%{search_type} search results

"This is the first book to present an aesthetics of virtual reality media. It situates virtual reality media in terms of the philosophy of the arts, comparing them to more familiar media such as painting, film and photography. When philosophers have approached virtual reality, they have almost always done so through the lens of metaphysics, asking questions about the reality of virtual items and worlds, about the value of such things, and indeed, about how they may reshape our understanding of the "real" world. Grant Tavinor finds that approach to be fundamentally mistaken, and that to really account for virtual reality, we must focus on the medium and its uses, and not the hypothetical and speculative instances that are typically the focus of earlier works. He also argues that much of the cultural and metaphysical hype around virtual reality is undeserved. But this does not mean that virtual reality is illusory or uninteresting; on the contrary, it is significant for the altogether different reason that it overturns much of our understanding of how representational media can function and what we can use them to achieve. The Aesthetics of Virtual Reality will be of interest to scholars and advanced students working in aesthetics, philosophy of art, philosophy of technology, metaphysics, and game studies"-- Provided by publisher.

• Introduction
• Bingo
• You Hide Me
• Prussian Cultural Property
• Zero
• Increasingly Global
• Pause
• "German Debate"
• Festac '77
• Attack, Defence
• A Spectre Is Haunting Europe
• Battle of Lists
• Lost Heritage
• Mexico and the Greeks
• Bremen
• Open End
• Back to the Future
• Epilogue.

"A major new history of how, between 1965 and 1985, African nations sought the restitution of works of art stolen during the colonial period, written by the most important and influential figure in the field"-- Provided by publisher.

• PART 1 From the Claude Glass to Drones: Framing Environmental Encounters
• 1 Vehicles of Truth: Portable Studios and Nineteenth-Century British Landscape Painting, 1856-1885
• Amy C. Wallace
• 2 Painting Fog: James Abbott McNeill Whistler's Blurred Visions of the London Atmosphere
• Laura Valette
• 3 Aerial Ontologies
• Paul Cureton
• 4 An Interview with Tim Martin
• Charlotte Gould and Sophie Mesplede
• PART 2 Areas of Outstanding Industrial Beauty? A Layered History of Reappropriation and Profitability
• 5 "It's Grim Up North": Depicting Mutations and Shifting Perceptions of Industrial Landscapes in the North of England
• Aurore Caignet
• 6 "Our Oil": Our Waves? Environment, Energy Transition, and Art in Twenty-First-Century Scotland
• Camille Manfredi
• 7 Managing Arcadia: From the King's Cross Estate to the Bretton Estate
• Pat Naldi
• 8 An Interview with Adrian George
• Charlotte Gould And Sophie Mesplede
• PART 3 Decentering Human Vision: Art in a Shared Environment
• 9 Pursuing Natural Beauty: The Artist as a Hunter in Eighteenth-Century British Art
• Sophie Mesplede
• 10 "A New and Unforeseen Creation": Turner, English Landscape, and the Anthropo(s)cene
• Frederic Ogee
• 11 The Human Landscape: John Ruskin, Drawing, and Colour
• Thomas Hughes
• 12 A Matter of Time: Transformative Sculptures by Marc Quinn, Zuzanna Janin, Anya Gallaccio, and Andy Goldsworthy
• Kasia Ozga
• 13 Brexit, Gender, and Northern Ireland's Supernatural Landscape: Ursula Burke's "A False Dawn" and Candida Powell-Williams' "Command Lines"
• Edwin Coomasaru.
• (source: Nielsen Book Data)

This book explores the nature of Britain-based artists' engagement with the transformations of their environment since the early days of the Industrial Revolution. At a time of pressing ecological concerns, the international group of contributors provide a series of case studies that reconsider the nature-culture divide and aim at identifying the contours of a national narrative that stretches from enclosed lands to rising seas. By adopting a longer historical view, this book hopes to enrich current debates concerning art's engagement with recording and questioning the impact of human activity on the environment. The book will be of interest to scholars working in art history, contemporary art, environmental humanities, and British studies.
(source: Nielsen Book Data)

• Introduction
• Urban Striving: Panic, Property, and Precarity
• Cosmopolitan Aspirations and the Call Center Worker
• Aspiring to Queer Globality: From Shame to Self-Assertion
• Libidinal Urbanism: Narcissism in the Noir City
• Wasted: Consumer Desire and Its Detritus
• Epilogue. Receptivity and Responsibility in the Neoliberal City.

