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How is art both distinct and different from the rest of human life, while also mattering in and for it? This central yet overlooked question in contemporary philosophy of art is at the heart of Georg Bertram's new aesthetic. Drawing on the resources of diverse philosophical traditions – analytic philosophy, French philosophy, and German post-Kantian philosophy – his book offers a systematic account of art as a human practice. One that remains connected to the whole of life.
How is art both distinct and different from the rest of human life, while also mattering in and for it? This central yet overlooked question in contemporary philosophy of art is at the heart of Georg Bertram's new aesthetic. Drawing on the resources of diverse philosophical traditions – analytic philosophy, French philosophy, and German post-Kantian philosophy – his book offers a systematic account of art as a human practice. One that remains connected to the whole of life.
Michelangelo, Drawing, and the Invention of Architecture by Cammy Brothers Pdf
By following steps by which Michelangelo arrived at his inventions, the author questions conventional notions of spotaneity as a function of genius. Rather, she explores the idea of drawing as a mode of thinking, using its evidence to reconstruct the process by which Michelangelo arrived at new ideas.
From an accomplished practitioner, curator and theorist comes Stick Figures: Drawing as a Human Practice to reset the terms for an ancient activity. D.B. Dowd embraces drawing as a process for everyone, not just artists. This beautifully designed book uses a wonderful range of visual samples to explore an elemental human capacity. The artifacts of drawing (chiefly, illustrations and cartoons) are rescued from outdated hierarchies of taste and engaged on their own theoretical and cultural terms.-Pithy, companionable and funny, Stick Figures will change the discussion about drawing, illustration, cartooning, design and printmaking.-Taxonomically clear, technologically specific and free of art-speak for general readers and humanists who work with published images.-Thoughtful, critical and precise about the damage done by fetishized aesthetics; provides new tools for engaging popular visual production in the modern era.
This book addresses issues in the philosophy of art through the lenses of the three broad areas of philosophy: metaphysics, epistemology, and axiology. It surveys many important and pervasive topics connected to a philosophical understanding of art.
"Most philosophers of art of the modern period have concentrated their attention on engaging works of the arts as objects of disinterested aesthetic attention, and on the works that reward that modern of engagement, virtually ignoring the many other ways in which we engage works of the arts. The argument of this book is that it is important for philosophers to expand their attention and discuss as well the more important of those other ways in which we engage works of the arts. After discussing in some detail the main reason why philosophers have not done this, and explaining why this reason should be rejected, the book presents a conceptual framework for discussing the many ways in which we engage works of the arts. The book then employs this framework to discuss, in detail, memorial art, art for veneration, social protest art, work songs, and a recent development in high art, art-reflexive art. The book closes with some reflections on the role of beauty and justice in art in general."--Publisher's description.
Art Practice as Research, Second Edition continues to present a compelling argument that the creative and cultural inquiry undertaken by artists is a form of research. The text explores themes, practices, and contexts of artistic inquiry and positions them within the discourse of research. Sullivan argues that legitimate research goals can be achieved by choosing different methods than those offered by the social sciences. The common denominator in both approaches is the attention given to rigor and systematic inquiry. Artists emphasize the role of the imaginative intellect in creating, criticizing, and constructing knowledge that is not only new but also has the capacity to transform human understanding.
'Art Practice as Research' presents a compelling argument that the creative and cultural inquiry undertaken by artists is a form of research. The text explores themes, practice, and contexts of artistic inquiry and positions them within the discourse of research.
Art as a set of practices which take as their theoretical and practical point of departure the whole of human relations and their social context: the manifesto that has renewed the approach of contemporary art since the 1990s. Where does our current obsession for interactivity stem from? After the consumer society and the communication era, does art still contribute to the emergence of a rational society? Nicolas Bourriaud attempts to renew our approach towards contemporary art by getting as close as possible to the artists' works, and by revealing the principles that structure their thoughts: an aesthetic of the inter-human, of the encounter; of proximity, of resisting social formatting. The aim of his essay is to produce the tools to enable us to understand the evolution of today's art. We meet Felix Gonzalez-Torres, Louis Althusser, Rirkrit Tiravanija or Félix Guattari, along with most of today's practising creative personalities.
The Art of Life and Death explores how the world appears to people who have an acute perspective on it: those who are close to death. Based on extensive ethnographic research, Andrew Irving brings to life the lived experiences, imaginative lifeworlds, and existential concerns of persons confronting their own mortality and non-being. Encompassing twenty years of working alongside persons living with HIV/AIDS in New York, Irving documents the radical but often unspoken and unvoiced transformations in perception, knowledge, and understanding that people experience in the face of death. By bringing an "experience-near" ethnographic focus to the streams of inner dialogue, imagination, and aesthetic expression that are central to the experience of illness and everyday life, this monograph offers a theoretical, ethnographic, and methodological contribution to the anthropology of time, finitude, and the human condition. With relevance well-beyond the disciplinary boundaries of anthropology, this book ultimately highlights the challenge of capturing the inner experience of human suffering and hope that affect us all--of the trauma of the threat of death and the surprise of continued life.
Anthropology and Art Practice by Arnd Schneider,Christopher Wright Pdf
Anthropology and Art Practice takes an innovative look at new experimental work informed by the newly-reconfigured relationship between the arts and anthropology. This practice-based and visual work can be characterised as 'art-ethnography'. In engaging with the concerns of both fields, this cutting-edge study tackles current issues such as the role of the artist in collaborative work, and the political uses of documentary. The book focuses on key works from artists and anthropologists that engage with 'art-ethnography' and investigates the processes and strategies behind their creation and exhibition.The book highlights the work of a new generation of practitioners in this hybrid field, such as Anthony Luvera, Kathryn Ramey, Brad Butler and Karen Mizra, Kate Hennessy and Jennifer Deger, who work in a diverse range of media - including film, photography, sound and performance. Anthropology and Art Practice suggests a series of radical challenges to assumptions made on both sides of the art/anthropology divide and is intended to inspire further dialogue and provide essential reading for a wide range of students and practitioners.
