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| concrete art history definition: A Realist Theory of Art History Ian Verstegen, 2013-01-03 As the theoretical alignments within academia shift, this book introduces a surprising variety of realism to abolish the old positivist-theory dichotomy that has haunted Art History. Demanding frankly the referential detachment of the objects under study, the book proposes a stratified, multi-causal account of art history that addresses postmodern concerns while saving it from its errors of self-refutation. Building from the very basic distinction between intransitive being and transitive knowing, objects can be affirmed as real while our knowledge of them is held to be fallible. Several focused chapters address basic problems while introducing philosophical reflection into art history. These include basic ontological distinctions between society and culture, general and “special” history, the discontinuity of cultural objects, the importance of definition for special history, scales, facets and fiat objects as forms of historical structure, the nature of evidence and proof, historical truth and controversies. Stressing Critical Realism as the stratified, multi-causal approach needed for productive research today in the academy, this book creates the subject of the ontology of art history and sets aside a theoretical space for metaphysical reflection, thus clarifying the usually muddy distinction between theory, methodology, and historiography in art history. |
| concrete art history definition: How to Write Art History Anne D'Alleva, 2006 An invaluable handbook, How to Write Art History enables students to get the most from their art history course. In a clear and engaging style, Anne D'Alleva empowers readers to approach their coursework with confidence and energy. The book introduces two basic art historical methods - formal analysis and contextual analysis - revealing how to use these methods in writing papers and in class discussion. The common strengths and weaknesses of an art history essay are highlighted by using real examples of written work, and at each stage of the writing process D'Alleva offers valuable advice on developing an argument convincingly. In addition, she explains the most effective methods of note-taking and outlines strategies for reviewing images - essential tools when preparing for an exam. Providing a fascinating view of the study of art history within its historical context, this book will be particularly helpful for those considering a career in this rewarding discipline. |
| concrete art history definition: Beyond Geometry Lynn Zelevansky, Valerie L. Hillings, 2004 'Beyond Geometry' brings together examples of European and Latin American concrete art, Argentine Arte Madí, Brazilian Neo-Concretism, Kinetic and Op Art, Minimalism and various forms of post-Minimalism including systematic forms of process and conceptual art. |
| concrete art history definition: Concrete Comedy David Robbins, 2011 Conventional histories of comedy address the verbal comedy presented on stage or screen, or in broadcast media. During the twentieth century, however, there emerged another form of comedy--a comedy of doing rather than saying--that yielded prop-like conceptual objects and gestures of public theater. Termed 'concrete comedy' by internationally known artist and writer David Robbins, its origins date from around 1915, with the work of Karl Valentin, a German comedian of stage and screen who also made comic objects, and Marcel Duchamp, who used the art context as a site as for comedy. Concrete Comedy discusses visual artists (Manzoni, Warhol, Cattelan, Kippenberger, among many others) alongside entertainers (Albert Brooks, Andy Kaufman, Robert Benchley, Jack Benny), musicians (The Ramones, The Replacements, Frank Zappa), couturiers (from Chanel to Viktor & Rolf), architects (SITE Architects) and dozens of other comic imaginations. It offers both an alternative to conventional comedy and an alternative reading of certain abiding strategies in recent art.--Publisher's description. |
| concrete art history definition: Critical Terms for Art History, Second Edition Robert S. Nelson, Richard Shiff, 2010-03-15 Art has always been contested terrain, whether the object in question is a medieval tapestry or Duchamp's Fountain. But questions about the categories of art and art history acquired increased urgency during the 1970s, when new developments in critical theory and other intellectual projects dramatically transformed the discipline. The first edition of Critical Terms for Art History both mapped and contributed to those transformations, offering a spirited reassessment of the field's methods and terminology. Art history as a field has kept pace with debates over globalization and other social and political issues in recent years, making a second edition of this book not just timely, but crucial. Like its predecessor, this new edition consists of essays that cover a wide variety of loaded terms in the history of art, from sign to meaning, ritual to commodity. Each essay explains and comments on a single term, discussing the issues the term raises and putting the term into practice as an interpretive framework for a specific work of art. For example, Richard Shiff discusses Originality in Vija Celmins's To Fix the Image in Memory, a work made of eleven pairs of stones, each consisting of one original stone and one painted