Art History: the Key Concepts by
Art History: The Key Concepts is a systematic, reliable and accessible reference guide to the disciplines of art history and visual culture. Containing entries on over 200 terms integral to the historical and theoretical study of art, design and culture in general, it is an indispensable source of knowledge for all students, scholars and teachers. Covering the development, present status and future direction of art history, entries span a wide variety of terms and concepts such as abstract expressionism, epoch, hybridity, semiology and zeitgeist. Key features include: a user-friendly A-Z format fully cross-referenced entries suggestions for further reading. Engaging and insightful, as well as easy to follow and use, Art History: The Key Concepts builds a radical intellectual synthesis for understanding and teaching art, art history and visual culture.
But Is It Art? by
In today's art world many strange, even shocking, things qualify as art. In this book, Cynthia Freeland explains why innovation and controversy are valued in the arts, weaving together philosophy and art theory with many fascinating examples. She discusses blood, beauty, culture, money, museums, sex, and politics, clarifying contemporary and historical accounts of the nature, function, and interpretation of the arts. Freeland also propels us into the future by surveying cutting-edge web sites, along with the latest research on the brain's role in perceiving art. This clear, provocative book engages with the big debates surrounding our responses to art and is an invaluable introduction to anyone interested in thinking about art.
The Faithful Artist by
The tension between Christianity and the arts is often real. But it also offers a false dichotomy. Many Christian artists think that they must choose between their faith and their artistic calling. Drawing upon his experiences as both a Christian and a practicing artist, Cameron J. Anderson explores the dynamics of faith and art in this Studies in Theology and the Arts volume. Tracing the relationship between evangelicalism and modern art in postwar America--two entities that often found themselves at odds with each other--Anderson raises several issues that confront artists. With skill, sensitivity, and insight, he considers questions such as the role of our bodies and our senses in our experience of the arts, the relationship between text and image, the persistent dangers of idolatry, the possibility of pursuing God through an encounter with beauty, and more. Throughout this study, Anderson's principal concern is how Christian artists can faithfully pursue their vocational calling in contemporary culture. Readers will find here not only an informed and thoughtful response, but also a vision that offers guidance and hope. The Studies in Theology and the Arts series encourages Christians to thoughtfully engage with the relationship between their faith and artistic expression, with contributions from both theologians and artists on a range of artistic media including visual art, music, poetry, literature, film, and more.
The HarperCollins Dictionary of Art Terms and Techniques by
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World Art by
What do we mean by 'art'? As a category of objects, the concept belongs to a Western cultural tradition, originally European and now increasingly global, but how useful is it for understanding other traditions? To understand art as a universal human value, we need to look at how the concept was constructed in order to reconstruct it through an understanding of the wider world. Western art values have a pervasive influence upon non-Western cultures and upon Western attitudes to them. This innovative yet accessible new text explores the ways theories of art developed as Western knowledge of the world expanded through exploration and trade, conquest, colonisation and research into other cultures, present and past. It considers the issues arising from the historical relationships which brought diverse artistic traditions together under the influence of Western art values, looking at how art has been used by colonisers and colonised in the causes of collecting and commerce, cultural hegemony and autonomous identities.World Art questions conventional Western assumptions of art from an anthropological perspective which allows comparison between cultures. It treats art as a property of artefacts rather than a category of objects, reclaiming the idea of 'world art' from the 'art world'. This book is essential reading for all students on anthropology of art courses as well as students of museum studies and art history, based on a wide range of case studies and supported by learning features such as annotated further reading and chapter opening summaries.
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