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'Art and Authority' explores the sources, nature, and limits of artistic freedom. The author draws upon real-world cases and controversies in contemporary visual art to offer a better understanding of artistic authorship and authority. Each chapter focuses on a case of dispute over the rights of an artist with respect to his or her artwork.
From one of our most widely admired art critics comes a bold and timely manifesto reaffirming the independence of all the arts—musical, literary, and visual—and their unique and unparalleled power to excite, disturb, and inspire us. As people look to the arts to promote a particular ideology, whether radical, liberal, or conservative, Jed Perl argues that the arts have their own laws and logic, which transcend the controversies of any one moment. “Art’s relevance,” he writes, “has everything to do with what many regard as its irrelevance.” Authority and Freedom will find readers from college classrooms to foundation board meetings—wherever the arts are confronting social, political, and economic ferment and heated debates about political correctness and cancel culture. Perl embraces the work of creative spirits as varied as Mozart, Michelangelo, Jane Austen, Henry James, Picasso, and Aretha Franklin. He contends that the essence of the arts is their ability to free us from fixed definitions and categories. Art is inherently uncategorizable—that’s the key to its importance. Taking his stand with artists and thinkers ranging from W. H. Auden to Hannah Arendt, Perl defends works of art as adventuresome dialogues, simultaneously dispassionate and impassioned. He describes the fundamental sense of vocation—the engagement with the tools and traditions of a medium—that gives artists their purpose and focus. Whether we’re experiencing a poem, a painting, or an opera, it’s the interplay between authority and freedom—what Perl calls “the lifeblood of the arts”—that fuels the imaginative experience. This book will be essential reading for everybody who cares about the future of the arts in a democratic society.
Art and Authority in Renaissance Milan by Evelyn S. Welch Pdf
Milan was one of the largest and most important cities in Renaissance Italy. Controlled by the Visconti and Sforza dynasties from 1277 until 1500, its rulers were generous patrons of the arts, responsible for commissioning major monuments throughout the city and for supporting artists such as Giovanni di Balduccio, Filarete, Bramante and Leonardo da Vinci. But the city was much more than its dukes. Milan had a distinct civic identity, one that was expressed, above all, through its neighbourhood, religious and charitable associations. This book moves beyond standard interpretations of ducal patronage to explore the often overlooked city itself, showing how the allegiances of the town hall and the parish related to those of the servants and aristocrats who frequented the Visconti and Sforza court. In this original and stimulating interdisciplinary study, Evelyn Welch illustrates the ways in which the myths of Visconti and Sforza supremacy were created. Newly discovered material for major projects such as the cathedral, hospital and castle of Milan permits a greater understanding of the political, economic and architectural forces that shaped these extraordinary buildings. The book also explores the wider social networks of the artists themselves. Leonardo da Vinci, for example, is de-mythologised: far from being an isolated, highly prized court artist, he spent his almost eighteen years in the city working within the wider Milanese community of painters, sculptors, goldsmiths and embroiderers. The broad perspective of the book ensures that any future study of the Renaissance will have to re-evaluate the place of Milan in Italian cultural history.
ART MYTH AND RITUAL P by Kwang-chih CHANG,Kwang-chih Chang Pdf
A leading scholar in the United States on Chinese archaeology challenges long-standing conceptions of the rise of political authority in ancient China. Questioning Marx's concept of an "Asiatic" mode of production, Wittfogel's "hydraulic hypothesis," and cultural-materialist theories on the importance of technology, K. C. Chang builds an impressive counterargument, one which ranges widely from recent archaeological discoveries to studies of mythology, ancient Chinese poetry, and the iconography of Shang food vessels.
