Tania El Khoury’s Live Art is the first book to examine the work of Tania El Khoury, a “live” artist deeply engaged in the politics and histories of the South West Asia and North Africa (SWANA) ...region. Since the 2011 Syrian uprisings, El Khoury has conceived and created works about lived experiences at and across international borders in collaboration with migrants, refugees, and displaced persons as well as other artists, performers, and revolutionaries. All of El Khoury’s works cross borders: between forms of artistic practice, between artists and audiences, and between art and activism. Facilitating critical dialogue about the politics of SWANA and the impact of globalization, her performances and installations also test the boundaries of aesthetic, political, and everyday norms. This interdisciplinary and multimedia reader features essays by artists, curators, and scholars who explore the dynamic possibilities and complexities of El Khoury’s art. From social workers to archeologists to archivists, contributing authors engage with the radical epistemological and political revolutions that El Khoury and her collaborators invite us all to join.
Experiments with Body Agent Architecture puts forward the notion of body agents: non-ideal, animate and highly specific figures integrated with design to enact particular notions of embodied ...subjectivity in architecture. Body agents present opportunities for architects to increase imaginative and empathic qualities in their designs, particularly amidst a posthuman condition. Beginning with narrative writing from the viewpoint of a body agent, an estranged ‘quattrocento spiritello’ who finds himself uncomfortably inhabiting a digital milieu (or, as the spiritello calls it, ‘Il Regno Digitale’), the book combines speculative historical fiction and original design experiments. It focuses on the process of creating the multi-media design experiments, moving from the design of the body itself as an original prosthetic to architectural proposals emanating from the body. A fragmented history of the figure in architecture is charted and woven into the designs, with chapters examining Michelangelo’s enigmatic figures in his drawings for the New Sacristy in the early sixteenth century, Gian Lorenzo Bernini’s physically ephemeral ‘putti’ adorning chapels and churches in the seventeenth century, and Austrian artist-architect Walter Pichler’s personal and prescient figures of the twentieth century.
Monographic study of the gold ground in Italian panel painting. Analyzes the art historiographical use of the term in the 20th century. "Gold ground" and "perspective" are not thought of as ...oppositional. For example, Fra Angelico is shown to develop strategies for perspective representation from within the gold ground. Notes theological, philosophical, and historico-scientific sources.
The 18th century was the age of the connoisseur. It was also an era of an expanding global consciousness born of accelerating trade and imperial conquest. This volume puts into dialogue the ...consolidation of connoisseurship as an empirical mode of artistic analysis in Europe and Asia and the increasing exposure to different modes of artmaking facilitated by local and global networks over the course of the long 18th century. Focusing on exchanges between India, Japan, China and Europe, the contributors to this volume examine the complex and nuanced impacts on connoisseurial practice of encounters with artworks from different regions of the globe, the international networks that made those encounters possible, and the intricate transactions through which connoisseurial knowledge of art was generated. Expansive focus on practices and networks in India, Japan, and Europe in the 18th century Complexities and asymmetries of connoisseurship in an expanding world ; The 18th century was the age of the connoisseur. It was also an era of an expanding global consciousness born of accelerating trade and imperial conquest. This volume puts into dialogue the consolidation of connoisseurship as an empirical mode of artistic analysis in Europe and Asia and the increasing exposure to different modes of artmaking facilitated by local and global networks over the course of the long 18th century. Focusing on exchanges between India, Japan, China and Europe, the contributors to this volume examine the complex and nuanced impacts on connoisseurial practice of encounters with artworks from different regions of the globe, the international networks that made those encounters possible, and the intricate transactions through which connoisseurial knowledge of art was generated. Expansive focus on practices and networks in India, Japan, and Europe in the 18th century Complexities and asymmetries of connoisseurship in an expanding world ; Das 18. Jahrhundert war das Zeitalter der Kunstkenner:in und zugleich Ära eines globalen Bewusstseins, das aus dem sich beschleunigenden Handel und imperialen Eroberungen hervorging. Diese Publikation bringt die Kennerschaft, die sich als empirische Methode der Kunstanalyse in Europa und Asien etablierte, in einen Dialog mit der zunehmenden Auseinandersetzung mit unterschiedlichen Formen des Kunstschaffens, die im Verlauf des langen 18. Jahrhunderts durch lokale und globale Netzwerke ermöglicht wurde. Die Autor:innen des Buches nehmen Wechselbeziehungen zwischen Indien, Japan, China und Europa in den Blick und untersuchen, wie sich Begegnungen mit Kunstwerken aus verschiedenen Regionen der Welt auf die Praxis der Kunstkennerschaft in Asien und Europa auswirkten. Praktiken und Netzwerke in Indien, Japan und Europa des 18. Jahrhunderts Komplexität und Asymmetrien der Kunstkennerschaft in einer expandierenden Welt
This publication aims to clarify the relationships between material restoration and politics in Italian Renaissance art by focusing on the question of origin as a foothold for political, patrimonial, ...and cultural identity. Rather than reinstating the objects’ initial forms and meanings, restoration practices implied remodeling them according to new identity needs and thus transforming their material and aesthetic reality.
