously, she worked at Arts University Bournemouth, UK and Canterbury Christ Church University, UK. She is an award-winning educator for creative learning practices and holds a PhD in thinking through drawing. She is also the author of Drawing: Arts for Health (2021).Philippa Lyon leads drawing, health and wellbeing research at the University of Brighton, UK, where she teaches on the MA Craft and MA Textiles and supervises PhD students. She has publications on the history of art education, design education approaches, and on applications of drawing within educational, health and wellbeing contexts. She has published work in The Sage Handbook of Visual Research Methods (2019) and journals such as the International Journal of Art and Design Education and Visual Methodologies. She also completed her PhD on British Second World War poetry in 2005.

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Book SynopsisNele De Raedt is an Associate Professor at UCLouvain's Faculty of Architecture, Architectural Engineering, and Urbanism, specializing in the history, theory, and criticism of architecture. Her research delves into architectural theory and thought from the late medieval and early modern periods, with a keen focus on the ethical and political dimensions of architectural patronage and design. She also explores how architecture is experienced and debated within broader public discourse.Maarten Delbeke is Professor in the History and Theory of Architecture at the Institut für Geschichte und Theorie der Architektur (gta) at ETH Zürich. He works on the art and architecture of the early modern period in Europe, and its 19th- and 20th-century reception, with a particular interest in the intersection between religion and aesthetics, architecture's relationship to printed and digital media, and origin myths. He is an architecture critic and the founding editor-in-chief of Architectural Histories.

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Book SynopsisIn this landmark work, Jed Perl captures the excitement of a generation of legendary artists-Jackson Pollack, Joseph Cornell, Robert Rauschenberg, and Ellsworth Kelly among them-who came to New York, mingled in its lofts and bars, and revolutionized American art. In a continuously arresting narrative, Perl also portrays such less well known figures as the galvanic teacher Hans Hofmann, the lyric expressionist Joan Mitchell, and the adventuresome realist Fairfield Porter, as well the writers, critics, and patrons who rounded out the artists’world. Brilliantly describing the intellectual crosscurrents of the time as well as the genius of dozens of artists, New Art City is indispensable for lovers of modern art and culture.

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Book SynopsisInterpretation and Construction examines the interpretation and products of intentional human behavior, focusing primarily on issues in art, law, and everyday speech. Focuses on artistic interpretation, but also includes extended discussion of interpretation of the law and everyday speech and communication. Written by one of the leading theorists of interpretation. Theoretical discussions are consistently centered around examples for ease of comprehension. Trade Review"Stecker is a key player in contemporary philosophical debates about interpretation. In his new book these debates are systematically and even-handedly expounded and Stecker's own distinctive position – a version of historicism and pluralism – defended with meticulous attention to detail. I would recommend his book both to those entering the debates for the first time and to those already well engaged." Peter Lamarque, University of York "In characteristic fashion, Robert Stecker has written a carefully considered and well-crafted book. Interpretation and Construction addresses key issues that have become the subjects of lively debate. It is an important contribution that will be of special interest to philosophers of art, literature, history, and law." Michael Krausz, Bryn Mawr College "Robert Stecker has thoughtfully and comprehensively advanced our understanding of ‘interpretation,’ skillfully surveying historicist and constructivist approaches. Of special interest, he addresses both art and law, two seemingly disparate areas in which theories of ‘interpretation’ have flourished, but have rarely been considered together." Julie C. Van Camp, California State University, Long Beach "Overall, the arguments are interesting, extremely careful, and certainly make a significant contribution to the theory of interpretation. Not only does the book have much to offer to scholars, its arguments are easily accessible to students." Choice "Overall, the arguments are interesting, extremely careful, and certainly make a significant contribution to the theory of interpretation. Not only does the book have much to offer to scholars, its arguments are easily accessible to students." Choice, December 2003Table of ContentsPreface and Acknowledgements. 1. Interpreting the Everyday. 2. Art Interpretation: the Central Issues. 3. A Theory of Art Interpretation: Substantive Claims. 4. A Theory of Art Interpretation: Conceptual and Ontological Claims. 5. Radical Constructivism. 6. Moderate and Historical Constructivism. 7. Interpretation and Construction in the Law. 8. Relativism v. Pluralism. References. Index.

