This reader, a companion to The Open University's four-volume Art of the Twentieth Century series, offers a variety of writings by art historians and art theorists. The writings were originally published as freestanding essays or chapters in books, and they reflect the diversity of art historical interpretations and theoretical approaches to twentieth-century art. Accessible to the general reader, this book may be read independently or to supplement the materials explored in the four course texts. The volume includes a (...) general introduction as well as a brief introduction to each piece, outlining its origin and relevance. (shrink)

We humans are a curious species. Of all the life forms that inhabit the earth, we alone strive to make sense of the world in which we find ourselves. For thousands of years we understood the world through stories. Our ancestors told stories of how the world began, how our people originated and came to be at this place, and how those people across the river or beyond the mountains came to be where they are. Some stories were of animals (...) and plants in our neighborhood, and their powers to help us, feed us, or cure our ailments. But in the last few centuries, starting in Europe and spreading throughout the world, a new way of understanding began competing with storytelling as a means of comprehending our world. Science supplanted storytelling largely because it empowered us to transform the world in ways that were unimaginable to our ancestors. We understand the world scientifically by describing the world instead of by telling stories about it. The stories our ancestors told no longer explain the world, but are data within the world, part of the world that science describes. Our stories have become myths, cultural artifacts that may be interesting and a subject of study, but cannot possibly be true. Yet even in societies that have thoroughly embraced science as a means of understanding the world, myths remain a powerful force. Myth and science exist side by side, often creating confusion and conflict. (shrink)

This paper reconstructs Margaret Cavendish’s theory of the metaphysics of artifacts. It situates her anti-mechanist account of artifactual production and the art-nature distinction against a background of Aristotelian, Scholastic, and mechanist theories. Within this broad context, it considers what Cavendish thinks artisans can actually do, grounding her terminological stipulation that there is no genuine generation in nature in a commitment to natural and artistic production as the mere rearrangement of bodies. Bodies themselves are identified, in a conceptually Ockhamist manner, with (...) their figures, so that the resulting theory of mere rearrangement is Scholastically respectable. The paper also offers literal interpretations, focused narrowly on the philosophical content of her theories of art and artifacts, of her claims that art concerns only “nature’s sporting or playing actions”, that its products are “deformed and defective”, and that they are “at best …mixt or hermaphroditical.". (shrink)

The old idea of the masterpiece, the bane of artists throughout the century that is now drawing to a close, is barely recognizable any more. For the general public, this idea remains a facile cliché that is always ready when needed to put an end to a serious discourse on art. Only the label, not the idea itself, was left when artists came to the point of holding masterpieces responsible for the tenacious survival of outdated artistic ideals. The idea (...) of perfected art has become so far removed from the object of its incarnation that we have long been forced to seek the masterpiece by other names. On the other hand, the term masterpiece lends itself to cut-rate uses in which the Utopian content is but a dim gleam. The avantgarde, in search of a scapegoat, decries favored artistic objects as false idols or as fetishes of art. The Mona Lisa, which did not achieve the status of a universal idol until the nineteenth century, thus became the prime target of ill humor: was it not the very epitome of society's trivialization (and mystification) of art? (shrink)

One of the iconographic trends that became especially articulated in the XII century is the strengthening of the role of typological logic in the selection and organization of subjects within the iconographic program of monuments of decorative and applied art, book illumination and stained glass. Interest in this kind of visual exegesis, based on the symbolic parallelism of the Old and New Testaments, generates experiments in the field of iconographic programs, which leads to the appearance in the late XII (...) – early XIII centuries a number of monuments in which detailed typological cycles are used (the Klosterneuburg altar, typological stained glass windows of French and English cathedrals). The subject of the research in this article is the connection of the described iconographic trend with texts of a theological, theosophical and liturgical nature. Despite the fact that some of the mentioned texts have already been involved by researchers of Christian iconography for the interpretation of pictorial programs, a special study of the sources of "typological iconography" in the XII century has not been implemented yet. Based on the analysis of a number of texts and iconographic analysis of fine art monuments, an attempt is made to identify a group of sources that could be familiar to the compilers of iconographic programs. Among the monuments of fine art, works created in the Rheno-mosan region (as well as derivatives of this tradition) are of particular interest in the XII century. In this group of works of art (including processional and altar crosses, phylacteries, portable altars, works of stained glass and book illumination), searches in the field of typological iconography are consistently realized. (shrink)

This paper discusses exhibition installation as an aesthetic medium. Drawing on Germano Celant’s writing on installation, we advance an interpretation of artists’ engagement with installation resulting in room-size works in the first half of the 20th century, as part of the evolution of exhibition installation towards the convergence of art and design. The paper also address the problem of intermediality as discussed by Juliane Rebentisch, and its implications for installation and attempts to tests Rosalind Krauss’s reconception of the medium (...) against Rebentisch’s criticism, while analyzing Krauss’s disapproval of installation art, including the room-size works of the avant-garde. (shrink)