Mia Mochizuki draws upon masterpieces and material culture from around the world to show how the pre-suppression Society of Jesus (1540–1773) pioneered structural innovations in the history of the ...image. ; Readership: All interested in early modern, religious, and global art history, and anyone concerned with Renaissance and Baroque art and architecture, Jesuit studies, and the world-wide circulation of prints. Keywords: Renaissance art, Baroque art, religious art, Jesuit art and architecture, global art history, print history, 1540–1773, Jesuit style, Spiritual Exercises, Evangelicae historiae imagines, Imago primi saeculi Societatis Iesu, Ignatius of Loyola, Francis Xavier.
The iconological analysis of Crespi’s paintings for Grand Prince Ferdinando de’Medici reveals shared ideas rooted in Seneca’s philosophy, basis of their taste for genre and pastoral scenes. Crespi ...was a leading figure of the prince’s artistic view, according to which arts and sciences guide to wisdom and virtue. Their appreciation for bizarre iconographies and Venetian style painting is clarified by ideas inspired by Seneca on ingenuity and picturesque frenzy. The characteristics of conciseness, brilliance, coexistence of archaism and innovation associate Ferdinando’s artistic and musical patronage, influencing his favourite artists and composers and perhaps Handel’s art collection.
New insights on the reception of Etruscan antiquity in the modernist period. “L’Étrurie est à la mode”, French archaeologist Salomon Reinach bluntly stated in 1927. Since the beginning of the ...nineteenth century, Etruria had not only been attracting the attention of archaeologists and specialists of all sorts, but it had also been a fascinating and, in some cases, captivating destination for poets, novelists, painters and sculptors from all over Europe. This volume deals with the impact of the constantly expanding knowledge on the Etruscans and their mysterious civilisation on Italian, French, English, and German literature, arts and culture, with particular regard to the modernist period (1890–1950). The volume brings a distinctive point of view to the subject by approaching it from an interdisciplinary and comparative perspective, and by looking at a quite diverse range of topics and artefacts, which includes, but is not limited to, the study of drawings, art works, travel essays, novels, cooking recipes, schoolbooks, photographs, and movies. By exploring a new paradigm to understand ancient cultures, beyond the traditional ideas and models of “reception of the classics”, and by challenging the alleged fracture between the so-called “two cultures” of humanities and natural sciences, Modern Etruscans will be of interest to scholars from various disciplines. Designed as a learning tool for university courses on the interplay between literature and science in the twentieth century, it is suited as recommended reading for students in the humanities. Ebook available in Open Access. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
Contributors: Francesca Orestano (Università degli Studi di Milano), Chiara Zampieri (KU Leuven), Bart Van den Bossche (KU Leuven), Lisa C. Pieraccini (University of California, Berkeley), Martin Miller (Italienisches Kulturinstitut Stuttgart), Marie-Laurence Haack (Université de Picardie Jules Verne), Gennaro Ambrosino (University of Warwick), Martina Piperno (Durham University), Andrea Avalli (Scuola Superiore di Studi Storici di San Marino).
The first academic volume to theorize and historicize contemporary artistic practices and culture from Chile in the English language, Dismantling the Nation takes as its point of departure a radical ...criticism against the nation-state of Chile and its colonial, capitalist, heteronormative, and extractivist rule, proposing otherwise forms of inhabiting, creating, and relating in a more fluid, contingent, ecocritical, feminist, and caring worlds. From the case of Chile, the book expands the scholarly discussion around decolonial methodologies, attending to artistic practices and discourses from distinct and distant locations—from Arica and the Atacama Desert to Wallmapu and Tierra del Fuego, and from the Central Valley, the Pacific coast, and the Andes to territories beyond the nation's modern geographical borders. Analyzing how these practices refer to issues such as the environmental and cultural impact of extractivism, as well as memory, trauma, collectivity, and resistance towards neoliberal totality, the volume contributes to the fields of art history and visual culture, memory, ethnic, gender, and Indigenous studies, filmmaking, critical geography, and literature in Chile, Latin America, and other regions of the world, envisioning art history and visual culture from a transnational and transdisciplinary perspective.
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