Your cart is empty
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. -- .
According to the National Institute of Mental Health, more than half of the world's population will have a depressive disorder at some point in their lifetimes. In The Aesthetics of Disengagement Christine Ross shows how contemporary art is a powerful yet largely unacknowledged player in the articulation of depression in Western culture, both adopting and challenging scientific definitions of the condition. Ross explores the ways in which contemporary art performs the detached aesthetics of depression, exposing the viewer's loss of connection and ultimately redefining the function of the image. Ross examines the works of Ugo Rondinone, Rosemarie Trockel, Ken Lum, John Pilson, Liza May Post, Vanessa Beecroft, and Douglas Gordon, articulating how their art conveys depression's subjectivity and addresses a depressed spectator whose memory and perceptual faculties are impaired. Drawing from the fields of psychoanalysis as well as psychiatry, Ross demonstrates the ways in which a body of art appropriates a symptomatic language of depression to enact disengagement - marked by withdrawl, radical protection of the self from the other, distancing signals, isolation, communication ruptures, and perceptual insufficiency. Most important, Ross reveals the ways in which art transforms disengagement into a visual strategy of disclosure, a means of reaching the viewer, and how in this way contemporary art puts forth a new understanding of depression.
Seven papers originally delivered at the annual Eranos conference in Ascona, Switzerland, August 1972, by Adolf Portmann, Gershom Scholem, Christopher Rowe, Dominique Zahan, Ernst Benz, Rene Huyghe, and Toshihiki Izutsu.
The first edition of this book, published in 1994, reshaped the direction of landscape studies by considering landscape not simply as an object to be seen or a text to be read, but as an instrument of cultural force, a central tool in the creation of national and social identities. This second edition adds not only a new preface, but five new essays--from Edward Said, W. J. T. Mitchell, Jonathan Bordo, Michael Taussig, and Robert Pogue Harrison-extending the scope of the book in remarkable ways.
'Brad Evans in one of the brightest critical minds of his generation' - Henry A. Giroux Whether physical or metaphorical, institutional or interpersonal, violence is everywhere. A seemingly immutable fact of life, it is nonetheless rarely engaged with at the conceptual level. What does violence actually mean? And is it an inevitable part of the human condition? Conversations on Violence brings together many of the world's leading critical scholars, artists, writers and cultural producers to provide a kaleidoscopic exploration of the concept of violence. Through in-depth interviews with thirty figures including Marina Abramovic, Russell Brand and Simon Critchley, Brad Evans and Adrian Parr interrogate violence in all its manifestations, including its role in politics, art, gender discrimination and decolonisation. Provocative, eye-opening and bracingly original, Conversations on Violence sheds light on a defining political and ethical concern of our age.
What are the secrets of ornamentation? Why are curves important? How do you create an invisible repeat in a fabric or wallpaper pattern? In this book, packed with helpful diagrams and rare illustrations, Lisa Delong demonstrates the time-honoured traditions of the use of curves and plant forms in the decorative arts.
Widely considered to be the foundational text of the American landscape tradition, Ralph Waldo Emerson's Nature urges Americans to value and immerse themselves in their country's landscape, to build American culture from America's nature. Nearly two centuries after the original publication of the essay Nature by Emerson, this captivating book by critic and historian Tyler Green brings together a selection of artistic works in dialog with Emerson's text for the first time. Green also offers his own fascinating take on Nature through new research into how the essay was informed by Emerson's experiences of art and, in turn, how it informed American art well into the twentieth century. The result is a unique melding of essay, art, and ideas that will draw new readers to Emerson's writings, while also introducing a fresh perspective on a critical contribution to the American canon and showing what impact Emerson's text still has for the US to this day.
"In "The Ego and the Id "Freud argued that a cogent thought process, to say nothing of conscious intellectual work, could not exist amidst the unruliness of visual experience. Over the last half century in a sequence of landmark books, Rudolf Arnheim has not only shown us how wrong that is, he has parsed the grammar of form with uncanny acuity and taught us how to read it."--Jonathan Fineburg, author of "Art since 1940: Strategies of Being"
Today's many popular aesthetic pleasures have a very long history. Paul Duncum considers the historical critical discourses, and socio-political issues raised by aesthetic pleasures in fifteen thematic chapters. Using illustrative examples from the past, present, and across cultures, he challenges the idea of any decline of cultural standards and argues that no grounds exist for cultural pessimism. Refusing to condemn popular culture on the basis of taste, he reserves critique for the socio-political ideologies aesthetics invariably serve. Art history, film, cultural studies, and philosophical aesthetics are each employed to show that the sensory/emotional lures of today's popular culture are mostly identical to those of premodern fine art. They include the violent, the horrific, the sentimental, the exotic, the erotic, and the humorous. Some of these pleasures derive from our evolutionary biology; they are all an important part of what it means to be human, and central to understanding contemporary society. Examples are wide-ranging, including British seaside postcards, Disney films, Nazi propaganda, burlesque, modern advertising, as well as many exemplars of fine art. The book reveals fresh insights for all those studying visual culture, art history, aesthetics, media studies, and media and art education.
