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This book on Stephen Willats pulls together key strands of his practice and threads them through histories of British cybernetics, experimental art, and urban design. For Willats, a cluster of concepts about control and feedback within living and machine systems (cybernetics) offered a new means to make art relevant. For decades, Willats has built relationships through art with people in tower blocks, underground clubs, middle-class enclaves, and warehouses on the Isle of Dogs, to investigate their current conditions and future possibilities. Sharon Irish's study demonstrates the power of Willats's multi-media art to catalyze communication among participants and to upend ideas about "audience" and "art." Here, Irish argues that it is artists like Willats who are now the instigators of social transformation.
Whilst many books have been published about war, the role of the prisoner of war has been largely ignored or paid scant attention. This book, along with the author's other title - The Arts and Crafts of Napoleonic and American Prisoners of War 1756-1816 - aims to correct this imbalance, and is the result of the author's quest over thirty years into this almost-forgotten field of history. Part One tells of the various wars that saw the men, from many different countries, become prisoners. Tales of individuals and their voyages, mutinies, fortunes and failures also feature, adding more personal touches to the history and, as with the author's other title, all the accounts are written in a highly evocative style. Part Two is largely devoted to the prison hulks, describing the vessels and the conditions on board that the prisoners would have had to endure. Many of these hulks were former warships. Now stripped of all their equipment, and with their masts, sails and rigging removed, they sat disabled
Figure Drawing for Concept Artists is an essential primer that aims to bring traditional figure drawing techniques and knowledge to every concept artist's skill set. Accessibly written and lavishly illustrated by Kan Muftic, a professional concept artist and respected industry practitioner, this book celebrates the common ground between traditional life drawing and the fast-paced world of the concept art industry. When drawing from life, an artist learns how to capture dynamic figures, diverse bodies, and challenging poses in a timed, live setting skills that can be translated perfectly to the fast, intensive approach needed by contemporary concept artists. This book is an invaluable resource for digital artists wanting to ground their work in classical art skills, and traditional artists wanting to find their way into the concept art industry. Learn about the materials, tools, and observational skills needed to make successful life drawings, how to capture the forms of the human body on paper, and how to improve your character and concept art with a dynamic approach to figures and anatomy. Clean, readable, minimalist pages and stunning, insightful drawings make this book easy to follow and learn from, as well as inspiring to browse through at your leisure. Figure Drawing for Concept Artists offers a unique, up-to-date perspective on classical skills, with the contemporary practitioner in mind.
This is a bestselling and comprehensive introductory textbook that uses a four-part structure to cover all aspects of the visual arts, including: how art is designed - the visual language of art; how art is made - the media and processes, covering everything from painting and sculpture to graphic design, digital media, film and installations; the history of art, from prehistoric times to the twenty-first century and including art from all parts of the world; and major themes that recur across cultures and throughout history. A unique feature, the 'Gateways to Art', uses eight iconic images, examined repeatedly from different points of view (compositional, stylistic, etc.), to stimulate perceptions about how great works are created and take their effect. No other book currently available has such a wide coverage, provided in a modular form that enables students and teachers to learn or teach in a truly flexible way. Beautifully illustrated with more than 1,000 images of art, this dynamic and accessible book will appeal as much to the art enthusiast as to those looking for an outstanding educational resource.
As the cinematic experience becomes subsumed into today's ubiquitous technologies of seeing, contemporary artworks lift the cinematic out of the immateriality of the film screen and separate it into its physical components within the gallery space. How to read these reformulations of the cinematic medium - and their critique of what it is and has been? In Theorizing Cinema Through Contemporary Art: Expanding Cinema, leading film theorists consider artworks that incorporate, restage, and re-present cinema's configuration of the key categories of space, experience, presence/absence, production and consumption, technology, myth, perception, event, and temporality, so interrogating the creation, appraisal, and evolution of film theory as channeled through contemporary art. This book takes film theory as a blueprint for the moving image, and juxtaposes it with artworks that render cinema as a material object. In the process, it unfolds a complex relationship between a theory and a practice that have commonly been seen as virtually incompatible, renewing our understanding of each and, more to the point, their interactions.