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Book SynopsisA Dictionary of Postmodernism presents an authoritative A-Z of the critical terms and central figures related to the origins and evolution of postmodernist theory and culture.Trade Review“Quirky, colourful and polemical, this volume is as much mosaic as dictionary, re-laying and reconfiguring established positions, suggesting new angles, and helping current understanding both to encompass, and perhaps finally move beyond, postmodern theories so influential in the late twentieth century.”—Randall Stevenson, University of Edinburgh “Niall Lucy's Dictionary of Postmodernism is as sharp and sprightly an assembly of essays on postmodernism as one could wish for, which demonstrates the continuing traction and reach of postmodern thought in contemporary art and culture. All the principal persons and preoccupations are considered and the essays are clear-eyed and invigorating.”—Steven Connor, University of CambridgeTable of ContentsAcknowledgments ix Preface x Note on contributors xiii Description xiv Introduction 1 Dictionary Barthes, Roland (Tony Thwaites) 3 Baudrillard, Jean (Niall Lucy) 7 Cultural studies (John Hartley) 12 Culture (Niall Lucy) 19 Deconstruction (Claire Colebrook) 27 Deleuze, Gilles and Guattari, Felix (Claire Colebrook) 30 Derrida, Jacques (Tony Thwaites) 34 Dialogue (John Hartley) 39 Differend (Niall Lucy) 44 Discourse (Robert Briggs) 52 Eco, Umberto (John Hartley) 56 Essence (Robert Briggs) 62 Foucault, Michel (Robert Briggs) 69 Globalization (John Hartley) 76 Habermas, Jürgen (Claire Colebrook) 81 Hassan, Ihab (Darren Tofts) 84 Hyperreality (Robert Briggs) 89 Jameson, Fredric (Niall Lucy) 96 Jencks, Charles (John Hartley) 105 Lacan, Jacques (Tony Thwaites) 110 Lyotard, Jean-François (Niall Lucy) 113 Metanarrative (Niall Lucy) 118 Minor(itarian) (Niall Lucy) 128 Modernism (Niall Lucy) 130 Modernity (Niall Lucy) 137 New media (McKenzie Wark) 139 Paraliterature (Darren Tofts) 144 Phrase (Claire Colebrook) 148 Poststructuralism (Tony Thwaites) 149 Punk (McKenzie Wark) 151 Remix (Darren Tofts) 156 Representation (Darren Tofts) 160 Ronell, Avital (Claire Colebrook) 164 Semiotics (Niall Lucy and John Hartley) 167 Simulation (Niall Lucy) 172 Situationism (McKenzie Wark) 178 Sokal affair (McKenzie Wark) 182 Transcendental signified (Robert Briggs) 188 Truth (Tony Thwaites) 190 Žižek, Slavoj (Tony Thwaites) 194 References 196 Index 213

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Book SynopsisMieke Bal is a leading scholar in art history and visual studies, with an international reputation in the English-speaking world. About Mieke Bal provides the first sustained scholarly assessment of Bal's writings in art history, visual studies, and critical theory.Table of ContentsNotes on contributors vi 1 Conversation pieces: about Mieke Bal 1Deborah Cherry 2 Piecemeal translation 7Murat Aydemir 3 Time of history and time out of history: the Sistine Chapel as ‘theoretical object’ 26Giovanni Careri 4 Reading the Annunciation 49Hanneke Grootenboer 5 Visual archives as preposterous history 64Ernst van Alphen 6 What does a woman want? Art investigating death in Charlotte Salomon’s Leben? oder Theater? 83Griselda Pollock 7 Reading, writing, filming, dreaming, dressing 106Michael Ann Holly and Mieke Bal 8 Killing kool: the graffiti museum 118Sonja Neef 9 Aesthetics of intermediality 132Jill Bennett 10 Je vous 151Kaja Silverman Selected bibliography 168 Index 185

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Book SynopsisWith a foreword by well-known neuroscientist Alain Berthoz, The Style of Gestures convincingly makes the case that embodied cognition is essential to the reception, understanding, and enjoyment of art and literature.Trade ReviewWhat is remarkable about The Style of Gestures... is that it combines a precisely grounded model from neuroscience with persuasive readings of texts across a wide historical range, from medieval works such as Gawain and the Green Knight via Shakespeare and Milton to Joyce and Proust. Guillemette Bolens is a medievalist and a comparatist, and she is always sensitive to the cultural constraints within which her readings must operate: no one could accuse her of reductive universalism or anachronism. Her work thus provides a powerful and persuasive example of what a cognitive literary criticism can achieve. -- Terence Cave Times Literary Supplement This book successfully translates its analytic tools and interpretative frameworks beyond the page into the reader's next reading experience and, perhaps, social encounter. As Bolens writes, 'literature is powerful because, more than any other type of discourse, it triggers the activation of unpredicted sensorimotor configurations and surprises the mind with its own imaginative and cognitive possibilities.' -- Rebecca Dobson MAKE: A Literary Magazine The Style of Gestures brings interdisciplinary research from the field of embodied cognition to medieval textual criticism, and the results are remarkable... Bolens's work demonstrates the clear advantages of embracing the shift towards embodied cognition. -- Melissa Raine ParergonTable of ContentsForeword by Alain BerthozAcknowledgmentsIntroduction1. The Body in Literature2. Kinesic Tropes and Action Verbs3. Verecundia and Social Wounding in the Legend of Lucrece4. Face-work and Ambiguous Feats in Sir Gawain and the Green KnightConclusionNotesBibliographyIndex

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Book SynopsisThe essays collected in this volume were initially presented at the Fourth International Conference on Consciousness, Theatre, Literature and the Arts, held at the University of Lincoln, May 28–30, 2011.

