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Showing posts with label Fine Art. Show all posts
Showing posts with label Fine Art. Show all posts
Painting Gender, Constructing Theory: The Alfred Stieglitz Circle and American Formalist Aesthetics
The MIT Press | 2001-04-02 | ISBN: 0262024888 | PDF | 408 pages | 4.26 MB
After the closing of his first art gallery in 1917, photographer Alfred Stieglitz reemerged in the New York art world in the 1920s. He achieved his comeback in large part through the innovative means he used to promote himself and the artists of his inner circle. Stieglitz and a number of well-established critics drew on period conceptions of sexuality, gender, and cultural identity to characterize the artists he championed as the fulfillment of a shared vision of a vital, nonrepressed American art.
In Painting Gender, Constructing Theory, Marcia Brennan examines how Stieglitz and the critics drew on early- twentieth-century discourses on sex and the psyche, particularly the theories of Sigmund Freud and Havelock Ellis, to characterize the artworks of the Stieglitz circle. Critics routinely described the often highly abstracted paintings of Georgia O'Keeffe, Arthur Dove, John Marin, Marsden Hartley, and Charles Demuth as transparent displays of the most intimate aspects of the self, taking both subject matter and painterly form to be guided by the artist's own gendered and psychic energies.
Focusing on the key historical criticism and artworks, Brennan shows how the identities of all five Stieglitz circle artists were presented in terms of the masculinity and femininity, and the heterosexuality and homosexuality, thought to be embedded in their work. Brennan also discusses Stieglitz's relation to competing artistic and critical movements, including Thomas Hart Benton's regionalist art and Clement Greenberg's reformulation of formalism. Arguing that American formalist criticism consisted of a complex and paradoxical mixture of corporeality and disembodied transcendence, Brennan provides insight not only into the works of the Stieglitz circle but into the development of formalist criticism itself.
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Is Art History Global?
Routledge | December 13, 2006 | English | Page: 128 | ISBN : 0415977851 | PDF | 6 MB
Globalism is arguably the most pressing issue facing art criticism and art history. As the number of art history departments continues to grow, there is a danger art history will become a uniform practice around the world and may soon settle to a global standard.
Is Art History Global? stages an international conversation among art historians and critics on the subject of the practice and responsibility of global thinking within the discipline. The topics are political, economic, philosophic, linguistic, and personal. Should Chinese art be discussed using Western methods such as psychoanalysis or deconstruction? Is it best to use words like "space" and "time" to describe non-Western art, or should historians try to employ the words used in different cultures? How is art history taught without books, slides, or artworks? What relevance does the Western narrative of art have for art history students in Argentina, South Africa, Indonesia, or Tibet?
Is Art History Global? is essential reading on one of the thorniest questions facing the discipline today. This is the third volume in "The Art Seminar," James Elkin's series of conversations on art and visual studies.
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http://rs741.rapidshare.com/files/270908824/Is_Art_History_Global__The_Art_Seminar_-0415977851.pdf
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Poets on Painters: Essays on the Art of Painting by Twentieth-Century Poets
University of California Press | 1989-12-21 | 228 Pages | ISBN: 0520069714 | PDF (OCR from html) | 1.9 MB
What are poets looking at, looking for, when they walk into a room of pictures? Poets on Painters attempts to answer this question by bringing together, for the first time, essays by modern American and British poets about painting. The poets bring to their task a fresh eye and a freshened language, vivid with nuance and color and force.
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http://www.megaupload.com/?d=1IQ6XLDT
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Rosalind Krauss and American Philosophical Art Criticism: From Formalism to Beyond Postmodernism
Praeger Publishers | 144 Pages | 2002-10-30 | ISBN-10 0275975207 | 7 MB
Rosalind Krauss is, without visible rival, the most influential American art writer since Clement Greenberg. Together with her colleagues at October, the journal she co-founded, she has played a key role in the introduction of French theory into the American art world. In the 1960s, though first a follower of Greenberg, she was inspired by her readings of French structuralist and post-structuralist materials, revolted against her mentor's formalism, and developed a succession of radically original styles of art history writing. Offering a complete survey of her career and work, this comprises the first book-length study of its subject, providing an invaluable source of historical and aesthetic knowledge for artists and art scholars alike.
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http://www.megaupload.com/?d=JWMTML9F
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Patronizing the Arts
Princeton University Press | 272 pages | 2008 | ISBN 0691124809 | 0,7 MB | PDF
What is the role of the arts in American culture? Is art an essential element? If so, how should we support it? Today, as in the past, artists need the funding, approval, and friendship of patrons whether they are individuals, corporations, governments, or nonprofit foundations.
After Modern Art 1945-2000 (Oxford History of Art)
Oxford University Press | ISBN-10 019284234X | 2000 | 288 pages
Modern and contemporary art can be both baffling and beautiful; it can also be innovative, political, and disturbing. This book sets out to provide the first concise interpretation of the period as a whole, clarifying the artists and their works along the way. Closely informed by new critical approaches, it concentrates on the relationship between American and European art from the end of the Second World War to the eve of the new millennium.
The Truth in Painting - Jacques Derrida
University of Chicago Press | 1987 | ISBN 0226143244 | 388 Pages
The four essays in this volume constitute Derrida's most explicit and sustained reflection on the art work as pictorial artifact, a reflection partly by way of philosophical aesthetics (Kant, Heidegger), partly by way of a commentary on art works and art scholarship (Van Gogh, Adami, Titus-Carmel).
