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Prices for contemporary art are going through the roof despite the lousy economic situation in general. Internet, the growing number of rich individuals and globalization have changed the art market beyond recognition. Has contemporary art become a commodity in the hands of the super rich private collectors? This film investigates the ins and outs of the soaring art market and the consequences for artists, dealers, museums and for art history.

• Preliminary material / Editors Reworlding Art History
• Contemporary 'Southeast Asian' Art / Editors Reworlding Art History
• Mapping Regional Difference / Editors Reworlding Art History
• Exhibiting Southeast Asian Difference / Editors Reworlding Art History
• Trans/Localities? / Editors Reworlding Art History
• Memoryscapes / Editors Reworlding Art History
• Corporeographies / Editors Reworlding Art History
• Epilogue / Editors Reworlding Art History
• Bibliography / Editors Reworlding Art History
• Index / Editors Reworlding Art History.

Reworlding Art History highlights the significance of contemporary Southeast Asian art and artists, and their place in the globalized art world and the internationalizing field of ¿́¿contemporary art¿́¿. In the light of the region¿́¿s modern art history, the book surveys this relatively under-examined area of contemporary art which first found broad international recognition in the 1990s. Traced here are significant exhibitions that featured contemporary Southeast Asian art and brought it to regional and international attention. Examined are seminal foundational art histories, and dominant methods and thematic frameworks for engaging with Southeast Asian art. Key artists, exhibitions, collections, scholarship, ideologies, and discourses shaping its developing history are discussed, as are major works by artists associated with Indonesia, Malaysia, the Philippines, and Singapore. Far from being peripheral, Southeast Asian art has helped create the very conditions of international contemporary art, compelling us to examine the Euro-American biases of art history. The book stresses local creative contexts and cultural histories of the rich modern and contemporary art of the region and its diaspora, revealing its plurality and diversity. The concept ¿́¿Southeast Asia¿́¿ is treated as a crucial entry-point for examining art and artists associated with this unique region and for extending debate on the local/global constitution of contemporary art. Of central importance is the aesthetic agency of contemporary Southeast Asian art ¿́¿ its invitation to sensory and affective response ¿́¿ and its capacity for dialogue and diverse significations across borders. Also considered is the effect of shifting art-historical frameworks on engagement with this stimulating art. Richly illustrated and incorporating cross-cultural and interdisciplinary methods, Reworlding Art History is a foundational reference work for those interested in Southeast Asia¿́¿s contemporary art, including scholars of art history, Asian studies, curatorship, museology, visual culture, and anthropology, as well as professionals working in art and museum contexts.

• Artists: Firmin Baes
• Leon Devos
• Charles Doudelet
• James Ensor
• Willy Finch
• Pierre-Louis Flouquet
• Leon Frédéric
• Floris Jespers
• Oscar Jespers
• Paul Joostens
• Karel Maes
• Frans Masereel
• Xavier Mellery
• George Minne
• Constant Montald
• Constant Permeke
• Felicien Rops
• Leon Spilliaert
• Henri Van de Velde
• Frits Van de Berghe.

Is being an artist a radical form of entrepreneurship or a vocational calling like the priesthood? Is it an extension of philosophy or an offshoot of entertainment? In three richly interlinked but distinct 'acts' - Politics, Kinship and Craft - Sarah Thornton compares and contrasts answers to the simple but profound question: what is an artist? 33 Artists in 3 Acts draws on hundreds of personal encounters with the world's most important artists, to ask what it means to be making artworks in different parts of the world today. With Thornton as expert guide and trusted insider, we have unprecedented access to the lives of the artists, from late-night Skype chats with Ai Weiwei to taxi rides with Maurizio Cattelan on the way to and from the show that announces his death. We join Thornton as she rummages through artists' studios, homes and solo shows, inquiring about everything from their bank accounts to their bedrooms. The result is a series of cinematic experiences, which juxtapose artists in thought-provoking ways, and build up narratives that end with epiphanies. 33 Artists in 3 Acts is a generational touchstone, a powerful triptych and gripping anti-monograph about truth, integrity, credibility and recognition. Essential reading for anyone interested in contemporary art, this masterful act of storytelling will also delight any reader seeking to understand creative lives.
(source: Nielsen Book Data)

• POSTERS: 33 bienal de São Paulo [afinidades afetivas]
• O ensaio: um filme de Tamar Guimaraes
• Vania Mignone
• Sofia Borges
• Alejandro Cesarco
• Claudia Fontes
• Maria Laet.

• 33 / Gabriel Perez-Barreiro
• O que seus olhos não vem: Alejandro Corujeira
• [A-1 53 167]: Aníbal López
• A origem da vida e a origem do viver: Antoni Ballester Moreno
• Homo Sapiens: Bruno Moreschi
• Quartzotekários: Denise Millan
• Ornamento extremo: Feliciano Centurión / Ticio Escobar
• As palavras e as coisas de Lucia Nogueira / Jacopo Crivelli Visconti
• Um esboço de feitiço como e por que especular novas dinâmicas institucionais / Luiza Crosman
• Mamma Andersson
• Césio rua 57 : Siron [Franco]: coincidências e circunstancias / Charles Cosac
• Da arte: Waltercio Caldas
• Wura-Natasha Ogunji / conversas Lhola Amira, Mame-Diarra Niang, Nicole Vlado, Ruby Onyinyechi Amanze, Wura-Natasha Ogunji, Youmna Chiala Você não está solo aqui: Nelson Felix.

• Einleitung
• Geleitwort
• Allgemeine Einführung
• München als Zentrum der Frauenbewegung um 1900
• Grafik und Malerei
• Die Damen-Akademie
• Biografien und Werke der Grafikerinnen und Malerinnen
• Angewandte Kunst
• Die Debschitz-Schule
• Biografien und Werke der Künstlerinnen
• Fotografie
• Die Lehr- und Versuchsanstalt für Photographie
• Biografien und Werke der Fotografinnen
• Anhang
• Künstlerinnenverzeichnis
• Anmerkungen
• Bildnachweis
• Dank.

• List of Illustrations ix Foreword to the Princeton Classics Edition xi Preface xvii Acknowledgments xxi CHAPTER ONE Introduction: Modern, Postmodern, and Contemporary 3 CHAPTER TWO Three Decades after the End of Art 21 CHAPTER THREE Master Narratives and Critical Principles 41 CHAPTER FOUR Modernism and the Critique of Pure Art: The Historical Vision of Clement Greenberg 61 CHAPTER FIVE From Aesthetics to Art Criticism 81 CHAPTER SIX Painting and the Pale of History: The Passing of the Pure 101 CHAPTER SEVEN Pop Art and Past Futures 117 CHAPTER EIGHT Painting, Politics, and Post-Hisotrical Art 135 CHAPTER NINE The Historical Museum of Monochrome Art 153 CHAPTER TEN Museums and the Thirsting Millions 175 CHAPTER ELEVEN Modalities of History: Possibility and Comedy 193 Index 221.
• (source: Nielsen Book Data)

Originally delivered as the prestigious Mellon Lectures on the Fine Arts in 1995, After the End of Art remains a classic of art criticism and philosophy, and continues to generate heated debate for contending that art ended in the 1960s. Arthur Danto, one of the best-known art critics of his time, presents radical insights into art's irrevocable deviation from its previous course and the decline of traditional aesthetics. He demonstrates the necessity for a new type of criticism in the face of contemporary art's wide-open possibilities. This Princeton Classics edition includes a new foreword by philosopher Lydia Goehr.
(source: Nielsen Book Data)

One of the world's great cultural, research and educational centres, The Huntington, located in San Marino, California and best known for its renowned collection of British and European art, is home to an astonishing library, art collection and botanical gardens. Until now, no book has been dedicated to featuring the institution's important - and insufficiently known - collection of American art from Copley to Warhol. Coinciding with the American gallery's thirtieth anniversary, this book, with a design both innovative and beautiful, features full-page reproductions of one hundred-plus paintings, sculptures, decorative arts, drawings, prints and photographs. Accompanied by thoughtful historical and contextual essays, American Made celebrates a collection that began with a gift of fifty master paintings but that now includes over 12,000 objects, making The Huntington one of the best repositories of American art in the country.
(source: Nielsen Book Data)

• Emile Bernard
• Émile Bernard - L'exalté
• Bruno Gaudichon
• Oublions "l'Aventure de ma vie"
• Lorédana Harscoa-Maire
• Le maître et l'élève
• Introduction à la découverte des lettres d'Émile Bernard à André Maire
• Lorédana Harscok-Maire
• Transcription complète des lettres
• Lorédana Harscoa-Maire et Amandine Delcourt
• Catalogue des Émile Bernard de La Piscine
• Amandine Delcourt et Lorédana Harscoa-Maire.

• Introduction : Comment l'art naît-il en Grèce ?
• Les inventions grecques
• Commencements de l'esthétique
• De l'utilité de Platon et d'Aristote
• L'"ars" des Latins et la "technè" des Grecs
• L'art avant les beaux-arts
• À l'origine, poésie et tragédie
• Les arts et le sacré
• Homère et Orphée
• Magie, religion et thaumaturgie
• Le culte de Bacchus
• De Bacchus à Dionysos
• Des dithyrambes et des masques
• Vers un théâtre de scène
• Un théâtre rituel, populaire et non professionnel
• Des poètes et des dieux
• L'anonymat disparaît
• Inspiré par les dieux
• L'enthousiasme poétique
• Un art sans technè
• Les arts visuels
• Peinture et sculpture
• Un statut d'artisan
• Quand Apelle tance Alexandre
• On admire les oeuvres, pas leurs auteurs
• Face aux produits de l'art
• Les fonctions de l'image
• "Rester dans les mémoires"
• Pour l'édification du peuple
• À la recherche de l'illusion
• L'Histoire naturelle de Pline
• Produire l'illusion
• Le souci du réalisme
• Surenchère dans l'illusion
• Vers une histoire de l'art ?
• Penser l'imitation avec Platon
• La mimèsis
• Souvenirs de l'art égyptien
• Vérité ou vraisemblance ?
• Platon contre les arts de l'apparence
• Des arts "loin de la vérité"
• Protogène et Apelle rivalisent de traits
• Pouvoir des arts imitatifs
• Des dangers de l'imitation
• Les arts doivent éduquer
• Les passions, l'utile et le beau
• La pensée aristotélicienne des arts
• La Poétique d'Aristote
• Des règles pour la tragédie
• La mimèsis comme représentation
• Éloge des émotions feintes
• Questions au théâtre
• Qu'est-ce que le beau ?
• L'apollinien et le dionysiaque
• En lisant l'Hippias majeur
• Un canon grec : la kalokagathia
• L'Idée de beauté
• Diotime et "l'essence même du beau"
• Où la métaphysique platonicienne empêche l'esthétique
• Le principe du nombre selon Pythagore
• Proportion et harmonie
• Le Canon de Polyclète
• Actualité de l'esthétique antique.

