Theory of art Books

Book SynopsisA Companion to Modern Art presents a series of original essays by international and interdisciplinary authors who offer a comprehensive overview of the origins and evolution of artistic works, movements, approaches, influences, and legacies of Modern Art.Table of ContentsList of Figures ix Acknowledgments xi Notes on Contributors xiii Introduction 1Pam Meecham Part I Ancient & Modern 15 1 Revitalizing Romanticism; or, Reflections on the Nietzschean Aesthetic and the Modern Imagination 17Colin Trodd 2 A Cartography of Desires and Taboos: The Modern Primitive and the Antipodes 37Andrew McNamara and Ann Stephen 3 Primitive/Modern/Contemporary 55Paul Wood 4 Did Modernism Redefine Classicism? The Ancient Modernity of Classical Greek Art 73Whitney Davis 5 Robert Goldwater and the Search for the Primitive: The Asmat Project at the Museum of Primitive Art 91Nick Stanley 6 Surrealist Ireland: the Archaic, the Modern and the Marvelous 109Fionna Barber Part II Displaying the Modern 125 7 Picturing the Installation Shot 127Julie Sheldon 8 Contemporary Displays of Modern Art 145Pam Meecham 9 Camera-Eye: Photography and Modernism 167Liz Wells 10 Photographic Installation Strategies En-bloc and In-the-round 187Wiebke Leister 11 Documenta 6: Memories of Another Modernism 209Judith Brocklehurst Part III Re-assessments: Modernism and Globalization 227 12 Bijiasuo and Truth: Modernism Reassessed in an Era of Globalization 229Jonathan Harris 13 Extensive Modernity: On the Refunctioning of Artists as Producers 245Angela Dimitrakaki 14 Architecture’s Modernisms 263Richard J. Williams 15 The Wide Margins of the Century: Rural Modernism, Pastoral Peasants, and Economic Migrations 283Rosemary Shirley 16 Destabilizing Essentialism through Localizing Modernism 299Naoko Uchiyama Part IV Locating Modernism: Multiple Modernisms and Nation Building 319 17 The Many Modernisms of Australian Art 321Laura Back 18 Greek-Cypriot Locality: (Re) Defining our Understanding of European Modernity 339Elena Stylianou and Nicos Philippou 19 A Northern Avant-garde: Spaces and Cultural Transfer 359Annika O¨hrner 20 Modernisms, Genealogy, and Utopias in Finland 375Renja Suominen-Kokkonen 21 The Engaged Artist: Considerations of Relevance 391Greta Berman 22 Visualizing Figures of Caribbean Slavery through Modernism 411Leon Wainwright Part V The Modern Artist, the Modern Child, and a Modern Art Education 425 23 A Modern Art Education 427Claire Robins 24 Misrecognition: Child’s Play, Modern Art, and Vygotskian Psychology 453Nicholas Addison 25 MoMA and the Modern Child: The Critical Role of Education Programming in MoMA’s Modernism 473Briley Rasmussen 26 Paul C´ezanne’s Young Girl at the Piano – Overture to “Tannh¨auser” or “Le Haschisch des femmes” 493Anna Green Index 517

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Book SynopsisThe Clever Object presents a multidisciplinary exploration of the ways objects materialise, embody, or negotiate various forms of intelligence, revealing the use of the idea of the clever object as an analytic tool of art-historical interpretation.Table of Contents6 Notes on Contributors 8 Chapter 1 The Clever Object: Three Pavilions, Three Loggias, and a Planetarium Matthew C. Hunter and Francesco Lucchini 32 Chapter 2 Aleardino’s Glass Francesco Lucchini 52 Chapter 3 Object, Image, Cleverness: The Lienzo de Tlaxcala Byron Ellsworth Hamann 80 Chapter 4 Picture, Object, Puzzle, Prompter: Devilish Cleverness in Restoration London Matthew C. Hunter 102 Chapter 5 Screen Wise, Screen Play: Jacques de Lajoue and the Ruses of Rococo Katie Scott 142 Chapter 6 William Morris’s Tapestry: Metamorphosis and Prophecy in The Woodpecker Caroline Arscott 160 Chapter 7 Fischli and Weiss’s Equilibre/Quiet Afternoon (1984-5) Rachel Wells 174 Chapter 8 Clever Objects – Tell-Tale Objects Simon Starling in conversation with Christiane Rekade 186 Chapter 9 Fragments of Great Visions Ian Kiaer in conversation with Christiane Rekade 198 Chapter 10 Response: Clever Fetishists Roman Frigg 204 Chapter 11 Response: Playing Dumb Glenn Adamson 211 Index