"Taking Bangalore in southern India as its point of departure, this book explores the ways in which artists across India and beyond foreground neoliberalism as an inescapable market logic that permeates aesthetics, selfhood, and everyday life"-- Provided by publisher.

• Introduction, Pisa Cathedral, Siena Cathedral, Florence Cathedral.
• (source: Nielsen Book Data)

The construction techniques and concepts of the cathedrals of Pisa, Siena and Florence are examined in detail, based on new data and using a methodological architectural diagnostics approach. New detailed surveys, carried out using often advanced tools, together with direct and in-depth inspections to examine all parts of the buildings, have enabled us to identify the building phases and the different construction techniques used over time. The information thereby acquired also formed the basis for a new interpretation of the archival documents. Accordingly, the problems encountered and the solutions adopted in the three cathedrals have been understood: in Pisa the construction of the elliptical dome above the rectangular crossing consisting of six thin pillars below; in Siena the design changes from the first system in the 13th century to the 'Duomo Nuovo', and the structural adaptations following earthquakes; the specific construction solutions adopted in Florence during the instability encountered in the construction of the large vaults of the basilican body. The comparison of the three buildings in terms of architectural and construction solutions also revealed unexpected relationships between the construction events of Siena's Duomo Nuovo and the solutions then used in the large basilican body of Santa Maria del Fiore. The methodology employed has led to an understanding of the actual structure of the three cathedrals, an essential basis for a correct evaluation of the state of conservation of the churches for any restoration work. The book is aimed at scholars of architecture and ancient building structures, graduate and postgraduate students, and architects and engineers who plan architectural conservation and strengthening works for historical buildings.
(source: Nielsen Book Data)

• Art after the Mexican Revolution : muralism, prints, photography / Leonard Folgarait
• José Gómez Sicre and the Inter-American Exhibitions of the Pan American Union / Claire F. Fox
• What is 'Latin American art' today? / José Luis Falconi.

• Introduction
• Chapter 1: From the politics of representation to a politics of acts
• Chapter 2: Beyond performing identities
• Chapter 3: Feminism and the pedagogical turn in art
• Chapter 4: Craftivism: a material ethics of care
• Chapter 5: Avant Gardening: Western landscape, ecofeminism and First Nations' care for country
• Chapter 6: Feminist worlds: reimagining community and publics
• Conclusion.
• (source: Nielsen Book Data)

This important new book examines contemporary art while foregrounding the key role feminism has played in enabling current modes of artmaking, spectatorship and theoretical discourse. Contemporary Art and Feminism carefully outlines the links between feminist theory and practice of the past four decades of contemporary art and offers a radical re-reading of the contemporary movement. Rather than focus on filling in the gaps of accepted histories by 'adding' the 'missing' female, queer, First Nations and women artists of colour, the authors seek to revise broader understandings of contemporary practice by providing case studies contextualised in a robust art historical and theoretical basis. Readers are encouraged to see where art ideas come from and evaluate past and present art strategies. What strategies, materials or tropes are less relevant in today's networked, event-driven art economies? What strategies and themes should we keep hold of, or develop in new ways? This is a significant and innovative intervention that is ideal for students in courses on contemporary art within fine arts, visual studies, history of art, gender studies and queer studies.
(source: Nielsen Book Data)

• Introduction. Geography of the Dogma and the Christian Orient
• 1. Compounds at Old St Peter's
• 2. Armenia between 'East' and 'West'
• 3. Historical Background
• 4. Colonies
• 5. Artistic Crossroads
• 6. A Chronology
• 7. International Styles Conclusion.
• (source: Nielsen Book Data)

This book examines the arts and artistic exchanges at the 'Christian Oriental' fringes of Europe, especially Armenia. It starts with the architecture, history and inhabitants of the lesser known pilgrim compounds at the Vatican in the Middle Ages and Renaissance, of Hungary, Germany, but namely those of the most ancient of Churches, the Churches of the Christian Orient Ethiopia and Armenia. Without taking an Eurocentric view, this book explores the role of missionaries, merchants, artists (for example Momik, Giotto, Minas, Domenico Veneziano, Duerer), and artefacts (such as fabrics, inscriptions and symbols) travelling into both directions along the western stretch of the Silk Road between Ayas (Cilicia), ancient Armenia and North-western Iran. This area was truly global before globalization, was a site of intense cultural exchanges and East-West cultural transmissions. This book opens a new research window into the culturally mixed landscapes in the Christian Orient, the Middle East and North-eastern Africa by taking into consideration their many indigenous and foreign artistic components and embeds Armenian arts into today's wider art historical discourse. This book will be of interest to scholars in art history, architectural history, missions, trade, Middle Eastern arts and the arts of the Southern Caucasus.
(source: Nielsen Book Data)