"La philosophie de l'art sans histoire de l'art est vide, l'histoire de l'art sans philosophie de l'art est aveugle. L'art est fait non seulement d'oeuvres, mais aussi de mots pour les dire, de concepts pour les distinguer et de théories pour les penser. Qu'était donc l'art pour les hommes de la Grèce antique ? L'enquête, à la fois historique et thématique, permet de mesurer tout ce qui sépare notre manière moderne de penser l'art de celle des Anciens, mais aussi tout ce qui les relie. L'écart considérable entre une vision moderne, qui conçoit l'art comme une fin en soi, et la conception antique d'un art fonctionnel, largement lié à la religion et soumis aux rituels de la Cité, se resserre lorsque l'on constate combien l'Antiquité, à bien des égards, a posé la première ces questions qui perdurent jusqu'à notre hypermodernité : qu'est-ce que le beau ? est-il universel ? à l'art, tout est-il permis ?"--P. [4] of cover.

Art & Language Uncompleted. The Philippe Meaille Collection provides a detailed and revealing view of one of the most complex aesthetic identities of the second half of the twentieth century. The overwhelming literary and writerly personality of Art & Language, evident in the huge number of yellowed documents and papers which form a significant part of The Philippe Meaille Collection, challenges the power of the institution to deal with artistic research. What we discover is something as discursive and various as the artistic life of a collaboration which has evolved relentlessly since the sixties.
(source: Nielsen Book Data)

Art Against the Law launches the new Chicago Social Practice History series, edited by Mary Jane Jacob and Kate Zeller in the Department of Exhibitions and Exhibition Studies at the School of the Art Institute of Chicago (SAIC). In 1968, Chicago made headlines for the ferocity of its police response to protesters at the Democratic National Convention, prompting outrage in the art world. Some artists pulled their shows from the city and called for a boycott until the mayor left office. But others responded artistically, creating new works and even full exhibitions in reaction to the political and social issues raised by the summer's events. Despite the city's sometimes notorious political and social history, art practices that challenge authority have thrived in Chicago. Art Against the Law examines the creative tactics of the city's activist artists and their ways of addressing the broad definitions of the law - from responses to excessive policing to inequities in public policy. These include creative forms of protest, rebellion against the law through illegal art practices, and using the political system itself as an art medium to alter existing laws. The essays and conversations in this volume also address the boundaries between art and creative activism and question whether lines should be drawn at all. Through these texts and interviews, Art Against the Law proves that creative imagination can be formidable in challenging the status quo.
(source: Nielsen Book Data)

• Preliminary Material
• Introduction / Erberto Lo Bue and John Bray
• 1 Ancient Petroglyphs of Ladakh: New Discoveries and Documentation / Tashi Ldawa Thsangspa
• 2 Embedded in Stone--Early Buddhist Rock Art of Ladakh / Phuntsog Dorjay
• 3 Historic Ruins in the Gya Valley, Eastern Ladakh, and a Consideration of Their Relationship to the History of Ladakh and Maryul With an Appendix on the War of Tsede (rTse lde) of Guge in 1083 CE by Philip Denwood / Neil Howard and Kath Howard
• 4 An Archaeological Account of Ten Ancient Painted Chortens in Ladakh and Zanskar / Quentin Devers , Laurianne Bruneau and Martin Vernier
• 5 The Chorten (mChod rten) with the Secret Chamber near Nyarma / Gerald Kozicz
• 6 The Dating of the Sumtsek Temple at Alchi / Philip Denwood
• 7 The Iconography and the Historical Context of the Drinking Scene in the Dukhang at Alchi, Ladakh / Marjo Alafouzo
• 8 The Wood Carvings of Lachuse. A Hidden Jewel of Early Mediaeval Ladakhi Art / Heinrich Poell
• 9 The mGon khang of dPe thub (Spituk): A Rare Example of 15th Century Tibetan Painting from Ladakh / Chiara Bellini
• 10 Chigtan Castle and Mosque: A Preliminary Historical and Architectural Analysis / Kacho Mumtaz Ali Khan , John Bray , Quentin Devers and Martin Vernier
• 11 Lamayuru (Ladakh)--Chenrezik Lhakang: The Bar Do Thos Grol Illustrated as a Mural Painting / Kristin Blancke Kristin Blancke
• 12 The Lost Paintings of Kesar / John Bray
• 13 Tshogs zhing: a Wall Painting in the New 'Du khang of Spituk (dPe thub) / Filippo Lunardo
• 14 From Benaras to Leh--The Trade and Use of Silk-brocade / Monisha Ahmed
• 15 Conservation of Leh Old Town--Concepts and Challenges / André Alexander and Andreas Catanese
• 16 Revealing Traditions in Earthen Architecture: Analysis of Earthen Building Material and Traditional Constructions in the Western Himalayas / Hubert Feiglstorfer
• 17 Conservation of Architectural Heritage in Ladakh / John Harrison
• Bibliography
• Index.

Art and Architecture in Ladakh shows how the region's cultural development has been influenced by its location across the great communications routes linking India with Tibet and Central Asia. Edited by Erberto Lo Bue and John Bray, the collection contains 17 research papers by experienced international art historians and architectural conservationists, as well as emerging scholars from Ladakh itself. Their topics range widely over time, from prehistoric rock art to mediaeval Buddhist stupas and wall paintings, as well as early modern castle architecture, the inter-regional trade in silk brocades, and the challenges of 21st century conservation. Taken together, these studies complement each other to provide a detailed view of Ladakh's varied cultural inheritance in the light of the latest research. Contributors include: Monisha Ahmed, Marjo Alafouzo, Andre Alexander, Chiara Bellini, Kristin Blancke, John Bray, Laurianne Bruneau, Andreas Catanese, Philip Denwood, Quentin Devers, Phuntsog Dorjay, Hubert Feiglstorfer, John Harrison, Neil and Kath Howard, Gerald Kozicz, Erberto Lo Bue, Filippo Lunardo, Kacho Mumtaz Ali Khan, Heinrich Poell, Tashi Ldawa Thsangspa and Martin Vernier.
(source: Nielsen Book Data)

• Introduction - Erberto Lo Bue and John Bray
• 1. Ancient Petroglyphs of Ladakh: New Discoveries and Documentation - Tashi Ldawa Thsangspa
• 2. Embedded in Stone - Early Buddhist Rock Art of Ladakh - Phuntsog Dorjay
• 3. Historic Ruins in the Gya Valley, Eastern Ladakh, and a Consideration of Their Relationship to the History of Ladakh and Maryul - Neil and Kath Howard. With an Appendix on the War of Tsede (rTse lde) of Guge in 1083 CE by Philip Denwood
• 4. An Archaeological Account of Ten Ancient Painted Chortens in Ladakh and Zanskar - Quentin Devers, Laurianne Bruneau and Martin Vernier
• 5. The Chorten (mChod rten) with the Secret Chamber near Nyarma - Gerald Kozicz
• 6. The Dating of the Sumtsek Temple at Alchi - Philip Denwood
• 7. The Iconography and the Historical Context of the Drinking Scene in the Dukhang at Alchi, Ladakh - Marjo Alafouzo
• 8. The Wood Carvings of Lachuse. A Hidden Jewel of Early Mediaeval Ladakhi Art -Heinrich Poell
• 9. The mGon khang of dPe thub (Spituk): A Rare Example of 15th Century Tibetan Painting from Ladakh - Chiara Bellini
• 10. Chigtan Castle and Mosque: a Preliminary Historical and Architectural Analysis - Kacho Mumtaz Ali Khan, John Bray, Quentin Devers and Martin Vernier
• 11. Lamayuru (Ladakh) - Chenrezik Lhakang: The Bar Do Thos Grol Illustrated as a Mural Painting - Kristin Blancke
• 12. The Lost Paintings of Kesar - John Bray
• 13. Tshogs zhing: a Wall Painting in the New 'Du khang of Spituk (dPe thub) - Filippo Lunardo
• 14. From Benaras to Leh - the Trade and Use of Silk-brocade - Monisha Ahmed
• 15. Conservation of Leh Old Town - Concepts and Challenges - Andre Alexander with Andreas Catanese
• 16. Revealing Traditions in Earthen Architecture: Analysis of Earthen Building Material and Traditional Constructions in the Western Himalayas - Hubert Feiglstorfer
• 17. Conservation of Architectural Heritage in Ladakh -John Harrison Bibliography List of Contributors Index.
• (source: Nielsen Book Data)

Art and Architecture in Ladakh shows how the region's cultural development has been influenced by its location across the great communications routes linking India with Tibet and Central Asia. Edited by Erberto Lo Bue and John Bray, the collection contains 17 research papers by experienced international art historians and architectural conservationists, as well as emerging scholars from Ladakh itself. Their topics range widely over time, from prehistoric rock art to mediaeval Buddhist stupas and wall paintings, as well as early modern castle architecture, the inter-regional trade in silk brocades, and the challenges of 21st century conservation. Taken together, these studies complement each other to provide a detailed view of Ladakh's varied cultural inheritance in the light of the latest research. Contributors include: Monisha Ahmed, Marjo Alafouzo, Andre Alexander, Chiara Bellini, Kristin Blancke, John Bray, Laurianne Bruneau, Andreas Catanese, Philip Denwood, Quentin Devers, Phuntsog Dorjay, Hubert Feiglstorfer, John Harrison, Neil and Kath Howard, Gerald Kozicz, Erberto Lo Bue, Filippo Lunardo, Kacho Mumtaz Ali Khan, Heinrich Poell, Tashi Ldawa Thsangspa and Martin Vernier.
(source: Nielsen Book Data)

• 1. Introduction: The Ethical Dimension of Art
• 2. Perceiving Intention in Order
• 3. Finding Fault with Feeling
• 4. Reasoning Our Way to Pleasure
• 5. Talking Morals
• 6. Imagining Freedom
• 7. Cultivating Genius
• 8. Meaning and Morals: A Post-Kantian Conception of Art and Community.
• (source: Nielsen Book Data)

In this book, McMahon argues that a reading of Kant's body of work in the light of a pragmatist theory of meaning and language (which arguably is a Kantian legacy) leads one to put community reception ahead of individual reception in the order of aesthetic relations. A core premise of the book is that neo-pragmatism draws attention to an otherwise overlooked aspect of Kant's "Critique of Aesthetic Judgment, " and this is the conception of community which it sets forth. While offering an interpretation of Kant's aesthetic theory, the book focuses on the implications of Kant's third critique for contemporary art. McMahon draws upon Kant and his legacy in pragmatist theories of meaning and language to argue that aesthetic judgment is a version of moral judgment: a way to cultivate attitudes conducive to community, which plays a pivotal role in the evolution of language, meaning, and knowledge.
(source: Nielsen Book Data)