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Book SynopsisA comprehensive review of art in the first truly modern century A Companion to Nineteenth-Century Art contains contributions from an international panel of noted experts to offer a broad overview of both national and transnational developments, as well as new and innovative investigations of individual art works, artists, and issues. The text puts to rest the skewed perception of nineteenth-century art as primarily Paris-centric by including major developments beyond the French borders. The contributors present a more holistic and nuanced understanding of the art world during this first modern century. In addition to highlighting particular national identities of artists, A Companion to Nineteenth-Century Art also puts the focus on other aspects of identity including individual, ethnic, gender, and religious. The text explores a wealth of relevant topics such as: the challenges the artists faced; how artists learned their craft and how they met cliTable of ContentsList of Figures ix About the Editor xiii Notes on Contributors xv Series Editor’s Preface xxi Acknowledgments xxiii Introduction xxvMichelle Facos 1 Moses Jacob Ezekiel’s Religious Liberty (1876) and the Nineteenth‐Century Jewish American Experience 1Samantha Baskind 2 The Lure of “Magick Land”: British Artists and Italy in the Eighteenth Century 17Brendan Cassidy 3 Mining the Dutch Golden Age: The Avant‐Garde Enterprise 35Johanna Ruth Epstein 4 “The Revenge of Art on Life”: Beauty, Modernity, and Edward Burne‐Jones’s King Cophetua and the Beggar Maid 51Andrea Wolk Rager 5 Show and Tell: Exhibition Practice in the Nineteenth Century 69Patricia Mainardi 6 Networked: The Art Market in the Nineteenth Century 83Pamela Fletcher and Anne Helmreich 7 German Art Academies and their Impact on Artistic Style 103Sabine Wieber 8 “Orientalism” in Art: The Case of John Frederick Lewis 121Julie Codell 9 Wall to Wall: Zones of Artistic Engagement in Late Nineteenth‐Century America 139Melody Barnett Deusner 10 “Like a Dog, Just Looking”: Cézanne, Innocence, and Early Phenomenological Thought in Nineteenth‐Century France 159Nina Athanassoglou‐Kallmyer 11 Aesthetic Religion, Religious Aesthetics, and the Romantic Quest for Epiphany 175Cordula Grewe 12 The Wanderers and Realism in Tsarist Russia 193Josephine Karg 13 Thomas Cole and the Domestic Landscape of the Hudson River School 209William L. Coleman 14 Sculpture and the Public Imagination: Nineteenth‐Century Site‐Specific Art of the Cemetery, the Garden, and the Street 225Caterina Y. Pierre 15 Capturing Unconsciousness: The New Psychology, Hypnosis, and the Culture of Hysteria 243Fae Brauer 16 Impressionism and the Mirror Image 263Martha Lucy 17 Roots: Landscapes of Nationalism in the Long Nineteenth Century 281Neil McWilliam 18 Australian Art in the Nineteenth‐Century: Forging a National Style 299Catherine Speck 19 Tradition and Modernity in Nineteenth‐Century Catalan Art: From Romanticism to Picasso 315M. Lluïsa Faxedas Brujats 20 Principle and Practice in Nineteenth‐Century Danish Landscape Painting 335Thor J. Mednick 21 Art and Multiculturalism in Estonia and Latvia, circa 1900 353Bart Pushaw 22 Nationalism and the Myth of Hungarian Origin: Attila and Árpád 371Terri Switzer 23 In the Service of the Nation: Forging the Identity of Polish Art in the Nineteenth Century 391Agnieszka Rosales Rodriguez 24 Facing Modernism: Jean‐Antoine Houdon and the Politics of the Portrait Bust in Eighteenth‐Century France 413Ronit Milano 25 Identity Tourism: Studio Stagings in Nineteenth‐Century Photography 431Patricia G. Berman 26 The Meaning of the Verb “To Be” in Painting: Manet’s Olympia 451Andrei Molotiu 27 Cassatt’s Singular Women: Reading Le Figaro and the Older New Woman 467Ruth E. Iskin 28 Fashion, Lithography, and Gender Instability in Romantic‐Era Paris: A Case Study 485Andrew Carrington Shelton 29 Racist or Hero of Social Art?: Degas, the Birth of Sociology, and the Biopolitical Gaze 499Michael F. Zimmermann Index 519

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Book SynopsisOriginal essays offering fresh ideas and global perspectives on contemporary feminist art The term feminist art' is often misused when viewed as a codification within the discipline of Art Historya codification that includes restrictive definitions of geography, chronology, style, materials, influence, and other definitions inherent to Art Historical and museological classifications. Employing a different approach, A Companion to Feminist Art defines art' as a dynamic set of material and theoretical practices in the realm of culture, and feminism' as an equally dynamic set of activist and theoretical practices in the realm of politics. Feminist art, therefore, is not a simple classification of a type of art, but rather the space where feminist politics and the domain of art-making intersect. The Companion provides readers with an overview of the developments, concepts, trends, influences, and activities within the space of contemporary feminist artin different locations, ways of makingTrade Review"The strength of the book is in its articulation of theoretical frameworks for understanding art and feminism in a global context." - T. Nygard, Ripon College for CHOICE Connect, February 2020 Vol. 57 No. 6Table of ContentsSeries Editor Preface xi About the Editors xiii Notes on Contributors xv Introduction 1 Part I Geographies 15 1 Recurring Questions, Cyclical Energies: A History of Feminist Art Practices in Australia 17Julie Ewington 2 Debunking the Patriarchy: Feminist Collectives in Argentina, Bolivia, Chile, and Peru 37María Laura Rosa (Translated by Maria Elena Buszek) 3 Women Artists: Making a Subject Space in India 53Gayatri Sinha 4 Feminism as Activism in Contemporary South African Art 69Karen von Veh 5 Moving Towards Paratactical Curating: A Critical Overview of Feminist Curating in Istanbul in the Twenty‐First Century 91Ebru Yetişkin 6 From Within, From Without: Configurations of Feminism, Gender and Art in Post‐Wall Europe 111Martina Pachmanová 7 Crossing Borders and Other Dividers in Western Europe and the British Isles 127Alexandra Kokoli 8 Wheels and Waves in the USA 141Mira Schor Part II Being 155 9 Essentialism, Feminism, and Art: Spaces Where Woman “Oozes Away” 157Amelia Jones 10 Feminist Ageing: Representations of Age in Feminist Art 181Michelle Meagher 11 Letters to Susan 199Lubaina Himid 12 Feminist Art Re‐Covered 215Richard Meyer 13 Collecting Creative Transcestors: Trans* Portraiture Hirstory, from Snapshots to Sculpture 225Eliza Steinbock Part III Doing 243 14 Witness It: Activism, Art, and the Feminist Performative Subject 245Hilary Robinson 15 Feminism and Language 261Griselda Pollock 16 Busy Hands, Light Work: Toward a Feminist Historiography of Hand‐Made Photography in the Era of the ‘New Materiality’ 283Harriet Riches 17 Reading Posthumanism in Feminist New Media Art 299Maria Fernandez 18 Finding Ourselves Feminists: Curating and Exhibitions 315Lucy Day and Eliza Gluckman 19 Erasure, Transformation and the Politics of Pedagogy as Feminist Artistic/Curatorial Practice 331Felicity Allen Part IV Thinking 351 20 Art Matters: Feminist Corporeal‐Materialist Aesthetics 353Marsha Meskimmon 21 The Hidden Abode Beneath/Behind/Beyond the Factory Floor, Gendered Labor, and the Human Strike: Claire Fontaine’s Italian Marxist Feminism 369Jaleh Mansoor 22 Dear World: Arts and Theories of Queer Feminism 389Tirza Latimer 23 From Representation to Affect: Beyond Postmodern Identity Politics in Feminist Art 405Susan Best 24 Call and Response: Conversations with Three Women Artists on Afropean Decoloniality 419Alanna Lockward Part V Relating 437 25 On Feminism, Art and Collaboration 439Amy Tobin 26 Opening the Patriarchive: Photography, Feminism, and State Violence 459Siona Wilson 27 Maternal Mattering: The Performance and Politics of the Maternal in Contemporary Art 475Natalie Loveless 28 Ars Eroticas of Their Own Making: Explicit Sexual Imagery in American Feminist Art 493Tanya Augsburg 29 Masculinity, Art, and Value Extraction: An Intersectional Reading in the Advance of Capital as Post‐Democracy 513Angela Dimitrakaki 30 New Subjects and Subjectivities 533Jill Bennett Index 545

