• The Arts
      November 2018

      Handbook of Art and Global Migration

      Theories, Practices, and Challenges

      by Burcu Dogramaci, Birgit Mersmann

      How can we think of art history as a discipline that moves process-based, performative, and cultural migratory movement to the center of its theoretical and methodical analyses? With contributions from internationally renowned experts, this manual, for the first time, provides answers as to what consequences the interaction of migration and globalization has on research in the field of the science of art, on curatory practice, and on artistic production and theory. The objective of this multi-vocal anthology is to open up an interdisciplinary discourse surrounding the increased focus on the phenomenon of migration in art history.

    • History of Art / Art & Design Styles
      December 2001

      The Ground of the Image

      by Jean-Luc Nancy, Translated by Jeff Fort

    • Theory of Art

      Collaborative Form

      Studies in the Relations of the Arts

      by Thomas Hines (author)

      Collaborative Form attempts to show the nature and limits of works of art that are made up of two or more artistic forms. The first task of this book is to analyze and interpret a set of such combinations. Each chapter treats one collaborative work and attempts to show that the principles of collaboration are the same, whether the components are poetry and graphic works as in Lettera Amorosa by Rene Char and George Braque, poetry and music as in Herzgewachse by Maurice Maeterlinck and Arnold Schoenberg, or more complex sets that include painting, music, dance, lighting, and drama as in Der gelbe Klang by Wassily Kandinsky, Morder, Hoffnung der frauen by Oskar Kokoschka, and Triad by Alwin Nikolais.Hines breaks down disciplinary barriers and then emphasizes the effects of the interactions between the arts. The first step, in methodology, is that of refusing to make a priori commitments to the critical methodologies of the arts involved. Each art is treated from its own perspective, and each interpretation attends to interactions of the arts rather than to the contribution of any one art. Once the collaborative works are examined, the book shows that such works are similar to other art forms. They obey the laws of temporal necessity, non-addition, multiple interpretation, and unity that any poem, painting, or musical composition might be said to obey. Unlike other arts though, collaborative forms are unique examples of the combinative effects of the arts. In the process of interpreting individual works and attempting to summarize this form, we are forced to see beyond the conventions of the constituent arts.

    • The Arts
      January 2013

      Modern French Visual Theory

      A critical reader

      by Nigel Saint, Andy Stafford

      When French theory went global in the late twentieth century its visual wing was understandably built on the work of its best-known thinkers, notably Foucault, Derrida, Barthes and Deleuze. However these names merely scratch the surface of a vibrant and innovative body of theory that has been produced in France over the last six decades. As well as a substantial interview with Sorbonne professor Bernard Vouilloux, this volume focuses on a range of theorists who usually sit under the academic radar, especially when outside of France: Arasse, Buci-Glucksmann, Damisch, Debray, Didi-Huberman, Heinich, Marin, Schefer and Stiegler. Also discussed is the important work on the visual by Baudrillard, Merleau-Ponty, Metz and Nancy. All of these thinkers are given introductory and exploratory treatment here, and are allowed to talk between themselves. By looking at a wider set of theories and theorists relating to the visual, the debates are able to cross-fertilize, with the chapters divided into five major areas: phenomenology and beyond; new art histories and genealogies; semiotics and methodologies; memory and the body; and the digital era. This volume brings together international scholars working within Visual Culture and Art History, to look in detail at a range of issues in French contemporary visual theory. The chapters cover the main media of visual culture: fine art, cinema, museology, photography, as well as the key philosophical coordinates of modern times - phenomenology, structuralism and semiology, post-structuralism, psychoanalysis, sociology, aesthetics and Marxism. Throughout, the volume offers in-depth accounts of keywords, broad critical and historical contexts, and close attention to the language of visual theory. ;