The guiding theme of these essays by aesthetician, musician, and Santayana scholar Morris Grossman is the importance of preserving the tension between what can be unified and what is disorganized, random, and miscellaneous. Grossman described this as the tension between art and morality: Art arrests a sense of change and yields moments of unguarded enjoyment and peace; but soon, shifting circumstances compel evaluation, decision, and action. According to Grossman, the best art preserves the tension between the aesthetic consummation of experience and the press of morality understood as the business of navigating conflicts, making choices, and meeting needs. This concern was intimately related to his reading of George Santayana. The best philosophy, like the best art, preserves the tension between what can be ordered and what resists assimilation, and Grossman read Santayana as exemplifying this virtue in his embrace of multiple perspectives. Other scholars have noted the multiplicity or irony in Santayana's work, but Grossman was unique in taking such a style to be a substantive part of Santayana's philosophizing.
(source: Nielsen Book Data)

Art & Politics Now is a richly illustrated survey of more than 200 artists whose works address the political, often using radical approaches and techniques to communicate their ideas. Since the turn of the 21st century, contemporary artists have increasingly engaged with some of the most pressing issues facing our world and their art has taken a distinctly political turn. Eleven themed chapters with integrated illustrations each provide a closely woven argument about the contribution of specific artworks and projects to different aspects of political and social engagement, from globalization and citizenship to activism and the environment.
(source: Nielsen Book Data)

• Acknowledgements Introduction PART 1. CRAFTS, TRADES, ARTISANS AND GUILDS 1. Art& mystery 2. The guilds& livery companies 3. Guild regulation& training 4. Indentured apprenticeships 5. The craft trades& the visual arts PART 2. PAINTERS 6. The art of picture craft 7. The materials of painters 8. Painter stainers 9. The painters: mechanic and liberal 10. Easel painting 11. The trade of painting in oil House and decorative painting Sign painting& making coach painting marine painting 12. Size painting Stained hangings Stained transparencies Scene painting for the theatre The plasterers 13. Limning& watercolour painting Limning Watercolour painting PART 3. SCULPTORS, CARVERS& RELATED TRADES 14. Sculpture7 15. Modelling& casting in plaster Modelling in clay Casting in plaster 16. The pointing machine 17. Carving Woodcarving Stone& marble carving 18. Metalwork& related trades The foundry Chasers& chasing Die-sinking& seal-cutting
• PART 4. ACADEMIES OF ART& THE FOUNDATIONS OF ARTISTIC PROFESSIONS 19. The origin& function of academies of art 20. Conclusion Appendix I: Indenture of 1788: Isaac Dell Appendix II: Advertisement for a Stationer and Picture Dealer c. 1750-1759 Appendix III: Samuel Wale (?-d. 1786) as sign painter Appendix IV: Charles Catton (1728-1798)"The Prince of Coach Painters" Appendix V: John Baker RA (1736-1771), coach painter Appendix VI: Luke (Marmaduke) Cradock (1660-1717) the"Ornamental Painter" Appendix VII: Sign painting in Colonial and early Federal America Appendix VIII: Prices of house painters'work of 1799 Appendix IX: Stained hangings: early seventeenth and eighteenth century Appendix X: A sampling of individual painters or sculptors who left the English Provinces for Apprenticeships in London, Westminster or Southwark Appendix XI: Some of the many woodcarvers who later worked in stone and marble Appendix XII: The construction of an armature in John Flaxman's studio Appendix XIII: Prices in 1797 for ship-carving on Royal Navy vessels in relationship to tonnage Appendix XIV: Price list for lead statuary Appendix XV: Some members of the St Martin's Lane Academy Appendix XVI: Proposed accommodation and prospectus for the Royal Academy Schools Appendix XVII: Part of Gustav Waagen'S (1794-1868) evidence before the Select Committee of the House of Commons in 1834, on the value of Academies of Art Glossary Bibliography Index.
• (source: Nielsen Book Data)

Before the foundation of academies of art in London in 1768 and Philadelphia in 1805, most individuals who were to emerge as artists trained in workshops of varying degrees of relevance. Easel painters began their careers apprenticed to carriage, house, sign or ship painters, whilst a few were placed with those who made pictures. Sculptors emerged from a training as ornamental plasterers or carvers. Of the many other trades in a position to offer an appropriate background were `limning', staining, engraving, surveying, chasing and die-sinking. In addition, plumbers gained the right to use oil painting and, for plasterers, the application of distemper was an extension of their trade. Central to the theme of this book is the notion that, for those who were to become either painters or sculptors, a training in a trade met their practical needs. This `training' was of an altogether different nature to an `education' in an art school. In the past, prospective artists were offered, by means of apprenticeships, an empirical rather than a theoretical understanding of their ultimate vocation. James Ayres provides a lively account of the inter-relationship between art and trade in the late 17th to early 19th centuries, in both Britain and North America. He demonstrates with numerous, illustrated examples, the many cross-overs in the`art and mystery' of artistic training, and, to modern eyes, the sometimes incongruous relationships between the various trades that contributed to the blossoming of many artistic careers, including some of the most illustrious names of the `long' 18th century.
(source: Nielsen Book Data)

• Acknowledgements Introduction PART 1. CRAFTS, TRADES, ARTISANS AND GUILDS 1. Art& mystery 2. The guilds& livery companies 3. Guild regulation& training 4. Indentured apprenticeships 5. The craft trades& the visual arts PART 2. PAINTERS 6. The art of picture craft 7. The materials of painters 8. Painter stainers 9. The painters: mechanic and liberal 10. Easel painting 11. The trade of painting in oil House and decorative painting Sign painting& making coach painting marine painting 12. Size painting Stained hangings Stained transparencies Scene painting for the theatre The plasterers 13. Limning& watercolour painting Limning Watercolour painting PART 3. SCULPTORS, CARVERS& RELATED TRADES 14. Sculpture7 15. Modelling& casting in plaster Modelling in clay Casting in plaster 16. The pointing machine 17. Carving Woodcarving Stone& marble carving 18. Metalwork& related trades The foundry Chasers& chasing Die-sinking& seal-cutting
• PART 4. ACADEMIES OF ART& THE FOUNDATIONS OF ARTISTIC PROFESSIONS 19. The origin& function of academies of art 20. Conclusion Appendix I: Indenture of 1788: Isaac Dell Appendix II: Advertisement for a Stationer and Picture Dealer c. 1750-1759 Appendix III: Samuel Wale (?-d. 1786) as sign painter Appendix IV: Charles Catton (1728-1798)"The Prince of Coach Painters" Appendix V: John Baker RA (1736-1771), coach painter Appendix VI: Luke (Marmaduke) Cradock (1660-1717) the"Ornamental Painter" Appendix VII: Sign painting in Colonial and early Federal America Appendix VIII: Prices of house painters'work of 1799 Appendix IX: Stained hangings: early seventeenth and eighteenth century Appendix X: A sampling of individual painters or sculptors who left the English Provinces for Apprenticeships in London, Westminster or Southwark Appendix XI: Some of the many woodcarvers who later worked in stone and marble Appendix XII: The construction of an armature in John Flaxman's studio Appendix XIII: Prices in 1797 for ship-carving on Royal Navy vessels in relationship to tonnage Appendix XIV: Price list for lead statuary Appendix XV: Some members of the St Martin's Lane Academy Appendix XVI: Proposed accommodation and prospectus for the Royal Academy Schools Appendix XVII: Part of Gustav Waagen'S (1794-1868) evidence before the Select Committee of the House of Commons in 1834, on the value of Academies of Art Glossary Bibliography Index.
• (source: Nielsen Book Data)

Before the foundation of academies of art in London in 1768 and Philadelphia in 1805, most individuals who were to emerge as artists trained in workshops of varying degrees of relevance. Easel painters began their careers apprenticed to carriage, house, sign or ship painters, whilst a few were placed with those who made pictures. Sculptors emerged from a training as ornamental plasterers or carvers. Of the many other trades in a position to offer an appropriate background were `limning', staining, engraving, surveying, chasing and die-sinking. In addition, plumbers gained the right to use oil painting and, for plasterers, the application of distemper was an extension of their trade. Central to the theme of this book is the notion that, for those who were to become either painters or sculptors, a training in a trade met their practical needs. This `training' was of an altogether different nature to an `education' in an art school. In the past, prospective artists were offered, by means of apprenticeships, an empirical rather than a theoretical understanding of their ultimate vocation. James Ayres provides a lively account of the inter-relationship between art and trade in the late 17th to early 19th centuries, in both Britain and North America. He demonstrates with numerous, illustrated examples, the many cross-overs in the`art and mystery' of artistic training, and, to modern eyes, the sometimes incongruous relationships between the various trades that contributed to the blossoming of many artistic careers, including some of the most illustrious names of the `long' 18th century.
(source: Nielsen Book Data)

• Introduction: By Way of the Law
• Chapter 1: By Way of Negation
• Chapter 2: By Way of Beauty
• Chapter 3: By Way of Truth
• Chapter 4: By Way of Deception - With Efrat Biberman (Holon Institute of Technology, Design)
• Chapter 5: By Way of Prohibition Conclusion.
• (source: Nielsen Book Data)

Ever since Plato expelled the poets from his ideal state, the ethics of art has had to confront philosophy's denial of art's morality. In Art before the Law, Ruth Ronen proposes a new outlook on the ethics of art by arguing that art insists on this tradition of denial, affirming its singular ethics through negativity. Ronen treats the mechanism of negation as the basis for the relationship between art and ethics. She shows how, through moves of denial, resistance, and denouncement, art exploits its negative relation to morality. While deception, fiction, and transgression allegedly locate art outside morality and ethics, Ronen argues they enable art to reveal the significance of the moral law, its origins, and the idea of the good. By employing the thought of Freud and Lacan, Ronen reconsiders the aesthetic tradition from Plato through Kant and later philosophers of art in order to establish an ethics of art. An interdisciplinary study, Art before the Law is sure to be of interest both to academic philosophers and to those interested in psychoanalytic theory and practice.
(source: Nielsen Book Data)

• Contents: 1 Prelude: Acquisition
• PART 1: Establishing the Scope and Value of a Collection: 2 Inventory Management
• 3 Valuation
• PART II: Holding Costs: 4 Art Insurance
• 5 Shipping, Storage, Framing, Installation
• 6 Conservation and Collection Care
• PART III: The Private and Public Worth of Collections: 7 Sharing Collections (Display, Lending and Publishing)
• 8 Art Financing and Investing
• 9 Conclusion: Parting from Collections (Deaccessioning, Gifting and Estate Planning)
• Notes
• Resources
• Index.
• (source: Nielsen Book Data)

• Contents: Acknowledgements
• Prelude
• PART I: Collection Building: 1 Acquisition
• PART II: Establishing the Scope and Value of a Collection: 2 Inventory Management
• 3 Valuation
• PART III: Collection Maintenance and Holding Costs: 4 Insurance
• 5 Shipping, Storage, Framing & Installation
• 6 Conservation and Collection Care
• PART IV: The Public and Private Worth of Collections: 7 Sharing Collections (Display, Loans, and Publishing)
• 8 Art Investing and Financing
• PART V: Parting from Collections: 9 Deaccessioning, Gifting, and Estate Planning
• Conclusion
• Endnotes
• Bibliography
• Resources
• Index.
• (source: Nielsen Book Data)