"Hosts of all kinds, this is a must-read!" --Chris Anderson, owner and curator of TED From the host of the New York Times podcast Together Apart, an exciting new approach to how we gather that will transform the ways we spend our time together—at home, at work, in our communities, and beyond. In The Art of Gathering, Priya Parker argues that the gatherings in our lives are lackluster and unproductive--which they don't have to be. We rely too much on routine and the conventions of gatherings when we should focus on distinctiveness and the people involved. At a time when coming together is more important than ever, Parker sets forth a human-centered approach to gathering that will help everyone create meaningful, memorable experiences, large and small, for work and for play. Drawing on her expertise as a facilitator of high-powered gatherings around the world, Parker takes us inside events of all kinds to show what works, what doesn't, and why. She investigates a wide array of gatherings--conferences, meetings, a courtroom, a flash-mob party, an Arab-Israeli summer camp--and explains how simple, specific changes can invigorate any group experience. The result is a book that's both journey and guide, full of exciting ideas with real-world applications. The Art of Gathering will forever alter the way you look at your next meeting, industry conference, dinner party, and backyard barbecue--and how you host and attend them.
Anyone can be a quiet influencer. But not everyone knows how. "A tremendous and relevant read!" -Stephen M. R. Covey, New York Times and #1 Wall Street Journal bestselling author of The Speed of Trust Drawing on the enduring wisdom of the Buddha, Confucius, Rumi, Gandhi and others, The Art of Quiet Influence shows anyone, not just bosses, how to use influence without authority, a key mindfulness principle, to get things done at work and in life. Through the classic wisdom of 12 Eastern sages, relevant insights from influence research, and anecdotes and advice from 25 contemporary experts, Davis lays out a path for becoming a "mainspring," the unobtrusive yet powerful influencer first introduced in her book The Greats on Leadership. Organized around three core influence practices - Invite Participation, Share Power, and Aid Progress - readers will learn how to take mindfulness practice "out of the gym and onto the field," while gaining the confidence and practical know-how to be influential in whatever role they occupy.
"Art and the City" explores the contentious relationship between civic politics and visual culture in Los Angeles. Struggles between civic leaders and modernist artists to define civic identity and control public space highlight the significance of the arts as a site of political contest in the twentieth century.
Law and the Image by Costas Douzinas,Lynda Nead Pdf
Discussing the diverse relationships between law and the artistic image, this book includes coverage of the history of the relationship between art and law, and the ways in which the visual is made subject to the force of the law.
Is the celebrated elegance of Cycladic marble figurines an effect their Early Bronze Age producers intended? Can one adequately appreciate an Assyrian regal statue described by a cuneiform inscription as beautiful? What to make of the apparent aesthetic richness of the traditional cultures of Melanesia, which, however, engage in virtually no recognizable aesthetic discourse? Questions such as these have been formulated and discussed by scholars of remote cultures against the backdrop of a general scepticism about the prospects of escaping the conditioning of one’s own aesthetic culture and attuning to the norms of a remote one. This book makes a radical move: it treats the remote observers’ lack of aesthetic insight not as a hindrance to aesthetic analysis, but as a condition requiring an aesthetic theory that would make room for an aesthetic analysis independent of the model of competent aesthetic judgement or appreciation. Objects of Authority represents a rare effort at bringing together methods and concepts that are often addressed by separate disciplines. It will appeal to scholars and advanced students working on philosophical, art-historical, and anthropological theories of visual art and material culture.
People engage with authored works all the time. They buy paintings, read books, and download songs. They might even be artists themselves. And yet they tend to take the concept of authorship for granted. The basic idea that an artist as author maintains some kind of claim to his or her creation, even as it circulates in the world at large, seems natural. It is the basis for copyright law and moral rights legislation which protect the rights of authors. But what is an author, and why do artists receive special legal recognition and protection that the creators of other kinds of artifacts do not? It is often assumed that artists have a special bond with their artworks, but the nature of this bond, and its function as the source of an artist's authority over his or her work, often goes unquestioned. Art and Authority is a philosophical essay on artistic freedom: its sources, nature, and limits. Artistic freedom can mean different things depending on the context in which it is invoked. K. E. Gover argues that the most fundamental form of artistic freedom involves the artist's authority to accept or disavow the works that he or she produces, to curate the works that bear his or her name, and that represent his or her artistic oeuvre. Our very concept of what an artwork isthe intentional expression of the artist, for its own sakedepends on this second-order endorsement by the artist of what he or she has made. Using real-world cases and controversies in contemporary visual art, Gover argues that the leading accounts of artistic authorship in the legal and philosophical literature have overlooked the significance of this moment.