    • The Arts
      January 2013

      Modern French Visual Theory

      A critical reader

      by Nigel Saint, Andy Stafford

      When French theory went global in the late twentieth century its visual wing was understandably built on the work of its best-known thinkers, notably Foucault, Derrida, Barthes and Deleuze. However these names merely scratch the surface of a vibrant and innovative body of theory that has been produced in France over the last six decades. This volume focuses on a range of theorists who usually languish under the academic radar, especially when outside of France: Arasse, Buci-Glucksmann, Damisch, Debray, Didi-Huberman, Heinich, Marin, Schefer and Stiegler. Also discussed is the important work on the visual of Baudrillard, Merleau-Ponty, Metz and Nancy. Five major areas of French contemporary visual theory are studied by international scholars working within Visual Culture and Art History: phenomenology and beyond; new art histories and genealogies; semiotics and methodologies; memory and the body; and the digital era. ;

    • The Arts
      June 2013

      Photographic realism

      Late twentieth-century aesthetics

      by Jane Tormey

      Photographic realism: Late twentieth-century aesthetics provides an accessible and useful introduction to uses of photography in art practice, and relates them to wider cultural ideas. Focusing on conceptual and political projects between 1970 and the turn of the century, it draws parallels between issues discussed in theory and those displayed visually in practice. Tormey discusses a dynamic era in photography's history, which follows the influences of conceptual art and shifts in thinking about representation and subjectivity. The author moves away from the preoccupations of modernist photography to outline a photographic aesthetic that signals a direction for development in the twenty-first century, exampled here by the complex practices of Chinese photography. This book emphasises how photographs construct ideas, make comments and promote thought - philosophically, culturally and politically. It will be particularly useful in post-graduate courses on fine art and photography, but it will also appeal to students and lecturers of art history, visual culture and media studies. ;

    • The Arts
      November 2013

      Surface tensions

      Surface, finish and the meaning of objects

      by Christopher Breward, Glenn Adamson, Victoria Kelley, Bill Sherman

      Surfaces are often held to be of lesser consequence than 'deeper' or more 'substantive' aspects of artworks and objects. Yet it is also possible to conceive of the surface in more positive terms: as a site where complex forces meet. Surfaces can be theorized as membranes, protective shells, sensitive skins, even thicknesses in their own right. The surface is not so much a barrier to content as an opportunity for encounter: in new objects, the surface is the site of qualities of finish, texture, the site of tactile interaction, the last point of contact between object and maker, and the first point of contact between object and user. Surface tensions includes sixteen essays that explore this theoretically uncharted terrain. The subjects range widely: domestic maintenance; avant-garde fashion; the faking of antiques; postmodern architecture and design; contemporary film costume. Of particular emphasis within the volume are textiles, which are among the most complex and culturally rich materialisations of surface. As a whole, the book provides insights into the whole lifecycle of objects, not just their condition when new. ;

    • Theory of Art
      May 2012

      The 'do-it-yourself' artwork

      Participation from Fluxus to New Media

      by Edited by Anna Dezeuze

      Viewers of contemporary art are often invited to involve themselves actively in artworks, by entering installations, touching objects, performing instructions or clicking on interactive websites. Why have artists sought to engage spectators in these new forms of participation? In what ways does active participation affect the viewer's experience and the status of the artwork? Spanning a range of practices including kinetic art, happenings, environments, performance, installations, relational and new media art from the 1950s to the present, this critical anthology sheds light on the history and specificity of artworks that only come to life when you - the viewer - are invited to 'do it yourself.' Rather than a specialist topic in the history of twentieth- and twenty-first century art, the 'do-it-yourself' artwork raises broader issues concerning the role of the viewer in art, the status of the artwork and the socio-political relations between art and its contexts.

    • Theory of Art
      September 2014

      The Idea of the Avant Garde - And What It Means Today

      And What It Means Today

      by Marc James Léger

      This book is premised on the view that the idea of the avant garde has an increased importance in these times of global political crisis. Much cultural production today is shaped by a biopolitics that construes all creative and knowledge production in terms of capital accumulation. A different kind of culture is possible. This collection of writings, essays, interviews and artworks by many of today's most radical cultural practitioners and astute commentators on matters avant garde mediates the different strategies and temporalities of avant-garde art and politics. Tracing diverse genealogies and trajectories, the book offers an inter-generational forum of ideas that covers different arts fields, from visual art, art activism, photography, film and architecture, to literature, theatre, performance, intermedia and music. This is an extraordinarily rich collection and is sure to be a benchmark for many years.