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Book SynopsisThe theory and practice of imitation has long been central to the construction of art and yet imitation is still frequently confused with copying. Theorizing Imitation in the Visual Arts challenges this prejudice by revealing the ubiquity of the practice across cultures and geographical borders. This fascinating collection of original essays has been compiled by a group of leading scholars Challenges the prejudice of imitation in art by bringing to bear a perspective that reveals the ubiquity of the practice of imitation across cultural and geographical borders Brings light to a broad range of areas, some of which have been little researched in the past Table of Contents6 Notes on Contributors 8 Chapter 1 Why Imitation, and Why Global?Paul Duro 30 Chapter 2 Post-Western Poetics: Postmodern Appropriation Art in AustraliaIan McLean 50 Chapter 3 Essentially the Same: Eduardo Costa’s Minimal Differences and Latin American ConceptualismPatrick Greaney 68 Chapter 4 Like Father, Like Son: Bernini’s Filial Imitation of MichelangeloCarolina Mangone 90 Chapter 5 Navajo Sandpainting in the Age of Cross-Cultural ReplicationJanet Catherine Berlo 110 Chapter 6 Copying and Theory in Edo-Period Japan (1615-1868)Kazuko Kameda-Madar 130 Chapter 7 Original Imitations for Sale: Dafen and Artistic CommodificationVivian Li 146 Chapter 8 The Temporal Logic of Citation in Chinese PaintingMartin J. Powers 166 Chapter 9 IngeminationRichard Shiff 186 Chapter 10 The Image Valued ‘As Found’ and the Reconfiguring of Mimesis in Post-War ArtAlex Potts 208 Chapter 11 History Lessons: Imitation, Work and the Temporality of Contemporary ArtJonathan Bordo 229 Index

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Book SynopsisThis companion presents new critical views on crucial aspects of the large and varied field of Asian art and architectural history. The essays collected here provide scholars and the public with an opportunity to engage with the field in all its diversity - from coinage to monastic spaces to imperial commissions and beyond.Table of ContentsList of Illustrations viii Notes on Contributors xiv Acknowledgments xx Part I Introduction 1 1 Revisiting “Asian Art” 3 Rebecca M. Brown and Deborah S. Hutton Part II Objects in Use 21 2 The Material Facts of Ritual: Revisioning Medieval Viewing through Material Analysis, Ethnographic Analogy, and Architectural History 23 Kevin Gray Carr 3 Textiles and Social Action in Theravada Buddhist Thailand 48 Leedom Lefferts 4 Functional and Nonfunctional Realism: Imagined Spaces for the Dead in Northern Dynasties China 70 Bonnie Cheng 5 The Visible and the Invisible in a Southeast Asian World 97 Jan Mrázek Part III Space 121 6 Building Beyond the Temple: Sacred Centers and Living Communities in Medieval Central India 123 Tamara I. Sears 7 Urban Space and Visual Culture: The Transformation of Seoul in the Twentieth Century 153 Kim Youngna 8 Unexpected Spaces at the Shwedagon 178 Elizabeth Howard Moore 9 The Changing Cultural Space of Mughal Gardens 201 James L. Wescoat Jr. Part IV Artists 231 10 Old Methods in a New Era: What Can Connoisseurship Tell Us about Rukn-ud-din? 233 Molly Emma Aitken and Shanane Davis, with technical analysisby Yana van Dyke 11 Convergent Conversations: Contemporary Art in Asian America 264 Margo Machida 12 The Icon of the Woman Artist: Guan Daosheng (1262–1319) and the Power of Painting at the Ming Court c. 1500 290 Jennifer Purtle 13 Diasporic Body Double: The Art of the Singh Twins 318 Saloni Mathur Part V Challenging the Canon 339 14 Re-evaluating Court and Folk Painting of Korea 341 Kumja Paik Kim 15 Conflict and Cosmopolitanism in “Arab” Sind 365 Finbarr Barry Flood 16 In the Absence of the Buddha: “Aniconism” and the Contentions of Buddhist Art History 398 Ashley Thompson 17 On Maurya Art 421 Frederick Asher Part VI Shifting Meanings 445 18 Art, Agency, and Networks in the Career of Tokugawa Ieyasu (1543–1616) 447 Morgan Pitelka 19 Shiva Nataraja: Multiple Meanings of an Icon 471 Padma Kaimal 20 Sifting Mountains and Rivers through a Woven Lens: Repositioning Women and the Gaze in Fourteenth-Century East Java 486 Kaja M. McGowan 21 Dead Beautiful: Visualizing the Decaying Corpse in Nine Stages as Skillful Means of Buddhism 513 Ikumi Kaminishi 22 In the Name of the Nation: Song Painting and Artistic Discourse in Early Twentieth-Century China 537 Cheng-hua Wang Part VII Elusive, Mobile Objects 561 23 Chinese Painting: Image-Text-Object 563 De-nin Deanna Lee 24 Locating Tomyoji and Its “Six” Kannon Sculptures in Japan 580 Sherry Fowler 25 The Unfired Clay Sculpture of Bengal in the Artscape of Modern South Asia 604 Susan S. Bean 26 Malraux’s Buddha Heads 629 Gregory P. A. Levine Index 655