With the rapid and unprecedented global expansion of the art market, new collectors are emerging every day. When buying art, whether for pure enjoyment, investment or some other motive, few art collectors consider the practical and financial implications of owning and maintaining art, and many do not have a plan for how they might eventually dispose of it. This book, probing a number of resources and incorporating advice from top experts in the field, offers guidance on collection management and care, and serves as an important reference guide for collectors and those charged with managing collections.Mary Rozell draws on her long experience as both an art collection management professional and an art lawyer to illuminate some of the myriad issues that arise when managing an art collection. Covering acquisition, inventory management, the insurance, security, storage and conservation of collections, art financing and investing, and the sharing and deaccessioning of artworks, this Handbook will be an essential resource for art collectors, curators, enthusiasts and all those with responsibility for art collections of all kinds.
(source: Nielsen Book Data)

• Part One: The Basics
• Time for critique!
• Critiques aren't tests
• Critiques aren't just conversations
• Critique formats
• Skills versus meaning
• Talking about composition is easier than talking about race
• What if you're asked to talk about your work?
• What if you didn't put in much work on your art?
• Teachers make their own artworks, different from yours
• Thinking about the critique afterward
• Part Two: BFA Issues
• A sample critique
• How long should a critique be?
• The first ten seconds of the critique
• The last ten minutes of the critique
• Five kinds of critiques: A. The silent teacher critique
• -- Five kinds of critiques: B. The conceptual critique
• Five kinds of critiques: C. The boot camp critique
• Five kinds of critiques: D. The silent student critique
• Five kinds of critiques: E. The anti-critique
• Student + teacher + artwork = confusion
• All the ways to fail
• Being close to your work, being too close to your work
• Does your teacher like the other teachers?
• Therapy
• Critiques don't always build on one another, but start again and again from scratch
• Critiques drift from topic to topic
• That critique room
• Part Three: MFA Issues
• What if you make very different kinds of work?
• Managing interdisciplinary critiques
• Being behind the times, being average
• Some teachers are judicative, and others descriptive
• Teachers make idiosyncratic pronouncements
• Music critiques, dance critiques, theater critiques
• Part Four: Theories
• Criticism, critique, crit, criticality, Kritik
• Five purposes of criticism
• A sixth purpose of criticism, and some words for success
• M.H. Abrams's theory
• Five allegories for critiques: A. Critiques are like seductions, full of emotion
• Five allegories for critiques: B. Critiques are like different languages, all spoken at once
• Five allegories for critiques: C. Critiques are like storytelling
• Five allegories for critiques: D. Critiques are like battles
• Five allegories for critiques: E. Critiques are like trials
• Critiques are polyglot
• Part Five: Projects
• Tinkering with the critique format
• Three big projects: A Investigate the chain of questions
• Three big projects: B. Transcribe your critique
• Three big projects: C. Do a six-hour critique
• Part Six: PhD Issues
• The world of the PhD
• Why PhD programs leave critiques behind
• PhD programs are mainly concerned with research ...
• ... and knowledge
• The future of the PhD.

This is a guidebook for art students at the college level (BA, BFA, MFA, PhD). Compared to other books on critique, this book is more colorful, more engaging, and less formal. -- Amazon.com.

• Le banal comme fiction postmoderne
• Un théâtre de l'expérience : TH 2058 de Dominique Gonzalez-Foerster
• Le jeu pervers du vrai et du vraisemblable À propos du téléfilm historique postmoderne
• Mystère, opéra et narrativité dans le Fantaisie KV475 de Mozart
• Histoires de peaux, histoires de guerres
• La réalité à l'épreuve de la fiction dans le cinéma de R. W. Fassbinder
• Man Ray : "Place est faite au rêve"
• La représentation de l'univers concentrationnaire dans l'opéra du XXe siècle
• Réalités fictionnelles d'aujourd'hui, réflexion sur le sens de l'évolution
• La puissance de la fiction à la recherche de la joie spinozienne
• La littérature contemporaine et le réel (À partir de Pierre Bergounioux)
• Le vacillement des frontières entre fiction et réalité
• Fiction & photographie.

"Il est devenu banal de déclarer que les images virtuelles et les mondes fictifs créés par les nouvelles technologies donnent à repenser le rapport de l'homme au réel, et le rapport de l'homme à lui-même. Voilà donc la version postmoderne d'une question philosophique d'importance, qui remonte à l'allégorie platonicienne de la Caverne, et peut-être au-delà ; élaborer des images "vraies" d'objets qui n'existent pas, créer des fictions réelles, ou des réalités fictives comme synthétiser des sons que l'on n'entendra probablement jamais. Il conviendrait aujourd'hui de regarder les oeuvres d'art comme des dispositifs fictionnels, non pas seulement comme de pures et simples fictions, mais comme des virtualités qui aiguisent nos yeux, affûtent nos oreilles, engendrent les fantasmes que nous projetons dans le futur comme autant d'espoirs d'émancipation."--P. [4] of cover.

• Au temps des révolutions
• Au temps de germinal
• Au temps des guerres
• La nouvelle donne
• La région des musées : un parcours
• De la préhistoire aux mérovingiens
• Le turbulent moyen âge
• Au temps des bourguignons
• Au temps des espagnols
• Au temps des rois de France.

"De Charles Quint à Henri Matisse, de saint Vaast l'évangélisateur à Mariette Pacha, de Germinal au Louvre Lens, cet ouvrage propose une façon nouvelle de découvrir une région riche, belle et méconnue. Il raconte son histoire foisonnante en s'appuyant sur les oeuvres des "musées de France" que l'on peul visiter dans les deux départements. Il éclaire à la lumière d'une histoire passionnante les chefs-d'oeuvre qui y sont conservés et qui ont valu au Nord - Pas-de-Calais le surnom mérité de "Région des Musées"."--P. [4] of cover.

• Ouverture
• L'artiste est un maître ignorant
• Introduction
• Art et enseignement
• L'atelier sur la route
• L'incitation au voyage dans le cadre de la formation des artistes (fin XIXe-début XXe siècle)
• Le moine dans sa cellule
• Ateliers d'artistes à la Villa Médicis (fin XIXe-début XXe siècle)
• La gravure en Catalogne
• Une histoire d'ateliers
• Les ateliers de dessin industriel à la Belle Époque
• Statuts, pratiques et rapport à la modernité
• Les Ateliers d'Arts Appliqués malgaches
• Les intentions secrètes d'une transmission artistique dans la France coloniale
• Alfred-Auguste Janniot (1889-1969)
• Tradition et transmission d'une esthétique monumentale
• La modernité artistique à l'épreuve de l'enseignement
• L'Atelier d'Art Abstrait
• Aurelie Nemours, la transmission paradoxale
• Politique de l'atelier
• De quelques espaces alternatifs new-yorkais, 1969-1976
• L'atelier à l'École nationale supérieure des beaux-arts de Paris entre 1960 et 2000
• Un lieu d'apprentissage adapté à son époque ?
• La médiatisation du savoir
• Pratiques d'atelier et transpositions littéraires
• La critique d'art de Jean Dolent
• Quand l'atelier se fait texte
• Les livres de travaux d'amateurs et les voies nouvelles de Pautodidaxie
• La revue, un outil de transmission des savoirs d'ateliers ?
• L'exemple d'Emmanuel Sougez dans la revue
• PHoto-Ciné-GRAPHIE (1933-1936)
• "Ceci n'est pas toute une classe, c'est ici une bonne volonté générale"
• Les entretiens de Robert Delaunay (1938-1939)
• Henri Matisse
• Clarifier sa propre pensée ?
• La fabrique d'une transmission
• Les secrets d'atelier de Marcel Gimond dans les archives photographiques de Véra Cardot et Pierre Joly
• Paroles d'artistes
• Entretien avec Vincent Bioulès
• Philippe Richard, la transmission créative
• Forger, transmettre
• Entretien avec Carole Leroy
• Une vie esthétique.

"Cet ouvrage collectif s'inscrit dans une historiographie abondante sur l'atelier comme lieu matériel et immatériel de la transmission des savoirs artistiques. Il se compose d'une vingtaine d'essais dont l'originalité réside dans la diversité des approches et dans la multiplicité des définitions qu'ils donnent de l'atelier. L'ouverture, les seize études, les trois entretiens et le témoignage d'artiste donnent ainsi à comprendre tout autant les pratiques d'atelier : à savoir les recettes et les secrets, qu'ils rendent compte de l'évolution des structures didactiques de l'enseignement artistique et de la diversité des modèles et des outils de transmission des savoirs spécifiques aux arts. En interrogeant l'atelier en tant que lieu d'apprentissage où les techniques s'apprennent et les coutumes se perpétuent, tout autant qu'en étudiant les revues, les manuels où la transmission des savoirs s'effectue par le biais des discours, des images et des réflexions théoriques, les contributions au présent ouvrage renouvellent les questions du devenir artiste" de la fin du XIXe siècle à nos jours. Ainsi, ces études permettent de prendre conscience de la variété des expériences de sociabilité singulières et marquantes qui ont jalonné la création artistique au cours de cette période, et de se faire une idée de ce que transmettre, puis communiquer un savoir, peut avoir signifié et signifie encore de nos jours."--P. [4] of cover.

• Remapping Terrains, Retelling Time
• Decentering and Reorienting Global Art Histories
• Translating, Counter-Visualization, and Practice.

