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In this fascinating look at the creative power of institutions, Jonah Siegel explores the rise of the modern idea of the artist in the nineteenth century, a period that also witnessed the emergence of the museum and the professional critic. Treating these developments as interrelated, he analyzes both visual material and literary texts to portray a culture in which art came to be thought of in powerful new ways. Ultimately, Siegel shows that artistic controversies commonly associated with the self-consciously radical movements of modernism and postmodernism have their roots in a dynamic era unfairly characterized as staid, self-satisfied, and stable. The nineteenth century has been called the Age of the Museum, and yet critics, art theorists, and poets during this period grappled with the question of whether the proliferation of museums might lead to the death of Art itself. Did the assembly and display of works of art help the viewer to understand them or did it numb the senses? How was the contemporary artist to respond to the vast storehouses of art from disparate nations and periods that came to proliferate in this era? Siegel presents a lively discussion of the shock experienced by neoclassical artists troubled by remains of antiquity that were trivial or even obscene, as well as the anxious aesthetic reveries of nineteenth-century art lovers overwhelmed by the quantity of objects quickly crowding museums and exhibition halls. In so doing, he illuminates the fruitful crises provoked when the longing for admired art is suddenly satisfied. Drawing upon neoclassical art and theory, biographies of early nineteenth-century writers including Keats and Scott, and the writings of art critics such as Hazlitt, Ruskin, and Wilde, this book reproduces a cultural matrix that brings to life the artistic passions and anxieties of an entire era.
Artist/writer Michael Golden is one of the most respected creators in the comic-book industry, the influence behind generations of artists. He visualizes the finished page completely in his head before he begins--as if those images had been there always, waiting to be freed. For Golden, "excess" defines a mind that can form every fold and nuance of a character without being overwhelmed by the frenzy. Like Michaelangelo creating a sculpture, Michael Golden chips away the excess to reveal the artwork within.
This book concentrates on the deep historical, political, and institutional relationships between art, education, and excess. Going beyond field specific discourses of art history, art criticism, philosophy, and aesthetics, it explores how the concept of excess has been important and enduring from antiquity through contemporary art, and from early film through the newer interactive media. Examples considered throughout the book focus on disgust, grandiosity, sex, violence, horror, disfigurement, endurance, shock, abundance, and emptiness, and frames them all within an educational context. Together they provide theories and classificatory systems, historical and political interpretations of art and excess, examples of popular culture, and suggestions for the future of educational practice.
Investigates how nineteenth-century British literature grappled with a new understanding of aging as both an individual and collective experience. The Aesthetics of Senescence investigates how chronological age has come to possess far-reaching ideological, ethical, and aesthetic implications, both in the past and present. Andrea Charise argues that authors of the nineteenth century used the imaginative resources of literature to engage with an unprecedented climate of crisis associated with growing old. Marshalling a great variety of canonical authors including William Godwin, Mary Shelley, George Eliot, Anthony Trollope, and George Gissing, as well as less familiar writings by George Henry Lewes, Christoph Wilhelm Hufeland, Agnes Strickland, and Max Nordau, Charise demonstrates why the imaginative capacity of writing became an interdisciplinary crucible for testing what it meant to grow old at a time of profound cultural upheaval. Charise’s grounding in medicine, political history, literature, and genre offers a fresh, original, thoroughly interdisciplinary analysis of nineteenth-century aging and age theory, as well as new insights into the rise of the novel—a genre usually thought of as affiliated almost entirely with the young or middle-aged. “Charise’s brilliantly argued, clearly written book is an important intervention in nineteenth-century British literature, age studies, and medical humanities. It brings these areas of inquiry together in what seems a seamless way—as if they have always traveled together or ought to have. Through an investigation of what she calls the ‘aesthetics of embodiment that shaped nineteenth-century visions of aging,’ Charise has given us an original and groundbreaking study of literary, historical, anthropological, and philosophical texts.” — Devoney Looser, author of The Making of Jane Austen
