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Auth: University College London, Distributed by Viking.
The twelve essays by Kendall Walton in this volume address a broad range of theoretical issues concerning the arts. Many of them apply to the arts generally-to literature, theater, film, music, and the visual arts-but several focus primarily on pictorial representation or photography. In "'How Marvelous!': Toward a Theory of Aesthetic Value" Walton introduces an innovative account of aesthetic value, and in this and other essays he explores relations between aesthetic value and values of other kinds, especially moral values. Two of the essays take on what has come to be called imaginative resistance-a cluster of puzzles that arise when works of fiction ask us to imagine or to accept as true in a fiction moral propositions that we find reprehensible in real life. "Transparent Pictures", Walton's classic and controversial account of what is special about photographic pictures, is included, along with a new essay on a curious but rarely noticed feature of photographs and other still pictures-the fact that a depiction of a momentary state of an object in motion allows viewers to observe that state, in imagination, for an extended period of time. Two older essays round out the collection-another classic, "Categories of Art", and a less well known essay, "Style and the Products and Processes of Art", which examines the role of appreciators' impressions of how a work of art came about, in understanding and appreciation. None of the reprinted essays is abridged, and new postscripts have been added to several of them.
Art historian Henry M. Sayre traces the origins of the term “value” in art criticism, revealing the politics that define Manet’s art. How did art critics come to speak of light and dark as, respectively, “high in value” and “low in value”? Henry M. Sayre traces the origin of this usage to one of art history’s most famous and racially charged paintings, Édouard Manet’s Olympia. Art critics once described light and dark in painting in terms of musical metaphor—higher and lower tones, notes, and scales. Sayre shows that it was Émile Zola who introduced the new “law of values” in an 1867 essay on Manet. Unpacking the intricate contexts of Zola’s essay and of several related paintings by Manet, Sayre argues that Zola’s usage of value was intentionally double coded—an economic metaphor for the political economy of slavery. In Manet’s painting, Olympia and her maid represent objects of exchange, a commentary on the French Empire’s complicity in the ongoing slave trade in the Americas. Expertly researched and argued, this bold study reveals the extraordinary weight of history and politics that Manet’s painting bears. Locating the presence of slavery at modernism’s roots, Value in Art is a surprising and necessary intervention in our understanding of art history.
in what circumstances art is valued. Complementing a major six-part BBC TV series, this illustrated guide also examines ideas about artists, the art market, art collectors, and more, from around the world during various time periods. Photos.
Hans van Maanen is professor of art and society at the Department of Arts, Culture & Media Studies of the University of Groningen, the Netherlands.
Introduction to Art: Design, Context, and Meaning offers a deep insight and comprehension of the world of Art. Contents: What is Art? The Structure of Art Significance of Materials Used in Art Describing Art - Formal Analysis, Types, and Styles of Art Meaning in Art - Socio-Cultural Contexts, Symbolism, and Iconography Connecting Art to Our Lives Form in Architecture Art and Identity Art and Power Art and Ritual Life - Symbolism of Space and Ritual Objects, Mortality, and Immortality Art and Ethics
"Art and Human Values includes articles, excerpts, and case studies that address fundamental, theoretical, and practical perspectives that consider art a powerful social and cultural force. The readings present an opportunity to examine your own and others' aesthetic values and to explore how art both forms and informs culture. The readings provide perspectives of art as a language that advances multicultural and cross-cultural understanding while examining the political, regional, economic, technological, religious-spiritual, ethnic, gender, and generational influences that shape conceptions of art and artists. The varied and diverse readings offer numerous perspectives on art, including culturally-based versus universally-based theories of art, and the role of cultural institutions and art policies on art and art making. Other topics include gender, race, and ethnicity in relation to artistic representation. The text examines contemporary and historical cross-cultural examples of art as an agent of social and cultural change and considers ethical practice and the creation, consumption, and acceptance of art. Dr. Gregory Gurley currently teaches in the Arts and Administration Program at the University of Oregon. He received his doctoral degree in theater from Arizona State University where his research focused on eighteenth century drama for children and the use of drama as an educational means for social moral development. His research was recognized by Project Muse and in 2008 Drama and Moral Education: The Plays of Maria Edgeworth (1768-1849) was published by VDM Verlag Publishing. As an interdisciplinary arts curriculum specialist, Dr. Gurley is currently developing in-class, online, and innovative hybrid curriculum and serves as online mentor to other departmental faculty."
In 2013 Georg Baselitz declared that 'women don't paint very well'. Whilst shocking, his comments reveal what Helen Gørrill argues is prolific discrimination in the artworld. In a groundbreaking study of gender and value, Gørrill proves that there are few aesthetic differences in men and women's painting, but that men's art is valued at up to 80 per cent more than women's. Indeed, the power of masculinity is such that when men sign their work it goes up in value, yet when women sign their work it goes down. Museums, the author attests, are also complicit in this vicious cycle as they collect tokenist female artwork which impinges upon its artists' market value. An essential text for students and teachers, Gørrill's book is provocative and challenges existing methodologies whilst introducing shocking evidence. She proves how the price of being a woman impacts upon all forms of artistic currency, be it social, cultural or economic and in the vanguard of the 'Me Too' movement calls for the artworld to take action.
Learn a basic approach to controlling tonal values at the start of your painting.