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Book SynopsisA fully updated and comprehensive companion to Romanesque and Gothic art history This definitive reference brings together cutting-edge scholarship devoted to the Romanesque and Gothic traditions in Northern Europe and provides a clear analytical survey of what is happening in this major area of Western art history. The volume comprises original theoretical, historical, and historiographic essays written by renowned and emergent scholars who discuss the vibrancy of medieval art from both thematic and sub-disciplinary perspectives. Part of the Blackwell Companions to Art History, A Companion to Medieval Art, Second Edition features an international and ambitious range of contributions covering reception, formalism, Gregory the Great, pilgrimage art, gender, patronage, marginalized images, the concept of spolia, manuscript illumination, stained glass, Cistercian architecture, art of the crusader states, and more. Newly revised edition of a highTable of ContentsNotes on Contributors ix Series Editor’s Preface xvii Preface to the First Edition xix Preface to the Second Edition xxiii 1 Introduction: A Sense of Loss: An Overview of the Historiography of Romanesque and Gothic Art 1Conrad Rudolph 2 Artifex and Opifex – The Medieval Artist 45Beate Fricke 3 Vision 71Cynthia Hahn 4 Materials, Materia, “Materiality” 95Aden Kumler 5 Reception of Images by Medieval Viewers 119Madeline Harrison Caviness 6 Narrative, Narratology, and Meaning 147Suzanne Lewis 7 Formalism 171Linda Seidel 8 Gender and Medieval Art 195Brigitte Kurmann‐Schwarz 9 Gregory the Great and Image Theory in Northern Europe During the Twelfth and Thirteenth Centuries 221Herbert L. Kessler 10 Iconography 245Shirin Fozi 11 Art and Exegesis 267Christopher G. Hughes 12 Whodunnit? Patronage, the Canon, and the Problematics of Agency in Romanesque and Gothic Art 287Jill Caskey 13 Collecting (and Display) 309Pierre Alain Mariaux 14 The Concept of Spolia 331Dale Kinney 15 The Monstrous 357Thomas E.A. Dale 16 Making Sense of Marginalized Images in Manuscripts and Religious Architecture 383Laura Kendrick 17 Definitions and Explanations of the Romanesque Style in Architecture from the 1960s to the Present Day 407Eric Fernie 18 Romanesque Sculpture in Northern Europe 417Colum Hourihane 19 Modern Origins of Romanesque Sculpture 439Robert A. Maxwell 20 The Historiography of Romanesque Manuscript Illumination 463Adam S. Cohen 21 The Study of Gothic Architecture 489Stephen Murray 22 France, Germany, and the Historiography of Gothic Sculpture 513Jacqueline E. Jung 23 Gothic Manuscript Illustration: The Case of France 547Anne D. Hedeman 24 “‘Specially English’: Gothic Illumination c.1190 to the Early Fourteenth Century” 569Kathryn A. Smith 25 From Institutional to Private and from Latin to the Vernacular: German Manuscript Illumination in the Thirteenth Century 601Michael Curschmann 26 Glazing Medieval Buildings 627Elizabeth Carson Pastan 27 Toward a Historiography of the Sumptuous Arts 657Brigitte Buettner 28 Reliquaries 681Cynthia Hahn 29 East Meets West: The Art and Architecture of the Crusader States 705Jaroslav Folda 30 Gothic in the Latin East 729Michalis Olympios 31 Art and Liturgy in the Middle Ages 759Eric Palazzo 32 Architectural Layout: Design, Structure, and Construction in Northern Europe 777Marie‐Therese Zenner 33 Sculptural Programs 801Bruno Boerner 34 The Art and Architecture of Female Monasticism 823Jeffrey F. Hamburger 35 Cistercian Architecture 857Peter Fergusson 36 Art and Pilgrimage: Mapping the Way 881Paula Gerson 37 “The Scattered Limbs of the Giant”: Recollecting Medieval Architectural Revivals 907Tina Waldeier Bizzarro 38 Medieval Art Collections 933Janet T. Marquardt 39 The Modern Medieval Museum 957Michelle P. Brown Index 977

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Book SynopsisThe newly expanded and revised edition of Cooper's popular anthology featuring classic writings on aesthetics, both historical and contemporary The second edition of this bestselling anthology collects essays of canonical significance in aesthetics and the philosophy of art, featuring a wide range of topics from the nature of beauty and the criteria for aesthetic judgement to the value of art and the appreciation of nature. Includes texts by classical philosophers like Plato and Kant alongside essays from art critics like Clive Bell, with new readings from Leonardo da Vinci, Oscar Wilde, Walter Pater, Ronald W. Hepburn, and Arthur C. Danto among others Intersperses philosophical scholarship with diverse contributions from artists, poets, novelists, and critics Broadens the scope of aesthetics beyond the Western tradition, including important texts by Asian philosophers from Mo Tzu to Tanizaki Includes a fully-updated introTable of ContentsAcknowledgments vii Introduction 1 1 Plato, The Republic, Book 10 9 2 Aristotle, Poetics, Chapters 1–15 28 3 (A) Mo Tzu, “Against music” (B) Hsun Tzu, “A discussion of music” 44 4 Plotinus, Enneads, 1.6 55 5 (A) Leon Battista Alberti, On Painting, from Books II and III (B) Leonardo da Vinci, Notebooks (Selections) 66 6 Shih‐t’ao, “Quotes on Painting” 77 7 David Hume, “Of the standard of taste” 89 8 Immanuel Kant, “Critique of aesthetic judgement,”Sections 1–14, 16, 23–4, 28 108 9 Friedrich Schiller, On the Aesthetic Education of Man, Letters 26–7 139 10 G.W.F. Hegel, Introduction to Aesthetics, Chapters 1–3 154 11 Arthur Schopenhauer, The World as Will and Representation, Vol. I, Section 52 168 12 (A) Walter Pater, The Renaissance, from Preface and Conclusion (B) Oscar Wilde, “The Decay of Lying” (Selections) 183 13 Leo Tolstoy, “On art” 196 14 Clive Bell, “The aesthetic hypothesis” 210 15 A.K. Coomaraswamy, The Dance of Síva, Essays 3−4 227 16 Junichirō Tanizaki, In Praise of Shadows (Selections) 243 17 John Dewey, Art as Experience, Chapters 1–2 257 18 Martin Heidegger, “The origin of the work of art,” from Lectures 1 and 2 280 19 R.G. Collingwood, The Principles of Art, Chapter 7 296 20 Ronald W. Hepburn, “Aesthetic appreciation of nature” 319 21 Arthur C. Danto, “The Artworld” 337 Index 353

