Through carefully chosen themes and topics rather than through a general survey, the volumes approach the process of looking at works of art in terms of their audiences, functions and cross-cultural contexts.
Author: Steve Edwards
Publisher: Tate Enterprises Ltd
This is the third of three text books, published in association with the Open University, which offer an innovatory exploration of art and visual culture. Through carefully chosen themes and topics rather than through a general survey, the volumes approach the process of looking at works of art in terms of their audiences, functions and cross-cultural contexts. While focused on painting, sculpture and architecture, it also explores a wide range of visual culture in a variety of media and methods. "1850-2010: Modernity to Globalisation" includes essays which engage directly with topical issues around art and gender, globalisation, cultural difference and curating, as well as explorations of key canonical artists and movements and of some less well-documented work of contemporary artists.
Through carefully chosen themes and topics rather than through a general survey, this title approaches the process of looking at works of art in terms of their audiences, functions and cross-cultural contexts.
Author: Steve Edwards
Through carefully chosen themes and topics rather than through a general survey, this title approaches the process of looking at works of art in terms of their audiences, functions and cross-cultural contexts. It includes essays which engage directly with topical issues around art and gender, globalisation, cultural difference and curating.
This series forms the main texts of an Open University Level 2 module, Exploring Art and Visual Culture.
Author: Steve Edwards
This series forms the main texts of an Open University Level 2 module, Exploring Art and Visual Culture. Central is a concern with the ways in which the concept of art has developed over the course of time and how visual practices have both responded to and been shaped by these changing ideas.
This isthefirstofthree books in the series Art & Visual Culture, ... edited by EmmaBarker Art & Visual Culture 1850–2010: Modernity to Globalisation, ...
Author: Kim W. Woods
Publisher: Tate Enterprises Ltd
The first of three text books, published in association with the Open University, which offer an innovatory exploration of art and visual culture. Through carefully chosen themes and topics rather than through a general survey, the volumes approach the process of looking at works of art in terms of their audiences, functions and cross-cultural contexts. While focused on painting, sculpture and architecture, it also explores a wide range of visual culture in a variety of media and methods. "1000-1600: Medieval to Renaissance" includes essays on key themes of Medieval and Renaissance art, including the theory and function of religious art and a generic analysis of art at court. Explorations cover key canonical artists such as Simone Martini and Botticelli and key monuments including St Denis and Westminster Abbey, as well as less familiar examples.
... edited by Emma Barker ISBN 9781 84976 0966 (paperback) ISBN 9781 84976 1093(ebook) Art & Visual Culture 1850–2010: Modernity to Globalisation, ...
Author: Emma Barker
Publisher: Tate Enterprises Ltd
The second of three text books, published in association with the Open University, which offer an innovatory exploration of art and visual culture. Through carefully chosen themes and topics rather than through a general survey, the volumes approach the process of looking at works of art in terms of their audiences, functions and cross-cultural contexts. While focused on painting, sculpture and architecture, it also explores a wide range of visual culture in a variety of media and methods. "1600-1850 Academy to Avant-Garde" interrogates labels used in standard histories of the art of this period (Baroque, Rococo, Neo-Classicism and Romanticism) and examines both established and recent art-historical methodologies, including formalism, iconology, spectatorship and reception, identity and difference. Key topics, including "Baroque Rome", "Dutch Painting of the Golden Age", "Georgian London", the "Paris Salon", and the impact of the discovery of the South Pacific.
Brettell, A. (1999), Modern Art, 1851–1929: Capitalism and Representation, ... (2013), Art and Visual Culture 1850—2010: Modernity to Globalisation, ...
Author: John Armitage
Publisher: Bloomsbury Publishing
From couture fashion to opulent perfumes and decadent food, the luxury goods and services industry has grown at an unprecedented rate even in the context of a global recession. But in contemporary digital culture does luxury still reside in material things, or rather the look of things? In this first study of luxury through the lens of visual culture, Armitage argues that luxury is undergoing a shift from material culture to the immaterial culture of the visual, offering new forms of luxury engagement and unparalleled levels of pleasure never before offered to the senses. Calling for a new understanding of luxury in the changing visual landscape of contemporary society, Luxury and Visual Culture embraces an extraordinary range of cultural forms, including fashion, photography, social media, television, and art. From the masterpieces of Damien Hirst and Jeff Koons, to Richard Avedon's photography and Louis Vuitton's Flagship stores, the book explores key issues of globalization, digitization, consumer identity, “mass” luxury, and the role of art. This text is ideal for all students of contemporary luxury studies, as well as scholars and researchers in the field of visual culture.