The Creative Process: Stories from the Arts and Sciences asks how celebrated works of art and breakthroughs in science came to be. What was the first inkling? What were the steps and missteps along the way? How was the process experienced by the creative person as it proceeded? And what are the implications for the psychology of the creative process? Each chapter focuses on a specific creative endeavor, situating the work in the context of domain, culture, and historical era. Then it traces the development of the work-from what we know of its beginnings to its fulfillment. Qualitative materials-interviews, notebooks, diaries, sketches, drafts, and other writings-allow a story of the creative process as lived to emerge. The narratives exemplify established concepts in the psychology of creativity, propose broadening some, reveal the need for modification, and suggest new ones. Application of phenomenological frameworks illuminate the episodes in new ways as well. The case study approach proves again that each episode is unique, yet themes and variations come into view when the episodes are considered together in a final reflection. From Darwin's theory to an unusual jazz sound, here are 11 fascinating stories of how specific works took shape. Psychologists, students interested in creativity, and all those intrigued by the process in any creative field will find this book essential reading.
In this important new book the leading philosopher Jacques Ranciere continues his reflections on the representative power of works of art. How does art render events that have spanned an era? What roles does it assign to those who enacted them or those who were the victims of such events? Ranciere considers these questions in relation to the works of Claude Lanzmann, Goya, Manet, Kandinsky and Barnett Newman, among others, and demonstrates that these issues are not only confined to the spectator but have greater ramifications for the history of art itself.
For Ranciere, every image, in what it shows and what it hides, says something about what it is permissible to show and what must be hidden in any given place and time. Indeed the image, in its act of showing and hiding, can reopen debates that the official historical record had supposedly determined once and for all. He argues that representing the past can imprison history, but it can also liberate its true meaning.
This monograph focuses on the current boom in Indigenous contemporary art in Brazil, exploring in particular the way that this work interfaces with the art world through exhibitions, and the scope that there is for Indigenous curatorial agency in this relationship. After a brief introduction to Indigenous art, it gives an overview of the evolving relationship between Indigenous art and the art world, exploring in particular the nature of decolonial and/or Indigenous curatorial practice both in Brazil and elsewhere in the world. It then hones in on a recent exhibition: 'Arte Eletronica Indigena' [Indigenous Electronic Art], held at the Museum of Modern Art of Bahia in Salvador in August 2018. Based on participant observation and interviews, it provides an ethnographic reading of the opening weekend of the exhibition, looking at the alternative modalities of Indigenous curatorial agency that were exercised by the Indigenous people present. The conclusion explores the legacy of the 'Arte Eletronica Indigena' exhibition, particularly for the Indigenous communities involved, and looks to the evidence provided by the exhibition for lessons to be learned for future exhibitions.
"White" is not a book about colors. It is rather Kenya Haras attempt to explore the essence of "White," which he sees as being closely related to the origin of Japanese aesthetics - symbolizing simplicity and subtlety. The central concepts discussed by Kenya Hara in this publication are emptiness and the absolute void. Kenya Hara also sees his work as a designer as a form of communication. Good communication has the distinction of being able to listen to each other, rather than to press one's opinion onto the opponent. Kenya Hara compares this form of communication with an "empty container." In visual communication, there are equally signals whose signification is limited, as well as signals or symbols such as the cross or the red circle on the Japanese flag, which - like an "empty container" - permit every signification and do not limit imagination. Not alone the fact that the Japanese character for white forms a radical of the character for emptiness has prompted him the closely associate the color white with emptiness.
