Encompassing some of the most recent academic research on mainstream issues of body image, weight and representation of the body, this collection addresses the body in areas such as ancient Greek poetry, new media art, comic book culture and biotechnology.
In der kulturphilosophischen Verschränkung von Pragmatismus, Hermeneutik und Rezeptionsästhetik will diese Studie zeigen, dass gerade der ästhetische Erfahrungsgegenstand durch die Aufkündigung starrer Gegenstands- und Verweisdichotomien die Rezipierenden wesentlich dazwischen sein lässt.
Abjection and Representation is a theoretical investigation of the concept of abjection as expounded by Julia Kristeva in Powers of Horror (1982) and its application in various fields including the visual arts, film and literature.
Clement Greenberg (19091994), champion of abstract expressionism and modernismof Pollock, Mir, and Matissehas been esteemed by many as the greatest art critic of the second half of the twentieth century, and possibly the greatest art critic of all time.
Bringing together cultural history, visual studies, and media archaeology, Bruno considers the interrelations of projection, atmosphere, and environment.
How artists at the turn of the twentieth century broke with traditional ways of posing the bodies of human figures to reflect modern understandings of human consciousness.
Leo Steinberg was one of the most original art historians of the twentieth century, known for taking interpretive risks that challenged the profession by overturning reigning orthodoxies.
Georg Simmel is one of the most original German thinkers of the twentieth century and is considered a founding architect of the modern discipline of sociology.
Leo Steinberg was one of the most original art historians of the twentieth century, known for taking interpretive risks that challenged the profession by overturning reigning orthodoxies.
Leo Steinberg was one of the most original and daring art historians of the twentieth century, known for taking interpretative risks that challenged the profession by overturning reigning orthodoxies.
"e;The eye that gathers impressions is no longer the eye that sees a depiction on a surface; it becomes a hand, the ray of light becomes a finger, and the imagination becomes a form of immediate touching.
The end of the eighteenth century saw the start of a new craze in Europe: tiny portraits of single eyes that were exchanged by lovers or family members.
Ceramics had a far-reaching impact in the second half of the twentieth century, as its artists worked through the same ideas regarding abstraction and form as those for other creative mediums.
In this book, art historian Darby English explores the year 1971, when two exhibitions opened that brought modernist painting and sculpture into the burning heart of United States cultural politics: Contemporary Black Artists in America, at the Whitney Museum of American Art, and The DeLuxe Show, a racially integrated abstract art exhibition presented in a renovated movie theater in a Houston ghetto.
Troubling Vision addresses American culture's fixation on black visibility, exploring how blackness is persistently seen as a problem in public culture and even in black scholarship that challenges racist discourse.
The Western discovery of Japanese paintings at nineteenth-century world's fairs and export shops catapulted Japanese art to new levels of international popularity.
During the Middle Ages in Europe, some sexual and gendered behaviors were labeled "e;sodomitical"e; or evoked the use of ambiguous phrases such as the "e;unmentionable vice"e; or the "e;sin against nature.
Most of the seven million people who visit the cathedral of Notre Dame in Paris each year probably do not realize that the legendary gargoyles adorning this medieval masterpiece were not constructed until the nineteenth century.
One of the most admired artists of the twentieth century, Max Ernst was a proponent of Dada and founder of surrealism, known for his strange, evocative paintings and drawings.
By the early 1960s, theorists like Levi-Strauss, Lacan, Foucault, and Barthes had created a world ruled by signifying structures and pictured through the grids of language, information, and systems.
Most of the seven million people who visit the cathedral of Notre Dame in Paris each year probably do not realize that the legendary gargoyles adorning this medieval masterpiece were not constructed until the nineteenth century.
In this book, art historian Darby English explores the year 1971, when two exhibitions opened that brought modernist painting and sculpture into the burning heart of United States cultural politics: Contemporary Black Artists in America, at the Whitney Museum of American Art, and The DeLuxe Show, a racially integrated abstract art exhibition presented in a renovated movie theater in a Houston ghetto.
