Can fine art survive in an age of mass media? If so, in what forms and to what purpose? And can radical art still play a critical role in today's divided world? These are the questions addressed in the Art in the Age of Mass Media, as John Walker examines the fascinating relationship between art and mass media, and the myriad interactions between h
Themes addressed by John Walker in this student text include art education, the experience of art school, what it was like to be an art student during the fifies in Britain and the British art scene as it was at that time.
This book is about the expanding realm of visual culture: in architecture, art, design, advertising, photography, film, television, video, theatre performance, computer imagery and virtual reality. It is also about Visual Culture Studies, a relatively new academic discipline, or rather range of disciplines, that scholars employ to analyse visual artefacts. Unlike many other texts on the same subject, it foregrounds the ‘visual’ and is systematic and accessible. Visual culture provides an overview of the subject that pays heed to the achievements of both traditional and new theory whilst directing the reader to a large body of literature via references and an extensive bibliography. Walker and Chaplin discuss the concepts of ‘the visual’ and of ‘culture’ as well as the field and origins of Visual Culture Studies; coping with theory; models of production and consumption; institutions; pleasure; the canon and concepts of value; visual literacy and poetics; modes of analysis; culture and commerce; and new technologies. This book is designed for those studying the history and theory of fine arts, design and the mass media.
Johann Albrecht Bengel (1687-1752), German Lutheran theologian and biblical scholar, began his studies at Tuebingen. He was appointed professor in charge of a theological training school at Denkendorf in 1713 and remained there for twenty-eight years. During this time he produced his most important works: a Greek text of the New Testament with an 'Apparatus criticus' (1734) and his 'Gnomon Novi Testamenti' (1742). Other works by Bengel include 'Erkrte Offenbarung Johannis' (1740; Eng. transl. by John Robertson, London, 1757), 'Ordo temporum' (1741), and 'Cyclus sive de anno magno consideratio' (1745).
This book, first published in 1987, was the first major survey of the links between the visual arts and pop music over the last thirty years. It brings to light the ideas, styles and people who have influenced both the look of pop and the shape of art. It examines how pop uses art movements like Dada, Futurism and Surrealism in everything from the design of album covers to the creation of a group’s look, stage act and video; how art uses pop, as a subject for painting, sculpture and design; the vital role of the British art school connection; and collaborations and cross-overs – between the visual arts and groups, musicians and movements.
This is a story of the coming of age of a young man, a story of hope, a story that is meant to amuse, to move, at best , to enlighten. It's about a young man who represents us all as we seek to find ourselves in life. He graduates from college yet declares himself a conscientious objector against the Vietnam War and serves his time. He experiences the loss of his father and other loved ones. He also experiences good and wonderful times in his travels. While he can cry for all the pain that he nor the rain can never cure, he still finds a way to remain hopeful. He can still find something to dream about while he takes out the trash.
What motivated a career naval officer to become a spy during the height of the Cold War? Over the years, statements by Walker have been reported in various publications, but Walker has never told his own story . . . until now.
John Walker brings to vivid life a neglected period in twentieth-century art history. He re-creates a time when visual fine artists, under the impact of left-wing politics, women's liberation and the gay movement, were seeking to re-establish a social purpose. His story is one of a struggle for art by contending factions in the art world, in which artists, curators, critics and organisations - both establishment and alternative - key exhibitions, galleries and magazines, all play a part. He offers welcome insight into the work of the key players and the many forms they used to express radical engagement in the events of the decade.
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