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Book SynopsisThis accessible handbook from design guru and Design Within Reach founder Rob Forbes uncovers the beauty in the commonplace and reveals how visual thinking can enrich our lives. In friendly text complemented by photographs taken on his travels around the world, Forbes explains how to appreciate the design elements that surround us in the built environment. Linking broad concepts such as composition and materiality to quotidian details such as the play of color in hanging laundry or the repeated forms in a row of ice cream scoops, Forbes reveals how an appreciation of the hues, patterns, and textures that surround us can enhance a life well lived. See for Yourself is essential reading to see more clearly, think more visually, and enjoy the world more deeply.

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Book SynopsisAsylum in the Mind is a journey of original art and poetry combined to illustrate the darkness humanity experiences and how we drift between the difficult and the fantastical.

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Book SynopsisJohn Berger was one of the most influential thinkers and writers of postwar Europe. As a novelist, he won the Booker Prize in 1972, donating half his prize money to the Black Panthers; as a TV presenter he changed the way we looked at art in Ways of Seeing; as a storyteller and political activist he defended the rights and dignity of workers, migrants and the oppressed around the world. In 1953 he wrote: "Far from dragging politics into art, art has dragged me into politics." He remained a revolutionary up to his death in January, 2017. In A Writer of Our Time, Joshua Sperling places Berger's life and works within the historical narrative of postwar Britain and beyond. The book also explores, through the work, the larger questions that vexed a generation: the purpose of art, the nature of creative freedom, the meaning of commitment. Drawing on extensive interviews, close readings and a wealth of archival sources only recently made available, the book brings the many different faces of John Berger together and shows him as one of the most vital, and brilliant, thinkers and storytellers of our time.Trade ReviewA welcome intervention that does justice to the legacy of Berger's thought and work which has been criminally underappreciated in Britain. * Morning Star *Berger's talent for 'seeing all sides' of a thing, his incredible floating perspective, would have been worth less had he not used it to choose the right side. -- Sarah Nicole Prickett * Bookforum *

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Book SynopsisIn an age of protest, culture and museums have come under fire. Protests of museum funding (for example, the Metropolitan Museum accepting Sackler family money) and boards (for example, the Whitney appointing tear gas manufacturer Warren Kanders)--to say nothing of demonstrations over exhibitions and artworks--have roiled cultural institutions across the world, from the Guggenheim Abu Dhabi to the Akron Art Museum. At the same time, never have there been more calls for museums to work for social change, calls for the emergence of a new role for culture.As director of the Queens Museum, Laura Raicovich helped turn that New York municipal institution into a public commons for art and activism, organizing high-powered exhibitions that were also political protests. Then in January, 2018, she resigned, after a dispute with the Queens Museum board and city officials became a public controversy--she had objected to the Israeli government using the museum for an event featuring vice president Mike Pence.In this book, Raicovich explains some of the key museum flashpoints, and she also provides historical context for the current controversies. She shows how art museums arose as colonial institutions bearing an ideology of neutrality that masks their role in upholding capitalist values. And she suggests how museums can be reinvented to serve better, public ends.Trade ReviewUrgent -- Travis Diehl * art-agenda *[Culture Strike] brilliantly problematizes the pervasive old myth of "neutrality." -- Dessane Lopez Cassell * Hyperallergic *A must-read ... Culture Strike contains layers of honest observation from museum professionals, loving critique, historical context, and case studies that illuminate the best and worst in museum culture to offer a clear path forward. -- Cara Ober * BmoreArt *Maps out thoughtful considerations of pressing subjects that apply everywhere. Among them are the private power of philanthropy, the practical and spiritual benefits of staff diversity, unionizing cultural institutions, and the contours of museums' social responsibility. -- Christopher Knight * Los Angeles Times *Offers key contextual and historical lenses through which to consider protests that have occurred at institutions worldwide, addressing topics from museum funding to workers' rights. * Ocula *An engaging and personally invested discussion of the many controversies that have engulfed American museums -- JJ Charlesworth * ArtReview *

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Book SynopsisHoly Hiatus sought to examine the ways that artists can draw audiences into different, often unexpected experiences of place through ritual. The temporary, mobile and in some cases, understated nature of the works meant that the impact was often subtle, but the artworks nonetheless created a ripple of effect for audiences.

