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.
Jeanne Mammen's watercolour images of the gender-bending 'new woman' and her candid portrayals of Berlin's thriving nightlife appeared in some of the most influential magazines of the Weimar Republic and are still considered characteristic of much of the 'glitter' of that era.
Aesthetics and the philosophy of art are about things in the world things like the Mona Lisa, but also things like horror movies, things like the ugliest dog in the world, and things like wallpaper.
Aesthetics and the philosophy of art are about things in the world things like the Mona Lisa, but also things like horror movies, things like the ugliest dog in the world, and things like wallpaper.
The artwork of Maria Bussmann, a trained academic German philosopher and a significant visual artist, provides an ideal test case for a philosophical study of visual art.
The artwork of Maria Bussmann, a trained academic German philosopher and a significant visual artist, provides an ideal test case for a philosophical study of visual art.
Art, Observation, and an Anthropology of Illustration examines the role of sketches, drawings and other artworks in our understanding of human cultures of the past.
Art, Observation, and an Anthropology of Illustration examines the role of sketches, drawings and other artworks in our understanding of human cultures of the past.
Jeanne Mammen's watercolour images of the gender-bending 'new woman' and her candid portrayals of Berlin's thriving nightlife appeared in some of the most influential magazines of the Weimar Republic and are still considered characteristic of much of the 'glitter' of that era.
This book introduces a compelling new personality to the modernist canon, Marisa Mori (1900-1985), who became the only female contributor to The Futurist Cookbook (1932) with her recipe for Italian Breasts in the Sun.
This book introduces a compelling new personality to the modernist canon, Marisa Mori (1900-1985), who became the only female contributor to The Futurist Cookbook (1932) with her recipe for Italian Breasts in the Sun.
Longlisted for the Historians of British Art (HBA) Book Prize 2022This book on Stephen Willats pulls together key strands of his practice and threads them through histories of British cybernetics, experimental art, and urban design.
Longlisted for the Historians of British Art (HBA) Book Prize 2022This book on Stephen Willats pulls together key strands of his practice and threads them through histories of British cybernetics, experimental art, and urban design.
On the centenary of the fascist party's ascent to power in Italy, Curating Fascism examines the ways in which exhibitions organized from the fall of Benito Mussolini's regime to the present day have shaped collective memory, historical narratives, and political discourse around the Italian ventennio.
On the centenary of the fascist party's ascent to power in Italy, Curating Fascism examines the ways in which exhibitions organized from the fall of Benito Mussolini's regime to the present day have shaped collective memory, historical narratives, and political discourse around the Italian ventennio.
In Images of War in Contemporary Art, Uroš Cvoro and Kit Messham-Muir mount a challenge to the dominance of theoretical tropes of trauma, affect, and emotion that have determined how we think of images of war and terror for the last 20 years.
In Images of War in Contemporary Art, Uroš Cvoro and Kit Messham-Muir mount a challenge to the dominance of theoretical tropes of trauma, affect, and emotion that have determined how we think of images of war and terror for the last 20 years.
The emergence and the activities of a second public sphere in the areas of Soviet influence were intricately linked to the performative and intermedial production and usage of alternative spaces.
The emergence and the activities of a second public sphere in the areas of Soviet influence were intricately linked to the performative and intermedial production and usage of alternative spaces.
Post-Traumatic Art in the City comprises an original analysis of the nexus of war, art and urban society in two specific contexts: late 20th-century Beirut and Sarajevo.
Post-Traumatic Art in the City comprises an original analysis of the nexus of war, art and urban society in two specific contexts: late 20th-century Beirut and Sarajevo.
How to Make the Body: Difference, Identity, and Embodiment brings together contemporary and historical readings of the body, exploring the insights and limits of established and emerging theories of difference, identity, and embodiment in a variety of German contexts.
How to Make the Body: Difference, Identity, and Embodiment brings together contemporary and historical readings of the body, exploring the insights and limits of established and emerging theories of difference, identity, and embodiment in a variety of German contexts.
Bringing together Deleuze, Blanchot, and Foucault, this book provides a detailed and original exploration of the ideas that influenced Deleuze's thought leading up to and throughout his cinema volumes and, as a result, proposes a new definition of art.
Bringing together Deleuze, Blanchot, and Foucault, this book provides a detailed and original exploration of the ideas that influenced Deleuze's thought leading up to and throughout his cinema volumes and, as a result, proposes a new definition of art.
Longlisted for the Historians of British Art (HBA) Book Prize 2022Scottish zoologist D'Arcy Wentworth Thompson's visionary ideas in On Growth and Form continue to evolve a century after its publication, aligning it with current developments in art and science.
Today the Museum of Modern Art is widely recognized for establishing the canon of modern art; yet in its early years, the museum considered modern art part of a still unfolding experiment in contemporary visual production.
Today the Museum of Modern Art is widely recognized for establishing the canon of modern art; yet in its early years, the museum considered modern art part of a still unfolding experiment in contemporary visual production.
