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Alfred Gell puts forward a new anthropological theory of visual art, seen as a form of instrumental action: the making of things as a means of influencing the thoughts and actions of others. He argues that existing anthropological and aesthetic theories take an overwhelmingly passive point of view, and questions the criteria that accord art status only to a certain class of objects and not to others. The anthropology of art is here reformulated as the anthropology of a category of action: Gell shows how art objects embody complex intentionalities and mediate social agency. He explores the psychology of patterns and perceptions, art and personhood, the control of knowledge, and the interpretation of meaning, drawing upon a diversity of artistic traditions--European, Indian, Polynesian, Melanesian, and Australian. Art and Agency was completed just before Alfred Gell's death at the age of 51 in January 1997. It embodies the intellectual bravura, lively wit, vigour, and erudition for which he was admired, and will stand as an enduring testament to one of the most gifted anthropologists of his generation.
In Art and Agency, Alfred Gell formulates an anthropological theory of visual art that focuses on the social context of art production, circulation, and reception. As a theory of the nexus of social relations involving works of art, this work suggests that in certain contexts, art-objects substitute for persons and thus mediate social agency. Diversely illustrated and based on European, Polynesian, Melanesian, and Australian sources, Art and Agency was completed just before Gell's death at the age of fifty-one in January 1997. It embodies the intellectual bravura, lively wit, vigor, and erudition for which he was admired, and will stand as an enduring testament to one of the most gifted anthropologists of his generation.
Games are a unique art form. They do not just tell stories, nor are they simply conceptual art. They are the art form that works in the medium of agency. Game designers tell us who to be in games and what to care about; they designate the player's in-game abilities and motivations. In other words, designers create alternate agencies, and players submerge themselves in those agencies. Games let us explore alternate forms of agency. The fact that we play games demonstrates something remarkable about the nature of our own agency: we are capable of incredible fluidity with our own motivations and rationality. This volume presents a new theory of games which insists on games' unique value in human life. C. Thi Nguyen argues that games are an integral part of how we become mature, free people. Bridging aesthetics and practical reasoning, he gives an account of the special motivational structure involved in playing games. We can pursue goals, not for their own value, but for the sake of the struggle. Playing games involves a motivational inversion from normal life, and the fact that we can engage in this motivational inversion lets us use games to experience forms of agency we might never have developed on our own. Games, then, are a special medium for communication. They are the technology that allows us to write down and transmit forms of agency. Thus, the body of games forms a "library of agency" which we can use to help develop our freedom and autonomy. Nguyen also presents a new theory of the aesthetics of games. Games sculpt our practical activities, allowing us to experience the beauty of our own actions and reasoning. They are unlike traditional artworks in that they are designed to sculpt activities - and to promote their players' aesthetic appreciation of their own activity.
This anthology provides a single-volume overview of the essential theoretical debates in the anthropology of art. Drawing together significant work in the field from the second half of the twentieth century, it enables readers to appreciate the art of different cultures at different times. Advances a cross-cultural concept of art that moves beyond traditional distinctions between Western and non-Western art. Provides the basis for the appreciation of art of different cultures and times. Enhances readers’ appreciation of the aesthetics of art and of the important role it plays in human society.
Art's Agency and Art History re-articulates the relationship of the anthropology of art to key methodological and theoretical approaches in art history, sociology, and linguistics. Explores important concepts and perspectives in the anthropology of art Includes nine groundbreaking case studies by an internationally renowned group of art historians and art theorists Covers a wide range of periods, including Bronze-Age China, Classical Greece, Rome, and Mayan, as well as the modern Western world Features an introductory essay by leading experts, which helps clarify issues in the field Includes numerous illustrations
One of the most influential anthropological works of the last two decades, Alfred Gell’s Art and Agency is a provocative and ambitious work that both challenged and reshaped anthropological understandings of art, agency, creativity and the social. It has become a touchstone in contemporary artifact-based scholarship. This volume brings together leading anthropologists, archaeologists, art historians and other scholars into an interdisciplinary dialogue with Art and Agency, generating a timely re-engagement with the themes, issues and arguments at the heart of Gell’s work, which remains salient, and controversial, in the social sciences and humanities. Extending his theory into new territory – from music to literary technology and ontology to technological change – the contributors do not simply take stock, but also provoke, critically reassessing this important work while using it to challenge conceptual and disciplinary boundaries.
Throughout history, and all over the world, viewers have treated works of art as if they are living beings: speaking to them, falling in love with them, kissing or beating them. Although over the past 20 years the catalogue of individual cases of such behavior towards art has increased immensely, there are few attempts at formulating a theoretical account of them, or writing the history of how such responses were considered, defined or understood. That is what this book sets out to do: to reconstruct some crucial chapters in the history of thought about such reflections in Western Europe, and to offer some building blocks towards a theoretical account of such responses, drawing on the work of Aby Warburg and Alfred Gell.
This book examines the interconnections between art, phenomenology, and cognitive studies. Contributors question the binary oppositions generally drawn between visuality and agency, sensing and thinking, phenomenal art and politics, phenomenology and structuralism, and subjective involvement and social belonging. Instead, they foreground the many ways that artists ask us to consider how we sense, think, and act in relation to a work of art.
“Compelling case studies demonstrate how African workshops have long mediated collective expression and individual imagination.” —Allen F. Roberts, University of California, Los Angeles The role of the workshop in the creation of African art is the subject of this revelatory book. In the group setting of the workshop, innovation and imitation collide, artists share ideas and techniques, and creative expression flourishes. African Art and Agency in the Workshop examines the variety of workshops, from those which are politically driven or tourist oriented, to those based on historical patronage or allied to current artistic trends. Fifteen lively essays explore the impact of the workshop on the production of artists such as Zimbabwean stone sculptors, master potters from Cameroon, wood carvers from Nigeria, and others from across the continent. Contributions by Nicolas Argenti, Jessica Gershultz, Norma Wolff, Christine Scherer, Silvia Forni, Elizabeth Morton, Alexander Bortolot, Brenda Schmahmann, Chika Okeke-Agulu, Karen E. Milbourne and Namubiru Rose Kirumira “A closer examination of the workshop provides important insights into art histories and cultural politics. We may think we know what we mean when we use the term ‘workshop,’ but in fact the organization of groups of artists takes on vastly different forms and encourages the production of diverse styles of art within larger social structures and power dynamics.” —Victoria Rovine, University of Florida “Taken as a whole, the case studies provide a wide window into the very diverse structural and functional characteristics of workshops. They also clearly describe how African workshops have served both contemporary political and cultural needs and have responded to patronage, whether it be traditional or stimulated by tourism.” —African Studies Review
Notoriously difficult to define as a genre, Live Art is commonly positioned as a challenge to received artistic, social, and political categories: not theatre, not dance, not visual art, and often wilfully anti-mainstream and anti-establishment. But as it has become increasingly prevalent in international festivals, major art galleries, and university courses, it is ripe for a reassessment. Including almost 50 contributing artists and scholars, this collection of essays, conversations, provocations, and archival images takes the twentieth anniversary of the founding of one of the sector's most committed champions, the Live Art Development Agency in London, as an opportunity to consider not only what Live Art has been against, but also what it has been for. Through the work of this particular 'Agency', the book explores the idea of agency more generally: how Live Art has enabled the possibility for new kinds of thoughts, actions, and alliances for diverse individuals and groups.