http://www.lybrary.com/index.php?cPath=2007 Copyright © 2013 Lybrary.com<span><span><span style="font-style:italic;">The Next Thing: Art in the Twenty-first Century</span><span> is an illustrated collection of commissioned essays that attempt to anticipate, through current artistic productions, the aesthetic sensibility that will define our times.<br></span></span></span>http://www.lybrary.com/the-next-thing-art-in-the-twentyfirst-century-p-293335.htmlhttp://www.lybrary.com/the-next-thing-art-in-the-twentyfirst-century-p-293335.htmlWed, 15 May 2013 02:34:35 EDT Beyond Aesthetics brings together philosophical essays addressing art and related issues by one of the foremost philosophers of art at work today. Countering conventional aesthetic theories - those maintaining that authorial intention, art history, morality and emotional responses are irrelevant to the experience of art - NoÃŽl Carroll argues for a more pluralistic and commonsensical view in which all of these factors can play a legitimate role in our encounter with art works. Throughout, the book combines philosophical theorizing with illustrative examples including works of high culture and the avant-garde, as well as works of popular culture, jokes, horror novels, and suspense filmshttp://www.lybrary.com/beyond-aesthetics-p-292635.htmlhttp://www.lybrary.com/beyond-aesthetics-p-292635.htmlMon, 13 May 2013 12:44:42 EDT http://www.lybrary.com/the-neoliberal-undead-essays-on-contemporary-art-and-politics-p-292221.htmlhttp://www.lybrary.com/the-neoliberal-undead-essays-on-contemporary-art-and-politics-p-292221.htmlSun, 12 May 2013 15:32:03 EDT http://www.lybrary.com/anywhere-or-not-at-all-philosophy-of-contemporary-art-p-291990.htmlhttp://www.lybrary.com/anywhere-or-not-at-all-philosophy-of-contemporary-art-p-291990.htmlSun, 12 May 2013 03:31:24 EDT http://www.lybrary.com/aisthesis-scenes-from-the-aesthetic-regime-of-art-p-291268.htmlhttp://www.lybrary.com/aisthesis-scenes-from-the-aesthetic-regime-of-art-p-291268.htmlWed, 08 May 2013 00:31:16 EDT In this major book, Griselda Pollock engages boldly in the culture wars over `what is the canon?` and `what difference can feminism make?` Do we simply reject the all-male line-up and satisfy our need for ideal egos with an all women litany of artistic heroines? Or is the question a chance to resist the phallocentric binary and allow the ambiguities and complexities of desire - subjectivity and sexuality - to shape the readings of art that constantly displace the present gender demarcations?http://www.lybrary.com/differencing-the-canon-feminism-and-the-writing-of-arts-histories-p-287443.htmlhttp://www.lybrary.com/differencing-the-canon-feminism-and-the-writing-of-arts-histories-p-287443.htmlTue, 30 Apr 2013 13:36:17 EDT Art is always ambiguous. When it involves the female body it can also be erotic. <EM>Erotic Ambiguities</EM> is a study of how contemporary women artists have reconceptualised the figure of the female nude. Helen McDonald shows how, over the past thirty years, artists have employed the idea of ambiguity to dismantle the exclusive, classical ideal enshrined in the figure of the nude, and how they have broadened the scope of the ideal to include differences of race, ethnicity, sexuality and disability as well as gender.<BR>McDonald discusses the work of a wide range of women artists, including Barbara Kruger, Judy Chicago, Mary Duffy, Zoe Leonard, Tracey Moffatt, Pat Brassington and Sally Smart. She traces the shift in feminist art practices from the early challenge to partriarchal representations of the female nude to contemporary, 'postfeminist' practices, influenced by theories of performativity, queer theory and postcoloniality. McDonald argues that feminist efforts to develop a more positive representation of the female body need to be reconsidered, in the face of the resistant ambiguities and hybrid complexities of visual art in the late 1990s.http://www.lybrary.com/erotic-ambiguities-the-female-nude-in-art-p-284080.htmlhttp://www.lybrary.com/erotic-ambiguities-the-female-nude-in-art-p-284080.htmlWed, 24 Apr 2013 10:36:40 EDT <p>Art criticism is spurned by universities, but widely produced and read. It is seldom theorized and its history has hardly been investigated. <EM>The State of Art Criticism</EM> presents an international conversation among art historians and critics that considers the relation between criticism and art history and poses the question of whether criticism may become a university subject.</p><p>Contributors include Dave Hickey, James Panero, Stephen Melville, Lynne Cook, Michael Newman, Whitney Davis, Irit Rogoff, Guy Brett and Boris Groys.</p>http://www.lybrary.com/the-state-of-art-criticism-p-282464.htmlhttp://www.lybrary.com/the-state-of-art-criticism-p-282464.htmlSun, 21 Apr 2013 09:34:21 EDT <p>Art criticism is spurned by universities, but widely produced and read. It is seldom theorized and its history has hardly been investigated. <EM>The State of Art Criticism</EM> presents an international conversation among art historians and critics that considers the relation between criticism and art history and poses the question of whether criticism may become a university subject.