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Art --- Karolingische kunst --- Merovingische kunst --- Ottoonse kunst
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This book examines the ways in which artists and arts organizations today forge collaborative, socially engaged situations that involve non-professionals in the process of making art, often over a period of time, through creating opportunities to examine collective concerns and needs. Collaborative art praxis is gaining prominence in the Middle East, North Africa, and South Asia (MENASA) region. This is a discursive method that is experimental, with results that often expand the notions of what art is—and how it can be produced. After an introduction to global approaches to such a practice, Ali examines the foundation of contemporary art in the MENASA that is linked to a longer history of colonialism. The book analyzes artist-led initiatives and community-based organizations through themes including relational aesthetics, war and violence, blight in marginalized places around the world, in addition to questions associated with art and its value in the fields of global contemporary art and society.
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This volume offers a path-breaking reassessment of Xu Bing’s oeuvre by analyzing the diverse cultural environments in which his work has developed since the Book from the Sky. It contains three lecture transcripts and eight art historical essays; these explore themes such as Xu’s animal works, audience participation, new ink, prints, realism, socialist spectacle, and word play. A critical question addressed in this volume is what carries art to a global level beyond regional histories and cultural symbols. Absorbing critical essays on contemporary Chinese aesthetics addressing the social context and philosophical concerns that underlie Xu Bing’s key works. The authors analyze Xu’s art, shedding light on the tangled history of socialism and neoliberalism in the Post-Mao period. --Prof. Dr. Lothar Ledderose, Senior Professor, Institute of East Asian Art, Universität Heidelberg.
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What is socially engaged art history? Art history is typically understood as a discipline in which academics produce scholarship for consumption by other academics. Today however, an increasing number of art historians are seeking to broaden their understanding of art historical praxis and look beyond the academy and towards socially engaged art history. This is the first book-length study to focus on these growing and significant trends. It presents various arguments for the social, pedagogical, and scholarly benefits of alternative, community-engaged, public-facing, applied, and socially engaged art history. The international line up of contributors includes academics, museum and gallery curators as well as arts workers. The first two sections of the book look at socially engaged art history from theoretical, pedagogical, and contextual perspectives. The concluding part offers a range of provocative case studies that highlight the varied and rigorous work that is being done in this area and provide a variety of inspiring models. Taken together the chapters in this book provide much-needed disciplinary recognition to socially engaged art history, while also serving as a springboard to further theoretical and practical work.
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This book draws on extensive first-hand material to provide a fresh and detailed analysis of a decade that was highly significant in shaping the new perceptions of Chinese contemporary art at home and abroad. Written in a language that is both poetic and philosophically insightful, it offers a meaningful exploration of a language of criticism indigenous to the Chinese art community, which won Zhu Zhu, the author, the 2011 CCAA Art Critic A.
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