With globalization steadily reshaping the cultural landscape, scholars have long called for a full-scale reassessment of art history's largely Eurocentric framework. This collection of case studies and essays, the latest in the Clark Studies in the Visual Arts series, brings together voices from various disciplinary and theoretical backgrounds, each proposing ways to remap, decenter, and reorient what is often assumed to be a unified field. Rather than devise a one-size-fits-all strategy for what has long been a divided and disjointed terrain, these authors and artists reframe the inherent challenges of the global--most notably geographic, political, aesthetic, and linguistic differences--as productive starting points for study. As the book demonstrates, approaching art history from such alternative perspectives rewrites some of the most basic narratives, from the origins of representation to the beginnings of the "modern" to the very history of globalization and its effects.
(source: Nielsen Book Data)

Ideas in Profile: Small Introductions to Big Topics Art has always been part of history. But we often think of it as outside history. When we look at a painting by Raphael, Rembrandt or Rubens it speaks to us directly, but it's also an historical document, part of a living world. Renowned art historian Martin Kemp takes the reader on an extraordinary trip through art, from devotional works to the revolutionary techniques of the Renaissance, from the courtly Masters of the seventeenth century through to the daring avant-garde of the twentieth century and beyond. Along the way we encounter the great names of art history: Leonardo da Vinci and Michelangelo; Vermeer and Velasquez; Picasso and Pollock. We get under the skin of the many 'isms', schools, styles and epochs. We see the complex sweep of art history with its innovations, collaborations, rivalries, break-throughs and masterpieces. Above all, Kemp puts art in context; art isn't about disembodied images, art itself is history. Part of the Ideas in Profile series, uniquely enlivened with animations and illustrations from the award winning studio Cognitive Media, Art in History is an indispensable, accessible and richly detailed guide to our culture, our history, our heritage and our art. Also available in two ebook formats. Please note that ISBN 9781782831020 is for the usual ebook format and 9781781254110 is for an enhanced edition with additional video and audio which should be used only with tablet devices that are capable of playing this additional content.
(source: Nielsen Book Data)

This book is intended as a reference guide for art market researchers at all levels. A brief overview of the global art market and its major stakeholders precedes an analysis of the various sales venues (auction, commercial gallery, etc.) where art is bought and sold. Library research skills are reviewed, and advanced methods are explored in a chapter devoted to basic market research. Because the monetary value of fine and decorative artwork cannot be established without reference to the aesthetic qualities and art historical significance of our subject works, two substantial chapters detail the processes involved in researching and documenting fine and decorative arts, respectively; these chapters include highly selective, annotated bibliographies on each topic addressed. Methods for discovering or assigning the value of fine and decorative arts objects are explored, and sources of price data, both in print and online, are identified and described in detail. In recent years, art historical scholarship increasingly addresses issues related to the history of art and its markets; with this in mind, a chapter on resources for the historian of the art market offers a wide range of both primary and secondary data sources. Finally, provenance and art law are discussed, with particular reference to their relevance to dealers, collectors, artists and other art market stakeholders.
(source: Nielsen Book Data)

• Chapter One Introduction: Between Past and Future, the Art of Post-Dictatorship, Chapter Two On Fernando's Photograph: Bio-politics, Aparicion and the Demands of the Disappeared, Chapter Three Writing to the General, and Other Aesthetic Practices of Critique: The Art of Leon Ferrari as a Practice of Freedom, Chapter Four Re-turning the Past: The ESMA Trial and Affective Architecture at the 'Space of Memory', Chapter Five Missed Appointments: Ethics at the Parque de la Memoria, Buenos Aires, Chapter Six The Invitation to Imagine: Addressing Photography in Cordoba, Chapter Seven Absence and Vigilance: The Artwork of Diana Dowek and Lucila Quieto, Bibliography, Index.
• (source: Nielsen Book Data)

Since the end of the last dictatorship in 1983, Argentina's visual artists and art-activists have been central to campaigns to demand the criminal prosecution of those initially granted amnesty and to a variety of commemorative projects. In The Art of Post-Dictatorship: Ethics and Aesthetics in Transitional Argentina Vikki Bell examines this involvement and intervention. She argues that the problematics that arise within the aesthetic realm cannot be understood solely through an art-historical approach; instead, they must be understood as a constitutive part of a broader collective endeavour. In this sense, the 'art' of post-dictatorship is not something that belongs to art or the artists themselves, but is about how the subjectivities and imaginations of new generations are constituted and entwined with questions of response, ethics and justice. It concerns how people align themselves between the past and the future. This book will be an invaluable resource for those studying the law, politics, art and sociology of contemporary Argentina as well as those concerned more widely with transitional justice and the politics of memory.
(source: Nielsen Book Data)

• Falling in love with the American West / Erivan and Helga Haub
• Western Art for the Pacific Northwest / Christian and Liliane Haub
• Building the Haub Collection / Christine Mollring
• West by Northwest : Treasures from the Haub family Collection Come Home / Peter H. Hassrick
• Selected Works from the Collection / Laura F. Fry
• Native American Artists Looking Back / Scott Manning Stevens
• Selected Works from the Collection / Laura F. Fry
• Art of the West for the 21st Century / Laura F. Fry
• Selected Works from the Collection / Laura F. Fry
• Artists' Biographies / Kimberly Disney and Margaret E. Bullock
• Additional works from the collection
• Curator's acknowledgments / Laure F. Fry.

This handsome book displays an extraordinary breadth of masterworks dating from the 1790s to the present, including over 140 artists in some 320 beautiful color reproductions. In a variety of media and styles, iconic American artists including Frederic Remington, Thomas Moran, Charles M. Russell, and Georgia O'Keeffe, as well as under-explored artists such as Walter Ufer and Kevin Red Star, address the fascinating topics and themes of Native American culture, American politics, land conservation, and the implications of Manifest Destiny. The historical art featured here helped to shape our perceptions of Native Americans, cowboys, and western landscapes; the recent and contemporary pieces shed a modern light on western cultures and challenge long-held myths and assumptions about the American West. Art of the American West is timed to coincide with the opening of a new expansion to the Tacoma Art Museum, brilliantly designed to house these artworks and to connect with and contribute to the city's culture and history. Lavishly illustrated, the book also includes insightful essays written by some of the most important scholars working with this material today. This privately held collection is published here for the first time.
(source: Nielsen Book Data)

This handbook provides teachers with a framework for implementing inquiry-based, substantive art integration across the curriculum, along with the background knowledge and models needed to do this. Drawing on ideas from Harvard Project Zero, the authors make a clear and compelling argument for how contemporary art supports student learning. The text features subject-specific chapters co-written by teaching scholars from that discipline. Each chapter includes examples of contemporary art with explanations of how these works explore the fundamental concepts of the academic discipline. The book concludes with a chapter on an integrated, inquiry-based curriculum inspired by contemporary art, including guidelines for developing art projects teachers can adapt to their students' interests and needs. This resource is appropriate for art teachers, as well as subject-area teachers who are not familiar with using contemporary art in the classroom.
(source: Nielsen Book Data)

• Art/commerce : blurring the line
• Art spaces/commercial spaces
• Art objects/brand products
• Artist/entrepreneur
• Art/commerce : the question of autonomy.

This book offers a compelling perspective on the striking similarity of art and commerce in contemporary culture. Combining the history and theory of art with theories of contemporary culture and marketing, Maria A. Slowinska chooses three angles (space, object/experience, persona) to bridge present and past, aesthetic appearance and theoretical discourse, and traditional divisions between art and commerce. Beyond both pessimistic and celebratory rhetorics, "Art/Commerce" illuminates contemporary phenomena in which the aestheticization of commerce and the commercialization of aesthetics converge.
(source: Nielsen Book Data)

• Colección CNAP: apuesta al futuro = CNAP collection: challenge for the future / Rubén del Valle Lantarón
• Colección CNAP: en la búsqueda del tiempo perdido = CNAP collection: in search of lost time / Isabel María Pérez Pérez
• Recorrido por el arte contemporáneo cubano = A tour of Cuban contemporary art / Virginia Alberdi
• Una oportunidad única = A unique opportunity / Gilbert Brownstone
• Rodando se encuentran = Rolling, they meet / Ph.D. Maria Cruz Alonso
• Artistas = Artists
• Síntesis curricular = Curricular data-Índice onomástico. Artistas en la Colección CNAP 2008
• 2013 = Alphabetical list of names. Artists in the 2008
• 2013 CNAP collection

• La voie de l'indépendance
• L'auto-exposition comme principe de solidarité
• Premières revendications
• S'auto-exposer faute d'être admis au Salon
• Une société coopérative pour les futurs impressionnistes
• De l'artiste indépendant à l'artiste dépendant du marché
• L'autoreprésentation comme règle avant-gardiste
• L'autogestion : une alternative pour les collectifs d'artistes
• Artist-run Spaces
• Freeze ou l'alternativisme institutionnel
• L'autopromotion au service d'un projet individuel
• Gustave Courbet, maître du genre
• Un "musée" pour soi
• Do it yourself ou l'artiste en entrepreneur
• Exposer son cercle : de l'artiste galeriste au curateur indépendant
• L'artiste-galeriste : Alfred Stieglitz & cie
• L'Espace pour la peinture de Günter Umberg
• Les galeries de Maurizio Cattelan
• Les pratiques "solidaires" de Damien Hirst et de Takashi Murakami
• Ai Weiwei, passeur engagé
• L'artiste commissaire et le musée : une histoire ambivalente
• Genèses du commissariat d'artiste
• Du garde des collections à l'artiste placier
• L'artiste en conservateur de musée
• Musée du passé vs artiste du présent
• Le curating selon Marcel Duchamp
• L'accrocheur accroché
• Conseiller de Katherine Dreier
• Scénographe et auto-exposant
• Agent de Constantin Brancusi
• Du scénographe chevronné au "générateur arbitre" et vice versa
• Faux dilettante et homme-orchestre
• Le polyvalent mal perçu
• Polyvalence de l'artiste au temps du Bauhaus
• El Lissitzky ou la naissance de l'artiste scénographe
• Les théories expographiques d'Herbert Bayer
• L'architecte-scénographe : Frederick Kiesler
• De l'oeuvre-musée au musée-oeuvre
• Le musée comme matériau de réflexion plastique
• Mal du musée et permissivité institutionnelle
• Le musée comme support de l'oeuvre
• Artistes et musées : une autorité partagée
• Du commissaire artiste à l'artiste commissaire
• Harald Szeemann ou la naissance du "faiseur d'exposition"
• Quand l'organisateur prend la place de l'artiste
• Le commissaire artiste : entre rejet et dévotion
• L'institutionnalisation d'un genre
• Réactualiser le patrimoine muséal
• D'Andy Warhol à Joseph Kosuth
• Une méthode anachronique
• Artist's Choice : du MoMA aux musées de beaux-arts
• Apogée du phénomène : Orsay:Louvre-Versailles
• L'artiste en scénographe pour les musées de société
• La réactualisation du patrimoine : un art de la "postproduction" ?
• S'auto-exposer au musée
• Daniel Buren : "C'est moi le chef."
• Commissaire de sa propre exposition
• Quand Godard congédie son commissaire
• Exposer ses pairs
• L'artiste conseiller
• Les activités curatoriales (et paradoxales) de Daniel Buren
• Le commissariat d'artiste comme parrainage
• Des cartes banches pour sélectionner ses pairs
• L'artiste rhabillé en directeur artistique
• Enrôler les oeuvres d'autrui
• Le cut-up comme pratique appropriationniste
• Les cartes blanches du Palais de Tokyo
• (Auto)portraits de l'artiste en collectionneur
• L'artiste en "super" scénographe
• Be the Artist's Guest
• L'artiste en créateur d'ambiances

• Épilogue Quel commissaire d'exposition pour demain ?

