Renaissance Theory presents an animated conversation among art historians about the optimal ways of conceptualizing Renaissance art, and the links between Renaissance art and contemporary art and theory.
In his influential essay Provisional Painting, Raphael Rubinstein applied the term provisional to contemporary painters whose work looked intentionally casual, dashed-off, tentative, unfinished or self-cancelling; who appeared to have deliberately turned away from "e;strong"e; painting for something that seemed to constantly risk failure or inconsequence.
Mit der Suche nach dem im elterlichen Garten vergrabenen Gorilla beginnt Valérie Favres Reise in die Welt der Imagination, der Fantasien, Alpträume, Erinnerungen und Werke der Kunstgeschichte.
This book addresses a topic of increasing importance to artists, art historians and scholars of cultural studies, migration studies and international relations: migration as a profoundly transforming force that has remodelled artistic and art institutional practices across the world.
Since the turn of the millennium, protests, meetings, schoolrooms, reading groups and many other social forms have been proposed as artworks or, more ambiguously, as interventions that are somewhere between art and politics.
Counterfactual thinking has become an established method to evaluate decisions in a range of disciplines, including history, psychology and literature.
Guiding readers through major problems, issues and debates in aesthetics, this is a bias-free introduction for students studying the philosophy of art for the first time.
In 1945, French political prisoners returning from the concentration camps of Germany coined the phrase 'the concentrationary universe' to describe the camps as a terrible political experiment in the destruction of the human.
In The Human in Bits, Kris Cohen examines black abstractionist painting to demonstrate how race and computation are intimately entangled with the personal computer's graphic user interface.
Focusing on the later work of the American photographer Francesca Woodman (1958-1981), Claire Raymond takes up the question of the disintegrative condition of the art she produced in the last year of her life.
This book investigates the notion of beauty in participatory art, an interdisciplinary form that necessitates the audience's agential participation and that is often seen in interactive art and technology-driven media installations.
This book, the first in Moshe Barasch's series on art theory, offers a comprehensive analysis and reassessment of major trends in European art theory and its development from the time of Plato to the early eighteenth century.
In the early sixties, crowds gathered to watch rites of destruction - from the demolition derby where makeshift cars crashed into each other for sport, to concerts where musicians destroyed their instruments, to performances of self-destructing machines staged by contemporary artists.
This book is an ethnographic study of the travelling art exhibition Indian Highway that presented Indian contemporary art in Europe and China between 2008 and 2012, a significant period for the art world that saw the rise and fall of the national exhibition format.
Although art is taught around the world, art education policies and practices vary widely-and the opportunities for teachers to exchange information are few.
Taking as its point of departure Roland Barthes' classic series of essays, Mythologies, Rebecca Houze presents an exploration of signs and symbols in the visual landscape of postmodernity.
Hot Art, Cold War - Northern and Western European Writing on American Art 1945-1990 is one of two text anthologies that trace the reception of American art in Europe during the Cold War era through primary sources.
Reality Modeled After Images: Architecture and Aesthetics after the Digital Image explores architecture's entanglement with contemporary image culture.
In This Is Not a Copy, Kaja Marczewska identifies a characteristic 'copy-paste' tendency in contemporary culture-a shift in attitude that allows reproduction and plagiarizing to become a norm in cultural production.
The widespread assumption that Jewish religious tradition is mediated through words, not pictures, has left Jewish art with no significant role to play in Jewish theology and ethics.
An increased public and academic interest in drawing and sketching, both traditional and digital, has allowed drawing research to emerge recently as a discipline in its own right.
This book, the first in Moshe Barasch's series on art theory, offers a comprehensive analysis and reassessment of major trends in European art theory and its development from the time of Plato to the early eighteenth century.
Many artists and scientists - including Buffon, Goethe, and Philipp Otto Runge - who observed the vividly coloured shadows that appear outdoors around dawn and dusk, or indoors when a candle burns under waning daylight, chose to describe their colours as 'beautiful'.
Since the 1990s, artists and art writers around the world have increasingly undermined the essentialism associated with notions of "e;critical practice.
As places to enjoy art, as well as institutions that have become historic, museums can also be examined through the question of who exactly heads up these temples of art.
In an era when ease of travel is greater than ever, it is also easy to overlook the degree to which voyages of the body - and mind - have generated an outpouring of artistry and creativity throughout the ages.
Written from the perspective of a practising artist, this book proposes that, against a groundswell of historians, museums and commentators claiming to speak on behalf of art, it is artists alone who may define what art really is.