In the popular imagination, art history remains steeped in outmoded notions of tradition, material value and elitism. How can we awaken, define and orientate an ecological sensibility within the history of art? Building on the latest work in the discipline, this book provides the blueprint for an 'ecocritical art history', one that is prepared to meet the challenges of the Anthropocene, climate change and global warming. Without ignoring its own histories, the book looks beyond - at politics, posthumanism, new materialism, feminism, queer theory and critical animal studies - invigorating the art-historical practices of the future. -- .
Irvin argues that rules are the key to understanding what's going on in contemporary art. Contemporary art can seem chaotic: it may be made of toilet paper, candies you can eat, or meat that is thrown out after each exhibition. Some works fill a room with obsessively fabricated objects, while others purport to include only concepts, thoughts, or language. Immaterial argues that, despite these unruly appearances, making rules is a key part of what many contemporary artists do when they make their works, and these rules can explain disparate developments in installation art, conceptual art, time-based media art, and participatory art. Sherri Irvin shows how rules are now an artistic medium: they are part of the work's structure and shape what it expresses. Rules are meaningful in themselves and help to activate the meanings of non-art materials and found objects, so audiences need to know about the rules to get the most out of their art experiences. Loss of information about the rules, like loss of a chunk of marble, can seriously damage the work, and preserving rules as well as objects is reshaping how museums maintain their collections. Rules can be broken maliciously, mistakenly, or for good reasons, leaving artists and museums to grapple with situations where rules collide with real-world circumstances, threatening the work's meanings and sometimes its very existence. Should we celebrate the prominence of rules in contemporary art? Irvin argues that, while rules aren't always used well, they can be used to create distinctive meanings and provide powerful immersive experiences not achievable through any other means.
Doing Research in Design presents new ways of thinking about the relationship between design and research by positioning design as a social as well as a material practice. This approach emphasises the social consequences of design decisions as well as the importance of the efficient functioning of a design. Doing Research in Design argues that design promotes social change and that, in order to understand that change, designers must turn to social science research methods. The book outlines the relationships between thinking and doing in design - and makes explicit links between design, research, philosophy and sociology - and then examines four central social research methodologies in practice. The aim of Doing Research in Design is to provide anyone involved in the field of design with the knowledge and understanding of the best methods to plan and conduct their research.
The Mystery of Art lets the forms of art tell their own tale. Instead of analyzing the art expressions this narrative work invites the reader to re-discover the functions of art. The observation of the art-scenes starts with the present and winds its way backward through time and history. In the course of this journey the different art-expressions reveal themselves in a novel light.
Lena Mattsson (*1966) is a distinguished Swedish artist. Her practice includes photography, performance and social critique, as well as film and video art. Her new book encompasses her whole career, yet at the same time, it highlights her most recent works and future perspectives: especially Mattsson's works on legendary Swedish publisher Bo Cavefors or her latest experiments with light and projections. The selection of photographs, film stills, and documentary material forms the basis for the profound discussion of her work by Lars Gustaf Andersson, John Peter Nilsson, and Charlotte Wiberg.
The five essays selected for this book offer different approaches to the problem of narratives of contemporary art, based on observation of the central significance of contextual and situational realities and anthropological concreteness of microconstellations. The singularity of each concrete situation, the authenticity of the specific, contextual meanings intensify the empathic perception of intimacy, fragility, micro-history. The powerful, poetic effectiveness of the concreteness of singular, situational and contextual realities suffuses authentic narration. This enhances sensitivity to concrete diversities, to anthropological multiplicity and to singularity of lived realities. Contemporary narratives are shaped by imminent relevance of specific contextual or situational meanings. The 'concreteness of concrete selves in their immediate societies' described by Arthur C. Danto becomes the core of the narration of our era's artists. Their voices are imbued with empathy, sensitivity, openness, tolerance and authenticity, making them poetically effective, even cathartic.
