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Vidal Claramonte M: Textile Translations

Textile Translations

Weaving Stories, Touching Meanings

How genetics informs our identity, health, history, policing, politics and more

The Secrets of our DNA

Literatures as World Literature

Kazuo Ishiguro Against World Literature

and the Cultural Geography of Horror

Urban Legends

Bloomsbury Studies in Religion, Space and Place

Affect and Absence

Struggles for Hindu Sacred Space in the Netherlands

Aesthetics and Contemporary Art

James Hyde, a practicing painter, boldly revises the concept of space in the European history of art. He presents it as a concept bound to historical circumstance, developing -sometimes contentiously-in philosophy, mathematics and science, and finally emerging in 20th century theorizations of art. Using primary documents, Hyde exposes what many will find surprising-that space only becomes part of the descriptive and analytic apparatus of art and architecture at the turn of the 20th century, not earlier. Hyde examines narratives that have shaped our understanding of the history of art and their explanatory efficacy in the context of the transformations of 13th and 15th century Italian art. He offers insights into the relationship between painting, architecture, icons and narrative pictures, the effects of St. Francis's miracles on painting and the essential diagrammatical nature of Renaissance perspective. The arrival of space into discussions about art introduces Kant, Leibniz, Apollonaire and Adolf von Hildebrand into the story. Hyde considers how and why artists and historians appropriated space at the end of the 19th century, as well as how space moved from the discourse of Neoclassical sculpture and Cubism to its prominence in discussions of art today. Hyde's original reading of the definition of space and the cultural forces that shaped it provides a re-envisioning of the foundations of art history and the philosophy of art.

A Critical History

The Trouble with Space in Painting

Apuleius on the Cosmos

Ucl World Archaeology

Italy in the First Millennium Bce

Writing Matters

October Files

Pierre Huyghe

We tend to think that everything important comes from the centre: from big cities, from established orthodoxies in the sciences and the arts, from the Establishment in all its forms. We think this because the centre tells us it is so, but it's a lie. It is only at the edges that we think, innovate and thrive. This book travels to the far frontiers of the planet, and of human culture and consciousness; to the edges of continents, of evolution, of artistic and political movements, and of life itself: from a rocky precipice in the Peloponnese where the first human set foot in Europe to an ancient Egyptian temple where monotheism was invented; from St Francis, kissing lepers' sores to the giant bird-eating mice of St Kilda. Why do we stare at sunsets? Why do we celebrate birthdays and grieve for those who are gone? Why do all adventures begin when we leave and get lost? Who has the better view of reality - the Government or the dispossessed? And what happens when we live with the knowledge that we're all teetering on the edge of the dark?

Textile Translations

Bibliografische Angaben

Schlagworte

Bibliografische Angaben

Schlagworte

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