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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. Edited by two distinguished scholars with contributions from art historians, critics, curators, and art administrators, as well as artists themselvesIncludes 19 essays in four sections: tradition, site, audience, and critical frameworksCovers important topics in the field, including valorizing victims, public art in urban landscapes and on university campuses, the role of digital technologies, jury selection committees, and the intersection of public art and mass mediaContains artist's philosophy essays, which address larger questions about an artist's body of work and the field of public art, by Julian Bonder, eteam (Hajoe Moderegger and Franziska Lamprecht), John Craig Freeman, Antony Gormley, Suzanne Lacy, Caleb Neelon, Tatzu Nishi, Greg Sholette, and Alan Sonfist.Table of ContentsList of Illustrations x Notes on Contributors xii Acknowledgements xx 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’ PhilosophiesMemory Works 25Julian Bonder Public Art? 30Antony Gormley Natural Phenomena as Public Monuments 34Alan Sonfist 1 Memorializing the Holocaust 37James E. Young 2 Chilean Memorials to the Disappeared: Symbolic Reparations and Strategies of Resistance 51Marisa Lerer 3 Modern Mural Painting in the United States: Shaping Spaces/Shaping Publics 75Sally Webster and Sylvia Rhor 4 Locating History in Concrete and Bronze: Civic Monuments in Bamako, Mali 93Mary Jo Arnoldi 5 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 6 Sculptural Showdowns: (Re)Siting and (Mis)Remembering in Chicago 139Eli Robb 7 In the Streets Where We Live 164Kate MacNeill 8 Powerlands: Land Art as Retribution and Reclamation 176Erika Suderburg 9 Waterworks: Politics, Public Art, and the University Campus 191Grant Kester 10 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 11 Audiences Are People, Too: Social Art Practice as Lived Experience 251Mary Jane Jacob 12 Contextualizing the Public in Social Practice Projects 268Jennifer McGregor and Renee Piechocki 13 Art Administrators and Audiences 285Charlotte Cohen and Wendy Feuer 14 Poll the Jury: The Role of the Panelist in Public Art 296Mary M. Tinti 15 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” 353Tatzu Nishi 16 The Time Frame: Encounters with Ephemeral Public Art 359Patricia C. Phillips 17 The Memory Frame: Set in Stone, a Dialogue 376Amanda Douberley and Paul Druecke 18 The Patronage Frame: New York City’s Mayors and the Support of Public Art 386Michele H. Bogart 19 The Process Frame: Vandalism, Removal, Re‐Siting, Destruction 403Erika Doss 20 The Marketing Frame: Online Corporate Communities and Artistic Intervention 422Jonathan Wallis 21 The Mass Media Frame: Pranking, Soap Operas, and Public Art 435Cher Krause Knight Epilogue 457Cameron Cartiere Index 465

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Book SynopsisThese essaysexplore the relationship between artistic and technological advances from the Renaissance to the Industrial Revolution. Together they provide a broad definition of technology for this period and address the influence of technological shifts on the history of early modern art.Table of Contents6 Notes on Contributors 8 Chapter 1 After Prometheus: Art and Technology in Early Modern EuropeGenevieve Warwick and Richard Taws 20 Chapter 2 Historians in the Laboratory: Reconstruction of Renaissance Art and Technology in the Making and Knowing ProjectPamela H. Smith and The Making and Knowing Project 44 Chapter 3 Works in Progress: Painting and Modelling in Seventeenth-Century HollandJan Blanc 64 Chapter 4 Looking in the Mirror of Renaissance ArtGenevieve Warwick 92 Chapter 5 Squaring the Circle: The Telescopic View in Early Modern LandscapesAmy Knight Powell 112 Chapter 6 After Galileo: The Image of Science in Niccolò Tornioli’s AstronomersGiulia Martina Weston 128 Chapter 7 The Monument to Louis XIV at the Place Vendôme (1699) as a Technical Achievement: A Question of InterestEtienne Jollet 150 Chapter 8 A Clock Picture as a Philosophical Experiment: The Tableau Mécanique in the Physics Cabinet of Bonnier de la MossonHanneke Grootenboer 166 Chapter 9 Of Air Pumps and Teapots: Joseph Wright of Derby, John Singleton Copley and the Technology of SeeingBryan J. Wolf 186 Chapter 10 Technologies of Illusion: De Loutherbourg’s Eidophusikon in Eighteenth-Century LondonAnn Bermingham 210 Chapter 11 Telegraphic Images in Post-Revolutionary FranceRichard Taws 232 Chapter 12 Seizing Attention: Devices and DesiresBarbara Maria Stafford 239 Index