• 1. Towards an Alternative 'Reading' of the Last Judgement
• 2. The Deconstruction of Time and Space: Immersive Experiences of Judgement: The Chora Parekklesion
• 3. Use, Agency and the Formulation of the Image: Yilanli Kilise
• 4. Experiencing the 'Byzantine' Last Judgement in the Latin West: Torcello
• 5. The Mnemonic Experience of Judgement: The Sinai Hexaptych
• 6. The Embodied Experience of Judgement: Mavriotissa Monastery
• 7. The Gendered Experience of Heaven and Hell: Yilanli Kilise and the Kokkinobaphos Manuscripts
• 8. The Rhetoric of Judgement: A Twelfth-century Icon from Mount Sinai.
• (source: Nielsen Book Data)

Experiencing the Last Judgement opens up new ways of understanding a Byzantine image type that has hitherto been considered largely uniform in its manifestations and to a great extent frightening, coercive and paralysing. It moves beyond a purely didactic understanding of the Byzantine image of the Last Judgement, as a visual eschatological text to be 'read' and learned from, and proposes instead an appreciation of each unique image as a dynamic site to be experienced. Paintings, icons and mosaics from the tenth to the fourteenth century, from inside and outside of the Byzantine Empire, are placed within their specific socio-historical milieus, their immediate decorative programmes and their architectural contexts to demonstrate that each unique image constituted a carefully orchestrated and immersive experience of judgement. Each case study outlines the differences that exist in reality between these images that are often subsumed under one iconographic label, making a case against condensing dynamic, lived images into apparently static pictorial 'types'. Images of the Last Judgement needed the body, mind and memory of the viewer for the creation of meaning, and so the experience of these images was unavoidably spatial, gendered, corporeal, mnemonic, emotional, rhetorical and most often liturgical. Unpacking Byzantine images of judgement in light of these various facets of experience for the first time helps to elucidate the interaction of past individuals with the image, and the ways in which such encounters were intended to benefit the communities that made and lived alongside them.
(source: Nielsen Book Data)

"Fashion by Design explains how the elements and principles of design relate to fashion, based on the philosophy of the Bauhaus Experiment of the 20s and 30s, which is the foundation for art education in the United States. The book is structured into three parts: the stages of the design process (inspiration, identification, conceptualization, exploration/refinement, definition/modeling, communication, and production); physical elements (such as line, shape, form, space, texture, light, pattern, color, and value); and theoretical principles (like balance, emphasis, rhythm, proportion, and unity) of design. This is reinforced by fashion designer profiles and illustrations covering art, architecture, and fashion. The book aims to improve the designer's eye for creating fashion and related art forms; to identify terminology used in the communication of fashion; and to show how other factors, such as the human form, clothing structure, historic silhouettes, fashion trends, culture, and industry trends, may impact the development of a line or a collection"-- Provided by publisher.

• Introduction: Polyrhythmia
• 1. Sequence
• 2. Rupture
• 3. Flux
• 4. Unrest Conclusion: Arrhythmia.
• (source: Nielsen Book Data)

This volume fluctuates between conceptualizations of movement; either movements that buildings in the medieval Mediterranean facilitated, or the movements of the users and audiences of architecture. From medieval Anatolia to Southern France and the Genoese colony of Pera across Constantinople, The Fluctuating Sea investigates how the relationship between movement and the experiences of a multiplicity of users with different social backgrounds can provide a new perspective on architectural history. The book acknowledges the shared characteristics of medieval Mediterranean architecture, but it also argues that for the majority of people inhabiting the fragmented microecologies of the Mediterranean, architecture was a highly localized phenomenon. It is the connectivity of such localized experiences that The Fluctuating Sea uncovers. The Fluctuating Sea is a valuable source for students and scholars of the medieval Mediterranean and architectural history.
(source: Nielsen Book Data)

• Culture and the Up-Ending of Tradition
• Hegel, Art and Adequation
• Adorno, The Constriction of the Aesthetic and Difficult Art
• Modern Music and the Pact with the Devil
• At the Precipice of Pop Culture: Wagner and Mahler
• Art Beyond the Horizon
• The Culture Industry and Popular Culture
• Light Music and Lazy Listening
• Jazz and "Jazz"
• Ugliness and Kitsch
• Aesthetics of Alienation
• "Fashion Theory": A Philosophy of Dress
• Lady Gaga's Gaga Aesthetics
• Madonna to the Power of X
• Fashion and the Redeployment of Kitsch
• Philosophy in Fabric: Deconstruction in Contemporary Fashion.

