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In recent years, artists, architects, activists and curators, as well as corporations and local governments have addressed the urban space. They challenge its use and destination, and dispute current notions of space, legality, trade and artistry. Emerging art practices challenge old ideas about where art belongs, what forms it can take and what political discourses it fosters. Selected from papers presented at the 2013 Artscapes conference in Canterbury, this collection of new essays explores the dynamic relationship between art and the city. Contributors discuss the everyday artistic use of public space around the world, from sculpture to graffiti to street photography.
Artscapes intenta demostrar cómo el paisaje artificial producido por artistas en colaboración con arquitectos y paisajistas puede transformar la naturaleza de un lugar en otro capaz de establecer un diálogo más intenso con el usuario. La sensibilidad de los artistas recoge, selecciona, informa y coloniza el paisaje reformulando una conciencia ecológica que traslada nuestra atención de los objetos que la componen hacia la conciencia y el conocimiento de las relaciones que establecen entre sí.
The ekphrastic poems presented in Artscapes dazzle with vivid imagery and expert wordplay, offering a refreshing and provocative examination of the artwork Lee Woodman has chosen to explore. Inspired by works from major museums, Woodman invites readers to walk into paintings, enter worlds triggered by sculpture, and eavesdrop on conversations with artists. She will take you to a roaring boxing ring in Washington D.C., a cave in Indonesia with forty-thousand-year-old paintings, and a harem’s den in Algiers. All is possible in poetry. A collection to enjoy on repeated visits.
Artistic practices have long been disturbing the relationships between art and space. They have challenged the boundaries of performer/spectator, of public/private, introduced intervention and installation, ephemerality and performance, and constantly sought out new modes of distressing expectations about what is construed as art. But when we expand the world in which we look at art, how does this change our understanding of critical artistic practice? This book presents a global perspective on the relationship between art and the city. International and leading scholars and artists themselves present critical theory and practice of contemporary art as a politicised force. It extends thinking on contemporary arts practices in the urban and political context of protest and social resilience and offers the prism of a ‘critical artscape’ in which to view the urgent interaction of arts and the urban politic. The global appeal of the book is established through the general topic as well as the specific chapters, which are geographically, socially, politically and professionally varied. Contributing authors come from many different institutional and anti-institutional perspectives from across the world. This will be valuable reading for those interested in cultural geography, urban geography and urban culture, as well as contemporary art theorists, practitioners and policymakers.
How should an innovative architect react today to the electronic revolution which is taking place? This work explores the answer by looking at the work of New York architect, Peter Eisenman. It includes a selection of excepts from Eisenman's writings and an analysis of some of his projects.
Being mobile in today's world is influenced by many aspects including transnational ties, increased ease of access to transport, growing accessibility to technology, knowledge and information and changing socio-cultural outlooks and values. These factors can all engender a (re)formation of our everyday life and moving - as and for lifestyle - has, in many ways, become both easier and much more complex. This book highlights the crossroads between concepts of lifestyle and the growing body of work on 'mobilities'. The study of lifestyle offers a lens through which to study the kinds of moorings, dwellings, repetitions and routines around which mobilities become socially, culturally and politically meaningful. Bringing together scholars from geography, sociology, tourism, history and beyond, the authors illustrate the breadth and richness of mobilities research through the concept of lifestyle. Organised into four sections, the book begins by dealing with aspects of bodily performance through lifestyle mobility. Section two then looks at how we can use mobile methods within social research, whilst section three explores issues surrounding ideas of mobility, immobility and belonging. Finally, section four draws together a number of chapters that focus on the complexities of identity within mobility. Often drawing on ethnographic research, contributors all share one common feature: they are at the forefront of research into lifestyle mobilities.
This book presents a global perspective on the political agency of arts in place. International and leading scholars and artists themselves present critical theory and practice of contemporary art as a politicised force. This book extends thinking on contemporary arts practices in the urban and political context of protest and social resilience and offers the prism of a ‘critical artscape’ in which to view the urgent interaction of arts and the urban politic.
This volume brings together 19 original chapters, plus four substantive introductions, which collectively provide a unique examination of the issues of science, technology, and art in international relations. The overarching theme of the book links global politics with human interventions in the world: We cannot disconnect how humans act on the world through science, technology, and artistic endeavors from the engagements and practices that together constitute IR. There is science, technology, and even artistry in the conduct of war—and in the conduct of peace as well. Scholars and students of international relations are beginning to explore these connections, and the authors of the chapters in this volume from around the world are at the forefront.
A History of Video Art is a revised and expanded edition of the 2006 original, which extends the scope of the first edition, incorporating a wider range of artists and works from across the globe and explores and examines developments in the genre of artists' video from the mid 1990s up to the present day. In addition, the new edition expands and updates the discussion of theoretical concepts and ideas which underpin contemporary artists' video. Tracking the changing forms of video art in relation to the revolution in electronic and digital imaging that has taken place during the last 50 years, A History of Video Art orients video art in the wider art historical context, with particular reference to the shift from the structuralism of the late 1960s and early 1970s to the post-modernist concerns of the 1980s and early 1990s. The new edition also explores the implications of the internationalisation of artists' video in the period leading up to the new millennium and its concerns and preoccupations including post-colonialism, the post-medium condition and the impact and influence of the internet.