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The Perfect Spectator
What happens between a spectator and an art work? How do we experience 'meaning' in an art work? How can the process of interpretation be understood and articulated? To address these questions, the author explores the field of reception aesthetics, with its central premise that the contemplation of art is a matter of interaction between the art work and the observer. The research is focused on unravelling and problematising the theoretical terminology of the interaction between art work and spectator, deriving from reception aesthetics as well as from hermeneutics and phenomenology, with the aim of building a new theoretical foundation for this terminology. Additionally, different concepts of spectatorship are extensively discussed. 'I believe it is more productive to research how the art work works or signifies than what it shows or might signify. This 'how' reveals itself mainly in the performative act of experiencing the work.' This book addresses scholars and students in the fields of art history, aesthetics and visual and cultural studies, as well as artists and art students, and all those art spectators who wish to develop a deeper understanding of the experience of art.
Artistic Research in Music: Discipline and Resistance
The Orpheus Institute celebrates 20 years of artistic research in music Artistic research has come of age, and with it the Orpheus Institute. Founded twenty years ago, the Institute’s purpose from the start has been to pursue research through the practice of musicians. The Orpheus Institute is of the same generation as the field it was established to explore. Like many young adults, artistic research and its structures are still constructing their identity within a wider world. How have they developed? How will they mature? How can they negotiate relationships with institutions, disciplines, and bodies of theory and yet retain the essence of their work—the critical perspective of the art...
Of Sponge, Stone and the Intertwinement with the Here and Now
This concise book introduces the notion of 'experience' as a key concept in a methodology of artistic research. The author traces a genealogy of 'experience' from William James, John Dewey and Alfred North Whitehead to Brian Massumi, placing this concept in a framework of research in visual art. The argument is founded in the practice of artistic research and in the reflection on the interweaving of thinking and making. This publication is a slightly extended version of Wesseling's inaugural lecture at Leiden University in September 2016.
What Do Artists Know?
Each of the five volumes in the Stone Art Theory Institutes series, and the seminars on which they are based, brings together a range of scholars who are not always directly familiar with one another’s work. The outcome of each of these convergences is an extensive and “unpredictable conversation” on knotty and provocative issues about art. This third volume in the series, What Do Artists Know?, is about the education of artists. The MFA degree is notoriously poorly conceptualized, and now it is giving way to the PhD in art practice. Meanwhile, conversations on freshman courses in studio art continue to be bogged down by conflicting agendas. This book is about the theories that underwr...
What Do Artists Know?
"Brings together historians, philosophers, critics, curators, artists, and educators to ask how art is and should be taught. Explores the theories that underwrite art education at all levels, the pertinent history of art education, and the most promising current conceptualizations"--Provided by publisher.
Ground Sea
Imagine a world in which each individual has a fundamental right to be reborn. This idle dream haunts Hilde Van Gelder’s associative travelogue that takes Allan Sekula’s sequence Deep Six / Passer au bleu (1996/1998) as a touchstone for a dialogue with more recent artworks zooming in on the borderscape near the Channel Tunnel, such as those by Sylvain George and Bruno Serralongue. Combining ethnography, visual materials, political philosophy, cultural geography, and critical analysis, Ground Sea proceeds through an innovative methodological approach. Inspired by the meandering writings of W.G. Sebald, Javier Marías, and Roland Barthes, Van Gelder develops a style both interdisciplinary ...
Art and Future
This selection of essays examines the future of art in a changing world. In particular, contributors discuss the agency of art in conditions of ecological threats to the natural world, to climate change and the effects of globalisation, neoliberal economics and mass tourism. Following the lead of Chicago-based Frances Whitehead, whose essay is a key text, some contributors take positions on working with local government agencies to embed art-thinking within development projects, going back to the art-thinking at the centre of Kazimir Malevich’s work in Vitebsk one hundred years ago in Russia. Other papers highlight small-scale art interventions that bring ecological issues to public notice and suggest positive responses, whilst others discuss large-scale problems brought about by the social, economic and laissez-faire history of the emerging Anthropocene with possible dystopic outcomes.
Seeing Comics through Art History
This book explores what the methodologies of Art History might offer Comics Studies, in terms of addressing overlooked aspects of aesthetics, form, materiality, perception and visual style. As well as considering what Art History proposes of comic scholarship, including the questioning of some of its deep-rooted categories and procedures, it also appraises what comics and Comics Studies afford and ask of Art History. This book draws together the work of international scholars applying art-historical methodologies to the study of a range of comic strips, books, cartoons, graphic novels and manga, who, as well as being researchers, are also educators, artists, designers, curators, producers, librarians, editors, and writers, with some undertaking practice-based research. Many are trained art historians, but others come from, have migrated into, or straddle other disciplines, such as Comparative Literature, American Literature, Cultural Studies, Visual Studies, and a range of subjects within Art & Design practice.
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Romantic Modernism
In the world of architectural conservation, there is little tolerance for reconstructing or even protecting historic facades when everything behind is modern, and even less for reconstructing a building that has been completely destroyed. These offenses are considered lies against history. In this thoughtful, revealing work, conservation expert Wim Denslagen traces this predilection for honesty to the legacy of Functionalism, a Romantic-era movement that denounced the building of pseudo-architecture in favor of a new, rational form of building. With detailed analyses of headline-making restoration projects from Bruges to Berlin, Denslagen shows that the adoption of these romantic values by conservationists gave rise to a new wave of modern additions and transformations.