bronze replica. In addition to the twenty-two original essays, this edition includes nine new ones—performance, style, memory/monument, body, beauty, ugliness, identity, visual culture/visual studies, and social history of art—as well as new introductory material. All help expand the book's scope while retaining its central goal of stimulating discussion of theoretical issues in art history and making that discussion accessible to both beginning students and senior scholars. Contributors: Mark Antliff, Nina Athanassoglou-Kallmyer, Stephen Bann, Homi K. Bhabha, Suzanne Preston Blier, Michael Camille, David Carrier, Craig Clunas, Whitney Davis, Jas Elsner, Ivan Gaskell, Ann Gibson, Charles Harrison, James D. Herbert, Amelia Jones, Wolfgang Kemp, Joseph Leo Koerner, Patricia Leighten, Paul Mattick Jr., Richard Meyer, W. J. T. Mitchell, Robert S. Nelson, Margaret Olin, William Pietz, Alex Potts, Donald Preziosi, Lisbet Rausing, Richard Shiff, Terry Smith, Kristine Stiles, David Summers, Paul Wood, James E. Young |
| concrete art history definition: A Treatise on Masonry Construction Ira Osborn Baker, 1909 |
| concrete art history definition: Art in Motion Adina Mornell, 2009 Musicians tend to believe that the mystery of their art cannot be objectively studied, quantified, or explained. As a result, the term «motor learning» is rarely used in connection with musicians, and an empirical approach to musical performance is more the exception than the rule. Sports scientists, however, show a great interest in musicians because of their advanced skill level and the attentional and emotional demands of the concert stage. This work combines knowledge across disciplines. Advances toward an understanding of human behavior and cognition offer clues to strategies of motor learning and performance that promote the well-being of musicians and athletes. This book provides a forum for an interdisciplinary exchange of research, laying the groundwork for future projects. |
| concrete art history definition: Encyclopaedia Britannica , 1891 |
| concrete art history definition: Collector's Guide , 2000 The Collector’s Guide strives to be a trusted partner in the business of art by being the most knowledgeable, helpful and friendly resource to New Mexico’s artists, art galleries, museums and art service providers. Through a printed guidebook, the World Wide Web and weekly radio programs, we serve art collectors and others seeking information about the art and culture of New Mexico. |
| concrete art history definition: Concrete Invention Gabriel Pérez-Barreiro, 2013 Concrete Invention is focused on the development of geometric abstraction in Latin America (Montevideo, Buenos Aires, São Paulo, Rio de Janeiro and Caracas) throughout the decades of the thirties and seventies in the twentieth century. It includes theoretical essays about the movement, personal reflections by contemporary artists, and a visual section featuring specific themes (geometry, illusion, dialogue, vibration, universalism). It ends with a questionnaire given to well-known theorists about the continuity, value and influence of geometric abstraction in the present. Resembling an artist's book, it includes a fold-out piece by artist José León Cerrillo, which forms a play on words with the publication's title. |
| concrete art history definition: Art History and Its Institutions Elizabeth Mansfield, 2002 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. |
| concrete art history definition: The Philosophy of Art History (Routledge Revivals) Arnold Hauser, 2018-12-07 First published in 1959, this book is concerned with the methodology of art history, and so with questions about historical thinking; it enquires what scientific history of art can accomplish, what are its mean and limitations? It contains philosophical reflections on history and begins with chapters on the scope and limitations of a sociology of art, and the concept of ideology in the history of art. The chapter on the concept of art history without names occupies the central position in the book — thoroughly discussing the basic philosophical outlook for the whole work. There are also further chapters on psychoanalysis, folk art and popular art. The chapter on the role of convention in the history of art points the way for further study. |
| concrete art history definition: The Encyclopaedia Britannica , 1894 |
| concrete art history definition: Millard Meiss, American Art History, and Conservation Jennifer Cooke, 2020-09-28 A member of the art history generation from the golden age of the 1920s and 1930s, Millard Meiss (1904–1975) developed a new and multi-faceted methodological approach. This book lays the foundation for a reassessment of this key figure in post-war American and international art history. The book analyses his work alongside that of contemporary art historians, considering both those who influenced him and those who were receptive to his research. Jennifer Cooke uses extensive archival material to give Meiss the critical consideration that his extensive and important art historical, restoration and conservation work deserves. This book will be of interest to scholars in art history, historiography and heritage management and conservation. |
| concrete art history definition: Avant-Gardes and Partisans Reviewed Fred Orton, Griselda Pollock, 1996 By addressing key issues in visual culture and the politics of representation, this book provides a reference and an analysis of the work of Orton and Pollock, internationally acknowledged as the leading exponents of the social history of art. |