After the Crisis offers a platform for discussions between some of today's leading artists, writers, theorists, curators, and historians aimed at questioning the very status of photography today. Contributors come from the realms of critical theory, fiction, performance art, fashion photography, and museums, as well as film and design, and their conversations bring together history and the contemporary. Comparing the current situation of photographic images with the crisis experienced by representation at the time of the birth of photography, they set our relationship with photographic images in the digital era in perspective. Through these discussions, we come to sense the existential burden of being surrounded by images, while also beginning to grasp the historical depth of a questioning of images that started long before the current generation and engages with crucial political and cultural issues of our time.
William Morris is famous as a designer, poet and artist, but his work as a political thinker and activist is less well known. This collection, the first of his political writings published for nearly 50 years, shows Morris as one of the most original and inspiring socialist intellectuals of his generation. Covering essays and lectures ranging through the relation between art and politics, to his visions for a socialist society and his strident anti-imperialism, this is an essential volume which shows Morris as the engaged and committed socialist that he was.
Americans, on average, spend between six and ten seconds with individual artworks in museums or galleries-hardly time enough. But how, in our culture of distraction, might we extend attention? Slow Art models sustained ways of looking, through encounters with various media both present and past-including photography, painting, sculpture, "living pictures," film, video, digital and performance art-even light and space. Works by Diderot, Emma Hamilton, Oscar Wilde, Jeff Wall, Sam Taylor-Johnson, Andy Warhol, and Richard Serra, among others, shape a new and distinct aesthetic field. But rather than a collection of objects, slow art is participatory-it directly engages beholders to bring artworks to life. Against current orthodoxy, Arden Reed argues that, for contemporary viewers, the contemplation of slow art is akin to religious practices during the ages of faith.
"Unsitely Aesthetics" seeks to address the unconventional ways in which contemporary art is made and engaged with across the vastly expanded networks of new media culture, arguing--counterintuitively--that network culture not only embodies its own version of "situatedness" but can also lead to the creation of a more democratic art, with the Internet acting as a far broader public space than the traditional site-specificity of old, a space in which artists can encounter and perhaps even engender new publics for their work. The book aims to theorize current dynamics in media and sound art practice, and includes interviews and conversations with Barbara Campbell, Linda Carroli, Hugh Davies, Bec Dean, Renate Ferro, John Craig Freeman, Jo-Anne Green, Teri Hoskin, Lucas Ihlein, Yao Jui-Chung, kanarinka (a.k.a. Catherine D'Ignazio), Scott Kildall, Deborah Kelly, Natalie Loveless, Michael Takeo Magruder, Timothy Conway Murray, Norie Neumark, Victoria Scott, Brooke Singer, Igor tromajer, Helen Thorington and Darren Tofts.
Over the last twenty years, art has become more accessible than ever before. A painter can post their latest creation on Instagram and wait as the likes pile up; a budding filmmaker can shoot a clip on their iPhone, then upload it to YouTube for thousands to view. The digital landscape has fundamentally altered what it means to be creative, as well as how consumers interact with artistic production both economically and curatorially. William Deresiewicz, a leading critic of contemporary culture in America, argues that we are in the midst of an epochal transformation within art. Whereas the nineteenth century considered artists to be craftsmen and the twentieth century treated them as professionals, artists today are uniquely dependent upon themselves. The internet, along with decreases in art funding and the growing prevalence of gig economies, has forced artists to become responsible for every aspect of their work, from conception to promotion, from sales to legacy. In The Death of the Artist, Deresiewicz profiles those struggling to make a living through the arts, from the twenty-something college novelist with a multi-hyphenated job title to the midlife painter who must utilise social media to stay relevant. Deresiewicz shows what the birth of the "creative entrepreneur" signifies about our evolving society at large and what might be done to keep artists thriving, because we need them.
Few tales of artistic triumph can rival the story of Zeuxis. As first reported by Cicero and Pliny, the painter Zeuxis set out to portray Helen of Troy, but when he realized that a single model could not match Helen's beauty, he combined the best features of five different models. A primer on mimesis in art making, the Zeuxis myth also illustrates ambivalence about the ability to rely on nature as a model for ideal form. In Too Beautiful to Picture, Elizabeth C. Mansfield engages the visual arts, literature, and performance to examine the desire to make the ideal visible. She finds in the Zeuxis myth evidence of a cultural primal scene that manifests itself in gendered terms. Mansfield considers the many depictions of the legend during the Renaissance and questions its absence during the eighteenth century. Offering interpretations of Angelica Kauffman's paintings, Mary Shelley's Frankenstein, and Picasso's Les Demoiselles d'Avignon, Mansfield also considers Orlan's carnal art as a profound retelling of the myth. Throughout, Mansfield asserts that the Zeuxis legend encodes an unconscious record of the West's reliance on mimetic representation as a vehicle for metaphysical solace. Elizabeth C. Mansfield is associate professor of art history at the University of the South.