Jean-Paul Sartre is an undisputed giant of twentieth-century philosophy. His intellectual writings popularizing existentialism combined with his creative and artistic flair have made him a legend of French thought. His tumultuous personal life - so inextricably bound up with his philosophical thinking - is a fascinating tale of love and lust, drug abuse, high profile fallings-out and political and cultural rebellion. This substantial and meticulously researched biography is accessible, fast-paced, often amusing and at times deeply moving. Existentialism and Excess covers all the main events of Sartre's remarkable seventy-five-year life from his early years as a precocious brat devouring his grandfather's library, through his time as a brilliant student in Paris, his wilderness years as a provincial teacher-writer experimenting with mescaline, his World War II adventures as a POW and member of the resistance, his post-war politicization, his immense amphetamine fueled feats of writing productivity, his harem of women, his many travels and his final decline into blindness and old age. Along the way there are countless intriguing anecdotes, some amusing, some tragic, some controversial: his loathing of crustaceans and his belief that he was being pursued by a giant lobster, his escape from a POW camp, the bombing of his apartment, his influence on the May 1968 uprising and his many love affairs. Cox deftly moves from these episodes to discussing his intellectual development, his famous feuds with Aron, Camus, and Merleau-Ponty, his encounters with other giant figures of his day: Roosevelt, Hemingway, Heidegger, John Huston, Mao, Castro, Che Guevara, Khrushchev and Tito, and, above all, his long, complex and creative relationship with Simone de Beauvoir. Existentialism and Excess also gives serious consideration to Sartre's ideas and many philosophical works, novels, stories, plays and biographies, revealing their intimate connection with his personal life. Cox has written an entertaining, thought-provoking and compulsive book, much like the man himself.
A collection of photographer Michael Zagaris' work capturing rock musicians and rock groups on film, both on stage and off during the late 20th century, accompanied by Zagaris' own perspective and recollections of the photo shoots and their contexts.
Beloved among cult horror devotees for its signature excesses of sex and violence, Italian giallo cinema is marked by switchblades, mysterious killers, whisky bottles and poetically overinflated titles. A growing field of English-language giallo studies has focused on aspects of production, distribution and reception. This volume explores an overlooked yet prevalent element in some of the best known gialli--an obsession with art and artists in creative production, with a particular focus on painting. The author explores the appearance and significance of art objects across the masterworks of such filmmakers as Dario Argento, Lucio Fulci, Sergio Martino, Umberto Lenzi, Michele Soavi, Mario Bava and his son Lamberto.
'A terrific and important book . . . it's a great, fresh take on how the 21st century is transforming the way we select everything from food to music' David Bodanis, author of E=MC2 In the past two years humanity has produced more data than the rest of human history combined. We carry a library of data in our pockets, accessible at any second. We have more information and more goods at our disposal than we know what to do with. There is no longer any competitive advantage in creating more information. Today, value lies in curation: selecting, finding and cutting down to show what really matters. Curation reveals how a little-used word from the world of museums became a crucial and at times controversial strategy for the twenty-first century. Today's most successful companies - Apple, Netflix, Amazon - have used curation to power their growth, by offering customers more tailored and appropriate choices. Curation answers the question of how we can live and prosper in an age of information overload. In the context of excess, it is not only a sound business strategy, but a way to make sense of the world.
"What is the Baroque? Where did it come from and where did it go? Why do we have to ask these questions? Because art historians seem largely satisfied with their answers and most scholars of German literature are not satisfied, yet have stopped asking.This book discerns in the Baroque an aesthetic phenomenon that crosses both media and national boundaries in its celebration of excess and its disintegration of system, unity, and identity. The compositional principles and theoretical implications of the Baroque, as it first arose in Italian art, find expression in German poetics, drama, poetry, and narrative ? expression accessible only through resolute close reading. Readings of Bernini, Borromini, Velázquez, Rubens, Fracanzano, and de Hooch precipitate readings of Opitz, Gryphius, Fleming, Zesen, Hoffmannswaldau, and Grimmelshausen, demonstrating that seventeenth-century German literature both is Baroque and confirms what the Baroque is."--Page 4 of cover.