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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 SynopsisBrings together fresh debates on eleven of the most controversial issues in aesthetics and the philosophy of art. Topics addressed include the nature of beauty, aesthetic experience, artistic value, and the nature of our emotional responses to art.Trade Review“These lively debates by some of today’s most prominent philosophers of art explore the multiple ways the arts engage our cognition, imagination, emotions, and even our moral sensibilities. The accessibility of these discussions makes them ideal for classroom use, while their range and depth make them equally of interest to philosophers who work in the field.” Susan Feagin, Temple University “By virtue of its astute selection of topics and distinguished contributors, this volume will help to advance debate on a number of central issues in contemporary aesthetics. It also provides an excellent central text for a cutting-edge course on the subject.” Paisley Livingston, Lingnan UniversityTable of ContentsAcknowledgments. Notes on Contributors. Introduction: A Conceptual Map of Issues in Aesthetics and the Philosophy of Art (Matthew Kieran). HOW ARE ARTISTIC EXPERIENCE AND VALUE INTER-RELATED?. 1. Aesthetic Empiricism and the Challenge of Fakes and Ready-mades (Gordon Graham). 2. Against Enlightened Empiricism (David Davies). References and Suggested Reading. IN WHAT DOES TRUE BEAUTY CONSIST?. 3. Beauty and Ugliness in and out of Context (Marcia Muelder Eaton). 4. Terrible Beauties (Carolyn Korsmeyer). References and Suggested Reading. WHAT IS THE NATURE OF AESTHETIC EXPERIENCE?. 5. Aesthetic Experience: A Question of Content (Noël Carroll). 6. The Aesthetic State of Mind (Gary Iseminger). References and Suggested Reading. SHOULD WE VALUE WORKS AS ART FOR WHAT WE CAN LEARN FROM THEM?. 7. Art and Cognition (Berys Gaut). 8. Cognitive Values in the Arts: Marking the Boundaries (Peter Lamarque). References. HOW DO PICTURES REPRESENT?. 9. The Speaking Image: Visual Communication and the Nature of Depiction (Robert Hopkins). 10. The Domain of Depiction (Dominic McIver Lopes). References and Suggested Reading. WHAT CONSTITUTES ARTISTIC EXPRESSION?. 11. Artistic Expression and the Hard Case of Pure Music (Stephen Davies). 12. Musical Expressiveness as Hearability-as-Expression (Jerrold Levinson). References and Suggested Reading. IN WHAT WAYS IS THE IMAGINATION INVOLVED IN ENGAGING WITH ARTWORKS?. 13. Anne Brontë and the Uses of Imagination (Gregory Currie). 14. Imagine That! (Jonathan M. Weinberg and Aaron Meskin). References and Suggested Reading. CAN EMOTIONAL RESPONSES TO FICTION BE GENUINE AND RATIONAL?. 15. Genuine Rational Fictional Emotions (Tamar Szabó Gendler and Karson Kovakovich). 16. The Challenge of Irrationalism and How Not To Meet It (Derek Matravers). References and Suggested Reading. IS ARTISTIC INTENTION RELEVANT TO THE INTERPRETATION OF ART WORKS?. 17. Interpretation and the Problem of the Relevant Intention (Robert Stecker). 18. Art, Meaning, and Artist’s Meaning (Daniel O. Nathan). References and Suggested Reading. ARE THERE GENERAL PRINCIPLES OF EVALUATION?. 19. There are no Aesthetic Principles (Alan H. Goldman). 20. Iron, Leather and Critical Principles (George Dickie). References and Suggested Reading. WHAT ARE THE RELATIONS BETWEEN THE MORAL AND AESTHETIC VALUES OF ART?. 21. Artistic Value and Opportunistic Moralism (Eileen John). 22. Ethical Criticism and The Vice of Moderation (Daniel Jacobson). References and Suggested Reading. Index.

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Book SynopsisBrings together fresh debates on eleven of the most controversial issues in aesthetics and the philosophy of art. Topics addressed include the nature of beauty, aesthetic experience, artistic value, and the nature of our emotional responses to art.Trade Review“These lively debates by some of today’s most prominent philosophers of art explore the multiple ways the arts engage our cognition, imagination, emotions, and even our moral sensibilities. The accessibility of these discussions makes them ideal for classroom use, while their range and depth make them equally of interest to philosophers who work in the field.” Susan Feagin, Temple University “By virtue of its astute selection of topics and distinguished contributors, this volume will help to advance debate on a number of central issues in contemporary aesthetics. It also provides an excellent central text for a cutting-edge course on the subject.” Paisley Livingston, Lingnan UniversityTable of ContentsAcknowledgments. Notes on Contributors. Introduction: A Conceptual Map of Issues in Aesthetics and the Philosophy of Art (Matthew Kieran). HOW ARE ARTISTIC EXPERIENCE AND VALUE INTER-RELATED?. 1. Aesthetic Empiricism and the Challenge of Fakes and Ready-mades (Gordon Graham). 2. Against Enlightened Empiricism (David Davies). References and Suggested Reading. IN WHAT DOES TRUE BEAUTY CONSIST?. 3. Beauty and Ugliness in and out of Context (Marcia Muelder Eaton). 4. Terrible Beauties (Carolyn Korsmeyer). References and Suggested Reading. WHAT IS THE NATURE OF AESTHETIC EXPERIENCE?. 5. Aesthetic Experience: A Question of Content (Noël Carroll). 6. The Aesthetic State of Mind (Gary Iseminger). References and Suggested Reading. SHOULD WE VALUE WORKS AS ART FOR WHAT WE CAN LEARN FROM THEM?. 7. Art and Cognition (Berys Gaut). 8. Cognitive Values in the Arts: Marking the Boundaries (Peter Lamarque). References. HOW DO PICTURES REPRESENT?. 9. The Speaking Image: Visual Communication and the Nature of Depiction (Robert Hopkins). 10. The Domain of Depiction (Dominic McIver Lopes). References and Suggested Reading. WHAT CONSTITUTES ARTISTIC EXPRESSION?. 11. Artistic Expression and the Hard Case of Pure Music (Stephen Davies). 12. Musical Expressiveness as Hearability-as-Expression (Jerrold Levinson). References and Suggested Reading. IN WHAT WAYS IS THE IMAGINATION INVOLVED IN ENGAGING WITH ARTWORKS?. 13. Anne Brontë and the Uses of Imagination (Gregory Currie). 14. Imagine That! (Jonathan M. Weinberg and Aaron Meskin). References and Suggested Reading. CAN EMOTIONAL RESPONSES TO FICTION BE GENUINE AND RATIONAL?. 15. Genuine Rational Fictional Emotions (Tamar Szabó Gendler and Karson Kovakovich). 16. The Challenge of Irrationalism and How Not To Meet It (Derek Matravers). References and Suggested Reading. IS ARTISTIC INTENTION RELEVANT TO THE INTERPRETATION OF ART WORKS?. 17. Interpretation and the Problem of the Relevant Intention (Robert Stecker). 18. Art, Meaning, and Artist’s Meaning (Daniel O. Nathan). References and Suggested Reading. ARE THERE GENERAL PRINCIPLES OF EVALUATION?. 19. There are no Aesthetic Principles (Alan H. Goldman). 20. Iron, Leather and Critical Principles (George Dickie). References and Suggested Reading. WHAT ARE THE RELATIONS BETWEEN THE MORAL AND AESTHETIC VALUES OF ART?. 21. Artistic Value and Opportunistic Moralism (Eileen John). 22. Ethical Criticism and The Vice of Moderation (Daniel Jacobson). References and Suggested Reading. Index.

