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Slow Art
Introduction : marking time -- What is slow art? (when images swell into events and events condense into images) -- Living pictures -- Before slow art -- Slow art emerges in modernity I : secularization from Diderot to Wilde -- Slow art emerges in modernity II : the great age of speed -- Slow fiction, film, video, performance, 1960 to 2010 -- Slow photography, painting, installation art, sculpture, 1960 to 2010 -- Angel and devil of slow art
Slow Art
"More Americans visit art museums annually than attend all major-league sporting events. Yet many come away dissatisfied, because art rarely yields itself to the few seconds most viewers spend on individual works. In a culture of distraction, Slow Art models ways to extend and enrich acts of looking. This study defines a new aesthetic field crossing centuries and mediums, including video, photography, land and installation art, painting, performance, sculpture, and fiction. Also tableaux vivants ("living pictures"), live restagings of artworks. Often dismissed as marginal, the practice is fundamental--poised between motion and stasis, life and art--witness its current flourishing. This histo...
Manet, Flaubert, and the Emergence of Modernism
This study combines art history and literary criticism in a joint study of the canonical "fathers" of modernism. Arden Reed argues that modernism is a matter of genre blending, hybridization and movements between text and image. Focusing on key works, Reed reveals how Manet and Flaubert actively mix and contaminate their work- Flaubert with images, Manet with narration. Reed extends the argument to the twentieth century, claiming we cannot understand twentieth century modernism while remaining locked within single disciplines.
Romantic Weather
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Painting and the Turn to Cultural Modernity in Spain
Cultural modernity has habitually been defined as a focus on the means of representation themselves, as opposed to art that imitates external reality or expresses its maker's inner life. The crucial moment is usually considered the emergence of Edouard Manet in mid-nineteenth-century France, and the features of French developments have been seen as defining terms in the theory of modernity. However, recent art and cultural history have often spoken of plural modernities, distinct from the pattern set in France. For the first time, this study in cultural history explores how Spanish culture took a radical turn toward the medium of representation itself in the 1850s and early 1860s. It argues that this happened in a way that is critically at odds with many fundamental theoretical suppositions about modernity.
Mary Mito
With uncanny skill, Mary Mito brings the world into focus--ripples on the water's surface, a stick's shadow, a scattering of sand. She convincingly renders sights that never call out to us, that we assume to be beneath our notice, like barren fields or animal tracks. What confers worth on such humble matter is her scrupulous and patient expenditure of attention. In Mito's hands, extremes meet as mundane sites acquire mystery. She makes the rudest things eloquent. And because they are compelling to her, these things move us as well. She sees so that we may see.
A Theory of the Tache in Nineteenth-Century Painting
Without question, the tache (blot, patch, stain) is a central and recurring motif in nineteenth-century modernist painting. Manet's and the Impressionists? rejection of academic finish produced a surface where the strokes of paint were presented directly, as patches or blots, then indirectly as legible signs. C?nne, Seurat, and Signac painted exclusively with patches or dots. Through a series of close readings, this book looks at the tache as one of the most important features in nineteenth-century modernism. The tache is a potential meeting point between text and image and a pure trace of the artist?s body. Even though each manifestation of tacheism generates its own specific cultural effec...
PhotographyDigitalPainting
This anthology explores the connections between photography, the digital, and painting in contemporary art practices. While there is much research being undertaken into the mediums under discussion as discrete concerns in the digital age, there is little investigation into these in combination. As photography, the digital, and painting frame the contemporary visual discourse, a rigorous investigation into this relationship is much needed. This book, which continues the investigations begun with PaintingDigitalPhotography, undertakes this by leading the research into questions of medium-fluidity in contemporary visual art practices. The contributors here are renowned artists, senior academics, theorists, and younger researches contributing to the field of study. Their essays address a wide range of interrelated topics, including AI generation of digital imagery, hyperreal photographic visions of the world, the embodied experience of the painter, and art practice that synthesises the three mediums, amongst others. This book will be of particular interest to scholars, academics, and researchers studying the associations of these mediums in the digital age.
Mary Mito
A collection of seventy-six collages reveals Mito's work that looks world's apart from her "realistic" paintings and drawings through scenes or horror that are punctuated by moments of surreal humor.
