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Art and the Academy in the Nineteenth Century
Throughout the nineteenth century, academies functioned as the main venues for the teaching, promotion, and display of art. Contemporary scholars have, for the most part, denigrated academic art, calling it formulaic, unoriginal, and repetitious. The contributors to Art and the Academy in the Nineteenth Century challenge this entrenched notion and consider how academies worldwide have represented an important system of artistic preservation and transmission. Their essays eschew easy binaries that have reigned in academia for more than half a century and that simply oppose the avant-garde to academicism.
Academic Art
Academic, Academician, the Academy ... words as dirty as words can get in the discussions of art. Why? How did the ideas and styles of Academic art fall into such disrepute? When did they become synonymous with "worship of the past", "doctrinaire", "imitative"? The answers to these questions and many more emerge as fourteen distinguished artists and critics define and reexamine the art, architecture and philosophy of the Academy through four centuries of development and change. They decry the superficial judgements handed down en bloc by today's taste bureaucracy. They present little-known artists in a new light; place extraordinarily ambitious works within the great tradition of Western art; explore parallels in sixteenth-century Bologna. They apply the positive pressure necessary to overcome decades of negation, in some cases exhibiting unabashed affection and partisanship for the neglected Academicians under discussion. More than 32 pages of illustrations of largely unfamiliar paintings help to make Academic Art a unique document on one of the art world's great unexplored regions
Artists in Offices
Universities have become important sources of patronage and professional artistic preparation. With the growing academization of art instruction, young artists are increasingly socialized in bureaucratic settings, and mature artists find themselves working as organizational employees in an academic setting. As these artists lose the social marginality and independence associated with an earlier, more individual aesthetic production, much cultural mythology about work in the arts becomes obsolete. This classic ethnography, based on fieldwork and interviews carried out at the California Institute of the Arts in the 1980s, analyzes the day-to-day life of an organization devoted to work in the a...
Academics, Pompiers, Official Artists and the Arrière-garde
Academics, Pompiers, Official Artists and the Arrière-garde: Defining Modern and Traditional in France, 1900-1960 is a collection of eight essays and a scholarly introduction by established and emerging scholars that challenges the continuing modernist slant of twentieth-century art history. The intention is not to perpetuate the vulgar opposition between avant-garde and reactionary art that characterized early-twentieth-century discourse and has marked much subsequent historical writing, but rather to investigate the complex relationship that both innovative and conservative artists had to the concept of tradition. How did artists and art critics conceive of tradition in relation to modern...
History of Art
History of Art covers training and vocational aspects of Art History, providing a wealth of information on the different kinds of courses available on the relationship between, for example, museum and gallery work and academic Art History.
History of Art
This fully revised edition of the History of Art: A Student's Handbook introduces students to the kinds of practices, challenges, questions and writings they will encounter in studying the history of art. Marcia Pointon conveys the excitement of Art History as a multi-faceted discipline addressing all aspects of the study of media, communication and representation. She describes and analyses different methods and approaches to the discipline, explaining their history and their effects on the day-to-day learning process. She also discusses the relationship of Art History to related disciplines including film, literature, design history and anthropology. The fifth edition of this classic text ...
The Handbook of Art and Design Librarianship
While much attention has been paid to art librarianship as it exists in museum settings, comparatively less notice has been taken of academic and art-and-design-school art librarianship as a distinct focus. However, the skills of subject specialists in the arts and their advocacy on behalf of their users are fundamental elements in vital art libraries that fully support and anticipate the needs of artists, designers, architects, and the historians who study these disciplines. Put together by an international team of contributors, this essential handbook examines methods of innovative librarianship in academic and art school libraries throughout the world. With a focus on the intersection of ...
Strictly Academic
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Between Discipline and a Hard Place
Written from the perspective of a practising artist, this book proposes that, against a groundswell of historians, museums and commentators claiming to speak on behalf of art, it is artists alone who may define what art really is. Jelinek contends that while there are objects called 'art' in museums from deep into human history and from around the globe - from Hans Sloane's collection, which became the foundation of the British Museum, to Alfred Barr's inclusion of 'primitive art' within the walls of MoMA, the Museum of Modern Art - only those that have been made with the knowledge and discipline of art should rightly be termed as such. Policing the definition of art in this way is not to en...