    • The Arts
      May 2016

      Abject visions

      Powers of horror in art and visual culture

      by Rina Arya, Nicholas Chare

      This major new volume brings together leading international scholars to debate the continuing importance and relevance of the concept of abjection for the interpretation of modern and contemporary culture. This genuinely interdisciplinary collection includes important new essays that draw on the work of Georges Bataille, Judith Butler, Julia Kristeva and other key critical thinkers to provide innovative readings of works of art, film, theatre and literature. The clear and accessible essays in this volume extend the existing literature on abjection in exciting new ways to demonstrate the enduring richness of the concept. ;

    • The Arts
      May 2016

      Abject visions

      Powers of horror in art and visual culture

      by Rina Arya, Nicholas Chare

      This major new volume brings together leading international scholars to debate the continuing importance and relevance of the concept of abjection for the interpretation of modern and contemporary culture. This genuinely interdisciplinary collection includes important new essays that draw on the work of Georges Bataille, Judith Butler, Julia Kristeva and other key critical thinkers to provide innovative readings of works of art, film, theatre and literature. The clear and accessible essays in this volume extend the existing literature on abjection in exciting new ways to demonstrate the enduring richness of the concept. ;

    • The Arts
      September 2016

      Abject visions

      Powers of horror in art and visual culture

      by Rina Arya, Nicholas Chare

      This major new volume brings together leading international scholars to debate the continuing importance and relevance of the concept of abjection for the interpretation of modern and contemporary culture. This genuinely interdisciplinary collection includes important new essays that draw on the work of Georges Bataille, Judith Butler, Julia Kristeva and other key critical thinkers to provide innovative readings of works of art, film, theatre and literature. The clear and accessible essays in this volume extend the existing literature on abjection in exciting new ways to demonstrate the enduring richness of the concept. ;

    • Theory of Art

      Breaking Resemblance

      The Role of Religious Motifs in Contemporary Art

      by Alena Alexandrova

      In recent decades curators and artists have shown a distinct interest in religion, its different traditions, manifestations in public life, gestures and images. Breaking Resemblance explores the complex relationship between contemporary art and religion by focusing on the ways artists re-work religious motifs as a means to reflect critically on our desire to believe in images, on the history of seeing them, and on their double power— iconic and political. It discusses a number of exhibitions that take religion as their central theme, and a selection of works by Bill Viola, Lawrence Malstaf, Victoria Reynolds, and Berlinde de Bruyckere—all of whom, in their respective ways and media, recycle religious motifs and iconography and whose works resonate with, or problematize the motif of, the true image.

    • Theory of Art

      Breaking Resemblance

      The Role of Religious Motifs in Contemporary Art

      by Alena Alexandrova

      In recent decades curators and artists have shown a distinct interest in religion, its different traditions, manifestations in public life, gestures and images. Breaking Resemblance explores the complex relationship between contemporary art and religion by focusing on the ways artists re-work religious motifs as a means to reflect critically on our desire to believe in images, on the history of seeing them, and on their double power— iconic and political. It discusses a number of exhibitions that take religion as their central theme, and a selection of works by Bill Viola, Lawrence Malstaf, Victoria Reynolds, and Berlinde de Bruyckere—all of whom, in their respective ways and media, recycle religious motifs and iconography and whose works resonate with, or problematize the motif of, the true image.

    • Theory of Art

      Breaking Resemblance

      The Role of Religious Motifs in Contemporary Art

      by Alena Alexandrova

      In recent decades curators and artists have shown a distinct interest in religion, its different traditions, manifestations in public life, gestures and images. Breaking Resemblance explores the complex relationship between contemporary art and religion by focusing on the ways artists re-work religious motifs as a means to reflect critically on our desire to believe in images, on the history of seeing them, and on their double power— iconic and political. It discusses a number of exhibitions that take religion as their central theme, and a selection of works by Bill Viola, Lawrence Malstaf, Victoria Reynolds, and Berlinde de Bruyckere—all of whom, in their respective ways and media, recycle religious motifs and iconography and whose works resonate with, or problematize the motif of, the true image.