"En 1970, dans les réserves du Musée d'art de la Rhode Island School of Design à Providence, Andy Warhol prépare avec ses collaborateurs le troisième volet de l'exposition Raid the Icebox. Loin de son personnage de dandy aux cheveux platinés et au visage fardé, le pape du Pop art est montré dans un rôle que l'on connaît peu de lui et que pourtant bien des artistes après lui assumeront : celui de commissaire d'exposition. Aujourd'hui, nous sommes habitués à ce que des plasticiens, des écrivains, des cinéastes, des stylistes, et même des joueurs de football, soient invités à mettre en scène des oeuvres conservées dans un musée. Nous ne sommes pas davantage surpris de voir des artistes exposer leurs pairs, diriger des manifestations artistiques internationales, s'associer à des curateurs de profession ou, à l'inverse, être les commissaires de leurs propres expositions. L'artiste serait-il devenu un nouveau professionnel de l'art ou, comme l'aurait dit Marcel Broodthaers, un "administrateur culturel" ? À vrai dire, les choses sont plus complexes car cette figure de l'artiste commissaire, désormais si influente, reste profondément ancrée dans un système de valeurs et d'exigences qui, depuis la fin du XIXe siècle, oscille entre le compromis et la transgression, entre le souci d'être à la fois dans l'institution et hors d'elle. La visée du présent ouvrage est précisément de montrer comment la figure de l'artiste commissaire s'est imposée au gré d'une histoire longue et complexe qui tient tant aux diverses stratégies déployées par les créateurs qu'aux transformations progressives du paysage institutionnel de l'art. Cette histoire était d'autant plus importante à écrire qu'elle ne révèle pas seulement une évolution du statut de l'artiste et du métier de commissaire, mais un phénomène plus large qui pose la question de l'exposition comme méta-oeuvre et, plus encore, comme lieu et instrument de pouvoir."--P. [4] of cover.

• Vorwort
• Der "Führervorbehalt" und der größte Kunstraub aller Zeiten
• Der "Führer" als Kunstsammler
• Hitlers Böcklin-Kollektion
• Berater und Händler
• Meisterwerke der Malerei AH
• Das Projekt "Führermuseum"
• Eine Galerie fiir Hitlers Heimatstadt
• Das Erlebnis der Uffizien
• Der Sonderbeauftragte Hans Posse
• Kunstraub in Österreich
• Vom Vermögensentzug zum Kunstraub
• Hitler sammelt Österreichisch
• Das Denkmalamt als Kollaborateur
• Streit um die Rothschild-Sammlungen
• Die gescheiterte Verteilung
• Raubkunst für die Museen
• Posse inspiziert die Wiener Raubkunst
• Zugriff auf die sichergestellten Kunstwerke
• Der Kunstbesitz der Klöster und Stifte
• Zwangsverkäufe
• Posses Verteilungsplan
• Streit um die Sammlung Lanckoroński
• Kunstraub im "Altreich"
• Kunstraub in Polen
• Die Rolle Hitlers
• Posses Polen-Mission
• Wissenschaft als Legitimierung
• Die "Führerauswahl" in Berlin
• Lubomirskis Dürer-Sammlung
• Konkurrierende Verteilungspläne
• "Heimführung"
• Deutsche Kunstraub-Paranoia
• Deutscher Kunstraub-Revanchismus
• Posses Gutachten zum Genter Altar
• Die Odyssee des Genter Altars
• Kunstraub in Frankreich
• Die Rolle Hitlers
• Rosenbergs Zugriff auf die jüdischen Sammlungen
• Posse in den Pariser Raubkunstdepots
• Der Profiteur Hermann Göring
• Konflikte um den Abtransport
• Die symbolische Übergabe der Beute
• Kunstraub in den Niederlanden
• Erwerbungen en gros
• Kampf gegen die Konkurrenz
• Kunstraub in der Tschechoslowakei
• Der "Führervorbehalt" im Protektorat Böhmen und Mähren
• Die Sammlung des Fürsten Lobkowicz
• Der Hohenfiirther Altar
• Kunstraub in der Sowjetunion
• Der "Sonderauftrag" in der Sowjetunion
• Der "Führervorbehalt" für die Eremitage
• Posses Beauftragter Niels von Holst
• Überraschende Kooperationen
• Der Anteil Rosenbergs
• Die Gemälde für das "Führermuseum"
• Die geplante Präsentation in München
• Das "Führermuseum" in Kremsmünster
• Hitlers Sorge um die Kunstwerke
• Der "Sonderauftrag" nach Stalingrad
• Der Nachfolger Hermann Voss
• Die Zentralregistrierung in Dresden
• Die Kunstwerke in Altaussee
• Unautorisierte Einlieferungen
• Der "Führervorbehalt" als Instrument
• Hitler ist der Chef
• Posse setzt sich durch
• Das Nachkriegsschicksal der Raubkunst
• Anmerkungen
• Abkürzungen
• Quellen
• Literatur
• Personenregister.

• Aviation : an ode to liberating joy : introduction
• Fyodorov & Malevich : the infinity of space / Andrei Velikanov
• Alexander Rodchenko's flying objects in the context of the avant-garde / Alexander Lavrentiev
• Landscape with aircraft / Nadya Plungyan
• Aviation between art and propaganda / Ramiz Aliev
• Space
• Machine
• Hero
• List of illustrations
• Avant-garde & aviation : list of exhibits
• Index of names.

• Préface / Henri Zerner
• Avant-propos
• Introduction : Une notoriété éphémère: Baptiste Pellerin d'après les textes
• Mort et résurrection
• Les rapports ambigus de Baptiste Pellerin et de la gravure
• Stephanus versus baptiste, baptiste versus stephanus
• Baptiste Pellerin et la gravure sur bois
• L'entrée de Charles IX à Paris en 1571
• L'instruction sur l'herbe petum et le ballet des polonais
• Baptiste Pellerin et les libraires parisiens
• Baptiste Pellerin et les imagiers de la rue Montorgueil
• Ceci tuera cela ou la revanche de la gravure
• Baptiste Pellerin et le livre manuscrit
• Le maître des heures Gouffier: baptiste Pellerin
• Baptiste Pellerin et Guillaume le Gangneur
• Baptiste Pellerin cartonnier
• La tenture de la vie de saint Jean et de l'apocalypse pour l'église Saint-Nicolas des champs à Paris
• Le recueil de la vie de saint Barthélemy de la bibliothèque nationale de France
• Le dessin de l'histoire de moise et d'Aaron de Chicago
• Les vitraux de Saint-Michel-sur-Orge
• Les dessins pour les arts du métal: mièvrerie, joaillerie et armures
• Le peintre, un intermédiaire indispensable
• D'orfèvrerie et la joaillerie
• Armures et dessins d'armures
• Baptiste Pellerin et l'art monétaire.

"Célèbre en son temps, qualifié d'"excellent peintre" par ses contemporains. Baptiste Pellerin n'a cependant connu qu'une gloire éphémère. Les historiens de la peinture du XVIIe siècle ayant déjà oublié son nom, une grande partie de son oeuvre dessiné fut attribuée au graveur Étienne Delaune, à qui il avait régulièrement fourni des modèles. Ce livre a pour objet de reconstituer sa carrière et de la replacer dans le milieu artistique parisien de la seconde moitié du XVIe siècle. À partir de 1549, il exécuta des travaux pour le Roi. Il participa aussi au décor de deux des plus beaux livres enluminés du règne de Henri II, les Heures Gouffier et les Heures de Montmorency. Il collabora à l'entrée de Charles IX dans la capitale en 1571, et jusqu'à sa mort, en 1575, travailla pour les commanditaires les plus divers, du simple artisan à l'entourage royal. Ce fut un artiste prolifique : parmi les pièces qui nous sont parvenues et dont on peut lui donner la conception, on trouve aussi des vitraux, des éléments d'armure, des jetons et médailles et de nombreuses gravures. De plus, quantité d'oeuvres disparues nous sont connues au stade du projet grâce à ses dessins, dans des domaines où seule une infime proportion de la production est conservée, comme la tapisserie, l'orfèvrerie et la joaillerie. Aucun autre peintre français de cette époque ne peut se prévaloir d'une telle influence sur l'art de la capitale à la Renaissance."--P. [4] of cover.

• Grusswort / Theresia Bauer
• Vorwort / Pia Müller-Tamm, Regine Hess
• Bauen und Zeigen : aus Geschichte und Gegenwart der Kunsthalle Karlsruhe / Pia Müller-Tamm
• Kunsthalle Karlsruhe 1991/1999 / Candida Höfer: Ein badisches Nationalmuseum? : die Gründung der Grossherzoglichen Kunsthalle 1837-1846 / Wolfgang Zimmermann ; Vom Musentempel zum Galerieraum : Besucheralltag in der Kunsthalle Karlsruhe 1846-1938 / Charlotte Klonk ; Drei Rundgänge durch die Gemäldegalerie : 1790 - 1846 - 1881 / Holger Jacob-Friesen ; Kunst-Konstruktion : zur Genese von Heinrich Hübschs Karlsruher Galeriegebäude / Ulrich Maximilian Schumann
• Die Kunsthalle 1837-1846 / Heinrich Hübsch: Antike in der Kunsthalle / Katarina Horst ; "Wir bedürfen sehr vieler Portefeuilles ..." : Ortswechsel, Ordnungssysteme und Präsentationsformen des Kupferstichkabinetts / Dorit Schäfer und Astrid Reuter ; "Hübsch wollte es aber so" : Moritz von Schwind und die Wandbilder der Kunsthalle / Andrea Gottdang ; "Totenbett mit Rüstung" : eine ikonografische Spurensuche in einem Fresko Moritz von Schwinds / Cordula Bachmann
• Bildliche Ausgestaltung der Kunsthalle / Moritz von Schwind: Der Erweiterungsbau der Kunsthalle von Josef Durm 1889-1897 / Ulrike Grammbitter
• Erweiterung der Kunsthalle 1889-1897 / Josef Durm: Neuordnungen und Präsentationen der Alten Malerei 1919-1951 / Dietmar Lüdke ; Vom dritten zum vierten Flügel : Thoma-Museum, Museumsreform und Wiederaufbau der Kunsthalle / Regine Hess
• Erweiterung der Kunsthalle 1907-1909 : Errichtung des Mohl-Flügels 1982-1988 / Heinrich Amersbach: Zwischen ideologischem und baulichem Zusammenbruch : die Kunsthalle im Nationalsozialismus / Tessa Friederike Rosebrock ; Neuordnungen und Präsentationen der Alten Malerei 1956-1990 / Dietmar Lüdke ; "Verknüpfung, Verdichtung und Verschachtelung" : Heinz Mohls Erweiterung der Kunsthalle und die zeitgenössische Architekturdiskussion / Carsten Ruhl
• Erweiterung der Kunsthalle 1979-1988 / Heinz Mohl: Bauliche Erneuerung und Sammlungspräsentation 1990-2010 / Siegmar Holsten ; "Stadtschlenderer" im Museum : die Kunsthalle als Laboratorium baukultureller Bildung / Barbara Welzel
• Menschen in der Kunsthalle, 2013/14 / Barbara Klemm: Bilder und ihre Betrachter / Peter Geimer.