Malcolm Quinn’s book,Utilitarianism and the Art School in Nineteenth-Century Britain, is an historical study of the birth pangs of the state-funded art school that interrogates the politics of art’s reproduction within the context of Victorian reformism in which the art school was proposed as a mechanism to improve the standards of taste of manufacturers and factory workers, as well as of artists, designers, art teachers and others. The review locates the political and cultural transition from the academy to the (...) art school as the construction of a specifically bourgeois institution of art. (shrink)

Catalog of an exhibition at the Patrick and Beatrice Haggerty Museum of Art, April 19-July 28, 1996.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.3 (2001) 183-206 [Access article in PDF] Design and the New Rhetoric: Productive Arts in the Philosophy of Culture 1 Richard Buchanan In a seminal article on the study of rhetoric in the Middle Ages, Richard McKeon proposed a strategy for inquiry that illuminated the development of the art in a period where traditional histories had found little of intellectual significance. 2 He argued that (...) instead of studying rhetoric as a simple verbal discipline with a more or less constant subject matter drawn from style or the interpretation of the works of poets and orators or the law, one could study the changing conceptions of subject matter and purpose by which rhetoricians thought to distinguish and oppose their doctrines. By studying the basic philosophic differences that are implicated in changing conceptions of rhetoric, one could discover intelligible patterns in the development of the art that otherwise may appear whimsical, haphazard, arbitrary, or merely verbal. What followed was the discovery of how the doctrines and devices of rhetoric in the Middle Ages spread with little recognition to subject matters far from those ordinarily ascribed to it. McKeon summarized the patterns in three lines of intellectual development. First was the tradition of rhetoricians themselves; second was the tradition of philosophers and theologians; and third was the tradition of logicians. The article concludes with a discussion of how these lines of development were extended in the Renaissance, with implications for the changing relationship of art and science that continues to unfold in the twentieth century around the development of technology.What would a study of rhetoric in our own period look like if rhetoric were explored by McKeon's strategy? Among rhetoricians the record of past meetings of organizations such as the Rhetoric Society of America provides evidence for how the lines of intellectual development revealed by McKeon are extended in contemporary culture. For example, we find continuing attention to the study of rhetoric as a simple verbal discipline [End Page 183] with a more or less constant, traditional subject matter of style and literature. The problems of writing and speaking remain with us, and the traditional resources of rhetoric continue to inform new investigations. In addition, we find growing interest in expanding rhetorical studies to incorporate the interpretation of new kinds of literature as well as other creative works in the cultural arts, philosophy, and the sciences and technology. These studies are often innovative, though they are also easily recognized as an extension of traditional rhetorical arts. As Thomas Conley has remarked, "the present in rhetorical studies is prelude to an encouraging future." 3Following McKeon's strategy, however, the study of rhetoric in our period would not stop with the work of formally recognized rhetoricians and scholars of rhetoric. McKeon argued that rhetoric is an unusually clear example of a general tendency among the arts and sciences for doctrines and devices to move across disciplinary boundaries and stimulate innovation in new circumstances. Rhetoric provides this example precisely because it is universal in scope and shared among all intellectual disciplines. Furthermore, only rhetoric is traditionally characterized from antiquity by many of its leading theorists and practitioners as an art of invention and discovery. Whatever their primary focus in subject matter and purpose, all disciplines are concerned at some point with invention and the eventual disposition of inventions in a medium of communication and application. Therefore, it is only proper that whatever our concern about the problems of writing and speaking well, rhetoricians should also direct their attention to innovations in other fields and disciplines, particularly sensitive to the movement of their own doctrines and devices and the consequent innovations that have occurred as a result. The focal question is one of the central issues that concerned McKeon in his study of rhetoric in the Middle Ages. How may we profitably consider the many innovations that have occurred in fields far removed from those traditionally associated with rhetoric, but with a degree of independence from the field in which they are usually celebrated?This is what McKeon himself pursued... (shrink)

This article contends that the evolution toward interdisciplinary collaboration that we are witnessing in the sciences must also occur in the humanities to ensure their very survival. That is, humanists must be open to working with scientists and social scientists interested in similar research questions and vice versa. Digital humanities is a positive first step. Complexity science should be the next step. Even though much of the ground-breaking work in complexity science has been done in the natural sciences and mathematics, (...) it can, if critically adapted, provide the needed metaphor for a broad integration of disciplines, humanistic and otherwise. Given its almost a-disciplinary nature, a complexity approach to the research problems in the humanities necessarily breaks down silos. Moreover, it can restore and reframe the seamless intellectual fabric sought by researchers before the atomization of the various disciplines in the nineteenthcentury academy. (shrink)

Collaborative Art in the Twenty-First CenturyBacharachSondra, BoothJeremy Neil and FjærestadSiv B. routledge. 2016. pp. 210. £88.00.

