Why are the paleolithic Venus of Willendorf, Michelangelo's Sistine Chapel frescoes, and Marcel Duchamp's ready-made urinal all considered works of art? Why, strictly speaking, is a Cindy Sherman photograph more "art-like" than a Da Vinci portrait? How did the painters and sculptors of the Renaissance see their creations? And who decides what art is today? In the tradition of Marshall McLuhan and John Berger, this learned and deliciously subversive book gives us a new way of seeing our artistic heritage. Believing Is Seeing is a work of multicultural scope and glittering intelligence that bridges the gulf between classical Japanese painting and the films of Spike Lee, between high theory and pop culture. Probing beyond the rhetorical surface of standard art histories and drawing on a panoramic array of illustrative material, Mary Anne Staniszewski throws a fresh light on individual works and the often mystifying criteria by which they are valued.
Why are the paleolithic Venus of Willendorf, Michelangelo's Sistine Chapel frescoes, and Marcel Duchamp's ready-made urinal all considered works of art? Why, strictly speaking, is a Cindy Sherman photograph more "art-like" than a Da Vinci portrait? How did the painters and sculptors of the Renaissance see their creations? And who decides what art is today? In the tradition of Marshall McLuhan and John Berger, this learned and deliciously subversive book gives us a new way of seeing our artistic heritage. Believing Is Seeing is a work of multicultural scope and glittering intelligence that bridges the gulf between classical Japanese painting and the films of Spike Lee, between high theory and pop culture. Probing beyond the rhetorical surface of standard art histories and drawing on a panoramic array of illustrative material, Mary Anne Staniszewski throws a fresh light on individual works and the often mystifying criteria by which they are valued.
The fifth edition of this indispensable history of photography spans the history of the medium, from its early development to current practice, and providing a focused understanding of the cultural contexts in which photographers have lived and worked throughout, this remains an all-encompassing survey. Mary Warner Marien discusses photography from around the world and through the lenses of art, science, travel, war, fashion, the mass media and individual photographers. Professional, amateur and art photographers are all represented, with 'Portrait' boxes devoted to highlighting important individuals and 'Focus' boxes charting particular cultural debates. Mary Warner Marien is also the author of 100 Ideas that Changed Photography and Photography Visionaries. New additions to this ground-breaking global survey of photography includes 20 new images and sections on advances in technology and the influence of social media platforms. An essential text for anyone studying photography.
This is a study of the reciprocal relationship between Mexican muralism and the three major Mexican museums&—the Palace of Fine Arts, the National History Museum, and the National Anthropology Museum.
In the 1970s, Kelly's transgressive projects helped to instigate conceptual art's second phase; her daring critiques of the female body as a fetishized, allegorized, commodified site were debated long after they were first seen in galleries and discussed in catalogues, and long before the debut of the "bad girls" in the 1990s. In fact, the debates currently surrounding Kelly's work are a necessary and defining element of theoretical discourse about art today.
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