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Scholarship often treats the post-Roman art produced in central and north-western Europe as representative of the pagan identities of the new 'Germanic' rulers of the early medieval world. In this book, Matthias Friedrich offers a critical reevaluation of the ethnic and religious categories of art that still inform our understanding of early medieval art and archaeology. He scrutinises early medieval visual culture by combining archaeological approaches with art historical methods based on contemporary theory. Friedrich examines the transformation of Roman imperial images, together with the contemporary, highly ornamented material culture that is epitomized by 'animal art.' Through a rigorous analysis of a range of objects, he demonstrates how these pathways produced an aesthetic that promoted variety (varietas), a cross-cultural concept that bridged the various ethnic and religious identities of post-Roman Europe and the Mediterranean worlds.

Art and society --- Art, Medieval --- Art --- Aesthetics, Roman. --- Aesthetics, Medieval. --- Medieval aesthetics --- Roman aesthetics --- Art and sociology --- Society and art --- Sociology and art --- History --- Themes, motives. --- Historiography. --- Subjects --- Social aspects

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A combination of practical and theoretical writing, this book chronicles the realization of #TransActing: A Market of Values, an international non-commercial popup market held at Chelsea College of Arts, coordinated by Critical Practice Research Cluster, a London-based network of artists, designers, curators and academics. 96 col. plates.

Art and social action. --- Social action and art --- Social action --- Art and society. --- Commercialism. --- Markets --- Markets in art. --- Public markets --- Commerce --- Fairs --- Market towns --- Mercantilism (Commercialism) --- Capitalism --- Art --- Art and sociology --- Society and art --- Sociology and art --- Social aspects

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Following official protection of natural environments for public benefit in Fontainebleau Forest in France (1861) and in Yosemite (1864) and Yellowstone (1872) in the USA, the New Forest Act of 1877 marked the first major instance in Britain. Art and artists were involved in this achievement to a greater extent than in all preceding cases. For the first time, and within an ecocritical framework, this study examines the role played by art during the previous anti-enclosure campaign – highlighting both the hitherto-unacknowledged extent of German influence in terms of the original artistic initiative and of German artists’ participation in the cause, as well as the significance of connections between landscape art of the day and priorities of the early Open Spaces movement. Ecocriticism in art history With works by the German and British artists George Bouverie Goddard, Wilhelm Kümpel, Alfred Pizzi Newton, Wilhelm Trautschold, Edmund George Warren Nachdem erstmals natürlicher Lebensraum zum Wohle der Allgemeinheit unter Schutz gestellt wurde, wie der Wald von Fontainebleau (Frankreich 1861) sowie Yosemite- (1864) und Yellowstone-Park (1872) in den USA, markierte der New Forest Act von 1877 das erste derartige Großprojekt im Vereinigten Königreich. Kunst und Künstler spielten in diesem Fall eine größere Rolle als bei allen früheren Umweltschutzprojekten. Charlotte Yeldham untersucht diesen Aspekt erstmals und betrachtet den Zusammenhang von ökologischen und künstlerischen Fragestellungen. Von besonderem Interesse sind die dem New Forest Act vorausgegangene „anti-enclosure"-Bewegung, die bislang kaum untersuchte Beteiligung deutscher Künstler sowie die Verbindungen zwischen der damaligen Landschaftskunst und dem frühen „Open Space Movement". Ecocriticism aus kunsthistorischer Perspektive Mit Werken von britischen und deutschen Künstlern wie George Bouverie Goddard, Wilhelm Kümpel, Alfred Pizzi Newton, Wilhelm Trautschold, Edmund George Warren

Art --- Art and society --- Political aspects. --- History. --- Art and sociology --- Society and art --- Sociology and art --- Art and politics --- Politics and art --- Social aspects --- 19th century. --- British artists. --- German artists. --- art Great Britain. --- art and nature. --- art. --- landscape painting.

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“This timely, compelling, and extremely useful book adds considerably to our understanding of Chinese art immediately after the Cultural Revolution by linking the artistic development of Shanghai during the 1980s with the city’s vibrant artistic role within Asia during the 1930s and early '40s. …” —David Elliott, Curator|Writer|Museum Director|Teacher, Oxford|Stockholm|Tokyo|Istanbul|Sydney|Kyiv|Moscow|Guangzhou|Berlin “It fills a long-overlooked gap in the study of China’s Avant-Garde centered in Shanghai during the period, but also connected to the earlier and subsequent development from a new historicist perspective. …A must-read for understanding the evolution of Avant-Garde Art in China, but also of China in itself.” —Qiu Xiaolong, Professor, Doctor, Author (of the prize-winning Inspector Chen series translated into twenty languages and sold over two million copies worldwide) This book offers fresh perspectives and new insights into the avant-garde art in Shanghai in the 1980s that challenges the narrative in the current discourse on the appearance of contemporary art in China. It includes critical events in Shanghai, that will attract the serious attention of art professionals and collectors. Shanghai, with its semi-colonial, political, economic and cultural history, including the strong legacy of the early twentieth-century modernist art movement, has played a vital role in China’s modernisation and presents itself as a unique case in the evolution of contemporary art in China.

Art, Modern—21st century. --- China—History. --- Culture—Study and teaching. --- Philosophy. --- Methodology. --- Contemporary Art. --- History of China. --- Cultural Studies. --- Experimental Philosophy. --- Humanities Methodology --- Methodology --- Mental philosophy --- Humanities --- Art and society. --- Arts, Modern. --- Art --- Art and sociology --- Society and art --- Sociology and art --- Modern arts --- Social aspects --- Art and society --- Arts, Modern --- Avant-garde (Aesthetics) --- History

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""Vive la Sociale": This rousing, revolutionary statement, written on a bright red banner across the top of James Ensor's Christ's Entry into Brussels in 1889, served as a visual manifesto and call to action by the Belgian artist (1860-1949), one that announced with an insistent, public voice the centrality of his art practice to the cultural discourse of modern Belgium. This provocative declaration serves as the title for this new study of Ensor's art focusing on its social discourse and the artist's interaction with and at times satirical encounter with his contemporary milieu. Rather than the alienated and traumatized Expressionist given preference in modern art history, Ensor is presented here as an artist of agency and purpose whose art practice engaged the issues and concerns of middle class Belgian life, society and politics and was informed by the values and class, race and gendered perspectives of his time. Ensor's radical vision and oppositional strategy of resistance, self-fashioning and performance remains relevant. This book with its timely, nuanced reading of the art and career of this often misunderstood "artist's artist", invites a re-evaluation not only of Ensor's social context and expressive critique but also his unique contribution to modernist art practice"--

Art and society --- History --- Ensor, James, --- Ensor, James --- Ensor, James Sydney --- Ensor, James Sydney Edouard --- Criticism and interpretation. --- Art --- Art and sociology --- Society and art --- Sociology and art --- Social aspects --- Aesthetics of art --- Drawing --- Painting --- drawings [visual works] --- aesthetics --- art criticism --- easel paintings [paintings by form] --- Belgium --- Ensor, James, - 1860-1949 --- sociale geschiedenis. --- satire. --- Ensor, James. --- 20ste eeuw. --- België. --- sociale geschiedenis --- satire --- 20ste eeuw --- België