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This book is an investigation of the way the Aboriginal art phenomenon has been entangled with Australian society's negotiation of Indigenous people's status within the nation. At its heart this study is concerned with the broader social and cultural insights that can be gleaned from conducting a sustained inquiry into Aboriginal art's contested meanings. To achieve this it focuses upon the hopeful and disenchanted faces of the Aboriginal art phenomenon: the ideals of cultural revitalisation and empowerment that have converged upon the art, and the countervailing narratives of exploitation, degradation and futility. Both aspects are traced through a range of settings in which the tensions surrounding Aboriginal art's aesthetic, political and significance have been negotiated. It is in this dialectic that the vexed ethical questions underlying Australia's settler state condition can most clearly be identified, and we can begin to navigate the paradoxes and impasses underlying the redemptive national project of the post-assimilation era.

Art and society --- Art, Aboriginal Australian. --- Aboriginal Australians --- Art, Australian aboriginal --- Aboriginal Australian art --- Art --- Art and sociology --- Society and art --- Sociology and art --- Government relations. --- Social aspects

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At a juncture in which art and culture are saturated with the forces of commodification, this book argues that problems, forms, and positions that defined modernism are crucially relevant to the condition of contemporary art and culture. The volume is attuned to the central concerns of recent scholarship on modernism and contemporary culture: the problems of aesthetic autonomy and the specific role of art in preserving a critical standpoint for cultural production; the relationship between politics and the category of the aesthetic; the problems of temporality and contemporaneity; literary transnationalism; and the questions of medium and medium specificity. Ranging across art forms, mediums, disciplines, and geographical locations, essays address the foundational questions that fuse modernism and the contemporary moment: What is art? What is the relation between art and the economy? How do art and technology interpenetrate and transform each other? What is modernism's logic of time and contemporaneity, and how might it speak to the problem of thinking genuine novelty, or the possibility of an alternative to the current stage of neo-liberal capitalism? What is modernism, and what is its history? The book is thus committed to revising our understanding of what modernism was in its earlier instantiations, and in accounting for the current moment, addressing the problems raised by modernism's afterlives and reverberations in the 20th and 21st centuries. The volume includes essays that consider literature, sociology, philosophy, visual art, music, architecture, digital culture, television, and other artistic media. It synthesizes the most recent thinking on modernism and contemporary culture and presents a compelling case for what happens to literature, art, and culture in the wake of the exhaustion of postmodernism. This book will be of interest to those studying literature, visual art, media studies, architecture, literary theory, modernism, and twentieth-century and contemporary culture more generally.

Modernism (Aesthetics) --- Modernism (Literature) --- Postmodernism --- Popular culture --- Art and society --- Art --- Art and sociology --- Society and art --- Sociology and art --- Culture, Popular --- Mass culture --- Pop culture --- Popular arts --- Post-modernism --- Postmodernism (Philosophy) --- Crepuscolarismo --- Social aspects --- Communication --- Intellectual life --- Mass society --- Recreation --- Culture --- Arts, Modern --- Avant-garde (Aesthetics) --- Modernism (Art) --- Philosophy, Modern --- Post-postmodernism --- Literary movements --- Postmodernism (Literature) --- Aesthetics --- Popular culture.

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"This volume focuses on four cultural phenomena in the Roman world of the late Republic - the garden, a garden painting, tapestry, and the domestic caged bird. They accept or reject a categorisation as art in varying degrees, but they show considerable overlaps in the ways in which they impinge on social space. The study looks, therefore, at the borderlines between things that variously might or might not seem to be art forms. It looks at boundaries in another sense too. Boundaries between different social modes and contexts are embodied and represented in the garden and paintings of gardens, reinforced by the domestic use of decorative textile work, and replicated in the bird cage. The boundaries thus thematised map on to broader boundaries in the Roman house, city, and wider world, becoming part of the framework of the citizen's cognitive development and individual and civic identities. Frederick Jones presents a novel analysis that uses the perspective of cognitive development in relation to how elements of domestic and urban visual culture and the broader world map on to each other. His study for the first time understands the domestic caged bird as a cultural object and uniquely brings together four disparate cases under the umbrella of 'art'"--

Art and society --- Art --- Art and sociology --- Society and art --- Sociology and art --- Social aspects --- Cognition and culture --- Culture and cognition --- Cognition --- Culture --- Ethnophilosophy --- Ethnopsychology --- Socialization --- Art / history / ancient & classical. --- Art and society. --- Cognition and culture. --- Garten --- Garten. --- History / ancient / general. --- Käfigvögel. --- Wandmalerei. --- Rome (Empire). --- Römisches Reich.

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During the Cold War the exchange of artistic ideas and products united Europe's avant-garde in a most remarkable way. Despite the Iron Curtain and national and political borders there existed a constant flow of artists, artworks, artistic ideas and practices. The geographic borders of these exchanges have yet to be clearly defined. How were networks, centers, peripheries, scales, and distances constructed? How did (neo)avant-garde tendencies relate with officially sanctioned socialist realism? By discussing artworks, studying the writings on art, observing artistic evolution and artists' strategies, as well as the influence of political authorities, art dealers and art critics, the essays in Art beyond Borders compose a transnational history of arts in the Soviet satellite countries in the post war period.

Art and society --- Art --- Art, European --- Cultural relations --- Art européen --- Relations culturelles --- Foreign influences --- History --- Histoire --- Art et société --- Cultural exchange --- Intercultural relations --- Art, Modern --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Art and sociology --- Society and art --- Sociology and art --- Social aspects --- Art et société --- Art européen --- Intellectual cooperation --- International relations --- Arts --- Aesthetics --- Art, Primitive --- History of art

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"New Tendencies, a nonaligned modernist art movement, emerged in the early 1960s in the former Yoguslavia, a nonaligned country ... Armin Medosch examines the development of New Tendencies as a major international art movement in the context of social, political, and technological history."--inside front cover.

Information theory in aesthetics --- Art and technology --- Art and society --- History --- Nouvelle tendance (Exhibition) --- Art --- Art and sociology --- Society and art --- Sociology and art --- Technology and art --- Technology --- Aesthetics --- Cybernetics --- Perception --- Psychology --- Social aspects --- Neue Tendenz (Exhibition) --- New tendencies (Exhibition) --- Nieuwe tendenzen (Exhibition) --- Nouva tendenza (Exhibition) --- Nove tendencije (Exhibition) --- Nueva tendencia (Exhibition) --- Art and society - Europe - History - 20th century --- Art and technology - Europe - History - 20th century