| concrete art history definition: Arguing about Art Alex Neill, Aaron Ridley, 2002 Within this edition, five new sections have been added: on interpretation, objectivity, gardening, horror and morality and many of the introductions have been updated. The book should appeal to students of art history, literature, and cultural studies as well as philosophy. |
| concrete art history definition: Race-ing Art History Kymberly N. Pinder, 2013-04-15 Race-ing Art History is the first comprehensive anthology to place issues of racial representation squarely on the canvas. Art produced by non-Europeans has naturally been compared to Western art and its study, which refers to a binary way of viewing both. Each essay in this collection is a response to this vision, to the distant mirror of looking at the other. |
| concrete art history definition: Art History: The Key Concepts Jonathan Harris, 2006-10-16 A comprehensive critical guide, Art History: The Key Concepts considers the full range of issues facing the field today, drawing on related areas such as cultural theory and media studies. |
| concrete art history definition: Making It Heard Rui Chaves, Fernando Iazzetta, 2019-12-12 From the mid-20th century to present, the Brazilian art, literature, and music scene have been witness to a wealth of creative approaches involving sound. This is the backdrop for Making It Heard: A History of Brazilian Sound Art, a volume that offers an overview of local artists working with performance, experimental vinyl production, sound installation, sculpture, mail art, field recording, and sound mapping. It criticizes universal approaches to art and music historiography that fail to recognize local idiosyncrasies, and creates a local rationale and discourse. Through this approach, Chaves and Iazzetta enable students, researchers, and artists to discover and acknowledge work produced outside of a standard Anglo-European framework. |
| concrete art history definition: Nicholas of Cusa on Christ and the Church , 2021-11-22 This volume contains studies on Nicholas of Cusa and his times. The first section is concerned with Cusanus' context, beginning with a historiographic essay by Francis Oakley on the impact of Brian Tierney's Foundations of the Conciliar Theory. Among the topics addressed are the long-term continuation of the Council of Basel (1431-1449) and the issues of ecclesiastical income which it addressed. The second part is concerned with Cusanus' thought on the Church, both in his conciliarist and papalist phases. Included is the first translation into English of Nicholas' Reformatio generalis. Attention also is paid to Cusanus' reforming efforts and the relationship of his thought on these issues to his earliest speculative writings. The third part is concerned with Nicholas' ideas on Christ and mystical experience. Particular attention is paid to the De visione dei, including its relationship to Renaissance art. The volume concludes with wide-ranging essays on the larger significance of Cusanus' speculative thought. An update of Thomas M. Izbicki's bibliography of Cusanus scholarship in English is included. |
| concrete art history definition: What Is an Image? James Elkins, Maja Naef, 2011-12-15 What Is an Image? raises the stakes for writing in art history, visual studies, art theory, and art criticism by questioning one of the most fundamental terms of all, the image or picture. This innovative collection gathers some of the most influential historians and theorists working on images to discuss what the visual has come to mean. Topics include concepts such as image and picture in the West and outside it; the reception and rejection of semiotics; the question of what is outside the image; the question of whether images have a distinct nature or are products of discourse, like language; the relationship between images and religious meanings; and the study of non-art images in medicine, science, and technology. Among the major writers represented in this book are Gottfried Boehm, Michael Ann Holly, Jacqueline Lichtenstein, W. J. T. Mitchell, Marie-José Mondzain, Keith Moxey, Parul Dave Mukherji, Wolfram Pichler, Alex Potts, and Adrian Rifkin. |
| concrete art history definition: Art and Democracy in Post-Communist Europe Piotr Piotrowski, 2012-08-01 When the Iron Curtain fell in 1989, Eastern Europe saw a new era begin, and the widespread changes that followed extended into the world of art. Art and Democracy in Post-Communist Europe examines the art created in light of the profound political, social, economic, and cultural transformations that occurred in the former Eastern Bloc after the Cold War ended. Assessing the function of art in post-communist Europe, Piotr Piotrowski describes the changing nature of art as it went from being molded by the cultural imperatives of the communist state and a tool of political propaganda to autonomous work protesting against the ruling powers. Piotrowski discusses communist memory, the critique of nationalism, issues of gender, and the representation of historic trauma in contemporary museology, particularly in the recent founding of contemporary art museums in Bucharest, Tallinn, and Warsaw. He reveals the anarchistic motifs that had a rich tradition in Eastern European art and the recent emergence of a utopian vision and provides close readings of many artists—including Ilya Kavakov and Krzysztof Wodiczko—as well as Marina Abramovic’s work that responded to the atrocities of the Balkans. A cogent investigation of the artistic reorientation of Eastern Europe, this book fills a major gap in contemporary artistic and political discourse. |