Toward the Not-Yet by Jeanne van Heeswijk,Maria Hlavajova,Rachael Rakes Pdf
Combining handbook, dictionary, and anthology, investigations and examples of artistic practices aimed at social change. This volume from BAK, basis voor actuele kunst, combines handbook, dictionary, and anthology to investigate artistic practice aimed at achieving social change. With text and visual essays, definitions, exercises, interviews, and images, the contributors envision a praxis that is committed to experimenting with aesthetics and politics in ways that go beyond the conventions of Western modernity. These are practices that are interdisciplinary, theoretically informed, and politically driven, offering ways of "being together otherwise." Catalyzed by the work of artist Jeanne van Heeswijk, which focuses on radicalizing civic processes, Toward the Not-Yet imagines and enacts alternative ways of conceiving the present and future. Contributors, among them notable artists, scholars, activists, and writers consider ways of participating in civic life, including "dreamscaping" and "radical listening"; the creation of safer spaces for humans and nonhumans; ways of radically shifting laws and policies; and tactics and methods of collective sanctuary. Toward the Not-Yet is part of BAK's series of BASICS readers, debuting a SUPERBASICS variation that is larger, with more visual content. Copublished with BAK, basis voor actuele kunst
"The text is at once a meditation on theories of form and an essay on the painter Gerhard Richter as a philosophical pragmatist. Richter serves as the inspiration for a broader argument about the nature of "art" itself and for what Klinger professes to be a fresh approach to contemporary art more generally. He (1) addresses the widely conceded exhaustion of the modernist-postmodernist paradigm that has been used to negotiate the "essence of art" for decades and (2) offers what he says is a solution to the resulting gap that leaves us unclear on how to make art and talk about it. He draws on Kuhn's definition that a paradigm consists of the pre-theoretical framework of any practice: While rules and principles, where they exist, grow out of the paradigm, the paradigm can guarantee the functioning of a practice in the absence of rules. He sees Richter as relevant because the painter has never accepted the modern, neo-avant-garde, or postmodern movements as paradigms for his production. Klinger maintains that the goal of Richter's artistic program is "to replace traditional essentialist models of artistic form by a pragmatic model" of respecting the properties of actual physical substances at hand, such as paint, and making art in terms of process rather than with a prescribed end. This way, the modernist-postmodernist paradigm is neither affirmed nor perpetuated in the mode of its reversal, critique or deconstruction, but replaced by something else that forms an effective reaction to the situation without directly deriving from it"--
Routledge Handbook of Art, Science, and Technology Studies by Hannah Star Rogers,Megan K Halpern,Dehlia Hannah,Kathryn de Ridder-Vignone Pdf
Art and science work is experiencing a dramatic rise coincident with burgeoning Science and Technology Studies (STS) interest in this area. Science has played the role of muse for the arts, inspiring imaginative reconfigurations of scientific themes and exploring their cultural resonance. Conversely, the arts are often deployed in the service of science communication, illustration, and popularization. STS scholars have sought to resist the instrumentalization of the arts by the sciences, emphasizing studies of theories and practices across disciplines and the distinctive and complementary contributions of each. The manifestation of this commonality of creative and epistemic practices is the emergence of Art, Science, and Technology Studies (ASTS) as the interdisciplinary exploration of art–science. This handbook defines the modes, practices, crucial literature, and research interests of this emerging field. It explores the questions, methodologies, and theoretical implications of scholarship and practice that arise at the intersection of art and STS. Further, ASTS demonstrates how the arts are intervening in STS. Drawing on methods and concepts derived from STS and allied fields including visual studies, performance studies, design studies, science communication, and aesthetics and the knowledge of practicing artists and curators, ASTS is predicated on the capacity to see both art and science as constructions of human knowledge- making. Accordingly, it posits a new analytical vernacular, enabling new ways of seeing, understanding, and thinking critically about the world. This handbook provides scholars and practitioners already familiar with the themes and tensions of art–science with a means of connecting across disciplines. It proposes organizing principles for thinking about art–science across the sciences, social sciences, humanities, and arts. Encounters with art and science become meaningful in relation to practices and materials manifest as perceptual habits, background knowledge, and cultural norms. As the chapters in this handbook demonstrate, a variety of STS tools can be brought to bear on art–science so that systematic research can be conducted on this unique set of knowledge-making practices.
Artist-Teacher Practice and the Expectation of an Aesthetic Life by Carol Wild Pdf
This book explores why and how the personal creative practice of arts teachers in school matters. It responds to ethnographic research that considers specific works-of-art created by teachers within the context of their classrooms. Through a classroom-based ethnographic investigation, the book proposes that the potential impact of artist-teacher practice in the classroom can only be understood in relation to the flows of power and policy that concurrently shape the classroom. It shows how artist-teacher practice functions as a creative practice of freedom tending to the present and future aesthetic life of the classroom, countering the effects of neoliberal schooling and austerity politics. The book questions what the artist-teacher can produce within that context. Through the unique focus on artist-teacher practice, the book explores the changing nature of the classroom and the social and political dimensions of the school. It will be key reading for researchers and postgraduate students of arts education, critical pedagogy, teacher identity and aesthetics. It will also be of interest to art and design educators.