"Pop art has been traditionally been the most visible visual art within popular culture, because its main transgression is easy to understand: the infiltration of the "low" into the "high". The same cannot be said of contemporary art of the 21st century, where the term "Gaga Aesthetics" characterizes the condition of popular culture being extensively imbricated in high culture, and vice-versa. Taking Adorno and Horkheimer's "The Culture Industry" and Adorno's Aesthetic Theory as key touchstones, this book explores the dialectic of high and low that forms the foundation of Adornian aesthetics and the extent to which it still applied, and the extent to which it has radically shifted, thereby 'upending tradition'. In the tradition of philosophical aesthetics that Adorno began with Lukács, this explores the ever-urgent notion that high culture has become deeply enmeshed with popular culture. This is "Gaga Aesthetics": aesthetics that no longer follows clear fields of activity, where "fine art" is but one area of critical activity. Indeed, Adorno's concepts of alienation and the tragic, which inform his reading of the modernist experiment, are now no longer confined to art. Rather, stirring examples can be found in phenomena such as fashion and music video. In addition to dealing with Lady Gaga herself, this book traverses examples ranging from Madonna's Madam X to Moschino and Vetements, to deliberate on the strategies of subversion in the culture industry"-- Provided by publisher.

• Connecting Human and Divine: Carlo Crivelli's Hybrid Media / Amanda Hilliam
• Collaboration and Dissonance in Siena's Bichi Altarpiece / Ashley Elston
• Emblems and Hybridity in a Southern German Epitaph Sculpture / Catharine Ingersoll
• Hybridity, Media, and Source Material in Visual Representations of the Wild Woman: Transitions from Hand-Copied Manuscripts to Hand-Press Prints / Michelle Moseley-Christian
• Material Legacy: Hybridity and French Manuscript Illumination from the Late Fifteenth through Sixteenth Centuries / Larisa Grollemond
• Visual Hybridity in the Sancta Sanctorum (Rome): Reframing the Middle Ages / Kirstin Noreen
• (Re-)Encasing the Ashes of St. John the Baptist in Genoa Across Time / Madeline Rislow
• Recycling, Renaissance Style: Hybridity and Giorgio Vasari's Pieve Altarpieces / Sally J. Cornelison
• Style and Meaning Beyond Europe: Bernardo Bitti and Mannerism / Christa Irwin.

"This collection of essays explores hybridity in early modern art through two primary lenses: hybrid media and hybrid time. The varied approaches in the volume to theories of hybridity reflect the increased presence in art historical scholarship of interdisciplinary frameworks that extend art historical inquiry beyond the single time or material. The essays engage with what happens when an object is considered beyond the point of origin or as a legend of information, the implications of the juxtaposition of disparate media, how the meaning of an object alters over time, and what the conspicuous use of out-of-date styles means for the patron, artist, and/or viewer. Essays examine both canonical and lesser-known works produced by European artists in Italy, northern Europe, and colonial Peru, ca. 1400-1600. The book will be of interest to art historians, visual culture historians, and early modern historians"-- Provided by publisher.

• Part I: Furniture and the Built Environment
• Chapter 1 A Historical Perspective
• Chapter 2 Construction Principles
• Chapter 3 Piece Categorically Part II: Understanding the Piece
• Chapter 4 The Analysis of Form
• Chapter 5 A Graphic Narrative Part III: Object of Desire Part III Introduction
• Chapter 6 Antiquity: Egypt, Greece and Rome
• Chapter 7 Renaissance: Italy, France and England
• Chapter 8 18th Century: Italy, France and England & America - Late Colonial
• Chapter 9 Precursors to Modernism: Arts and Crafts, Art Nouveau, and Viennese Secession American Arts and Crafts - Prairie Style & Craftsman Style
• Chapter 10 Modernist Movements: Deutscher Werkbund, Bauhaus, De Stijl, International Style
• Chapter 11 Early Modernist Designers and Architects: Pierre Chareau (1883-1950), Eleen Gray (1879-1976), Jean Prouve (1901-1984), Charlotte Perriand (1903-1999)
• Chapter 12 Modernism in America and the European Connection
• Chapter 13 Movements after Modernism: High-tech, Postmodermism, Deconstructivism
• Chapter 14 Conclusion .
• (source: Nielsen Book Data)