This is the third of three text books, published in association with the Open University, which offer an innovatory exploration of art and visual culture.
Category: Art, European
This is the third of three text books, published in association with the Open University, which offer an innovatory exploration of art and visual culture. Through carefully chosen themes and topics rather than through a general survey, the volumes approach the process of looking at works of art in terms of their audiences, functions and cross-cultural contexts. While focused on painting, sculpture and architecture, it also explores a wide range of visual culture in a variety of media and methods. '1850-2010: Modernity to globalisation' includes essays which engage directly with topical issues around art and gender, globalisation, cultural difference and curating, as well as explorations of key canonical artists and movements and of some less well-documented work of contemporary artists. 0ISBN of other volumes: 1100 -1600: Medieval to Renaissance (ISBN: 978-1-84976-093-5) & 1600 - 1850: Academy to avant-garde (ISBN: 978-1-84976-093-5).
Postscript: The Open University All the editors of the Art in Theory series ... Book Three: Art and Visual Culture 1850–2010: Modernity to Globalisation, ...
Author: Paul Wood
Publisher: John Wiley & Sons
A ground-breaking new anthology in the Art in Theory series, offering an examination of the changing relationships between the West and the wider world in the field of art and material culture Art in Theory: The West in the World is a ground-breaking anthology that comprehensively examines the relationship of Western art to the art and material culture of the wider world. Editors Paul Wood and Leon Wainwright have included over 350 texts, some of which appear in English for the first time. The anthologized texts are presented in eight chronological parts, which are then subdivided into key themes appropriate to each historical era. The majority of the texts are representations of changing ideas about the cultures of the world by European artists and intellectuals, but increasingly, as the modern period develops, and especially as colonialism is challenged, a variety of dissenting voices begin to claim their space, and a counter narrative to western hegemony develops. Over half the book is devoted to 20th and 21st century materials, though the book’s unique selling point is the way it relates the modern globalization of art to much longer cultural histories. As well as the anthologized material, Art in Theory: The West in the World contains: A general introduction discussing the scope of the collection Introductory essays to each of the eight parts, outlining the main themes in their historical contexts Individual introductions to each text, explaining how they relate to the wider theoretical and political currents of their time Intended for a wide audience, the book is essential reading for students on courses in art and art history. It will also be useful to specialists in the field of art history and readers with a general interest in the culture and politics of the modern world.
In Art and Visual Culture 1850–2010. Modernity to Globalisation, edited by Steve Edwards and Paul Wood, 17–51. London: Tate Publishing. Wood, Paul. 2012b.
Author: Pam Meecham
Publisher: John Wiley & Sons
A Companion to Modern Art presents a series of original essays by international and interdisciplinary authors who offer a comprehensive overview of the origins and evolution of artistic works, movements, approaches, influences, and legacies of Modern Art. Presents a contemporary debate and dialogue rather than a seamless consensus on Modern Art Aims for reader accessibility by highlighting a plurality of approaches and voices in the field Presents Modern Art’s foundational philosophic ideas and practices, as well as the complexities of key artists such as Cezanne and Picasso, and those who straddled the modern and contemporary Looks at the historical reception of Modern Art, in addition to the latest insights of art historians, curators, and critics to artists, educators, and more
First published 1985, rptd in Clifford, The Predicament of Culture: ... eds, 2012, Art and Visual Culture 1850–2010: Modernity to Globalisation, ...