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Book SynopsisTracing Architecture looks at the impact that knowledge of ancient Egyptian, Greek, Roman and British architecture had on aesthetic attitudes and architectural design. It explores the changing relationship between text and image in an era before the introduction of mass mechanical reproduction. Discusses the discovery of the ancient world through the medium of print in the long eighteenth century. Looks at the impact that knowledge of ancient Egyptian, Greek, Roman and British architecture had on aesthetic attitudes and architectural design. Considers the interrelationship between architecture, antiquity and aesthetics in a pan-European context. Explores the changing relationship between text and image in an era before the introduction of mass mechanical reproduction. Table of ContentsIntroduction. Tracing Architecture: the aesthetics of antiquarianism (Dana Arnold and Stephen Bending). Monuments and Texts: Antiquarianism and the beauty of antiquity (Maria Grazia Lolla). Facts or Fragments? Visual histories in the age of mechanical reproduction (Dana Arnold). The Sources and Fortunes of Piranesi’s Archaeological Illustrations (Susan M. Dixon). Antiquity and Improvement in the National Landscape: the Buck’s views of antiquities 1726-42 (Andrew Kennedy). Data, Documentation and Display in Eighteenth-Century Investigations of Exeter Cathedral (Sam Smiles). Every Man is Naturally an Antiquarian: Francis Grose and polite antiquities (Stephen Bending). Voyage: Dominique-Vivant Denon and the transference of images of Egypt (Abigail Harrison Moore). Specimens of Antient Sculpture: Imperialism and the decline of art (Andrew Ballantyne). Index

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Book Synopsis* Elaborates and defends a broad conceptual framework for thinking about the arts. * Offers a provocative view about the kinds of things that artworks are and how they are to be understood. * Reveals important continuities and discontinuities between traditional and modern art.Trade Review"David Davies’s Art as Performance is itself quite a performance. While agreeing with aesthetic contextualism’s rejection of empiricism in aesthetics, it presents a sophisticated and ingenious critique of, and alternative to, even the most enlightened contextualism about the nature, ontology, and value of art, holding that artworks are, all of them, performances by artists, rather than objects made by artists. Davies’s arguments will require, and will richly reward, the most careful attention from his fellow aestheticians." Jerrold Levinson, University of Maryland "David Davies brings philosophical rigor and fine-grained analytical reasoning to live and pressing debates about the fundamental nature of art. He offers a striking and original thesis as well as an illuminating presentation of the issues. A compelling performance!" Peter Lamarque, University of YorkTable of ContentsPreface. 1. Introduction:. Challenges to Aesthetic Empiricism. Methodological Interlude: The ‘Pragmatic Constraint’ on the Ontology of Art. Aesthetic Empiricism and the Philosophy of Art. 2. Aesthetic Empiricism:. Indirect Arguments Against Aesthetic Empiricism. 3. The Fine Structure of the Focus of Appreciation:. The Structure of the Focus of Appreciation. 4. The Artwork as Performance: An Argument from Artistic Intentions:. Overview. The Bearing of Provenance on Work and Focus. Artistic Intentions and the Ontology of Art. Interpretation and Intention. A Role for Actual Intentions. Ontological Implications. Conclusions. 5. Provenance, Modality, and the Identity of the Artwork:. Preliminaries. 6. Artwork, Action, and Performance. 7. Art as Performance:. Elaborating the Performance Theory. Structure and Focus. Heuristics and the Individuation of Artworks. Work-Constitution and Modality on the Performance Theory. Performances, Actions, and Doings. 8. Revisionism and Modernism Revisited. 9. Performance as Art. 10. Defining ‘Art’ as Performance, and the Values of Art:. Notes Towards a Definition of ‘Art’. The Values of Art. Conclusions: The Case Against Contextualism. References. Index

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Book SynopsisDesigned for readers with no or little prior knowledge of the subject, this concise anthology brings together key texts in aesthetics and the philosophy of art. Designed for readers with no or little prior knowledge of the subject. Presents two contrasting pieces on each of six topics. Texts range from Plato''s famous critique of art in the ''Republic'' through Nietzsche''s ''The Birth of Tragedy'' to Barthes'' ''The Death of the Author'' and pieces in recent philosophical aesthetics from a number of traditions. Interactive editorial commentary helps readers to engage with the philosophical train of thought. Explains the argumentative and historical context in which each piece was written. Includes questions for debate and suggestions for further reading. Trade Review"A thoughtful and creative selection of the very best work in aesthetics and philosophy of art brought to life with clear, fresh, and insightful commentaries – there is nothing like it." Dominic McIver Lopes, University of British Columbia ''Through a careful and varied selection of writings, supported by clear and succinct commentary, Janaway's volume succeeds very well in its aim of introducing the philosophy of art and the aesthetic in a way that will allow those new to the subject to grasp its interest and importance.'' Sebastian Gardner, University College LondonTable of ContentsSources and Acknowledgements. Introduction.. 1. Art, value, and philosophy. Introduction to the issues. Introduction to Plato. Plato, Republic, Book 10 (extract). Commentary on Plato. Introduction to Nietzsche. Friedrich Nietzsche, The Birth of Tragedy (extracts). Commentary on Nietzsche.. 2. Aesthetics, art, and nature. Introduction to the issues. Introduction to Carroll. Noël Carroll, ‘Art and Interaction’. Commentary on Carroll. Introduction to Hepburn. R.W. Hepburn, ‘Contemporary Aesthetics and the Neglect of Natural Beauty’. Commentary on Hepburn.. 3. Aesthetic judgements. Introduction to the issues. Introduction to Hume. David Hume, ‘Of the Standard of Taste’. Commenatary on Hume. Introduction to Kant. Immanuel Kant, Critique of the Power of Judgment (extract). Commentary on Kant.. 4. Definitions of art. Introduction to the issues. Introduction to Collingwood. R.G. Collingwood, The Principles of Art (extracts). Commentary on Collingwood. Introduction to Dickie. George Dickie, ‘The Institutional Theory of Art’. Commentary on Dickie.. 5. Authors and works. Introduction to the issues. Introduction to Barthes. Roland Barthes, ‘The Death of the Author’. Commentary on Barthes. Introduction to Danto. Arthur C. Danto, The Transfiguration of the Commonplace (extracts). Commentary on Danto.. 6. Depiction in art. Introduction to the issues. Introduction to Goodman. Nelson Goodman, Languages of Art (extracts). Commentary on Goodman. Introduction to Wollheim. Richard Wollheim, Painting as an Art (extract). Commentary on Wollheim. Further Reading. Index.