An Illustrated Guide to Furniture History provides upper-level students and instructors with an alternative visual analytical approach to learning about furniture history from Antiquity to Postmodernism. Following an immersive teaching model, it presents a Nine-Step Methodology to help students strengthen their visual literacy and quickly acquire subject area knowledge. Moving chronologically through key periods in furniture history and interior design, such as the Renaissance, the Arts and Crafts Movement, and Modernism, it traverses Europe to America to present a comprehensive foundational guide to the history of furniture design. Part I addresses furniture within the context of the built environment, with chapters exploring the historical perspective, construction principles, and the categorization of furniture. In Part II, the author visually depicts the structural organization of the methodological process, a three-category framework: History, Aesthetics, and Visual Notes. The chapters in this part prepare the reader for the visual analysis that will occur in the final section of the book. The book is lavishly illustrated in full color with over 300 images to reinforce visual learning and notation. A must-have reference and study guide for students in industrial and product design, interior design, and architecture.
(source: Nielsen Book Data)

• List of Illustrations Acknowledgments
• Introduction, Catha Paquette (California State University Long Beach, USA), Karen Kleinfelder (California State University Long Beach, USA), and Christopher Miles (California State University Long Beach, USA) PART I. Deadly Serious 1. Subjugated Knowledges, Revisionist Histories, and the Problem of Visibility: Carrie Mae Weems and Ken Gonzales-Day, Nizan Shaked (California State University Long Beach, USA) 2. Damage Control: Teresa Margolles, the Mexican Government, and the 2009 Venice Biennale Mexican Pavilion, Ana Garduno (National Institute of Fine Arts, Mexico) 3. Death Matters, Kerstin Mey (University of Limerick, Ireland) PART II. The Sexual (In)Sight 4. Art/Obscenity/Underground Cinema in West Germany, 1968-72: Circulating through the Debates, Megan Hoetger (Performance and Media Historian and Curator, USA and Europe) 5. Impossible to Image: Art and Sexual Violence, 1975-79, Angelique Szymanek (Hobart and William Smith Colleges, USA) 6. De-Shaming Shame: A Conversation, John Fleck (Actor and Performance Artist, USA) and Kevin Duffy (Filmmaker and Actor, USA) 7. Only the Stupid Are Overt: Covert Censorship in the American Museum, Jonathan D. Katz (University of Pennyslvania, USA) PART III. Under Deliberation: Artful Activism 8. Tucuman Arde and the Changing Face of Censorship, Fabian Cereijido (Artist and Independent Scholar, USA) 9. The Discursive Roots of Censorship: Neoliberalism's Rendering of Chican@ Art, Karen Mary Davalos (University of Minnesota, Twin Cities, USA) 10. Tools and Obstacles: A Conversation, Daniel Joseph Martinez (University of California, Irvine, USA), Carol A. Wells (Center for the Study of Political Graphics, USA), and Nizan Shaked (California State University Long Beach, USA) 11. Remaining in Sight: Andrea Bowers's Art Lessons from Activists, Peter R. Kalb (Brandeis University, USA) PART IV. Framed: Institutional and Governmental Constraints 12. In and Out of Sites: Disability and Access in the Work of Park McArthur and Carmen Papalia, Elizabeth Guffey (State University of New York at Purchase, USA) 13. Culture, State, and Revolution: Arts Wars between Religious and Secular Autocracies in Post-Revolution Egypt, Sonali Pahwa (University of Minnesota, USA) and Jessica Winegar (Northwestern University, USA) 14 Knowing/Caring: A Conversation, Ai Weiwei (Artist, UK) and Alexandra Munroe (Solomon R. Guggenheim Museum, USA) PART V. Contested Objects: (Re)Presenting Cultural Heritage 15. Re-Indigenizing Native Space in a University Context, Craig Stone (California State University Long Beach, USA) 16. African Cultural Heritage: Erasure, Restitution, and Digital Image Regimes, Sylvester Okwunodu Ogbechie (University of California, Santa Barbara, USA) 17. Censorship and Creative (Re)Production: A Conversation, Morehshin Allahyari (Artist and Activist, USA) and Brittany Ransom (California State University Long Beach, USA) PART VI. Matters of Race: Campus (Un)Learning 18. Our Compliance: Provocation and Valuation, Ashley Powell (Artist, USA) and Kara Walker (Artist, USA) 19. Presenting/Canceling N*W*C*: Creative Expression, Speech Rights, and Pedagogy, Jane Conoley (California State University Long Beach, USA), Maulana Karenga(California State University Long Beach, USA, Karen Kleinfelder (California State University Long Beach, USA, Cyrus Parker-Jeannette (Dancer/Choreographer, USA), Michele Roberge (Performing Arts Specialist, USA), Elena Roznovan (Artist, USA) and Cintia Segovia (Photographer, USA), Griselda Suarez-Barajas (Long Beach Arts Council, USA), Andrew Vaca (CAlifaoria State University, Long Beach, USA), Jaye Austin Williams (Bucknell University, USA), and Teri Shaffer Yamada (California State University Long Beach, USA) 20. American Monument 25/2018: Students Respond, Andrea A. Guerrero (California State University Long Beach, USA) and CSULB School of Art Concerned Students of Color and Allies (California State University Long Beach, USA) Afterwords, Svetlana Mintcheva (National Coalition Against Censorship, USA), and Laura Raicovich (Independent Scholar, USA) Contributors Index.
• (source: Nielsen Book Data)

