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Graves M: Invisible Hands

Invisible Hands

Fabrication, Forgery, and the Art of Islamic Ceramics

Through a series of case-studies of nine Aegean and Ionian islands, the contributors examine the ancient epigraphic culture of each island's political, social and religious history from the archaic age until late antiquity. These Mediterranean islands - Delos, Thera, Crete, Chis, Samos, Kos, Rhodes, Amorgos and the Ionian islands - were a world in themselves with their own dialects, cults, customs and political structures. Through a careful reading of a range of inscriptions, new interpretations arise concerning our understanding of their constitutional history, economic transformation, relationship with major powers, as well as notions of identity and connectivity. Inscribing for public display was a feature of Greek civilization that was carried out not only by priests, politicians and the elite, but also by individual citizens. The Greeks developed a plethora of distinct categories of inscriptions, going beyond the standard of epitaphs and dedications to the gods, to include decrees of the people, honorific inscriptions cut into the bases of statues and monuments dedicated to benefactors and athletes. However, the intensity of inscribing varied from one century to the other, and these fluctuations can be represented from a quantative approach as epigraphic curves. The significance of this volume is that it offers an overview of the history of these lesser states, which are not necessarily well documented in literary evidence to the degree comparable with Athens or Sparta.

Ancient Epigraphic Culture on the Aegean and Ionian Islands

The Female Body in Art

The Essential John Berger

The Moment of Cubism

The Routledge Companion to Contemporary Art Histories and Globalisation

New Directions in Contemporary Art

The field of AI Art is a hotbed for strange, uneasy partnerships between big tech, big art and critical culture. Not since Walter Benjamin's Age of Mechanical Reproduction has there been a similar challenge to humanist art criticism. This book examines how a contemporary critic should best engage with, contextualise and effectively critique machine-learning-based art. In considering this question, Nora Khan looks at the rush of institutions to place AI Art within an art-historical lineage while they simultaneously accept significant funding from technology companies. She discusses the scale and speed at which technological production, machine learning, and AI have abraded the individual's capacity for critical evaluation, moving us to consider what a shared, collective criticism of AI might sound like.

The field of AI Art is a hotbed for strange, uneasy partnerships between big tech, big art and critical culture. Not since Walter Benjamin's Age of Mechanical Reproduction has there been a similar challenge to humanist art criticism. This book examines how a contemporary critic should best engage with, contextualise and effectively critique machine-learning-based art. In considering this question, Nora Khan looks at the rush of institutions to place AI Art within an art-historical lineage while they simultaneously accept significant funding from technology companies. She discusses the scale and speed at which technological production, machine learning, and AI have abraded the individual’s capacity for critical evaluation, moving us to consider what a shared, collective criticism of AI might sound like.

AI Art, Machine Learning and the Stakes for Art Criticism

The al-Sabah Collection

"Dar al-Athar al Islamiyyah - The al-Sabah Collection, Kuwait."--Title page.

Metalwork from the Arab World and the Mediterranean

Routledge Advances in Art and Visual Studies

This volume explores the effect of Darwinian theory on visual culture through analysis of popular graphics, scientific illustration, natural history diorama, as well as the more traditional art historical material such as painting and sculpture. It extends the discussion to examine the lasting impact the theory of evolution has had on the development of art history as an academic discipline.

Charles Darwin’s theory of evolution bore a decisive influence on aesthetic thought that was nothing if not diverse. From biological models to European paintings, Darwinian theory offered art historians and artists a rich, evocative lens through which to view the world anew. This volume explores the effect of Darwinian theory on visual culture through analysis of popular graphics, scientific illustration, natural history diorama, as well as the more traditional art historical material such as painting and sculpture. It extends the discussion to examine the lasting impact the theory of evolution has had on the development of art history as an academic discipline.

The Darwin Effect

Evolutionary Theory and Visual Culture

Naturbilder / Images of Nature

Das Buch zeigt erstmals auf, wie die unsichtbare Pflanzenseele in Kunst, Film, Tanz und Wissenschaft Frankreichs dargestellt und mit religiösen und biologischen Konzepten vermischt wurde. Die Bandbreite der Visualisierungen reicht von romantischen Personifikationen im frühen Film über fleischfressende zoomorphe Monster bis zu Ornamenten bei FrantiSek Kupka und Loïe Fuller, die Pflanzenbewegungen zu einem abstrakten Dynamismus stilisierten. Auch der neu erfundene Zeitrafferfilm zeigt das langsame Leben der Pflanzen beschleunigt und schreibt ihnen so Willen und Ausdruck zu. Die Kunst- und Bildgeschichte der postevolutionären anima vegetativa verdeutlicht, dass der vegetabile Animismus Konzeptionen von Natur, Wahrnehmung und Wirkmacht hinterfragt und damit auch den Sonderstatus des Menschen.

Do plants have a soul? This first-ever study examines how the invisible souls of plants were depicted in French art, film, dance and science around 1900, including the way these depictions were melded with religious and biological concepts. The aesthetic and pictorial history of post-evolutionary anima vegetativa shows how plant animism questioned conceptions of nature, perception and power, and, by extension, the special status of human beings.

Florale Animationen in bildender Kunst, Film und Tanz Frankreichs um 1900

Anima vegetativa

Then And Now

Texas Then and Now features the most prominent locations from around the state, comparing vintage photographs with modern views of the same scenes today.

Texas Then and Now

A collaboration between Jess T. Dugan (photographer of To Survive On This Shore) and curator Charlotte Cotton, Love Pictures centers around conversations about themes informing Dugan’s practice, including gender and identity, family and politics, writing and language, relationships and community, the book as object, and the dynamics of the exhibition space. These initial dialogues then prompted subsequent conversations with others in Dugan’s and Cotton’s respective communities: friends, colleagues, mentors, and subjects of Dugan’s work—including Dawoud Bey, Kelli Connell, Dorothy Moss, and Catherine Opie, among others. Transcriptions of these intimate and in-depth exchanges are woven with the first comprehensive survey of Dugan’s work in book form. Dugan's work is in the permanent collections of over sixty museums, including the Denver Art Museum, Getty Research Institute, Harvard Art Museums, International Center of Photography, Leslie/Lohman Museum of Gay and Lesbian Art, Minneapolis Institute of Art, Museum of Fine Arts Boston, Museum of Fine Arts Houston, Nelson-Atkins Museum of Art, National Gallery of Art, and San Francisco Museum of Modern Art.

Invisible Hands

Bibliografische Angaben

Schlagworte

Bibliografische Angaben

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