| concrete art history definition: Artistic Research Paulo de Assis, Lucia D'Errico, 2019-11-13 Artistic Research: Charting a Field in Expansion provides a multidisciplinary overview of different discourses and practices, exploring cutting-edge questions from the burgeoning field of artistic research. Intended as a primer on artistic research, it presents diverse perspectives, strategies, methodologies, and concrete examples of research projects situated at the crossroads of art and academia, exposing international work of significant projects from Europe, Asia, Australia, South and North America. The book includes chapters on diverse fields of thought and practice, addressing a common thread of questions and problematics. The comprehensive editors’ introduction offers a much-needed extensive overview of practice-based artistic research in general. This book is ideal for graduate students across philosophy, cultural studies, art, music, performance studies and more. |
| concrete art history definition: Pragmatist Aesthetics Richard Shusterman, 2000 This much acclaimed book has emerged as neo-pragmatism's most significant contribution to contemporary aesthetics. By articulating a deeply embodied notion of aesthetic experience and the art of living, and by providing a compellingly rigorous defense of popular art--crowned by a pioneer study of hip hop--Richard Shusterman reorients aesthetics towards a fresher, more relevant, and socially progressive agenda. The second edition contains an introduction where Shusterman responds to his critics, and it concludes with an added chapter that formulates his novel notion of somaesthetics. |
| concrete art history definition: Theories of the Nonobject M—nica Amor, 2016-03-15 Theories of the Nonobject investigates the crisis of the sculptural and painterly object in the concrete, neoconcrete, and constructivist practices of artists in Argentina, Brazil, and Venezuela, with case studies of specific movements, artists, and critics. Amor traces their role in the significant reconceptualization of the artwork that Brazilian critic and poet Ferreira Gullar heralded in 'Theory of the Nonobject' in 1959, with specific attention to a group of major art figures including Lygia Clark, Hélio Oiticica, and Gego, whose work proposed engaged forms of spectatorship that dismissed medium-based understandings of art. Exploring the philosophical, economic, and political underpinnings of geometric abstraction in post-World War II South America, Amor highlights the overlapping inquiries of artists and critics who, working on the periphery of European and US modernism, contributed to a sophisticated conversation about the nature of the art object--Provided by publisher. |
| concrete art history definition: The Encyclopaedia Britannica, Volume XIX , 1890 |
| concrete art history definition: Foundations of the Frankfurt School of Social Research Judith T. Marcus, Zoltán Tar, 1984-01-01 Contribution to a critique of critical theory / Joseph B. Maier -- The Frankfurt school in New York / Jürgen Habermas -- The idea of critical theory / Alfred Schmidt -- The dialectical imagination by Martin Jay / Heinz Lubasz -- The Frankfurt school and critical theory / Leszek Kolakowski -- Critique of reason from Max Weber to Jürgen Habermas / Michael Landmann -- Irrationalism of the Left / Arnold Künzli -- Reason or revolution? / Karl R. Popper -- The Frankfurt school / Karl R. Popper -- On Walter Benjamin / Georg Lukács -- Lukács and Horkheimer / István Hermann -- Negative philosophy of music / Ferenc Fehér -- Autonomy of art : looking back at Adorno's Ästhetische Theorie / Peter Uwe Hohendahl -- Critical theory and dialectics / Paul F. Lazarsfeld -- The struggle of reason against total bureaucratization / Franco Ferrarotti -- The positivist dispute in retrospect / Reinhard Kreckel -- The uses of psychoanalysis in critical theory and structuralism / Edith Kurzweil -- Partisan truth / Michael Löwy -- The political contradictions in Adorno's critical theory / Hans-Jürgen Krahl. |
| concrete art history definition: The Philosophical Review Jacob Gould Schurman, James Edwin Creighton, Frank Thilly, Gustavus Watts Cunningham, 1893 An international journal of general philosophy. |
| concrete art history definition: Writing Architectural History Aggregate Architectural History Collaborative, 2021-12-14 Over the past two decades, scholarship in architectural history has transformed, moving away from design studio pedagogy and postmodern historicism to draw instead from trends in critical theory focusing on gender, race, the environment, and more recently global history, connecting to revisionist trends in other fields. With examples across space and time—from medieval European coin trials and eighteenth-century Haitian revolutionary buildings to Weimar German construction firms and present-day African refugee camps—Writing Architectural History considers the impact of these shifting institutional landscapes and disciplinary positionings for architectural history. Contributors reveal how new methodological approaches have developed interdisciplinary research beyond the traditional boundaries of art history departments and architecture schools, and explore the challenges and opportunities presented by conventional and unorthodox forms of evidence and narrative, the tools used to write history. |