</p><p>Contributors include Dave Hickey, James Panero, Stephen Melville, Lynne Cook, Michael Newman, Whitney Davis, Irit Rogoff, Guy Brett and Boris Groys.</p>http://www.lybrary.com/the-state-of-art-criticism-p-282463.htmlhttp://www.lybrary.com/the-state-of-art-criticism-p-282463.htmlSun, 21 Apr 2013 09:34:17 EDT "Clement Greenberg is, internationally, the best-known American art critic popularly considered to be the man who put American vanguard painting and sculpture on the world map. . . . An important book for everyone interested in modern painting and sculpture."—<i>The New York Times</i>http://www.lybrary.com/art-and-culture-critical-essays-p-275852.htmlhttp://www.lybrary.com/art-and-culture-critical-essays-p-275852.htmlSat, 06 Apr 2013 23:32:03 EDT <p>This volume pursues a new line of research in cultural memory studies by understanding memory as a performative act in art and popular culture. The authors take their cue from the observation that art and popular culture enact memory and generate processes of memory. They <I>do</I> memory, and in this doing of memory new questions about the cultural dimensions of memory arise: How do art objects and artistic practices perform the past in the present? What is their relationship to the archive? Does the past speak in the performed past (or do we speak to it)? To what purpose do objects "recall"? And for whom do they recollect?</p><p>Here authors combine a methodological focus on memory as performance with a theoretical focus on art and popular culture as practices of remembrance. The essays in the book thus analyze what is at stake in the complex processes of remembering and forgetting, of recollecting and disremembering, of amnesia and anamnesis, that make up cultural memory.</p>http://www.lybrary.com/performing-memory-in-art-and-popular-culture-p-274953.htmlhttp://www.lybrary.com/performing-memory-in-art-and-popular-culture-p-274953.htmlThu, 04 Apr 2013 09:32:53 EDT <p><EM>Rethinking Aesthetics </EM>is the first book to bring together prominent voices in the fields of architecture, philosophy, aesthetics, and cognitive sciences to radically rethink the relationship between body and design. These essays argue that aesthetic experiences can be nurtured at any moment in everyday life, thanks to recent discoveries by researchers in neuroscience, phenomenology, somatics, and analytic philosophy of the mind, who have made the correlations between aesthetic cognition, the human body, and everyday life much clearer.</p><p>The essays, by Yuriko Saito, Juhani Pallasmaa, and Richard Shusterman, among others, range from an integrated mind-body approach to chair design, to Zen Buddhist notions of mindfulness, to theoretical accounts of existential relationships with buildings, to present a full spectrum of possible inquiries. By placing the body in the center of design, Rethinking <EM>Aesthetics</EM> opens new directions for rethinking the limits of both essentialism and skepticism.</p>http://www.lybrary.com/rethinking-aesthetics-the-role-of-body-in-design-p-266298.htmlhttp://www.lybrary.com/rethinking-aesthetics-the-role-of-body-in-design-p-266298.htmlThu, 07 Mar 2013 22:37:50 EST Patricia Karetzky discusses the metaphor of the shoe and how it is present in different women artists' work in China, Korea and USAhttp://www.lybrary.com/femininity-in-asian-women-artists-work-from-china-korea-and-usa-if-the-shoe-fits-p-260698.htmlhttp://www.lybrary.com/femininity-in-asian-women-artists-work-from-china-korea-and-usa-if-the-shoe-fits-p-260698.htmlTue, 19 Feb 2013 22:01:35 EST http://www.lybrary.com/what-art-is-p-259130.htmlhttp://www.lybrary.com/what-art-is-p-259130.htmlSat, 16 Feb 2013 01:33:16 EST <span><table border="0" cellspacing="0" cellpadding="0" width="552" style="border-collapse:collapse;"><tr style="height:15pt;"><td style="width:414pt;padding:0.75pt 0.75pt 0pt 0.75pt;border-top:none;border-right:none;border-bottom:none;border-left:none" valign="bottom" width="552" nowrap="><span><span><br>This book argues that the films of David Lynch pose a radical challenge to conservative and absolutist ideologies.</span></span><br /></td></tr></table><span><span> </span></span><br /></span>http://www.lybrary.com/good-day-today-david-lynch-destabilises-the-spectator-p-255944.htmlhttp://www.lybrary.com/good-day-today-david-lynch-destabilises-the-spectator-p-255944.htmlMon, 04 Feb 2013 17:37:27 EST <p>Melancholy is not only about sadness, despair, and loss. As Renaissance artists and philosophers acknowledged long ago, it can engender a certain kind of creativity born from a deep awareness of the mutability of life and the inevitable cycle of birth and death. Drawing on psychoanalysis, philosophy, and the intellectual history of the history of art, <i>The Melancholy Art</i> explores the unique connections between melancholy and the art historian's craft.