Author: Paul Wood
Publisher: John Wiley & Sons
Western Art and the Wider World explores the evolvingrelationship between the Western canon of art, as it has developedsince the Renaissance, and the art and culture of the Islamicworld, the Far East, Australasia, Africa and the Americas. Explores the origins, influences, and evolving relationshipbetween the Western canon of art as it has developed since theRenaissance and the art and culture of the Islamic world, the FarEast, Australasia, Africa and the Americas Makes the case for ‘world art’ long before thefashion of globalization Charts connections between areas of study in art that long wereconsidered in isolation, such as the Renaissance encounter with theOttoman Empire, the influence of Japanese art on the19th-century French avant-garde and of African art on earlymodernism, as well as debates about the relation of‘contemporary art’ to the past. Written by a well-known art historian and co-editor of thelandmark Art in Theory volumes
Art and Visual Culture 1850–2010: Modernity to Globalisation. London: Tate. Elkins, J. 2000. What Painting Is. Abingdon: Taylor and Francis.
Author: Giovanni Aloi
Publisher: Columbia University Press
Taxidermy, once the province of natural history and dedicated to the pursuit of lifelike realism, has recently resurfaced in the world of contemporary art, culture, and interior design. In Speculative Taxidermy, Giovanni Aloi offers a comprehensive mapping of the discourses and practices that have enabled the emergence of taxidermy in contemporary art. Drawing on the speculative turn in philosophy and recovering past alternative histories of art and materiality from a biopolitical perspective, Aloi theorizes speculative taxidermy: a powerful interface that unlocks new ethical and political opportunities in human-animal relationships and speaks to how animal representation conveys the urgency of addressing climate change, capitalist exploitation, and mass extinction. A resolutely nonanthropocentric take on the materiality of one of the most controversial mediums in art, this approach relentlessly questions past and present ideas of human separation from the animal kingdom. It situates taxidermy as a powerful interface between humans and animals, rooted in a shared ontological and physical vulnerability. Carefully considering a select number of key examples including the work of Nandipha Mntambo, Maria Papadimitriou, Mark Dion, Berlinde De Bruyckere, Roni Horn, Oleg Kulik, Steve Bishop, Snæbjörnsdóttir/Wilson, and Cole Swanson, Speculative Taxidermy contextualizes the resilient presence of animal skin in the gallery space as a productive opportunity to rethink ethical and political stances in human-animal relationships.
BERGER is Professor and Chair of History of Art and Visual Culture and the ... of Reproductions in Art History,” Konsthistorisk Tidskrift 4 (2010): 200–215; ...
Author: James Elkins
Publisher: Penn State Press
Each of the five volumes in the Stone Art Theory Institutes series brings together a range of scholars who are not always directly familiar with one another’s work. The outcome of each of these convergences is an extensive and “unpredictable conversation” on knotty and provocative issues about art. This fifth and final volume in the series focuses on the identity, nature, and future of visual studies, discussing critical questions about its history, objects, and methods. The contributors question the canon of literature of visual studies and the place of visual studies with relation to theories of vision, visuality, epistemology, politics, and art history, giving voice to a variety of inter- and transdisciplinary perspectives. Rather than dismissing visual studies, as its provocative title might suggest, this volume aims to engage a critical discussion of the state of visual studies today, how it might move forward, and what it might leave behind to evolve in productive ways. The contributors are Emmanuel Alloa, Nell Andrew, Linda Báez Rubí, Martin A. Berger, Hans Dam Christensen, Isabelle Decobecq, Bernhard J. Dotzler, Johanna Drucker, James Elkins, Michele Emmer, Yolaine Escande, Gustav Frank, Theodore Gracyk, Asbjørn Grønstad, Stephan Günzel, Charles W. Haxthausen, Miguel Á. Hernández-Navarro, Tom Holert, Kıvanç Kılınç, Charlotte Klonk, Tirza True Latimer, Mark Linder, Sunil Manghani, Anna Notaro, Julia Orell, Mark Reinhardt, Vanessa R. Schwartz, Bernd Stiegler, Øyvind Vågnes, Sjoukje van der Meulen, Terri Weissman, Lisa Zaher, and Marta Zarzycka.
Author: Jacqueline Z. WilsonPublish On: 2017-05-17
The Shock of the New: Art and the Century of Change. London: Thames & Hudson. ... In Art & Visual Culture 1850–2010: Modernity to Globalisation, eds.
