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The Sculptural in the (Post-)Digital Age
Digital technologies have profoundly impacted the arts and expanded the field of sculpture since the 1950s. Art history, however, continues to pay little attention to sculptural works that are conceived and ‘materialized’ using digital technologies. How can we rethink the artistic medium in relation to our technological present and its historical precursors? A number of theoretical approaches discuss the implications of the so-called ‘Aesthetics of the Digital’, referring, above all, to screen-based phenomena. For the first time, this publication brings together international and trans-historical research perspectives to explore how digital technologies re-configure the understanding of sculpture and the sculptural leading into the (post-)digital age. Up-to-date research on digital technologies’ expansion of the concept of sculpture Linking historical sculptural debates with discourse on the new media and (post-)digital culture
Making Ideas Visible in the Eighteenth Century
"This volume considers how ideas were made visible through the making of art and visual experiences occasioned by reception during the long eighteenth century. Contributors consider the approach taken by individual artists and the material formation of concepts in different contexts by asking new questions of artworks that are implicated by the need to see ideas in painted, sculpted, illustrated, designed, and built forms. The first four essays work with ideas about material objects and identity formation, while the last four essays address the intellectual work that can be expressed through or performed by objects. Making Ideas Visible in the Eighteenth Century thus introduces new visual materials and novel conceptual models into traditional accounts of the intellectual history of the Enlightenment."--Cover page 4.
Popular Culture and the Civic Imagination
Winner, 2021 Ray and Pat Browne Edited Collection Award, given by the Popular Culture Association How popular culture is engaged by activists to effect emancipatory political change One cannot change the world unless one can imagine what a better world might look like. Civic imagination is the capacity to conceptualize alternatives to current cultural, social, political, or economic conditions; it also requires the ability to see oneself as a civic agent capable of making change, as a participant in a larger democratic culture. Popular Culture and the Civic Imagination represents a call for greater clarity about what we’re fighting for—not just what we’re fighting against. Across more ...
Acad?e Royale
From its establishment in 1648 until its disbanding in 1793 after the French Revolution, the Acad?e Royale de Peinture et de Sculpture was the centre of the Parisian art world. Taking the reader behind the scenes of this elite bastion of French art theory, education, and practice, this engaging study uncovers the fascinating histories - official and unofficial - of that artistic community. Through an innovative approach to portraits - their values, functions, and lives as objects - this book explores two faces of the Acad?e. Official portraits grant us insider access to institutional hierarchies, ideologies, rituals, customs, and everyday experiences in the Acad?e's Louvre apartments. Unoffi...
Bio-Art
In the face of climate change, the destruction of biodiversity or genetic experimentation, Bio Art appears as a form that is most directly grappling with the problems of the »Anthropocene«. It develops many different approaches and explores a variety of mediums, often related to scientific research, creating art that uses plants, insects, mammals, bacteria, bird songs, forest sounds, or genetic modification. Bio Art's uniqueness comes from incorporating, rather than just representing the living in a diverse range of artworks. In discussing such works from various world regions and time periods, the contributors address the divide between human and non-human animals, between »culture« and »nature«.
The Académie Royale de Peinture et de Sculpture
The Académie Royale de Peinture et de Sculpture (French Academy of Painting and Sculpture)—perhaps the single most influential art institution in history—governed the arts in France for more than 150 years, from its founding in 1648 until its abolition in 1793. Christian Michel's sweeping study presents an authoritative, in-depth analysis of the Académie’s history and legacy. The Académie Royale assembled nearly all of the important French artists working at the time, maintained a virtual monopoly on teaching and exhibitions, enjoyed a priority in obtaining royal commissions, and deeply influenced the artistic landscape in France. Yet the institution remains little understood today:...
MORCEAUX
Im Zuge der Etablierung europèaischer Kunstakademien bildeten sich Aufnahmezeremonien aus, die von den zukèunftigen Mitgliedern ein Probestèuck zum Beweis ihrer Fèahigkeiten forderten. Erstmalig wird in diesem Band ein vergleichender Blick auf die Aufnahmeprozeduren der wichtigsten europèaischen Akademien und auf diese faszinierenden, zumeist kleinformatigen Werke geworfen, die eine eigene Gattung der Bildhauerei darstellen. An keinen konkreten Verwendungszweck gebunden und unbeeinflusst durch Auftraggeberwèunsche, ermèoglichten sie ihren Schèopfern nicht nur eine selbstbewusste Zurschaustellung ihrer Fèahigkeiten, sondern luden auch zur Gattungsreflektion ein. Die virtuosen Schaustèucke fèuhren damit vor Augen, was die Bildhauer der Zeit als Aufgaben und Ziele ihrer Kunst ansahen.
Queer Reflections on AI
This volume offers a socio-technical exploration of Artificial Intelligence (AI) and the way it reflects and reproduces certain normative representations of gender and sexuality, to ultimately guide more diverse and radical discussions of life with digital technologies. Moving beyond the examination of empirical examples and technical solutions, the book approaches the relationship between queerness and AI from a theoretical perspective that posits queer theory as central to understanding AI differently. The chapters pose questions about the politics and ethics of machine embodiments and data imaginaries on the one hand, and about technical possibilities for a production of social identities...
SpatioTemporalities on the Line
Lines are omnipresent in our everyday experience and language. They reflect and influence the spatial and temporal structures of our world view. Taking Tim Ingold’s cultural history of the line as a starting-point, this book understands lines as expressions that allow insights into cultural theoretical phenomena and thus go beyond their mere form. The essays will investigate this premise from various disciplines (architecture, art, cartography, film, literature and philosophy).
Schnittstelle Kunstunterricht: Körper – Raum – Skulptur
Wie sich die Ausdrucksform "Skulptur" im Kunstunterricht erschließen lässt, ist die Kernfrage des Sammelbandes. Die Autorinnen beschreiben die Spannungsfelder von Gegenständlichkeit, Bewegung, Raum, künstlerischem Handeln und Rezeption, wobei der Körper in Öffnungsprozessen von Skulpturen eine besondere Rolle spielt. Am Beispiel des Werks der zeitgenössischen Künstlerin Rebecca Horn beschreibt die Kunstdidaktikerin Karina Pauls mögliche didaktische Zugänge, die sich aus der Auseinandersetzung mit Skulpturen ergeben. Svenja Langer analysiert das eigene künstlerische Handeln als Spurensuche, aus der Zusammenhänge sichtbar werden, die auch die Arbeiten Rebecca Horns erschließen können. Abschließend wird eine konkrete Lehr-Lern-Situation zur Annäherung an ein komplexes Feld vorgestellt. Die Reihe "Schnittstelle Kunstunterricht" präsentiert Bezugspunkte durch die Gestaltung von Kunstunterricht aus einer didaktischen Perspektive.