Vision + Value Series. Gyorgy Kepes. Education of Vision. New York: Geo. Braziller, Inc., 1965, pp. 233 + vii. Structure in Art and Science. New York: Geo. Braziller, Inc., 1965, pp. 189 + vii. The Nature of Art and Motion.

Life is a journey, and we are the wanderers: anything can happen, and eventually does. (Meditation 1: Posthuman Self-Enquiry #Existential Posthumanism, p. 17).Francesca Ferrando, a Professor of Phi...

100 × Congo: A Century of Congolese Art in Antwerp museum aan de stroom, antwerp. 3 october 2020–12 september 2021.

A collection of new essays addressing Foucault’s thought and its impact on thinking about the visual arts, literature and aesthetic discourse in the 21st century.

In the first part of this paper I explore a recently conceived notion of a modern liberal arts education which brings the ancient Aristotelian search for first principles into a modern metaphysics of Kant and Hegel. In the second part I examine two ways in which this modern conception of a liberal arts education intervenes in important social and political debates in Western culture. My concluding comments centre on the belief that twenty-first-century liberal arts education needs (...) to provide more resistance to a culture of capitalism by orienting itself to the tradition from a modern standpoint. (shrink)

The changing context and increasing professionalization in higher education have ushered in challenges for liberal arts education worldwide. Situated this discourse in the context of Chinese universities, this paper explores Why do we need a liberal arts education that has been accused of being elitist in the twenty first century? Should an effective or ideal liberal arts education evolve with time and context? If yes, what needs to be taken into account to conceptualize a twenty first (...) century model of liberal arts education? How is a twenty first century liberal arts education defined and featured at Chinese universities and elsewhere? Drawing on an analytical framework constructed with the German concept of Bildung and the Confucian perspective on knowledge, this paper contends that a twenty first century liberal arts education for universities in China and elsewhere needs to absorb meta changes and movements in society at home and around the world, while ideally rooted in a knowledge tradition respectively. Specifically, it should comprise three essential pillars: humanism education, cognitive education, and global education. (shrink)

Are works of art imitations? If so, what exactly do they imitate? Should an artist remind his audience that what it is perceiving is in fact artifice, or should he try above all to persuade it to accept the illusion as reality? Questions such as these, which have dominated aesthetic theory since the Greeks, were debated with extraordinary vigour and ingenuity in eighteenth-century France. In this book Dr Hobson analyses these debates, focusing in turn on painting, the novel, drama, (...) poetry and music. In each case she relates theory to contemporary works of art by Watteau, Chardin, Diderot, Beaumarchais, Gluck and many others. She shows that disputes within the theory of each art centred upon the nature of the perceiver's attention. Dr Hobson provides a method of mapping the changes in artistic style which took place as the century advanced. In discussing such conceptual transformations Dr Hobson opens an important perspective for the study of Romanticism and Realism. (shrink)

This book offers a comprehensive reflection on the existential condition of the 21st century. A visionary introduction to existential posthumanism, it takes the form of eight meditations. This posthuman journey of self-inquiry engages with a wide range of knowledge and wisdom: from the Paleolithic times to the futures of radical life extension, from multi-species evolutions to the rights of Nature, the Anthropocene and the rise of Artificial Intelligence. The book declutters the habit of being human. Letting go of the (...) need for anthropocentric mastery and species-specific ambitions, the reader emerges regenerated. The manifold paths of posthuman self-realization reveal that we are all co-creators in the existential unfolding: our lives are our ultimate works of art. The Art of Being Posthuman is a self-help guide to navigate our brave new world. -- Back cover. (shrink)

This article mainly outlines and explores the art exhibitions held between China and the Soviet Union during the founding of the People's Republic of China. The author examines in detail such aspects of the topic as mutual exchanges of art exhibitions between China and the Soviet Union since the founding of the People's Republic of China. Particular attention is paid to the political background against which the evolution in Chinese art took place, as well as the legacy of Soviet realist (...) art in China in the political context and the interaction of art with politics and state-building. The author emphasizes the positive influence of art exhibitions held by the Soviet Union in China on Chinese art education and the creativity of artists. The main conclusions of this study are that the various exhibitions of Soviet art held in China provided an effective opportunity for Chinese artists to study Soviet realist oil paintings. The emergence of Soviet realism in China also served as an important reference point for the development of Chinese oil painting in the 1950s. The novelty of the study lies in the fact that the author not only analyzed the process of the acceptance and dissemination of Soviet realist art in China, but also examined the beginning and end of artistic exchange between China and the Soviet Union in conjunction with the country's social environment and the political leadership of its leaders. (shrink)