Author: Jacqueline Z. Wilson
Category: Social Science
This extensive Handbook addresses a range of contemporary issues related to Prison Tourism across the world. It is divided into seven sections: Ethics, Human Rights and Penal Spectatorship; Carceral Retasking, Curation and Commodification of Punishment; Meanings of Prison Life and Representations of Punishment in Tourism Sites; Death and Torture in Prison Museums; Colonialism, Relics of Empire and Prison Museums; Tourism and Operational Prisons; and Visitor Consumption and Experiences of Prison Tourism. The Handbook explores global debates within the field of Prison Tourism inquiry; spanning a diverse range of topics from political imprisonment and persecution in Taiwan to interpretive programming in Alcatraz, and the representation of incarcerated Indigenous peoples to prison graffiti. This Handbook is the first to present a thorough examination of Prison Tourism that is truly global in scope. With contributions from both well-renowned scholars and up-and-coming researchers in the field, from a wide variety of disciplines, the Handbook comprises an international collection at the cutting edge of Prison Tourism studies. Students and teachers from disciplines ranging from Criminology to Cultural Studies will find the text invaluable as the definitive work in the field of Prison Tourism.
... 'Global Dissensus: Art and Contemporary Capitalism', in Art and Visual Culture, 1850-2010: Modernity to Globalisation, ed.
Author: Alberto Toscano
Publisher: John Hunt Publishing
Can capital be seen? Cartographies of the Absolute surveys the disparate answers to this question offered by artists, film-makers, writers and theorists over the past few decades. It zones in on the crises of representation that have accompanied the enduring crisis of capitalism, foregrounding the production of new visions and artefacts that wrestle with the vastness, invisibility and complexity of the abstractions that rule our lives.
Manchester: Manchester University Press, 2010. ... The Ephemeral Museum: Old Master Paintings and the Rise of the Art ... Visual Resources 26, no. 3 (2010): ...
Author: Meaghan Clarke
Fair Women was the Victorian equivalent of a ‘blockbuster’ exhibition. Organised by a committee of women, it opened to great fanfare in the Grafton Galleries in London, and was comprised of both historical and contemporary portraits of women as well as decorative objects. Meaghan Clarke argues that the exhibition challenged contemporary assumptions about the representation of women and the superficiality of female collectors. The Fair Women phenomenon complicated gender stereotypes and foregrounded women as cultural arbiters. This book uncovers a wide range of texts and images to reveal that Fair Women brought together fashion, modernity and gender politics in new and surprising ways. It shows that, while invariably absent in institutional histories, women were vital to the development of the modern blockbuster exhibition. This book will be of interest to scholars in art and gender studies, museum studies, feminist art history, women artists and art history.
The Visual Culture Reader, 3rd ed. ... Art & Visual Culture, 1600–1850: Academy to Avant-Garde (London: Tate Publishing in Association with the Open ...
Author: Lauren Beck
Publisher: Rowman & Littlefield
This volume presents in-depth and contextualized analyses of a wealth of visual materials. These documents provide viewers with a mesmerizing and informative glimpse into how the early modern world was interpreted by image-makers and presented to viewers during a period that spans from manuscript culture to the age of caricature. The premise of this collection responds to a fundamental question: how are early modern texts, objects, and systems of knowledge imaged and consumed through bimodal, hybrid, or intermedial products that rely on both words and pictures to convey meaning? The twelve contributors to this collection go beyond traditional lines of inquiry into word-and-image interaction to deconstruct visual dynamics and politics—to show how images were shaped, manipulated, displayed, and distributed to represent the material world, to propagate official and commercial messages, to support religious practice and ideology, or to embody relations of power. These chapters are anchored in various theoretical and disciplinary points of departure, such as the history of collections and collecting, literary theory and criticism, the histories of science, art history and visual culture, word-and-image studies, as well as print culture and book illustration. Authors draw upon a wide range of visual material hitherto insufficiently explored and placed in context, in some cases hidden in museums and archives, or previously assessed only from a disciplinary standpoint that favored either the image or the text but not both in relation to each other. They include manuscript illuminations representing compilers and collections, frontispieces and other accompanying plates published in catalogues and museographies, astronomical diagrams, mixed pictographic-alphabetic accounting documents, Spanish baroque paintings, illustrative frontispieces or series inspired by or designed for single novels or anthologies, anatomical drawings featured in encyclopedic publications, visual patterns of volcanic formations, engravings representing the New World that accompany non-fictional travelogues, commonplace books that interlace text and images, and graphic satire. Geographically, the collection covers imperial centers (Great Britain, France, the Netherlands, and Spain), as well as their colonial periphery (New France; Mexico; Central America; South America, in particular Brazil; parts of Africa; and the island of Ceylon). Emblematic and thought-provoking, these images are only fragments of the multifaceted and comprehensive visual mosaic created during the early modern period, but their consideration has far reaching implications.