What images come to mind with the words "women", "aging", "old", even "elderly"? Are they stereotypes? Are there any positive associations? The thirteen contributions to this edited volume explore a broad range of images of old women, ranging from medieval "old wives" to contemporary re-imaginations of shamans and witches and empowering self-portraits. Works from medieval Europe to colonialtime Polynesia, present West Africa, Japan, and the Americas, in a multiplicity of media are explored in detail. These studies of varied representations of "old women" offer fresh perspectives and an engaging dialogue about society's values and preconceptions regarding the wisdom of our elders and the "golden years" in different times and cultures.
Art as Organism shows that the digital image was a rich and expansive artistic medium of modernism. Linking its emergence to the dispersion of biocentric aesthetic philosophies developed by Bauhaus pedagogue Laszlo Moholy-Nagy, from 1920s Berlin to the Massachusetts Institute of Technology in the 1970s, Charissa Terranova uncovers seminal but overlooked references to biology, the organism, feedback loops, emotions, and the Gestalt, along with an intricate genealogy of related thinkers across disciplines. Unearthing a forgotten narrative of modernism, one which charts the influence that biology, General Systems Theory, and cybernetics had on modern art, Terranova interprets new major art movements such as the Bauhaus, Op Art, and Experiments in Art and Technology by referencing contemporary insights from architects, embryologists, electrical engineers, and computer scientists. From kinetic and interactive art to early computer art and installations spanning an entire city, this book charts complex connections between visual culture, science and technology that comprise the deep history of 20th-century art.
What is art? What counts as an aesthetic experience? Does art have to beautiful? Can one reasonably dispute about taste? What is the relation between aesthetic and moral evaluations? How to interpret a work of art? Can we learn anything from literature, film or opera? What is sentimentality? What is irony? How to think philosophically about architecture, dance, or sculpture? What makes something a great portrait? Is music representational or abstract? Why do we feel terrified when we watch a horror movie even though we know it to be fictional? In Conversations on Art and Aesthetics, Hans Maes discusses these and other key questions in aesthetics with ten world-leading philosophers of art: Noel Carroll, Gregory Currie, Arthur Danto, Cynthia Freeland, Paul Guyer, Carolyn Korsmeyer, Jerrold Levinson, Jenefer Robinson, Roger Scruton, and Kendall Walton. The exchanges are direct, open, and sharp, and give a clear account of these thinkers' core ideas and intellectual development. They also offer new insights into, and a deeper understanding of, contemporary issues in the philosophy of art.
Part of the acclaimed series of anthologies which document major themes and ideas in contemporary art. An essential collection of texts reflecting on the cultural and political complexities of translation in global contemporary artistic practices. The movement of global populations, and subsequently the task of translation, underlies contemporary culture: the intricacies of ancient and modern Jewish diaspora, waves of colonisation and the transportation of slaves are now superimposed by economic and environmental migration, forced political exiles and refugees. This timely anthology will consider translation's ongoing role in cultural navigation and understanding, exploring the approaches of artists, poets and theorists in negotiating increasingly protean identities: from the intrinsic intimacy of language, to translation's embedded structures of knowledge production and interaction, to its limitations of expression and, ultimately, its importance in a world of multiple perspectives. Artists surveyed include Meric Algun Ringborg, Geta Bratescu, Tanya Bruguera, Chto Delat, Chohreh Feyzdjou, Susan Hiller, Glenn Ligon, Teresa Margolles, Shirin Neshat, Helio Oiticica, Pratchaya Phinthong, Kurt Schwitters, Yinka Shonibare, Mladen Stilinovic, Erika Tan, Kara Walker, Wu Tsang. Writers include Hannah Arendt, James Baldwin, Walter Benjamin, Judith Butler, Luis Camnitzer, Jean Fisher, Stuart Hall, bell hooks, Sarat Maharaj, Martha Rosler, Bertrand Russell, Simon Sheikh, Gayatri Spivak, Hito Steyerl, Lawrence Venuti.
This is a history of one of the central organizing principles in all schools and periods of art. It traces the evolution of the conception and the depiction of space in European and American painting and the ways in which this evolution reflects ideological changes in society over 2000 years.
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