Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Art and society. --- Art --- Art and sociology --- Society and art --- Sociology and art --- Social aspects

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Art and Artist in Society is a compilation of essays that examine the nexus between artists, the art they create and society. These essays consider how art has changed its form and role both to accommodate newer trends and to fully participate in society. Divided into six thematic sections, the book examines the works of a diverse group of artists working in a range of art forms, such as writers Milan Kundera and Judith Ortiz Cofer, filmmakers Humberto Solás and Walter Salles, performers/photographer Daniel Joseph Martínez and feminist-activists Suzanne Lacy and Leslie Labowitz. The analyses o

Art and society. --- Artists --- Art --- Art and sociology --- Society and art --- Sociology and art --- Psychology. --- Psychology --- Social aspects

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

One of the most modern features of the French Revolution was its intention of shaping a new kind of citizen by exposing him from childhood to inspirational messages and behavioral models. In this effort to regenerate the masses the French Revolutionaries sought to employ not only schools, but newspapers, festivals, dramas, poems, songs, paintings, statues, and engravings as well. At the peak of the Terror, French leaders brough tthe West to the threshold of the totalitarian state in the fullest sense of the world: they established a single party state, directed a regimented economy, created a mass army, and sought to mobilize all the media capable of influencing the human mind. In was an interest in both art and the Revolution which led Professor Leith to explore the groth of the idea of using art as one instrument of propaganda. The idea proved to have deep roots in western civilization, going back to classical thinkers, medieval churchmen, and the art officials of such monarchs as Louis XIV. But following the hedonistic rococo art of the first half of the eighteenth century, this idea of didactic art took on a new lease of life, reaching a crescendo during the Terror. This book analyses the contribution of the philosophes, the Encyclopedists, royal officials, art critics, and revolutionary leaders to the resurgence of the idea; it also probes the peculiar psychological assumptions which led eighteeneth-century thinkers to believe in the efficacy of visual propaganda. The outcome of this idea of art as an ideological weapon was involved in the fate of the Revolution itself, yet it was also affected by certain curious tensions already evident in the minds of its advocates under the Old Régime. Lingering interest in purely aesthetic values,k affirmation of the need for creative freedom, and determination to maintain French cultural hegemony, all complicated the effort to turn art into a vehicle of civic instruction. The final chapter examines the rôle of these tensions in the dénouement of the idea in the closing phase of the Revolution.This book should appeal not only to those interested in French civilization, the age of Enlightment, and they French Revolution, but to those concerned with the rôle of art and the artist in modern society as well.

Art and society. --- Art --- Art and sociology --- Society and art --- Sociology and art --- Social aspects --- France --- History --- Propaganda.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Over the past 20 years, the network has come to dominate the art world, affecting not just interaction among art professionals but the very makeup of the art object itself. The hierarchical and restrictive structure of the museum has been replaced by temporary projects scattered across the globe, staffed by free agents hired on short-term contracts, viewed by spectators defined by their predisposition to participate and make connections. In this book, Lane Relyea tries to make sense of these changes, describing a general organizational shift in the art world that affects not only material infrastructures but also conceptual categories and the construction of meaning.

Examining art practice, exhibition strategies, art criticism and graduate education, Relyea aligns the transformation of the art world with the advent of globalization and the neoliberal economy. He analyzes the new networked, participatory art world -- hailed by some as inherently democratic -- in terms of the pressures of part-time temp work in a service economy, the calculated stockpiling of business contacts and the anxious duty of being a "team player" at work. Relyea calls attention to certain networked forms of art -- including relational aesthetics, multiple or fictive artist identities and bricolaged objects -- that can be seen to oppose the values of neoliberalism rather than romanticizing and idealizing them. Relyea offers a powerful answer to the claim that the interlocking functions of the network -- each act of communicating, of connecting, or practice -- are without political content.

Art and society --- Art --- History --- Social aspects. --- Art and sociology --- Society and art --- Sociology and art --- Social aspects --- Art and society. --- ARTS/General

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

In The Science of Culture and the Phenomenology of Styles, Renato Barilli examines the history of artistic style in relation to scientific discovery. Applying an innovative analysis, he illustrates the subtle, yet intrinsic, connection between paradigm shifts in the sciences and in the arts. Barilli argues that there are "homologies," or equivalences, between specific discoveries or inventions and revolutionary advances in artistic techniques. He draws upon the pioneering work of Lucien Goldman, who provides the fundamental definition of "homology," as well as the theories of Luciano Anceschi and Marshall McLuhan in order to reassess conventional modes of dividing art history into such periods as modern, contemporary, and postmodern. By correlating moments like the invention of the printing press and the internal combustion engine with canonical periods in the evolution of art, Barilli unearths conceptual links across domains and disciplines. An insightful reflection on the historic perspectives of cultural production, The Science of Culture and the Phenomenology of Styles sheds new light on the relationship between visual culture, art, and language.

Art and society. --- Art and history. --- History and art --- History --- History in art --- Art --- Art and sociology --- Society and art --- Sociology and art --- Social aspects