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Book SynopsisDesigned for readers with no or little prior knowledge of the subject, this concise anthology brings together key texts in aesthetics and the philosophy of art. Designed for readers with no or little prior knowledge of the subject. Presents two contrasting pieces on each of six topics.Trade Review"A thoughtful and creative selection of the very best work in aesthetics and philosophy of art brought to life with clear, fresh, and insightful commentaries – there is nothing like it." Dominic McIver Lopes, University of British Columbia ''Through a careful and varied selection of writings, supported by clear and succinct commentary, Janaway's volume succeeds very well in its aim of introducing the philosophy of art and the aesthetic in a way that will allow those new to the subject to grasp its interest and importance.'' Sebastian Gardner, University College LondonTable of ContentsSources and Acknowledgements. Introduction.. 1. Art, value, and philosophy. Introduction to the issues. Introduction to Plato. Plato, Republic, Book 10 (extract). Commentary on Plato. Introduction to Nietzsche. Friedrich Nietzsche, The Birth of Tragedy (extracts). Commentary on Nietzsche.. 2. Aesthetics, art, and nature. Introduction to the issues. Introduction to Carroll. Noël Carroll, ‘Art and Interaction’. Commentary on Carroll. Introduction to Hepburn. R.W. Hepburn, ‘Contemporary Aesthetics and the Neglect of Natural Beauty’. Commentary on Hepburn.. 3. Aesthetic judgements. Introduction to the issues. Introduction to Hume. David Hume, ‘Of the Standard of Taste’. Commenatary on Hume. Introduction to Kant. Immanuel Kant, Critique of the Power of Judgment (extract). Commentary on Kant.. 4. Definitions of art. Introduction to the issues. Introduction to Collingwood. R.G. Collingwood, The Principles of Art (extracts). Commentary on Collingwood. Introduction to Dickie. George Dickie, ‘The Institutional Theory of Art’. Commentary on Dickie.. 5. Authors and works. Introduction to the issues. Introduction to Barthes. Roland Barthes, ‘The Death of the Author’. Commentary on Barthes. Introduction to Danto. Arthur C. Danto, The Transfiguration of the Commonplace (extracts). Commentary on Danto.. 6. Depiction in art. Introduction to the issues. Introduction to Goodman. Nelson Goodman, Languages of Art (extracts). Commentary on Goodman. Introduction to Wollheim. Richard Wollheim, Painting as an Art (extract). Commentary on Wollheim. Further Reading. Index.

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Book SynopsisArt''s Agency and Art History re-articulates the relationship of the anthropology of art to key methodological and theoretical approaches in art history, sociology, and linguistics. Explores important concepts and perspectives in the anthropology of art Includes nine groundbreaking case studies by an internationally renowned group of art historians and art theorists Covers a wide range of periods, including Bronze-Age China, Classical Greece, Rome, and Mayan, as well as the modern Western world Features an introductory essay by leading experts, which helps clarify issues in the field Includes numerous illustrations Trade Review"A very interesting volume, not only for the excellent quality of its chapters, but also because it shows promising perspectives in the cross-fertilization between anthropology and art history." (Journal of the Royal Anthropological Institute, March 2009) "This book represents an extended, timely and extremely valuable exploration of the applicability of the work of Alfred Gell." (The Classical Review, 2008) "Not a single paper presented here failed to provoke or delight this reviewer. This edited volume offers an excellent introduction to Gell’s ideas.... It will surely form an important place in the growing canon of Gell-inspired literature." (Journal of Hellenic Studies, February 2009)Table of ContentsSeries Editor’s Preface. Preface. List of Illustrations. Notes on Contributors. 1. Introduction: Art and Agency and Art History: Jeremy Tanner (University College London ) and Robin Osborne (University of Cambridge). 2. Enchantment and Sacrifice in Early Egypt: David Wengrow (University College London). 3. Agency Marked, Agency Ascribed: The Affective Object in Ancient Mesopotamia: Irene J. Winter (Harvard University). 4. Portraits and Agency: A Comparative View: Jeremy Tanner (University College London). 5. The Agency of, and the Agency for, the Wanli Emperor: Jessica Rawson (University of Oxford). 6. The Material Efficacy of the Elizabethan Jeweled Miniature: a Gellian Experiment: Jessen Kelly (University of California at Berkeley). 7. Representational Art in Ancient Peru and the Work of Alfred Gell: Jeffrey Quilter (Peabody Museum, Harvard). 8. Gell's Idols and Roman Cult: Peter Stewart (Courtauld Institute of Art in London). 9. Sex, Agency, and History: the Case of Athenian Painted Pottery: Robin Osborne (University of Cambridge). 10. Abducting the Agency of Art: Whitney Davis (University of California at Berkeley). Index

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Book Synopsis(Re)Thinking Art: A Guide for Beginners is a primer that considers the term art, what it means and why it matters. Rather than being about any particular sort of art visual or otherwise the book addresses the idea of art in all, in all its messy complexity, and offers meaningful access to the vast array of human products to which it refers. Written by an award-winning teacher as a response to students' ongoing challenge, What is ''art'', anyway, and why should I care? Aims to bring readers into a meaningful relationship with art and teaches them to think critically and creatively about it - and by extension, about anything else Provides an ideal introduction to the field for students and anyone interested in art today Offers a jargon-free, common-sense basis from which to approach the theories that dominate the art world today, for readers who may wish to pursue them further Trade Review"(Re)Thinking 'Art' is a wonderful little book, mostly accessible and often funny, that offers a way forward to critical thinking about art. I would recommend it without hesitation for lower-level undergraduate courses." (Teachers College Record, December 2008) "In-depth examination of art told in plain, lively language ... [which] will allow seasoned art thinkers to reevaluate and, hopefully, reaffirm their love of art." (Art Blog by Bob)Table of ContentsList of Illustrations. Preface. Acknowledgments. Introduction: What’s The Big Idea?. 1. Being Human. 2. The History of 'Art'. 3. The 'History of Art'. 4. 'Art,' Lately. 5. 'Art' and Language. 6. (Re)Thinking 'Art'. 7. Pragmatics. 8. Or, Maybe . .. Bibliography. Index.

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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

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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

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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

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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

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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

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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.

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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

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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 Gržinić 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

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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

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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.

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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 *

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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.

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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.

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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"

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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

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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 *

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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

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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.

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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.

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