Institutions of Art

Carroll develops a method of historical narration for identifying a work of art, a method which is intended to be nondefinitional though indebted to the contextual aspects of the institutional theory. Jeffrey Wieand's "Perceptually ...

Institutions of Art

Institutions of Art

George Dickie has been one of the most innovative, influential, and controversial philosophers of art working in the analytical tradition in the past twenty-five years. Dickie's arguments against the various theories of aesthetic attitude, aesthetic perception, and aesthetic experience virtually brought classical theories of the aesthetic to a halt. His institutional theory of art was perhaps the most discussed proposal in aesthetics during the 1970s and 1980s, inspiring both supporters who produced variations on the theory as well as passionate detractors who thought the theory thoroughly wrongheaded. Dickie has also written widely on the history of aesthetics, and his work ranks among the best examples of analytic aesthetics. The philosophy of George Dickie continues to provoke reaction and reflection. The essays in this collection pay homage not only to Dickie's ideas but also to his influence. A brief biography of George Dickie and a bibliography of his works complete the volume.

The Institutions of Art

Patronage establishes a relationship between patron and artist , which exists only as an individual case ; as such ... to the material conditions of its production | 15 The Institution of Art as a Category of the Sociology of Literature.

The Institutions of Art

The Institutions of Art

Art has been an umbrella term for poetry; music, dance, sculpture painting, and architecture since the end of the eighteenth century, when the bourgeoisie were establishing their hegemony over culture and politics in Germany, labor was becoming more clearly divided, and religion was losing its unifying force. Art became a broad and separate entity as the expectations and experience of it changed. The Institutions of Art concentrates on German and French literature in illustrating the formation of aesthetic autonomy and the divergence between high and popular culture. Peter B_rger builds on his earlier Theory of the Avant-Garde (1984), pushing further into key theoretical questions about art and society. Christa B_rger extends the critique to the history of the novel, focusing on Goethe and Kleist. Looking backward to feudalism and forward to our century, the authors show how the function of art has changed along with the criteria for its production and evaluation.

Art History and Its Institutions

Even more insidious, artists themselves adopted many of the tenets of biographical discourse. ... on the construction of both past and contemporary art history in nineteenth-century France, as well as the institutional supports of both, ...

Art History and Its Institutions

Art History and Its Institutions

Art History and Its Institutions focuses on the institutional discourses that shaped and continue to shape the field from its foundations in the nineteenth century. From museums and universities to law courts, labour organizations and photography studios, contributors examine a range of institutions, considering their impact on movements such as modernism; their role in conveying or denying legitimacy; and their impact on defining the parameters of the discipline.

Autonomous Art Institutions

Accordingly, there is still a part that is left out from this picture: when artists themselves become activists, dissolving their own art in an art project that includes becoming an institution. And that is exactly what this book ...

Autonomous Art Institutions

Autonomous Art Institutions

This book explores the current wave of artistic activism by looking at the way in which their antagonism may lead to the creation of autonomous artistic institutions.

The Methuen Drama Companion to Performance Art

But new forms of cultural institutions are being invented all the time, and discussions about Live Art and the institution must also look at the institutionalization of Live Art from the other direction—not how Live Art has entered ...

The Methuen Drama Companion to Performance Art

The Methuen Drama Companion to Performance Art

The Methuen Drama Companion to Performance Art offers a comprehensive guide to the major issues and interdisciplinary debates concerning performance in art contexts that have developed over the last decade. It understands performance art as an institutional, cultural, and economic phenomenon rather than as a label or object. Following the ever-increasing institutionalization and mainstreaming of performance, the book's chapters identify a marked change in the economies and labor practices surrounding performance art, and explore how this development is reflective of capitalist approaches to art and event production. Embracing what we perceive to be the 'oxymoronic status' of performance art-where it is simultaneously precarious and highly profitable-the essays in this book map the myriad gestures and radical possibilities of this extreme contradiction. This Companion adopts an interdisciplinary perspective to present performance art's legacies and its current practices. It brings together specially commissioned essays from leading innovative scholars from a wide range of approaches including art history, visual and performance studies, dance and theatre scholarship in order to provide a comprehensive and multifocal overview of the emerging research trends and methodologies devoted to performance art.

Art Practices in the Migration Society

In return, established institutions are given access to new content, artists, and audiences. Nonetheless, the form of these collaborations was not sufficient for an equal partnership that also triggers lasting changes in the opening of ...

Art Practices in the Migration Society

Art Practices in the Migration Society

The established cultural sector is facing a paradigm shift. At the center of this change is the demand to do justice to the diversity of the population. The handbook opens up strategies for implementing art practices that are critical of discrimination, and for reaching new dialogue groups. Successes in partnerships with unequal cultural institutions are analyzed, and concrete strategies for action are shown on the basis of eleven documented productions. Starting point are the insights from the artistic practice in Brunnenpassage Vienna, founded in 2007. The handbook sets practice-relevant impulses for cultural workers, artists, and cultural policy-makers.

Catalogue of Collections Smithsonian Institution National Gallery of Art

The gallery has now an organization of its own and a modest staff which will enable it to lay the foundation for development along lines corresponding in character with those of the art institutions of other enlightened nations.1 A full ...

Catalogue of Collections  Smithsonian Institution National Gallery of Art

Catalogue of Collections Smithsonian Institution National Gallery of Art


The Art of the Sacred

An Introduction to the Aesthetics of Art and Belief Graham Howes ... although there are a number of excellent artists producing 'religious' art for religious institutions, such activities are, at the same time, becoming increasingly ...

The Art of the Sacred

The Art of the Sacred

The field of 'art and religion' is fast becoming one of the most dynamic areas of religious studies. Uniquely, "The Art of the Sacred" explores the relationship between religion and the visual arts - and vice versa - within Christianity and other major religious traditions. It identifies and describes the main historical, theological, sociological and aesthetic dimensions of 'religious' art, with particular attention to 'popular' as well as 'high' culture, and within societies of the developing world. It also attempts to locate, and predict, the forms and functions of such art in a changing contemporary context of obligation, modernity, secularism and fundamentalism. The author concentrates on four chief dimensions where religious art and religious belief converge: the iconographic; the didactic; the institutional; and the aesthetic. This clear, well-organised and imaginative treatment of the subject should prove especially attractive to students of religion and visual culture, as well as to artists and art historians.

Artists and Nobility in East Central Europe

... the local professional theatre was considered to be an institution of entertainment which complemented the local charity institutions. Art and charity were so closely intertwined in the public perception that newspaper reporters and ...

Artists and Nobility in East Central Europe

Artists and Nobility in East Central Europe

The book analyses the collective career of the artistic profession in Brno and Vilnius and the necessity to copy the behavior of the elites of the Old Regime. The "noble" values, which shaped the artistic careers in the 19th century press, were charity, good taste, cosmopolitism and patriotism. The newspaper discourse disposed potential to integrate and to smuggle novelties by exposing old values.

Art and Its Histories

Art and Its Histories

Art and Its Histories


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