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The Social Life of Art
This study examines not only the objects and processes that make up the artworlds of human history, but also the social and cultural circumstances, the historicised contexts that bring about their making, frame their functioning, inform their properties and influence their effects, both at the time of their creation and throughout their subsequent biographies. In the short span that “art” has played a part in human life, one may conceive of time as a social river, with a strong current towards the capricious mainstream, and eddies and quiet pools near the banks. The current will flow faster in spate and slower in drought. But it will be forever in motion. It will be unpredictable. Nothing will stop its inexorable force. Art runs in that social river, subject to the flow and chance of time.
Art and Book
Art has been as significant as text in the history of book design and production. This collection of papers examines the place of illustration and innovation, both conceptual and technical, in the relation of image to text in books of the twentieth and early twenty-first centuries, both in Europe and that outreach of European culture in the Pacific, New Zealand. Topics of the papers range from the work of Marcel Duchamp and Kazimir Malevich to the design of multimodal books and the early development of 3D printing.
Art and Food
Art and Food is a collection of essays exploring a range of research topics relating to the representation of food in art and art in food, from iconography and allegory, through class and commensality, to kitchen architecture and haute cuisine.
Art and Money
Art and money have much in common. Both are spheres of social activity that carry symbolic values. A coin is simply a piece of metal, stamped with signs to give it symbolic meaning, to give it a value, a value that changes with the vicissitudes of its economic life, or, when no longer legal tender, with its life as a collectable. A painting is a piece of canvas, stretched on a frame to make it taut, which is then covered with pigment, brushed with an image, a sign that gives it value, a value that changes with the vicissitudes of its aesthetic and symbolic life, with its commodity value. Art and money come together whenever the values of both are exchanged within a market—in trade between ...
Money and Materiality in the Golden Age of Graphic Satire
This book examines the entwined and simultaneous rise of graphic satire and cultures of paper money in late eighteenth- and early nineteenth-century Britain. Asking how Britons learned to value both graphic art and money, the book makes surprising connections between two types of engraved images that grew in popularity and influence during this time. Graphic satire grew in visual risk-taking, while paper money became a more standard carrier of financial value, courting controversy as a medium, moral problem, and factor in inflation. Through analysis of satirical prints, as well as case studies of monetary satires beyond London, this book demonstrates several key ways that cultures attach value to printed paper, accepting it as social reality and institutional fact. Thus, satirical banknotes were objects that broke down the distinction between paper money and graphic satire altogether.
Aboriginal Art and Australian Society
This book is an investigation of the way the Aboriginal art phenomenon has been entangled with Australian society’s negotiation of Indigenous people’s status within the nation. Through critical reflection on Aboriginal art’s idiosyncrasies as a fine arts movement, its vexed relationship with money, and its mediation of the politics of identity and recognition, this study illuminates the mutability of Aboriginal art’s meanings in different settings. It reveals that this mutability is a consequence of the fact that a range of governmental, activist and civil society projects have appropriated the art’s vitality and metonymic power in national public culture, and that Aboriginal art is as much a phenomenon of visual and commercial culture as it is an art movement. Throughout these examinations, Fisher traces the utopian and dystopian currents of thought that have crystallised around the Aboriginal art movement and which manifest the ethical conundrums that underpin the settler state condition.
J.G. Ballard's Surrealist Imagination
Making the case that J. G. Ballard's fiction must be read within the framework of Surrealism, Jeannette Baxter argues for a radical revisioning of Ballard that takes account of the political and ethical dimensions of his work. A very different portrait of Ballard emerges, one that has implications for our understanding of post-war history and culture, the role of the reader and the function of the written text within a predominantly visual culture.
Matisse’s Poets
Throughout his career, Henri Matisse used imagery as a means of engaging critically with poetry and prose by a diverse range of authors. Kathryn Brown offers a groundbreaking account of Matisse's position in the literary cross-currents of 20th-century France and explores ways in which reading influenced the artist's work in a range of media. This study argues that the livre d'artiste became the privileged means by which Matisse enfolded literature into his own idiom and demonstrated the centrality of his aesthetic to modernist debates about authorship and creativity. By tracing the compositional and interpretive choices that Matisse made as a painter, print maker, and reader in the field of ...
Cartographies of Cloth
As we must know, the hijab has been historically considered in Euro-America a symbol of difference between east and west. The hijab was also mostly seen and described as awful regarding gender, politics, visuality, and the conception of self. Even France still has a law against it. Surprisingly, the Muslim woman's veil constitutes a common site in Euro-American visual culture. Contemporary veil art has helped inspire some scholarship which has begun to broach the topic of the veil specifically, examining its role in colonial, modernist, feminist, and Muslim discourses, probing its resurgence east and west, and analyzing its significance in media representations. Arguing in support of the veil's multivalence and seeking to rectify the dearth of many studies on the topic, this book initiates a mapping of the veil in contemporary art, underscoring the alternative narratives to mainstream the representations it proffers and exploring its myriad meanings and its link to the wider issues of gender, politics, and identity. I hope the book will truly inspire our important multiculturalism.