    • Theory of Art
      September 2016

      Mixed messages

      American correspondences in visual and verbal practices

      by Edited by Catherine Gander, Sarah Garland

      Offering a major contribution to the field of American culture and aesthetics in an interdisciplinary frame, this collection assembles the cutting-edge research of renowned and emerging scholars in literature and the visual arts, with a foreword by Miles Orvell. The volume represents the first of its kind: an intervention in current interdisciplinary approaches to the intersections of the written word and the visual image that moves beyond standard theoretical approaches to consider the written and visual artwork in embodied, cognitive and experiential terms. Tracing a strong lineage of pragmatism, romanticism, surrealism and dada in American intermedial works through the nineteenth century to the present day, the editors and authors of this volume chart a new and vital methodology for the study and appreciation of the correspondences between visual and verbal practices.

    • Museums & museology
      November 2017

      Disturbing pasts

      Memories, controversies and creativity

      by Edited by Leon Wainwright

    • The Arts
      June 2017

      The synthetic proposition

      Conceptualism and the political referent in contemporary art

      by Amelia Jones, Marsha Meskimmon, Nizan Shaked

      The synthetic proposition examines the impact of Civil Rights, Black Power, the student, feminist and sexual-liberty movements on conceptualism and its legacies in the United States between the late 1960s and the 1990s. It focuses on the turn to political reference in practices originally concerned with abstract ideas, as articulated by Joseph Kosuth, and traces key strategies in contemporary art to the reciprocal influences of conceptualism and identity politics: movements that have so far been historicised as mutually exclusive. The book demonstrates that while identity-based strategies were particular, their impact spread far beyond the individuals or communities that originated them. It offers a study of Adrian Piper, David Hammons, Renée Green, Mary Kelly, Martha Rosler, Silvia Kolbowski, Daniel Joseph Martinez, Lorna Simpson, Hans Haacke, Andrea Fraser and Charles Gaines. By turning to social issues, these artists analysed the conventions of language, photography, moving image, installation and display.

    • The Arts
      June 2017

      The synthetic proposition

      Conceptualism and the political referent in contemporary art

      by Amelia Jones, Marsha Meskimmon, Nizan Shaked

      The synthetic proposition examines the impact of Civil Rights, Black Power, the student, feminist and sexual-liberty movements on conceptualism and its legacies in the United States between the late 1960s and the 1990s. It focuses on the turn to political reference in practices originally concerned with abstract ideas, as articulated by Joseph Kosuth, and traces key strategies in contemporary art to the reciprocal influences of conceptualism and identity politics: movements that have so far been historicised as mutually exclusive. The book demonstrates that while identity-based strategies were particular, their impact spread far beyond the individuals or communities that originated them. It offers a study of Adrian Piper, David Hammons, Renée Green, Mary Kelly, Martha Rosler, Silvia Kolbowski, Daniel Joseph Martinez, Lorna Simpson, Hans Haacke, Andrea Fraser and Charles Gaines. By turning to social issues, these artists analysed the conventions of language, photography, moving image, installation and display.

    • The Arts
      June 2017

      The synthetic proposition

      Conceptualism and the political referent in contemporary art

      by Amelia Jones, Marsha Meskimmon, Nizan Shaked

      The synthetic proposition examines the impact of Civil Rights, Black Power, the student, feminist and sexual-liberty movements on conceptualism and its legacies in the United States between the late 1960s and the 1990s. It focuses on the turn to political reference in practices originally concerned with abstract ideas, as articulated by Joseph Kosuth, and traces key strategies in contemporary art to the reciprocal influences of conceptualism and identity politics: movements that have so far been historicised as mutually exclusive. The book demonstrates that while identity-based strategies were particular, their impact spread far beyond the individuals or communities that originated them. It offers a study of Adrian Piper, David Hammons, Renée Green, Mary Kelly, Martha Rosler, Silvia Kolbowski, Daniel Joseph Martinez, Lorna Simpson, Hans Haacke, Andrea Fraser and Charles Gaines. By turning to social issues, these artists analysed the conventions of language, photography, moving image, installation and display.

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