</p><p>Though the objects art historians study are materially present in our world, the worlds from which they come are forever lost to time. In this eloquent and inspiring book, Michael Ann Holly traces how this disjunction courses through the history of art and shows how it can give rise to melancholic sentiments in historians who write about art. She confronts pivotal and vexing questions in her discipline: Why do art historians write in the first place? What kinds of psychic exchanges occur between art objects and those who write about them? What institutional and personal needs does art history serve? What is lost in historical writing about art?</p><p><i>The Melancholy Art</i> looks at how melancholy suffuses the work of some of the twentieth century's most powerful and poetic writers on the history of art, including Alois Riegl, Franz Wickhoff, Adrian Stokes, Michael Baxandall, Meyer Schapiro, and Jacques Derrida. A disarmingly personal meditation by one of our most distinguished art historians, this book explains why to write about art is to share in a kind of intertwined pleasure and loss that is the very essence of melancholy.</p>http://www.lybrary.com/the-melancholy-art-p-254691.htmlhttp://www.lybrary.com/the-melancholy-art-p-254691.htmlWed, 30 Jan 2013 23:31:46 EST <EM>Key Writers on Art: From Antiquity to the Nineteenth Century</EM> offers a unique and authoritative guide to theories of art from Ancient Greece to the end of the Victorian era, written by an international panel of expert contributors. Arranged chronologically to provide an historical framework, the 43 entries analyze the ideas of key philosophers, historians, art historians, art critics, artists and social scientists, including Plato, Aquinas, Alberti, Michelangelo, de Piles, Burke, Schiller, Winckelmann, Kant, Hegel, Burckhardt, Marx, Tolstoy, Taine, Baudelaire, Nietzsche, Ruskin, Pater, Wölfflin and Riegl.<BR>Each entry includes:<BR>* a critical essay<BR>* a short biography<BR>* a bibliography listing both primary and secondary texts<BR>Unique in its range and accessibly written, this book, together with its companion volume <EM>Key Writers on Art: The Twentieth Century</EM>, provides an invaluable guide for students as well as general readers with an interest in art history, aesthetics and visual culturehttp://www.lybrary.com/key-writers-on-art-from-antiquity-to-the-nineteenth-century-p-243258.htmlhttp://www.lybrary.com/key-writers-on-art-from-antiquity-to-the-nineteenth-century-p-243258.htmlThu, 13 Dec 2012 16:33:32 EST <p>In this interdisciplinary anthology, essays study the relationship between the imagination and images both material and mental. Through case studies on a diverse array of topics including photography, film, sports, theater, and anthropology, contributors focus on the role of the creative imagination in seeing and producing images and the imaginary.</p>http://www.lybrary.com/dynamics-and-performativity-of-imagination-the-image-between-the-visible-and-the-invisible-p-242539.htmlhttp://www.lybrary.com/dynamics-and-performativity-of-imagination-the-image-between-the-visible-and-the-invisible-p-242539.htmlWed, 12 Dec 2012 03:31:16 EST A fly-on-the-wall account of the smart and strange subcultures that make, trade, curate, collect, and hype contemporary art.http://www.lybrary.com/seven-days-in-the-art-world-p-236001.htmlhttp://www.lybrary.com/seven-days-in-the-art-world-p-236001.htmlSun, 18 Nov 2012 17:09:05 EST <p>Why do painters sometimes wish they were poets--and why do poets sometimes wish they were painters? What happens when Rembrandt spells out Hebrew in the sky or Poussin spells out Latin on a tombstone? What happens when Virgil, Ovid, or Shakespeare suspend their plots to describe a fictitious painting? In Mute Poetry, Speaking Pictures, Leonard Barkan explores such questions as he examines the deliciously ambiguous history of the relationship between words and pictures, focusing on the period from antiquity to the Renaissance but offering insights that also have much to say about modern art and literature.</p><p>The idea that a poem is like a picture has been a commonplace since at least ancient Greece, and writers and artists have frequently discussed poetry by discussing painting, and vice versa, but their efforts raise more questions than they answer. From Plutarch ("painting is mute poetry, poetry a speaking picture") to Horace ("as a picture, so a poem"), apparent clarity quickly leads to confusion about, for example, what qualities of pictures are being urged upon poets or how pictorial properties can be converted into poetical ones.</p><p>The history of comparing and contrasting painting and poetry turns out to be partly a story of attempts to promote one medium at the expense of the other. At the same time, analogies between word and image have enabled writers and painters to think about and practice their craft. Ultimately, Barkan argues, this dialogue is an expression of desire: the painter longs for the rich signification of language while the poet yearns for the direct sensuousness of painting.</p>http://www.lybrary.com/mute-poetry-speaking-pictures-p-233503.htmlhttp://www.lybrary.com/mute-poetry-speaking-pictures-p-233503.htmlSat, 10 Nov 2012 03:31:33 EST