| concrete art history definition: Is Architecture Art? John Macarthur, 2024-10-31 Is architecture an art, like literature or music? Or is it more akin to science or engineering? Can buildings be artworks, just like paintings and sculptures, or does their fundamentally functional nature mean they cannot be considered pure works of art? Questions of architecture, art, and aesthetics do not allow for simple answers. But by asking such questions, we can usefully reveal the ways in which the concepts and meanings of architecture have changed over the centuries, and how they continue to change in the contemporary era. Is Architecture Art? explores the key conceptual questions about the aesthetic appreciation of architecture and its persistently contested status as an artform. It engages the work of thinkers ranging from Hume and Kant to Adorno, Tafuri, and Rancière, and draws on accessible and thought-provoking accounts of historical and contemporary architectural and art theory. Taking novel approaches to issues that will be familiar to the practising architect, it shows how aesthetics and art theory can open up and illuminate architectural theory, issue by issue. Is Architecture Art? will provoke discussion and debate among architects and architectural theorists, and force a new understanding of the purpose of architectural practice in the contemporary era as the concepts of 'art', 'the arts', and of the creative economy have shifted and blurred as never before. |
| concrete art history definition: Wyndham Lewis and British Art Rock Thomas Keller, 2024-02-12 This study connects the idiosyncratic modernism of Wyndham Lewis, co-founder of the Vorticist art movement, with works of several artists from the British art rock tradition, among them Bryan Ferry, David Bowie, art-punk pioneers Wire and electronic pop musician John Foxx. By taking a transdisciplinary and intermedial approach to texts from two fields normally studied in isolation and staking out the elements of a shared modernist ethos, the book presents a new perspective on both fields relevant to scholars of literature, popular culture, and the visual arts alike. While the book rests on sound research from the fields of literary criticism, art history, and pop theory, the structure and writing of the book is fundamentally designed to be accessible and comprehensible to non-scholarly readers. |
| concrete art history definition: Creative Writing and Art History Catherine Grant, Patricia Rubin, 2012-03-19 Creative Writing and Art History considers the ways in which the writing of art history intersects with creative writing. Essays range from the analysis of historical examples of art historical writing that have a creative element to examinations of contemporary modes of creative writing about art. Considers the ways in which the writing of art history intersects with creative writing Covers a diverse subject matter, from late Neolithic stone circles to the writing of a sentence by Flaubert The collection both contains essays that survey the topic as well as more specialist articles Brings together specialist contributors from both sides of the Atlantic |
| concrete art history definition: Abstraction & Economy Eva Maria Stadler, Jenni Tischer, 2024-04-22 Opposing a regime of accumulation and abstraction This anthology explores the tension between abstraction and economics from the perspectives of art, art theory, art history, as well as law, sociology, philosophy, and economics. It poses questions about the current challenges of a global capitalist economy with claims to expansive growth in relation to aesthetics, technology, and democracy. The relationship between abstraction and economics is discussed in a series of theoretical and artistic contributions. The main focus is on the role of art in mediating between the concrete and the abstract, on formalist approaches to art theory, and on the social and economic cues that help us trace the aesthetic regime of capitalism. Ultimately, this book asks, “how can artistic-aesthetic practices counteract the regime of accumulation and abstraction?” The visual arts in a socioeconomic context Reflecting on the relationship between abstraction and economics from capitalist-critical, decolonial, ecological, and queer-feminist perspectives Contributions by Brenna Bhandar, Christina von Braun, Sabeth Buchmann, Denise Ferreira da Silva, Sven Lütticken, R. H. Quaytman, Marina Vishmidt, and others Look inside |
| concrete art history definition: The Cambridge Ancient History Alan K. Bowman, Edward Champlin, Andrew Lintott, 1996-02-08 The period described in Volume X of the second edition of The Cambridge Ancient History begins in the year after the death of Julius Caesar and ends in the year after the fall of Nero, the last of the Julio-Claudian emperors. Its main theme is the transformation of the political configuration of the state and the establishment of the Roman Empire. Chapters 16 supply a political narrative history of the period. In chapters 7-12 the institutions of government are described and analysed. Chapters 13-14 offer a survey of the Roman world in this period region by region, and chapters 15-21 deal with the most important social and cultural developments of the era (the city of Rome; the structure of society; art, literature and law). Central to the period is the achievement of the first emperor, Augustus. |
