Offering an examination of the paragone, meaning artistic rivalry, in nineteenth-century France and England, this book considers how artists were impacted by prevailing aesthetic theories, or institutional and cultural paradigms, to compete in the art world.
Offering an examination of the paragone, meaning artistic rivalry, in nineteenth-century France and England, this book considers how artists were impacted by prevailing aesthetic theories, or institutional and cultural paradigms, to compete in the art world.
Cybernetic-Existentialism: Freedom, Systems, and Being-for-Others in Contemporary Arts and Performance offers a unique discourse and an original aesthetic theory.
Cybernetic-Existentialism: Freedom, Systems, and Being-for-Others in Contemporary Arts and Performance offers a unique discourse and an original aesthetic theory.
In this thoughtful and revelatory book, Wood explores enduring and powerful theories on art, creativity, and what Jung called the "e;creative spirit"e; in order to illuminate how artists can truly understand what it means to be a creator.
In this thoughtful and revelatory book, Wood explores enduring and powerful theories on art, creativity, and what Jung called the "e;creative spirit"e; in order to illuminate how artists can truly understand what it means to be a creator.
Mapping Paradigms in Modern and Contemporary Art defines a new cartographic aesthetic, or what Simonetta Moro calls carto-aesthetics, as a key to interpreting specific phenomena in modern and contemporary art, through the concept of poetic cartography.
This book illuminates a variety of the key themes and positions that are developed in the work of art historian and philosopher Georges Didi-Huberman, one of the most influential image-theorists of our time.
This book illuminates a variety of the key themes and positions that are developed in the work of art historian and philosopher Georges Didi-Huberman, one of the most influential image-theorists of our time.
Mapping Paradigms in Modern and Contemporary Art defines a new cartographic aesthetic, or what Simonetta Moro calls carto-aesthetics, as a key to interpreting specific phenomena in modern and contemporary art, through the concept of poetic cartography.
Viewing artistic works through the lens of both contemporary gerontological theory and postmodernist concepts, the contributing scholars examine literary treatments, cinematic depictions, and artistic portraits of aging from Shakespeare to Hemingway, from Horton Foote to Disney, from Rembrandt to Alice Neale, while also comparing the attitudes toward aging in Native American, African American, and Anglo American literature.
This edited collection explores a subject of great potential for both art historians and museologists - that of the nature of the specimen and how it might be reinterpreted.
This edited collection explores a subject of great potential for both art historians and museologists - that of the nature of the specimen and how it might be reinterpreted.
***'An indispensable volume'Vogue'As rabid admirers and collectors of contemporary art and photography we wholeheartedly recommend this passionate and joyous book.
Italian futurism visualized diverse types of motion, which had been rooted in pervasive kinetic and vehicular forces generated during a period of dramatic modernization in the early 20th century.
Italian futurism visualized diverse types of motion, which had been rooted in pervasive kinetic and vehicular forces generated during a period of dramatic modernization in the early 20th century.
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.
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.
Arriving in New York City in the first decade of the twentieth century, six painters-Robert Henri, John Sloan, Everett Shinn, Glackens, George Luks, and George Bellows, subsequently known as the Ashcan Circle-faced a visual culture that depicted the urban man as a diseased body under assault.
Arriving in New York City in the first decade of the twentieth century, six painters-Robert Henri, John Sloan, Everett Shinn, Glackens, George Luks, and George Bellows, subsequently known as the Ashcan Circle-faced a visual culture that depicted the urban man as a diseased body under assault.
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.
In this eagerly awaited follow-up to his international bestsellers Anam Cara and Eternal Echoes, John O'Donohue turns his attention to the subject of beauty - the divine beauty that calls the imagination and awakens all that is noble in the human heart.
The whole of Marx's project confronts the narrow concerns of political philosophy by embedding it in social philosophy and a certain understanding of the aesthetic.
The whole of Marx's project confronts the narrow concerns of political philosophy by embedding it in social philosophy and a certain understanding of the aesthetic.
Activists working in post-traumatic societies have tended to resist psychoanalytical terms because they fear that pathologizing individual suffering displaces the collective and political causes of traumatic violence.
