Description
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 Australia
Ian McLean
50 Chapter 3 Essentially the Same: Eduardo Costa’s Minimal Differences and Latin American Conceptualism
Patrick Greaney
68 Chapter 4 Like Father, Like Son: Bernini’s Filial Imitation of Michelangelo
Carolina Mangone
90 Chapter 5 Navajo Sandpainting in the Age of Cross-Cultural Replication
Janet 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 Commodification
Vivian Li
146 Chapter 8 The Temporal Logic of Citation in Chinese Painting
Martin J. Powers
166 Chapter 9 Ingemination
Richard Shiff
186 Chapter 10 The Image Valued ‘As Found’ and the Reconfiguring of Mimesis in Post-War Art
Alex Potts
208 Chapter 11 History Lessons: Imitation, Work and the Temporality of Contemporary Art
Jonathan Bordo
229 Index