| concrete art history definition: Facing Images Kristopher W. Kersey, 2024-07-16 If we want to decolonize the history of art, argues Kristopher Kersey, we must rethink our approach to the historical record. This means dispensing with Eurocentric binaries—divisions between Western and non-Western, modern and premodern—and making a commitment to artworks that challenge the perspectives we build upon them. In Facing Images, the question takes elegant and intriguing form: If the aesthetic hallmarks of “modernity” can be found in twelfth-century art, what does it really mean to be “modern”? Kersey’s answer to this question models a new historiography. Facing Images begins by tracing the turbulent discourse surrounding the emergence of Japanese art history as a modern field. In lieu of examining canonical works from the twelfth century, Kersey foregrounds the elusive and the enigmatic in artworks little known and understudied outside Japan; the manuscripts he selects defy traditional art-historical narratives by exhibiting decidedly modern techniques, including montage, self-reference, reuse, noise, dissonance, and chronological disarray. Kersey weaves these medieval case studies together with insights from a wide range of interdisciplinary scholarship, using a methodology that will prove important for historians: Facing Images produces a history of non-Western art in which diverse and anachronic works are brought responsibly and equitably into dialogue with the present, without being subsumed under Eurocentric formalisms or false universals. A timely intervention in the history of medieval Japanese art, art historiography, and the history of global modernism, Facing Images redefines the relationship of the “premodern” non-West to “modern” art. It will be of particular interest to scholars of medieval Japanese art and of modernism. |
| concrete art history definition: Art History, Narratology, and Twentieth-Century Chinese Art Lian Duan, 2023-07-28 This study constructs a framework of narratology for art history and rewrites the development of twentieth-century Chinese art from a narratological perspective. Theoretically and methodologically oriented, this is a self-reflective meta-art history studying the art historical narratives while narrating the story of modern and contemporary Chinese art. Thus, this book explores the three layers of narrative within the narratological framework: the first-hand fabula, the secondary narration, and the tertiary narrativization. With this tertiary narrativization, the reader-author presents three types of narrative: the grand narrative of the central thesis of this book, the middle-range narrative of the chapter theses, and case analyses supporting these theses. The focus of this tertiary narrativization is the interaction between Western influence on Chinese art and the Chinese response to this influence. The central thesis is that this interaction conditioned and shaped the development of Chinese art at every historical turning point in the twentieth century. The book will be of interest to scholars working in art history, critical theory, Chinese studies, and cultural studies. |
| concrete art history definition: Semiotics of Visual Language Fernande Saint-Martin, 1990-10-22 ... the details of Saint-Martin's argument contain a wealth of penetrating observations from which anyone with a serious interest in visual communication will profit. -- Journal of Communication Saint-Martin elucidates a syntax of visual language that sheds new light on nonverbal language as a form of representation and communication. She describes the evolution of this language in the visual arts as well as its multiple uses in contemporary media. The result is a completely new approach for scholars and practitioners of the visual arts eager to decode the many forms of visual communication. |
| concrete art history definition: English Questions Perry Anderson, 1992-05-17 The intellectual reversals of the recent period. The book concludes with a survey of the political conjuncture after the fall of Thatcher, which considers the prospects of the Labour Party within the context of the wider changes that have reshaped European social democracy in these years. |
| concrete art history definition: The Encyclopædia Britannica: A-ZYM Day Otis Kellogg, Thomas Spencer Baynes, 1903 |
| concrete art history definition: Outsider Art and Art Therapy Rachel Cohen, 2017-05-18 Outsider art, traditionally the work of psychiatric patients, offenders and minority groups, and art therapy have shared histories of art created in psychiatric care. As the two fields grow, this book reveals the current issues faced by both disciplines and traces their shared histories to help them build clearer and more coherent identities. More often than not, the history of art therapy has been tied to psychological and psychiatric roots, which has led to problems in defining the field and forced boundaries between what is considered 'art' and what is considered 'art therapy'. Similarly, the name and identity of outsider art is constantly debated. By viewing art therapy and outsider art through their shared histories, this book helps to alleviate the challenges and issues of definition faced by the fields today. |
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