Equally ubiquitous, though until now less the subject of serious inquiry, are temporary memorials: spontaneous offerings of flowers and candles that materialize at sites of tragic and traumatic death. In Memorial Mania, Erika Doss argues that these memorials underscore our obsession with issues of memory and history, and the urgent desire to express—and claim—those issues in visibly public contexts.   Doss shows how this desire to memorialize the past disposes itself to individual anniversaries and personal grievances, to stories of tragedy and trauma, and to the social and political agendas of diverse numbers of Americans. By offering a framework for understanding these sites, Doss engages the larger issues behind our culture of commemoration. Driven by heated struggles over identity and the politics of representation, Memorial Mania is a testament to the fevered pitch of public feelings in America today.

    What emerges is both a perspective appraisal of his work and a revealing life history of the man who was arguably the greatest artist of all time.

    Commenting on artists such as Avedon, Clifford, Mapplethorpe, and Nadar, Roland Barthes presents photography as being outside the codes of language or culture, acting on the body as much as on the mind, and rendering death and loss more acutely than any other medium. This groundbreaking approach established Camera Lucida as one of the most important books of theory on this subject, along with Susan Sontag's On Photography.

    In a rich weave of images and text, each chapter offers an intimate look at the artist's expression in a different medium. This volume includes beautiful photographs of Micheangelo's works but here also are never before seen details of his sculpture and architecture that invite us to linger. The black-and-white photographs printed in lush doutones that add depth, show in the marks of the chisel, the hand of Michangelo at work - the rough but deliberate strokes of a man struggling to express himself in an unyielding and unforgiving medium.

    Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.

    Short chapters can be read in any order, with new vocabulary defined on the page as it occurs. Eight “Gateways to Art” images (from around the world and all eras) support the common course goal of learning to interpret art in multiple ways and help students build on what they already know. The text is balanced and global, with over 1,000 illustrations—from around the world, and from everyday life.

    It focuses on critical analysis of the subject through a workbook section and self-quizzes along with prompts to explore the chapter's images and topics through the ArtStudy 2.0 CD-ROM, Web Site, and WebTutor? supplements.

    College level text for art appreciation.

    Bourdieu's subject is the study of culture, and his objective is most ambitious: to provide an answer to the problems raised by Kant's Critique of Judgment by showing why no judgment of taste is innocent."A complex, rich, intelligent book. It will provide the historian of the future with priceless materials and it will bring an essential contribution to sociological theory."— Fernand Braudel "One of the more distinguished contributions to social theory and research in recent years . . . There is in this book an account of culture, and a methodology of its study, rich in implication for a diversity of fields of social research. The work in some ways redefines the whole scope of cultural studies."— Anthony Giddens, Partisan Review"A book of extraordinary intelligence." — Irving Louis Horowitz, Commonweal“Bourdieu’s analysis transcends the usual analysis of conspicuous consumption in two ways: by showing that specific judgments and choices matter less than an esthetic outlook in general and by showing, moreover, that the acquisition of an esthetic outlook not only advertises upper-class prestige but helps to keep the lower orders in line. In other words, the esthetic world view serves as an instrument of domination. It serves the interests not merely of status but of power. It does this, according to Bourdieu, by emphasizing individuality, rivalry, and ‘distinction’ and by devaluing the well-being of society as a whole.”— Christopher Lasch, Vogue

    In this anthology the authors have edited material not only from his so-called Treatise on Painting but also from his surviving manuscripts and from other primary sources, some of which were here translated for the first time. The resulting volume is an invaluable reference work for art historians as well as for anyone interested in the mind and methods of one of the world’s greatest creative geniuses.“Highly readable. . . . Also included are documentary sources and letters illuminating Leonardo’s career; the manuscript sources for all of Leonardo’s statements are fully cited in the notes. The volume is skillfully translated and is illustrated with appropriate examples of drawings and paintings by the artist.”—Choice“Certainly easier to read and . . . more convenient than previous compilations.”—Charles Hope, New York Review of Books“A chaotic assemblage of Leonardo da Vinci’s writings appeared in 1651 as Treatise on Painting. . . . [Kemp] successfully applies . . . order to the chaos.”—ArtNews

    No better introduction to Western painting has ever been produced.' – The Sunday Times

    The aim of this substantial anthology is to equip the student, teacher and interested general reader with the necessary materials for an up-to-date understanding of twentieth-century art.Beside the writings of the century's major artists, Art in Theory includes relevant texts by critics, philosophers, politicians and literary figures. It is organised into eight sections, from the legacy of Symbolism at the turn of the century to contemporary debates about the Postmodern. Each section is prefaced by a brief essay. There are introductions for all of the 300-plus texts, which serve to place theories and critical approaches in context. The result is both a comprehensive collection of documents on twentieth-century art and an encylopaedic history of relevant theory.

    From painting and sculpture to installation, video art, and performance, it examines the roles played by the body in art, from being the subject of portraiture to becoming an active presence in participatory events.Organized thematically, the book focuses on subjects such as nature and technology, the grotesque, identity politics, and the place of the individual in society. Featuring work by artists such as Matthew Barney, Marlene Dumas, Olafur Eliasson, Oleg Kulik, and Ernesto Neto, it shows how the body continues to be pivotal to the understanding and expression of our place in the universe.

    Here, the author provides a lively historical context for critical play through 20th-century art movements, connecting subversive game design to subversive art.

    Christian Hawkey's VENTRAKL folds poetry, prose, biography, translation practices, and photographic imagery into a ground-breaking collaboration with the 19th / early 20th century German Expressionist poet Georg Trakl. What evolves is a candid and deeply felt portrait of two authors--one at the beginning of the 20th century, the other at the beginning of the 21st century, one living and one dead--wrestling with fundamental concerns: how we read texts and images, how we are influenced and authored by other writers, and how the practice of translation--including mistranslation--is a way to ornament and enrich the space between literature and life.