• Nature, science et beauté
• Propos d'introduction. Pierre Lena
• La beauté des Mathématiques. Étienne Ghys
• Beauté et vérité : la physique des particules élémentaires
• La nature est-elle belle ? Yves Quéré
• Cerveau et beauté. Jean-Claude Ameisen
• Illuminations célestes. Le ciel étoilé au-dessus de nos têtes
• Discussion
• L'émergence de l'art
• Le sens de la beauté est-il le propre de l'Homme ? Henry de Lumley
• Nature, Science et Beauté. Jean-Marie Le Tensorer
• Les grandes étapes de l'évolution de l'art préhistorique
• L'émergence du sens de la beauté dans l'art médiéval
• L'émergence de l'idée de beauté en Occident. Jean-François Mattéi
• La notion de "Beau idéal". Alain Merot
• Discussion
• Sens du beau
• Émotion esthétique, indignation morale, étonnement philosophique : la sortie de l'ombre. Chantal Delsol
• La Beauté dans l'art contemporain. Christine Sourgins
• La beauté interdite en art : 1960-2013. Aude de Kerros
• L'expérience esthétique chez l'homme et l'animal. Edmond Couchot
• La route de la beauté et les chemins de la contemplation. Rino Fisichella
• Perspectives théologiques sur le sens de la beauté. Monseigneur André Dupleix
• Discussion
• Intervenants.

"En fabriquant des outils, en accédant au langage articulé, en s'affranchissant progressivement des contraintes de la sélection naturelle, l'homme a donné toute liberté à son imagination, à ses rêves et à ses émotions. Peu à peu, la conscience du beau s'est imposée à lui, avec l'acquisition de la notion de symétrie, l'émergence du sens de l'harmonie, puis l'apparition de la parure, de l'art mobilier, de l'art pariétal, et même de la musique... Le sens de la beauté est une des aspirations les plus profondes de la nature humaine à la recherche de la transcendance. Mais quand, et comment, ce sentiment de la beauté émerge-t-il ? Qu'elle est la signification du beau ? Peut-il y avoir une beauté en mathématique ? Quelles ont été les grandes étapes de l'évolution de l'art préhistorique ? De l'art médiéval ? Qu'est-ce que le "Beau ideal"? Peut-on avoir une émotion esthétique? Que signifie le beau dans l'art contemporain ? C'est à ces questions essentielles que répondent Henry de Lumley et son équipe, composée d'historiens, de physiciens, de mathématiciens, d'artistes, de philosophes et de théologiens. Cet ouvrage, tiré d'un cycle de conférences tenu au Collège des Bernardins, est une grande synthèse qui bouscule les interprétations dominantes sur l'idée de beauté."--P. [4] of cover.

• L'approche de la philosophie occidentale
• Vue d'ensemble
• La grande tradition occidentale : faire dépendre l'esthétique de la philosophie
• La tentation de réduire l'art à la pensée
• Autres réductions
• Examen de trois tentatives originales
• Roman Ingarden
• Nelson Goodman
• Rainer Rochlitz
• Les prémisses d'une science humaine de l'art
• L'apport des sciences humaines
• Introduction
• L'apport de la sociologie
• L'apport de la psychanalyse
• Recherches sur les oeuvres et les auteurs
• Recherches sur la création
• Recherches sur la réception
• Limites de la psychanalyse des arts
• Aveu des limites de la psychanalyse
• Claude lévi-strauss et les arts
• Conclusion
• La définition possible
• Troisième hypothèse de travail
• Nouvelle documentation
• Nouveau départ
• L'invariant de l'effet de vie
• Preuves
• Les corollaires de l'effet de vie
• Le matériau incitatif
• Le jeu créateur
• La forme vive
• La plurivalence
• L'ouverture
• La cohérence
• La dialectique du singulier et du pluriel.

"L'esthétique littéraire de l'effet de vie, qui est une théorie de la littérature fondée sur la découverte d'un invariant dans les arts poétiques des écrivains du monde entier passés à la postérité, a rapidement suscité l'intérêt des chercheurs travaillant sur d'autres arts, convaincus de leur fraternité. Les nouvelles recherches ainsi effectuées dans le cadre de rencontres scientifiques internationales permettent aujourd'hui de prévoir une "artologie" générale reposant sur le même invariant."--P. [4] of cover.

• Avant-propos / Philippe Luez
• Hommage à Bernard Do Rival / Jacques Sallois, ancien Directeur des Musées de France
• Bernard Dorival : un héritage / Philippe Luez
• Biographie / Gilles Dorival
• Portrait de notre père / Gilles, Anne, Pascal et Jérôme Dorival
• Moments partagés entre Bernard Dorival et Alfred Manessie / Christine Manessier
• Bernard Dorival / Jeanne Busse et Jean Cortot
• Catalogue des oeuvres
• Annexes
• Bibliographie.

"Fondateur du musée de Port-Royal des Champs, spécialiste de Philippe de Champaigne, Bernard Dorival a été également historien de l'art du XXe siècle, acteur incontournable dans la constitution des collections du Musée National d'Art Moderne. Bernard Dorival est issu d'une famille de collectionneurs dont certaines pièces forment le premier noyau de sa collection : Champaigne, Sellaio, Millet, Boudin, Monet, Redon... Il entreprend d'acheter les oeuvres d'artistes contemporains dont il défend la production dans des livres et des articles. Ses fonctions au sein des musées de France l'ont amené à rencontrer les plus grands créateurs de son époque et lui ont permis de nouer des relations étroites avec bon nombre d'entre eux. Il a vu leurs premières oeuvres, il a accompagné leur éclosion, il les a aidés dans leurs moments de doute, il les a soutenus en achetant leurs peintures et sculptures et en faisant entrer leurs oeuvres dans les collections publiques. La "Nouvelle école de Paris" compose la plus large part de sa collection personnelle, manifestant tout à la fois ses goûts propres et ses amitiés : Rouault, Zao Wou-ki, Manessier, de Staël, Kupka, Szenes et Vieira da Silva, Léger, Atlan... Les quelque cinquante oeuvres exposées, pour une bonne part inédites, dessinent le paysage de l'art contemporain des années 1940 à 2000 et le portrait intime d'un "honnête homme" du XXe siècle. Le musée de Port-Royal des Champs rend hommage à son fondateur, à l'occasion du centième anniversaire de sa naissance. La présentation au public d'une partie de sa collection personnelle permet de saisir les différentes facettes d'une personnalité essentielle de l'histoire de l'art et de la création artistique contemporaine."--P. [4] of cover.

• Introduction: from medium to site
• Rhetorics of expansion
• Leaving the movie theater
• Moving images in the gallery
• Cinema on stage
• The festival, the factory, and feedback
• Epilogue: the homelessness of the moving image.

Today, the moving image is ubiquitous in global contemporary art. The first book to tell the story of the postwar expanded cinema that inspired this omnipresence, Between the Black Box and the White Cube travels back to the 1950s and 1960s when the rise of television caused movie theaters to lose their monopoly over the moving image, leading cinema to be installed directly alongside other forms of modern art. Explaining that the postwar expanded cinema was a response to both developments, Andrew V. Uroskie argues that, rather than a formal or technological innovation, the key change for artists involved a displacement of the moving image from the familiarity of the cinematic theater to original spaces and contexts. He shows how newly available, inexpensive film and video technology enabled artists such as Nam June Paik, Robert Whitman, Stan VanDerBeek, Robert Breer, and especially Andy Warhol to become filmmakers. Through their efforts to explore a fresh way of experiencing the moving image, these artists sought to reimagine the nature and possibilities of art in a postcinematic age and helped to develop a novel space between the "black box" of the movie theater and the "white cube" of the art gallery. Packed with one hundred illustrations, Between the Black Box and the White Cube is a compelling look at a seminal moment in the cultural life of the moving image and its emergence in contemporary art.
(source: Nielsen Book Data)

• Introduction: from medium to site
• Rhetorics of expansion
• Leaving the movie theater
• Moving images in the gallery
• Cinema on stage
• The festival, the factory, and feedback
• Epilogue: the homelessness of the moving image.

Today, the moving image is ubiquitous in global contemporary art. The first book to tell the story of the postwar expanded cinema that inspired this omnipresence, Between the Black Box and the White Cube travels back to the 1950s and 1960s when the rise of television caused movie theaters to lose their monopoly over the moving image, leading cinema to be installed directly alongside other forms of modern art. Explaining that the postwar expanded cinema was a response to both developments, Andrew V. Uroskie argues that, rather than a formal or technological innovation, the key change for artists involved a displacement of the moving image from the familiarity of the cinematic theater to original spaces and contexts. He shows how newly available, inexpensive film and video technology enabled artists such as Nam June Paik, Robert Whitman, Stan VanDerBeek, Robert Breer, and especially Andy Warhol to become filmmakers. Through their efforts to explore a fresh way of experiencing the moving image, these artists sought to reimagine the nature and possibilities of art in a postcinematic age and helped to develop a novel space between the "black box" of the movie theater and the "white cube" of the art gallery. Packed with one hundred illustrations, Between the Black Box and the White Cube is a compelling look at a seminal moment in the cultural life of the moving image and its emergence in contemporary art.
(source: Nielsen Book Data)

• Introduction
• 1. Beyond Theories of Art
• 2. After the Beginning of Art
• 3. Passing the Buck on Art
• 4. Art in Culture
• 5. The Myth of Artistic Value
• 6. Beyond Bricolage
• 7. Appreciative Kinds and Media
• 8. Appreciative Practices
• 9. Aesthetic Appreciation
• 10. Much Ado about Art
• Afterword
• References
• Index.
• (source: Nielsen Book Data)

Dominic McIver Lopes articulates and defends a 'buck passing theory of art', namely that a work of art is nothing but a work in one of the arts. Having traced philosophical interest in theories of art to a reaction to certain puzzle cases of avant-garde art, he argues that none of the theories that have dominated philosophy since the 1960s adequately copes with these works. Whereas these theories have reached a dialectical impasse wherein they reiterate, and cannot resolve, disagreement over the puzzle cases, the buck passing theory illuminates the radical provocations of avant-garde art. In addition, when supplemented by a systematic framework for crafting theories of the individual arts, the buck passing theory grounds our empirical inquiries into the arts as well as our practices of appreciation and art criticism. Lopes seeks to model the diverse strategies employed by humanists and social and behavioural scientists who study the different arts. He gives the specificity of each art form a central role in our appreciative endeavours, and yet he stresses the continuity of the arts with similar, non-art activities such as fashion design, sports and games, cuisine, nature appreciation, and non-literary writing.
(source: Nielsen Book Data)

• Introduction
• 1. Beyond Theories of Art
• 2. After the Beginning of Art
• 3. Passing the Buck on Art
• 4. Art in Culture
• 5. The Myth of Artistic Value
• 6. Beyond Bricolage
• 7. Appreciative Kinds and Media
• 8. Appreciative Practices
• 9. Aesthetic Appreciation
• 10. Much Ado about Art
• Afterword
• References
• Index.
• (source: Nielsen Book Data)