Imagining Illness: Public Health and Visual Culture (2010); Kromm, The Art of Frenzy: Public Madness in the Visual Culture of Europe, 1500–1850 (2003).
Category: Body, Mind & Spirit
The eighteen original interdisciplinary essays in Lux in Tenebris explore the alchemical, magical, kabbalistic, rosicrucian and theosophical verbal and visual symbolism in the history of Western Esotericism, from the middle ages to the present day.
... and Arts and Crafts (Farnham, UK and Burlington, VT: Ashgate, 2010), 170. ... Beyond the Frame: Feminism and Visual Culture, Britain 1850‒1900 (New York ...
Author: Julia Skelly
Highly innovative and long overdue, this study analyzes the visual culture of addiction produced in Britain during the long nineteenth century. The book examines well-known images such as William Hogarth's Gin Lane (1751), as well as lesser-known artworks including Alfred Priest's painting Cocaine (1919), in order to demonstrate how visual culture was both informed by, and contributed to, discourses of addiction in the period between 1751 and 1919. Through her analysis of more than 30 images, Julia Skelly deconstructs beliefs and stereotypes related to addicted individuals that remain entrenched in the popular imagination today. Drawing upon both feminist and queer methodologies, as well as upon extensive archival research, Addiction and British Visual Culture, 1751-1919 investigates and problematizes the long-held belief that addiction is legible from the body, thus positioning visual images as unreliable sources in attempts to identify alcoholics and drug addicts. Examining paintings, graphic satire, photographs, advertisements and architectural sites, Skelly explores such issues as ongoing anxieties about maternal drinking; the punishment and confinement of addicted individuals; the mobility of female alcoholics through the streets and spaces of nineteenth-century London; and soldiers' use of addictive substances such as cocaine and tobacco to cope with traumatic memories following the First World War.
New York Times Book Review (January 24, 2010): 23. Shefer, Elaine. “Elizabeth Siddal's 'Lady of Shalott.'” Woman's Art Journal 9 (Spring-Summer 1988): 21–29 ...
Author: Colleen Denney
Women’s bodies and their portrayals in the media remain at the center of every debate on women’s rights worldwide. This study examines the domains of public and private space—and the interstices between them—with a focus on how women advance in the public arena, drawing on the domestic politics of the private realm in their drive for social justice and equality. The author examines the visual culture of first-wave feminists in Edwardian England and feminist developments in France. Late 20th century and 21st century women’s movements are discussed in the context of how they continue to honor first-wave suffrage history.
... the author of The Art of Frenzy: Public Madness in the Visual Culture of Europe, 1500–1850 (2002) and co-editor of A History of Visual Culture (2010).
Author: DavidR. Smith
Dwelling on the rich interconnections between parody and festivity in humanist thought and popular culture alike, the essays in this volume delve into the nature and the meanings of festive laughter as it was conceived of in early modern art. The concept of 'carnival' supplies the main thread connecting these essays. Bound as festivity often is to popular culture, not all the topics fit the canons of high art, and some of the art is distinctly low-brow and occasionally ephemeral; themes include grobianism and the grotesque, scatology, popular proverbs with ironic twists, and a wide range of comic reversals, some quite profound. Many hinge on ideas of the world upside down. Though the chapters most often deal with Northern Renaissance and Baroque art, they spill over into other countries, times, and cultures, while maintaining the carnivalesque air suggested by the book's title.