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Through an interlocking series of texts and images, Representing the Passions explores how extreme sensations such as wonder, misery, ecstasy, and rage have been portrayed at different moments in Western culture. Moving across multiple fields of creative endeavor and intellectual inquiry?from classical artifacts to Chicano art, political protest to operatic performance, René Descartes's writings on the soul to the Internet's digitized flesh?this book reveals how the passions have elicited, eluded, and transformed the act of representation. In addition to contributions by visual artists Anne and Patrick Poirier and video artist Bill Viola, Representing the Passions offers a provocative set of case studies by Horst Bredekamp, Page du Bois, Martha Feldman, Stefan Jonsson, Elizabeth Liebman, Carol Mavor, Teresa McKenna, Richard Meyer, David Román, Debora Silverman, and David Summers. This book was published to coincide with Bill Viola: The Passions, an exhibition that was on view at the J. Paul Getty Museum from January 24 to April 27, 2003

emotion --- History of civilization --- Affective and dynamic functions --- Iconography --- Arts --- Emotions in art --- Emotions in art. --- Arts. --- Emotions dans l'art --- Arts, Fine --- Arts, Occidental --- Arts, Western --- Fine arts --- Humanities --- Arts, Primitive

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The first survey of the recent requiems for communism by European writers and artists.In Requiem for Communism Charity Scribner examines the politics of memory in postindustrial literature and art. Writers and artists from Europe's second world have responded to the last socialist crisis with works that range from sober description to melancholic fixation. This book is the first survey of this cultural field.Today, as the cultures of Eastern and Western Europe merge into the Infobahn of late capitalism, the second world is being left behind. The European Union has pronounced obsolete the structures that once defined and linked industrial cities from Manchester to Karl-Marx-Stadt--the decaying factories and working collectives, the wasted ideals of state socialism and the welfare state. Marxist exponents of global empire see this historical turn as an occasion to eulogize "the lightness and joy of being communist." But for many writers and artists on the left, the fallout of the last century's socialist crisis calls for an elegy. This regret has prompted a proliferation of literary texts and artworks, as well as a boom in museum exhibitions that race to curate the wreckage of socialism and its industrial remnants. The best of these works do not take us back to the factory. Rather they look for something to take out of it: the intractable moments of solidarity among men and women that did not square with the market or the plan.Requiem for Communism explores a selection of signal works. They include John Berger's narrative trilogy Into Their Labors; Documenta, the German platform for contemporary art and ideas; Krzysztof Kieslowski's cinema of mourning and Andrzej Wajda's filmed chronicles of the Solidarity movement; the art of Joseph Beuys and Rachel Whiteread; the novels of Christa Wolf; and Leslie Kaplan's antinostalgic memoir of women's material labor in France. Sorting among the ruins of the second world, the critical minds of contemporary Europe aim to salvage both the remains of socialist ideals and the latent feminist potential that attended them.

Communism and art --- Socialism and art --- Post-communism --- Arts, European --- Arts --- Nostalgia in art. --- Political aspects --- Europe --- Intellectual life. --- Arts, Fine --- Arts, Occidental --- Arts, Western --- Fine arts --- Postcommunism --- Art and socialism --- Art and communism --- Humanities --- World politics --- Communism --- Art --- HUMANITIES/Literature & Criticism --- Arts, Primitive

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To put the ARTS & ECONOMICS next to each other, as in the title to this book, may be shocking to some readers. Must not creative art be free of economic constraints, must it not lead a life of its own? And is economics not the realm of mean commercial dealings? This book argues that it is not so: the ARTS & ECONOMICS go well together, indeed need each other. Without a sound economic base, art cannot exist, and without creativity the economy cannot flourish. There is a second way in which the Arts and Economics go together, namely in the sense of applying economic thinking to the arts. Over the last decades, this scholarly endeavor has been established under the name of "The Economics of Art" or "Cultural Economics". But this may also sound revolting to some readers as it suggests an imperialistic extension of a lowly benefit-cost calculus to the world of art. This fear is unwarranted. On the contrary, cultural economists stress the social value of art and defend it against a crude business view of art. Rather than dismissing art without direct commercial profit, art economists seek ways and means of supporting it. This book is not a textbook summarizing the achievements attained by the economics of art. Such books already exist, among them the author's own, Muses and Markets, Explorations in the Economics of Art, written jointly with Werner Pommerehne. VI Preface ARTS & ECONOMICS charters little known territories.

Art --- Economics --- Arts --- Economic aspects. --- Finance. --- Aspect économique --- Finances --- Business & Economics --- Economic Theory --- AA / International- internationaal --- 339.44 --- Kunstmarkt. --- Aspect économique --- Economics. --- Management science. --- Economic theory. --- Arts. --- Public finance. --- Sociology. --- Economics, general. --- Economic Theory/Quantitative Economics/Mathematical Methods. --- Public Economics. --- Sociology, general. --- Social theory --- Social sciences --- Cameralistics --- Public finance --- Public finances --- Currency question --- Arts, Fine --- Arts, Occidental --- Arts, Western --- Fine arts --- Humanities --- Economic theory --- Political economy --- Economic man --- Quantitative business analysis --- Management --- Problem solving --- Operations research --- Statistical decision --- Kunstmarkt

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Research --- Science --- Arts --- Arts. --- Research. --- Science. --- Smithsonian Institution --- Smithsonian Institution. --- Natural science --- Science of science --- Sciences --- Scientific research --- Fine arts --- Arts, Fine --- Arts, Occidental --- Arts, Western --- Arts, Daghestan --- Industries --- Muʼassasat Smīthsūniyān --- Smitsonovskiĭ institut --- Смитсоновский институт --- Information services --- Learning and scholarship --- Methodology --- Research teams --- Humanities --- Freer Gallery of Art --- Arthur M. Sackler Gallery (Smithsonian Institution) --- Smithsonian --- Natural sciences --- United States. --- Arts, Primitive --- United States --- History --- Periodicals.

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Artists --- Artists as teachers --- Arts --- Artistes --- Artistes enseignants --- Interviews. --- Study and teaching (Higher) --- Entretiens --- Etude et enseignement (Supérieur) --- Arts, Modern --- 373.67 QUAND --- Asher, Michaël --- Baulieu E-E --- Berio L --- Buchloh, B --- Buren, D --- Chabert, P --- De Saint Phalle --- Douchet, J --- Fabro, L --- Fauchereau, S --- Haacke, H --- Huillet, D --- Hultan, P --- Kabakov, I --- Kramer, R --- kunstonderwijs --- Piano, R --- Pontus Hulten --- Sarkis --- Straub, J-M --- Arts, Fine --- Arts, Occidental --- Arts, Western --- Fine arts --- Humanities --- Art teachers --- Teachers --- Arts, Primitive