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This book explores the relation of abstract art to nature. It covers three categories of essays: classical modernism (Mondrian, Malevich, Kandinsky, Arp, early American abstraction); post-war abstraction (Pollock, Still, Newman, Smithson, Noguchi, Arte Povera, Michaux, postmodern developments); and the broader historical and philosophical scope.

As social, locative, and mobile media render the intimate public and the public intimate, this volume interrogates how this phenomenon impacts art practice and politics in the Asia-Pacific region.

This book addresses the art historical category of "contemporary art" from a transregional perspective, but unlike other volumes of its kind, it focuses in on non-Western instantiations of "the contemporary."

This book uncovers how we make meaning of abstraction, both historically and in present times, and examines abstract images as a visual language.

This volume addresses the evolution of the visual in digital communities, offering a multidisciplinary discussion of the ways in which images are circulated in digital communities, the meanings which are attached to them and the implications they have on notions of identity, memory, gender, cultural belonging and political action.

This book examines the interconnections between art, phenomenology, and cognitive studies, foregrounding the many ways that artists ask us to consider how we sense, think, and act in relation to a work of art.

This book explores modern painting as a response to, and an appropriation of, the aesthetic possibilities pried open by cinema from its invention until the outbreak of World War II, when both the art world and the film industry changed substantially.

Paul Crowther, using a philosophical approach to art history, considers the first steps towards digital graphics, their development in terms of three-dimensional abstraction and figuration, and then the complexities of their interactive formats.

This book analyzes the philosophical origins of dualism in portraiture in Western culture during the Classical period, through to contemporary modes of portraiture.

This volume offers a varied and informed series of approaches to questions of mobilityΓÇöactual, social, virtual, and imaginaryΓÇöas related to visual culture. Contributors address these questions in light of important contemporary issues such as migration; globalization; trans-nationality and trans-cultural difference; art, space and place; new media; fantasy and identity; and the movement across and the transgression of the proprieties of boundaries and borders. The book invites the reader to read across the collection, noting differences or making connections between media and forms and between audiences, critical traditions and practitioners, with a view to developing a more informed understanding of visual culture and its modalities of mobility and fantasy as encouraged by dominant, emergent, and radical forms of visual practice.

This book links two fields of interest which are too seldom considered together: the production and critique of art in public space and social behaviour in the public realm. Case studies consider a broad range of public art, including commissioned and unofficial artworks, memorials, street art, street furniture, performance art, sound art, and media installations.

On Not Looking: The Paradox of Contemporary Visual Culture focuses on the image, and our relationship to it, as a site of "not looking." The collection demonstrates that even though we live in an image-saturated culture, many images do not look at what they claim, viewers often do not look at the images, and in other cases, we are encouraged by the context of exhibition not to look at images. Contributors discuss an array of imagesΓÇöphotographs, films, videos, press images, digital images, paintings, sculptures, and drawingsΓÇöfrom everyday life, museums and galleries, and institutional contexts such as the press and political arena. The themes discussed include: politics of institutional exhibition and perception of images; censored, repressed, and banned images; transformations to practices of not looking as a result of new media interventions; images in history and memory; not looking at images of bodies and cultures on the margins; responses to images of trauma; and embodied vision.

Promoting the expansion of art in society and education, this book highlights the significance of the arts as an instrument of social justice, inclusion, equity, and protection of the environment.

This volume explores the place of the sublime in contemporary culture and the aesthetic, cultural, and political values coded in it. It offers a map of the contemporary sublime in terms of the limits¿cinematic, cognitive, neurophysiological, technological, or environmental¿of representation.

The presentation of bodies in pain has been a major concern in Western art since the time of the Greeks. The Christian tradition is closely entwined with such themes, from the central images of the Passion to the representations of bloody martyrdoms. The remnants of this tradition are evident in contemporary images from Abu Ghraib. In the last forty years, the body in pain has also emerged as a recurring theme in performance art. Recently, authors such as Elaine Scarry, Susan Sontag, and Giorgio Agamben have written about these themes. The scholars in this volume add to the discussion, analyzing representations of pain in art and the media. Their essays are firmly anchored on consideration of the images, not on whatever actual pain the subjects suffered. At issue is representation, before and often apart from events in the world. Part One concerns practices in which the appearance of pain is understood as expressive. Topics discussed include the strange dynamics of faked pain and real pain, contemporary performance art, international photojournalism, surrealism, and Renaissance and Baroque art. Part Two concerns representations that cannot be readily assigned to that genealogy: the Chinese form of execution known as lingchi (popularly the "death of a thousand cuts"), whippings in the Belgian Congo, American lynching photographs, Boer War concentration camp photographs, and recent American capital punishment. These examples do not comprise a single alternate genealogy, but are united by the absence of an intention to represent pain. The book concludes with a roundtable discussion, where the authors discuss the ethical implications of viewing such images.

This book examines the importance of the animal in modern art theory. It focuses on the conceptual connections between the notions of art and animality in art theory between the 1750s and 1950s, and clarifies the status of the animal under modernity.

Based on the author's thesis (doctoral)--University of Edinburgh, 2015, under the title: Curating resistances: crisis and the limits of the political turn in contemporary art biennials.

This book focuses on the artistic process, creativity and collaboration, and personal approaches to creation and ideation in making digital and electronic technology-based art.

This book will help both students and seasoned scholars to understand key terms in visual studies - pictorial turn, metapictures, literary iconology, image/text, biopictures or living pictures, among many others - while systematically presenting the work of W.J.T.Mitchell as one of the discipline's founders and most prominent figures.

Wonder has an established link to the history and philosophy of science. However, there is little acknowledgement of the relationship between the visual arts and wonder. In this book, artists, curators and art theorists give accounts of their approach to wonder through the use of materials, objects and ways of exhibiting.