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Book SynopsisAn aesthetic and political redefinition of gendered relations.Ana Hoffner ex-Prvulovic*’s films, installations, performances, and texts offer an aesthetic and political redefinition of gendered relations—especially in the realms of memory and identity politics at work in recent history and in the frame of contemporary visual production. Specifically, she focuses in her performative investigations on moments of queerness and non-alignment in both colonial and fascist regimes of power. The publication documents for the first time the work of the artist to date, in particular her* most important previous projects are translated into book format: Freud Film, Non-aligned relatives, The Bacha Posh Project, Private View, and Active Intolerance.In Freud Film, Ana Hoffner ex-Prvulovic* deals with the unconscious within the development of Freud’s psychoanalytical theory and tackles the racialized and heteropatriarchal dimension of its concept of “alterity,” which is foundational to the constitution of a modern “European identity”—based, actually, on the exclusion of others. Non-alignment as a geopolitical reality and as a concept—a political and cultural refusal to align to certain normative models and behaviors—recurs often in the artist’s work. Non-aligned Relatives is a work constellation in which she* investigates diverse aspects of non-alignment, on political, cultural, and psychoanalytical levels, especially also linking it to formations of queer kinship, a strategy which continues in The Bacha Posh Project.The series Private View tackles investment in art institutions from the weapons industry, hedgefund companies, and investors of Nazi heritage, thus, in a self-reflexive movement, questioning the capacity of the art field itself to welcome, support, and stand for minoritarian alternatives and non-aligned thought. In Active Intolerance, Ana Hoffner ex-Prvulovic*’s research tackles diverse forms of exploitation of labor in enclosed environments, namely the factory and the prison. The artist once again investigates the liberal and capitalist political project and its relentless construction of, on the one hand, working, consuming, complying, and reproducing bodies and, on the other, of those, who are to be exploited.ContributorsAnne Faucheret, Sara Reisman, Marlene RiglerCopublished by Kunsthalle WienThis publication includes a folded A2 poster: SPIT! (Sodomites, Perverts, Inverts Together! / Carlos Maria Romero, Carlos Motta & John Arthur Peetz), We The Enemy (poster), 2017.

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Book SynopsisOn the legacy of the Eastern European neo-avantgarde and the work of artist Mladen Stilinović.“My sweet little lamb (Everything we see could also be otherwise),” a series of exhibition episodes based on the Kontakt Collection and dedicated to the artist Mladen Stilinović, unfolded in Zagreb and London in 2016–2017. This publication, conceived as a “post-episode” of the project, presents extensive visual documentation of the exhibitions alongside newly commissioned texts by theorists and writers Branislav Dimitrijević, Miguel A. López, Oxana Timofeeva, and Marina Vishmidt, as well as a conversation on exhibition making with curators Ekaterina Degot, Ana Janevski, Emily Pethick, and Marion von Osten. Drawing on the legacy of the Eastern European neo-avantgarde and the work of Stilinović in particular, these contributions grapple with urgent questions about the value of art and exhibition making.ContributorsJonathan Burrows, Ekaterina Degot, Branislav Dimitrijević, Oliver Frljić, Ana Janevski, Miguel A. López, Marion von Osten, Emily Pethick, Kathrin Rhomberg, Oxana Timofeeva, What, How & for Whom / WHW, Marina VishmidtCopublished with Kontakt

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Book SynopsisA reevaluation of Matisse that reveals the complex function of his work and thought in contemporary art's escape from the image, from traditional forms of art, and even from the art form itself.

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Book SynopsisCanvases and Careers Today brings together contributions from the eponymous conference organized by the Institut für Kunstkritik, Frankfurt am Main. Its goal is to provide deeper insights and more complexity to current debates on the relationship between criticism, art, and the market. “It was especially interesting for us to watch a kind of transatlantic divide happening. While the US-American participants mostly declared criticism as obsolete while hoping for turning its weakness into a strength, most European participants departed from the opposite diagnosis: that criticism has never been as strong as it is today, since it is now part of a knowledge-based economy.”—Isabelle Graw/Daniel BirnbaumContributorsGeorge Baker, Johanna Burton, Merlin Carpenter, Melanie Gilligan, Isabelle Graw, Tom Holert, Branden W. Joseph, John Kelsey, André Rottmann, Julia VossInstitut für Kunstkritik Series

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