From one of our most widely admired art critics comes a bold and timely manifesto reaffirming the independence of all the arts—musical, literary, and visual—and their unique and unparalleled power to excite, disturb, and inspire us. As people look to the arts to promote a particular ideology, whether radical, liberal, or conservative, Jed Perl argues that the arts have their own laws and logic, which transcend the controversies of any one moment. “Art’s relevance,” he writes, “has everything to do with what many regard as its irrelevance.” Authority and Freedom will find readers from college classrooms to foundation board meetings—wherever the arts are confronting social, political, and economic ferment and heated debates about political correctness and cancel culture. Perl embraces the work of creative spirits as varied as Mozart, Michelangelo, Jane Austen, Henry James, Picasso, and Aretha Franklin. He contends that the essence of the arts is their ability to free us from fixed definitions and categories. Art is inherently uncategorizable—that’s the key to its importance. Taking his stand with artists and thinkers ranging from W. H. Auden to Hannah Arendt, Perl defends works of art as adventuresome dialogues, simultaneously dispassionate and impassioned. He describes the fundamental sense of vocation—the engagement with the tools and traditions of a medium—that gives artists their purpose and focus. Whether we’re experiencing a poem, a painting, or an opera, it’s the interplay between authority and freedom—what Perl calls “the lifeblood of the arts”—that fuels the imaginative experience. This book will be essential reading for everybody who cares about the future of the arts in a democratic society.
Slaves, Masters, and the Art of Authority in Plautine Comedy by Kathleen McCarthy Pdf
What pleasures did Plautus' heroic tricksters provide their original audience? How should we understand the compelling mix of rebellion and social conservatism that Plautus offers? Through a close reading of four plays representing the full range of his work (Menaechmi, Casina, Persa, and Captivi), Kathleen McCarthy develops an innovative model of Plautine comedy and its social effects. She concentrates on how the plays are shaped by the interaction of two comic modes: the socially conservative mode of naturalism and the potentially subversive mode of farce. It is precisely this balance of the naturalistic and the farcical that allows everyone in the audience--especially those well placed in the social hierarchy--to identify both with and against the rebel, to feel both the thrill of being a clever underdog and the complacency of being a securely ensconced authority figure. Basing her interpretation on the workings of farce and naturalism in Plautine comedy, McCarthy finds a way to understand the plays' patchwork literary style as well as their protean social effects. Beyond this, she raises important questions about popular literature and performance not only on ancient Roman stages but in cultures far from Plautus' Rome. How and why do people identify with the fictional figures of social subordinates? How do stock characters, happy endings, and other conventions operate? How does comedy simultaneously upset and uphold social hierarchies? Scholars interested in Plautine theater will be rewarded by the detailed analyses of the plays, while those more broadly interested in social and cultural history will find much that is useful in McCarthy's new way of grasping the elusive ideological effects of comedy.
Author : Daniel Alan Herwitz,Daniel Herwitz Publisher : University of Chicago Press Page : 374 pages File Size : 45,8 Mb Release : 1996-05-15 Category : Art ISBN : 0226328929
Making Theory/Constructing Art by Daniel Alan Herwitz,Daniel Herwitz Pdf
Artists and critics regularly enlist theory in the creation and assessment of artworks, but few have scrutinized the art theories themselves. Here, Daniel examines and critiques the norms, assumptions, historical conditions, and institutions that have framed the development and uses of art theory. Spurred by the theoretical claims of Arthur Danto, a leader in the philosophy of the avant-garde, Herwitz reexamines the art and theory of major figures in the avant-garde movement including John Cage, Jean-François Lyotard, Jean Baudrillard, and Andy Warhol.
