Idea, a Concept in Art Theory
Author: Erwin Panofsky
Publisher:
Published: 1968
Total Pages: 268
ISBN-13: 9780064300490
DOWNLOAD EBOOKRead and Download eBook Full
Author: Erwin Panofsky
Publisher:
Published: 1968
Total Pages: 268
ISBN-13: 9780064300490
DOWNLOAD EBOOKAuthor: Erwin Panofsky
Publisher:
Published: 1968
Total Pages: 268
ISBN-13:
DOWNLOAD EBOOKAuthor: Erwin Panofsky
Publisher:
Published: 1975
Total Pages: 268
ISBN-13: 9780064300490
DOWNLOAD EBOOKAuthor: Harald Klinke
Publisher: Cambridge Scholars Publishing
Published: 2014-06-26
Total Pages: 155
ISBN-13: 1443862517
DOWNLOAD EBOOKHow can we “know”? What does “knowledge” mean? These were the fundamental questions of epistemology in the 17th century. In response to continental rationalism, the British empiricist John Locke proposed that the only knowledge humans can have is acquired a posterior. In a discussion of the human mind, he argued, the source of knowledge is sensual experience – mostly vision. Since vision and picture-making are the realm of art, art theory picked up on questions such as: are pictures able to represent knowledge about the world? How does the production of images itself generate knowledge? How does pictorial logic differ from linguistic logic? How can artists contribute to a collective search for truth? Questions concerning the epistemic potential of art can be found throughout the centuries up until the present day. However, these are not questions of art alone, but of the representational value of images in general. Thus, the history of art theory can contribute much to recent discussions in Visual Studies and Bildwissenschaften by showing the historic dimension of arguments about what images are or should be. “What is knowledge?” is as much a philosophic question as “What is an image?” Visual epistemology is a new and promising research field that is best investigated using an interdisciplinary approach that addresses a range of interconnected areas, such as internal and external images and the interplay of producer and perceiver of images. This publication outlines this territory by gathering together several approaches to visual epistemology by many distinguished authors.
Author: Gail Day
Publisher: Columbia University Press
Published: 2010-12-22
Total Pages: 321
ISBN-13: 023152062X
DOWNLOAD EBOOKRepresenting a new generation of theorists reaffirming the radical dimensions of art, Gail Day launches a bold critique of late twentieth-century art theory and its often reductive analysis of cultural objects. Exploring core debates in discourses on art, from the New Left to theories of "critical postmodernism" and beyond, Day counters the belief that recent tendencies in art fail to be adequately critical. She also challenges the political inertia that results from these conclusions. Day organizes her defense around critics who have engaged substantively with emancipatory thought and social process: T. J. Clark, Manfredo Tafuri, Fredric Jameson, Benjamin H. D. Buchloh, and Hal Foster, among others. She maps the tension between radical dialectics and left nihilism and assesses the interpretation and internalization of negation in art theory. Chapters confront the claim that exchange and equivalence have subsumed the use value of cultural objects and with it critical distance and interrogate the proposition of completed nihilism and the metropolis put forward in the politics of Italian operaismo. Day covers the debates on symbol and allegory waged within the context of 1980s art and their relation to the writings of Walter Benjamin and Paul de Man. She also examines common conceptions of mediation, totality, negation, and the politics of anticipation. A necessary unsettling of received wisdoms, Dialectical Passions recasts emancipatory reflection in aesthetics, art, and architecture.
Author: Kim Grant
Publisher: Penn State Press
Published: 2017-02-28
Total Pages: 283
ISBN-13: 0271079479
DOWNLOAD EBOOKIn recent years, many prominent and successful artists have claimed that their primary concern is not the artwork they produce but the artistic process itself. In this volume, Kim Grant analyzes this idea and traces its historical roots, showing how changing concepts of artistic process have played a dominant role in the development of modern and contemporary art. This astute account of the ways in which process has been understood and addressed examines canonical artists such as Monet, Cézanne, Matisse, and De Kooning, as well as philosophers and art theorists such as Henri Focillon, R. G. Collingwood, and John Dewey. Placing “process art” within a larger historical context, Grant looks at the changing relations of the artist’s labor to traditional craftsmanship and industrial production, the status of art as a commodity, the increasing importance of the body and materiality in art making, and the nature and significance of the artist’s role in modern society. In doing so, she shows how process is an intrinsic part of aesthetic theory that connects to important contemporary debates about work, craft, and labor. Comprehensive and insightful, this synthetic study of process in modern and contemporary art reveals how artists’ explicit engagement with the concept fits into a broader narrative of the significance of art in the industrial and postindustrial world.
Author: Paul Smith
Publisher: John Wiley & Sons
Published: 2008-04-15
Total Pages: 552
ISBN-13: 0470998423
DOWNLOAD EBOOKThe Companion provides an accessible critical survey of Western visual art theory from sources in Classical, Medieval and Renaissance thought through to contemporary writings.