In The Aesthetic Value of the World, Tom Cochrane defends Aestheticism, the claim that everything is aesthetically valuable and that a life lived in pursuit of aesthetic value can be a particularly good one. Furthermore, in distilling aesthetic qualities, artists have a special role to play in teaching us to recognize values; a critical component of virtue. Cochrane grounds his account upon an analysis of aesthetic value as 'objectified final value', which is underwritten by an original psychological claim that all aesthetic values are distal versions of practical values. This is followed by systematic accounts of beauty, sublimity, comedy, drama, and tragedy, as well as appendix entries on the cute, the cool, the kitsch, the uncanny, the horrific, the erotic, and the furious.
In and Out of Brussels examines four Brussels-based artistic projects that converge in critically investigating the figuration of Africa in the image economy of the West: Herman Asselberghs's Speech Act (2011), Sven Augustijnen s Spectres (2011), Renzo Martens s Episode III Enjoy Poverty (2008), and Els Opsomer s Building Stories: That Distant Piece of Mine (2012). While each is a singular film, together they reveal Africa s postcolonial imaginary to be a zone of crisis, situated between humanitarian emergency, financial pillage, and the politics of memory on the one hand, and the fictional but nonetheless consequential construction of European identity on the other.
Just as dominant neocolonial narratives (which all too often cover over movements for independence and social justice) are critically played out and contested in these works, so too are documentary conventions creatively reinvented by Asselberghs, Augustijnen, Martens, and Opsomer. The resulting moving images emerge as a complex site of postcolonial haunting, self-reflexive performativity, researched analysis, archival reordering, and postdocumentary cinematic affect This book represents the outcome of an interdisciplinary and international research project, In and Out of Brussels, which gathered theorists, art critics, curators, and artists over a two-year period (2010 2012). The conversations collected and reprinted here look closely at the four films and examine their political, aesthetic, and historical implications.
Contributors: Herman Asselberghs, Sven Augustijnen, Filip De Boeck, Manon de Boer, Carles Guerra, T. J. Demos, Thomas Keenan, Sven Lutticken, Renzo Martens, Toma Muteba Luntumbue, Els Opsomer, Dirk Snauwaert, Hilde Van Gelder, Francoise Verges"
All loved, and were loved by, their artists, and inspired them with an intensity of emotion akin to Eros.
In a brilliant, wry, and provocative book, National Book Award finalist Francine Prose explores the complex relationship between the artist and his muse. In so doing, she illuminates with great sensitivity and intelligence the elusive emotional wellsprings of the creative process.
"One of the most important books on color ever written."-Michael Hession, Gizmodo "Interaction of Color with its illuminating visual exercises and mind-bending optical illusions, remains an indispensable blueprint to the art of seeing. . . . An essential piece of visual literacy."-Maria Popova, Brain Pickings Josef Albers's classic Interaction of Color is a masterwork in art education. Conceived as a handbook and teaching aid for artists, instructors, and students, this influential book presents Albers's singular explanation of complex color theory principles. Originally published by Yale University Press in 1963 as a limited silkscreen edition with 150 color plates, Interaction of Color first appeared in paperback in 1971, featuring ten color studies chosen by Albers, and has remained in print ever since. With over a quarter of a million copies sold in its various editions since 1963, Interaction of Color remains an essential resource on color, as pioneering today as when Albers first created it. Fifty years after Interaction's initial publication, this anniversary edition presents a significantly expanded selection of close to sixty color studies alongside Albers's original text, demonstrating such principles as color relativity, intensity, and temperature; vibrating and vanishing boundaries; and the illusion of transparency and reversed grounds. A celebration of the longevity and unique authority of Albers's contribution, this landmark edition will find new audiences in studios and classrooms around the world.
You may like...
The Artist's Way - A Spiritual Path to…
Julia Cameron Paperback
Student Experiences In and Out of the…
Gabriel Harp Paperback R301 Discovery Miles 3 010
The Elements of Drawing - in Three…
John Ruskin Paperback R492 Discovery Miles 4 920
Art in Theory - The West in the World…
Paul Wood, Leon Wainwright, … Paperback R949 Discovery Miles 9 490
Thinking Art - Materialisms, Labours…
Peter Osborne Paperback R345 Discovery Miles 3 450
Art + Archive - Understanding the…
Sara Callahan Hardcover R1,968 Discovery Miles 19 680
Themes of Life
Simone G Malik Paperback R308 Discovery Miles 3 080
The ABC of the Projectariat - Living and…
Kuba Szreder Paperback
Tensta Museum - Reports from New Sweden
Maria Lind Paperback
Letters to Camondo
Edmund De Waal Hardcover