In and Out of View represents a significant contribution to the literature on censorship. The twenty-two components of this anthology, which include essays, interviews, and statements by over forty contributors from diverse backgrounds and practices, focus on art production and reception from the mid-twentieth century to the present in the Americas, Africa, Asia, Europe, and the Middle East. At issue are not only governmental restrictions but also discursive effects, such as erasure and distortion resulting from institutional policies, interpretive methods, and canonical processes. Crucial considerations concerning death, violence, authoritarianism, colonialism, labor, global capitalism, immigration, race, religion, sexuality, social justice, activism, disability, campus speech, and cultural destruction are highlighted. The volume, which models an expansion in how censorship is discursively framed, invites consideration of the shifting contexts, values, and needs through which artwork moves in and out of view.
(source: Nielsen Book Data)

• Korean modernity and modernism
• Inventing a modern nation : visual culture at the turn of the century
• Visualizing colonial modernities
• Cultural consumption and modernism
• Modernism as ideology : revision and appropriation.

"This book examines the development of national emblems, photographic portraiture, oil painting, world expositions, modern space for art exhibitions, university programs of visual arts, and other agencies of modern art in Korea. With few books on modern art in Korea available in English, this book is an authoritative volume on the topic and provides a comparative perspective on Asian modernism including Japan, China, and India. In turn, these essays also shed a light on Asian reception of and response to the Orientalism and exoticism popular in Europe and North America in the early twentieth century. The book will be of interest to scholars working in art history, history of Asia, Asian studies, colonialism, nationalism, and cultural identity"-- Provided by publisher.

• Introduction : A new style for a new age?
• Maker : Margarethe von Brauchitsch and the United Workshops
• Activists : the Elvira Photography Studio and Munich feminist politics
• Students : education women at the Debschitz School
• Patron : fashionable taste at Elsa Bruckmann's salon
• Reformers : dressing the part.

"Jugendstil, that is Germany's distinct engagement with the international Art Nouveau movement, is now firmly engrained in histories of modern art, architecture and design. Recent exhibitions and publications across the world explored Jugendstil's key protagonists and artistic centres to firmly anchor their activities within the trajectories of German modernism. Women, however, continue to be largely absent from these revisionist accounts. This book offers a new interpretation of this vibrant period, advocating women as an integral part of the emergence, dissemination and reception of Jugendstil and questioning the deeply gendered histories of this key period in modern art, architecture and design"-- Provided by publisher.

• Introduction. The Question of Mapping
• Part 1: Archaeologies 1. Travelers Without Maps 2. Mapping in the Age of the World Picture
• Part 2: Topologies 3. Topologies of Difference 4. Carto-aesthetics: Modalities of Art Making 5. Poetic Cartography as Nomadic Mapping Conclusion. After the End of the World Picture Appendix. Mapping in the Time of Global Pandemic.
• (source: Nielsen Book Data)

Mapping Paradigms in Modern and Contemporary Art defines a new cartographic aesthetic, or what Simonetta Moro calls carto-aesthetics, as a key to interpreting specific phenomena in modern and contemporary art, through the concept of poetic cartography. The problem of mapping, although indebted to the "spatial turn" of poststructuralist philosophy, is reconstructed as hermeneutics, while exposing the nexus between topology, space-time, and memory. The book posits that the emergence of "mapping" as a ubiquitous theme in contemporary art can be attributed to the power of the cartographic model to constitute multiple worldviews that can be seen as paradigmatic of the post-modern and contemporary condition. This book will be of particular interest to scholars in art history, art theory, aesthetics, and cartography.
(source: Nielsen Book Data)