Dominic McIver Lopes articulates and defends a 'buck passing theory of art', namely that a work of art is nothing but a work in one of the arts. Having traced philosophical interest in theories of art to a reaction to certain puzzle cases of avant-garde art, he argues that none of the theories that have dominated philosophy since the 1960s adequately copes with these works. Whereas these theories have reached a dialectical impasse wherein they reiterate, and cannot resolve, disagreement over the puzzle cases, the buck passing theory illuminates the radical provocations of avant-garde art. In addition, when supplemented by a systematic framework for crafting theories of the individual arts, the buck passing theory grounds our empirical inquiries into the arts as well as our practices of appreciation and art criticism. Lopes seeks to model the diverse strategies employed by humanists and social and behavioural scientists who study the different arts. He gives the specificity of each art form a central role in our appreciative endeavours, and yet he stresses the continuity of the arts with similar, non-art activities such as fashion design, sports and games, cuisine, nature appreciation, and non-literary writing.
(source: Nielsen Book Data)

• Contents: Introduction
• Acknowledgements
• Prologue: Gagosian throws a party
• Part one: The players: 1. Auction houses: From dusty booksellers to The Art People
• 2. Dealers: The emergence of the mega-gallery
• 3. Artists: From starving in a garret to founding their own museums
• 4. The new tastemakers: Collectors, curators, advisors
• Part two: A changing market: 5. Art fairs: An event-driven lifestyle
• 6. Clicks vs bricks: Selling art online
• 7. Emerging economies: New worlds, new money
• 8. The dark side of the moon: an unregulated and opaque market
• Epilogue
• Notes
• Bibliography
• Index.
• (source: Nielsen Book Data)

This highly readable and timely book explores the transformation of the modern and contemporary art market in the 21st century from a niche trade to a globalised operation worth an estimated $50 billion a year. Drawing on her personal experience, the author describes in fascinating detail the contributions made by a range of actors and institutions to these recent developments. The book focuses on the development of auction houses into globalised, often cutthroat 'art business' firms; the emergence and modi operandi of 'mega-dealers' and middlemen; the 'new frontier' of selling art on the internet; the radical changes in the profile of art collectors; the phenomenon of the 'branded' artist and the explosion of art fairs. It addresses the negative side to the art market's expansion, particularly its lack of transparency and light regulation. The author's engaging style makes this informative text ideal for collectors, students, and anyone interested in learning more about the evolution of the unprecedented market for art which exists today.
(source: Nielsen Book Data)

• 1. Earth and fire. Manganese black ; Red ocher ; Egyptian blue ; Greek White ; Yellow ocher
• 2. Rocks, minerals, twigs, and bugs. Tyrian purple ; Cinnabar, vermilion, and minium ; Black ink ; Gold ; Green earth ; The age of canvas ; Ultramarine ; Cochineal ; Logwood black ; Cobalt ; Lead white ; Indigo ; Gainsborough blue ; Rose ; Light ; Titian blue ; Indian yellow ; Madder red ; Graphite ; Mummy brown
• 3. Modern colors. Mauve ; Prussian blue ; Emerald green ; Black and white and sepia ; Manganese violet ; Chrome yellow ; Patent blue, tartrazine, and rose bengal ; Cadmium yellow ; Lithol red ; International klein blue ; Orange 36 and violet 19 ; Painting with light.

This is a irresistible and wonderfully illustrated exploration of the history of colour in art. The history of art is inseparable from the history of colour. And what a fascinating story they tell together: one that brims with an all-star cast of characters, eye-opening details, and unexpected detours through the annals of human civilization and scientific discovery. This book takes readers across the globe and over the centuries on an unforgettable tour through the brilliant history of color in art. Written for newcomers to the subject and aspiring young artists alike, Finlay's quest to uncover the origins and science of colour will beguile readers with its warm and conversational style. The rich narrative is illustrated in full colour throughout with 166 major works of art. Readers of this book will revel in a treasure trove of fun-filled facts and anecdotes. Were it not for Cleopatra, for instance, purple might not have become the royal color of the Western world. Without Napoleon, the black graphite pencil might never have found its way into the hands of Cezanne. Without mango-eating cows, the sunsets of Turner might have lost their shimmering glow. And were it not for the pigment cobalt blue, the halls of museums worldwide might still be filled with forged Vermeers.
(source: Nielsen Book Data)

• Contents: Introduction, Inge Reist. Part I Reflections Across the Pond: Pictures across the pond: perspectives and retrospectives, Sir David Cannadine
• The revolving door: four centuries of British collecting, James Stourton. Part II The British Model: Conversing with history: the Orleans Collection arrives in Britain, Jordana Pomeroy
• James Irvine: picture buying in Italy for William Buchanan and Arthur Champernowne, Hugh Brigstocke
• Aristocrats and others: collectors of influence in eighteenth-century England, Arthur MacGregor
• A decade of change and compromise: John Smith (1781-1855) and the selling of old master paintings in the 1830s, Julia Armstrong-Totten
• 'Le gout Rothschild': the origins and influences of a collecting style, Michael Hall
• The 4th Marquess of Hertford and Sir Richard Wallace as collectors: chalk and cheese? Or father and son?, Jeremy Warren
• Collecting and connoisseurship in England, 1840-1900: the case of J.C. Robinson, Jonathan Conlin. Part III Americans Embrace and Embellish the British Model: British aspirations on the Chesapeake Bay: Robert Gilmor, Jr (1774-1848) of Baltimore and collecting in the Anglo-American community of the New Republic, Lance Lee Humphries
• The London picture trade and Knoedler & Company: supplying Dutch old masters to America, 1900-1914, M.J. Ripps
• The one that got away: Holbein's 'Christina of Denmark' and British portraits in the Frick Collection, Ross Finocchio
• The long good-bye: heritage and threat in Anglo-America, Neil Harris
• Henry E. Huntington: an American model for collecting art and instituting cultural philanthropy, Shelley M. Bennett. Bibliography
• Index.
• (source: Nielsen Book Data)

British Models of Art Collecting and the American Response - Reflections Across the Pond presents fourteen essays by distinguished art - and cultural - historians. Collectively, they examine points of similarity and difference in the approaches to art collecting practiced in Britain and the United States. Unlike most of their Continental European counterparts, the English and Americans have historically been exceptionally open to collecting the art made by and for other cultures. At the same time, they developed a tradition of opening private collections to a public eager for educational and cultural advancement. Approximately half the essays examine the trends and market forces that dominated the British art collecting scene of the nineteenth century, such as the Orleans sale and the shift away from aristocratic collections to those of the new urban merchant class. The essays that focus on American collectors use biographical sketches of collectors and dealers, as well as case studies of specific transactions to demonstrate how collectors in the United States embraced and embellished on the British model to develop their own, often philanthropic approach to art collecting.
(source: Nielsen Book Data)

• Executive Director's foreword / Steven A. Nash
• Past & current Contemporary Art Council Chairs
• Past & current Contemporary Council Vice Chairs, Acquisitions
• Introduction / Katherine Plake Hough, chief curator
• Catalogue of the exhibition: William Allan, American, born 1936
• Robert Arneson, American, 1930-1992
• Tony Berlant, American, born 1941
• Mark Bradford, American, born 1961
• Christopher Brown, American, born 1951
• Joan Brown, American, 1938-1990
• Enrique Martínez Celaya, American, born Cuba, 1964
• Enrique Chagoya, American, born Mexico, 1953
• Ronald Davis, American, born 1937
• Roy De Forest, American, 1930-2007
• Llyn Foulkes, American, born 1934
• Rupert Garcia, American, born 1941
• David Hockney, British, born 1937
• Robert Hudson, American, born 1938
• Jim Isermann, American, born 1955
• Anselm Kiefer, German, born 1945
• An-My Lê, American, born Vietnam, 1960
• Michael C. McMillen, American, born 1946
• William Morris, American, born 1957
• Ed Moses, American, born 1926
• Robert Motherwell, American, 1915-1991
• Nathan Oliveira, American, 1928-2010
• Deborah Oropallo, American, born 1954
• Helen Pashgian, American, born 1934
• Ginny Ruffner, American, born 1952
• Edward Ruscha, American, born 1937
• Peter Shelton, American, born 1951
• Robert Therrien, American, born 1947
• Peter Voulkos, American, 1924-2002
• William T. Wiley, American, born 1937
• Tom Wudl, American, born Bolivia, 1948
• Credits
• Index.

• Presentación / Rafael Tovar y de Teresa
• Prólogo / Maria Cristina Garcia Cepeda
• Conservar el patrimonio artístico. Una gestión permanente / Gabriela Gil Verenzuela
• El Colegio Máximo de San Pedro y San Pablo, génesis de identidades: de la Nueva España al México Nacional / Maria Cristina Torales Pacheco
• La competencia normativa del Estado frente a la conservación del patrimonio nacional / Dionisio Zabaleta López
• Pautas de la Colección del Instituto Nacional de Bellas Artes / Magdalena Zavala Bonachea
• La profesionalización de los restauradores de bienes muebles del patrimonio cultural en el mundo y en México / Liliana Giorguli Chávez
• La conservación del patrimonio artístico: una labor interdisciplinaria / Hugo Arciniega Áfila
• El patrimonio artístico y las voluntades de la conservación: CENCROPAM / Leticia López Orozco
• La práctica de conservar y restaurar / Paula Álvarez Espitia
• Testimonios vitales
• Desafíos y logros de la conservación : Catálogo de cien intervenciones de Pintura Mural
• Línea del tiempo / Lídice Cuautecontzi Galicia.

Published on the occasion of the renovation and expansion of the Sterling and Francine Clark Art Institute in 2014, this extraordinary new book offers a fully-illustrated overview of the Clark's world-class collection of nineteenth-century European and American Paintings, Old Master paintings, English and American silver, master drawings and prints and early photography. Featuring iconic works by Edgar Degas, John Singer Sargent, and Winslow Homer, this elegantly designed volume examines the collection as well as the history of the Clark and its origins, its new expansion, and its ongoing commitment to research and art historical scholarship.
(source: Nielsen Book Data)

• Seis visoes = Six views / Felipe Scovino
• Modernidade Construtivista = Constructive modernity
• Herença (Neo)concreta na Contemporaneidade = The (Neo) Concrete heritage in contemporaneity
• Formas de enfretamento entre o sujeito e o mundo: politica e identidade = Ways of confrotation between the individual and the world politics and identity
• Experimentações pictóricas = Pictorial experimentations
• Em transito = In transit
• Foro de ordem = Out of Order.

• Um tesouro maranhense = A treasure of Maranhão / Roseana Sarney (Governadora do Estado do Maranhão = Maranhão State Governor)
• Prefácio = Preface / Yacy-Ara Forner
• Apresentação = Presentation
• A coleção Arthur Azevedo = The Arthur Azevedo collection
• Retratos e caricaturas = Portraits and caricatures
• Paisagens = Landscapes
• Cenas históricas, de costumes e representações religiosas = Historical scenes, customs and religious representations
• Arthur Azevedo: colecionador = Arthur Azevedo: the collector
• O colecionismo no Rio de Janeiro em fins de século XIX e início do século XX = Art collecting in Rio de Janeiro in the late 19th and early 20th centuries
• Breves considerações sobre a gravura no Brasil durante o século XIX = Brief observations on engraving in Brazil during the 19th century
• Obras citadas = Works cited.