Products related to Critical:
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Nineteenth-Century Art : A Critical History
Written by a group of highly respected art historians, the fifth edition of this classic book now features full-colour artworks throughout, new chapter introductions, examinations of key ideas, and other helpful pedagogical support.Emphasizing the vitality of 19th-century art, the authors demonstrate how paintings, sculptures, prints and drawings by David, Géricault, Turner, Homer, Cassatt, Rodin, Van Gogh and many others remain relevant today.Using evocative and lucid prose, the authors reveal how concerns about class and gender, race and ethnicity, modernity and tradition, and popular and elite culture – ideas that arose in the course of the 19th century – motivated artists and propelled the movements under review.
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The Art of Art History : A Critical Anthology
What is art history? Why, how, and where did it originate, and how have its methods changed over time?The history of art has been written and rewritten since classical antiquity.Since the foundation of the modern discipline of art history in Germany in the late eighteenth century, debates about art and its histories have intensified.Historians, philosophers, psychologists, and anthropologists among others have changed our notions of what art history has been, is, and might be.This anthology is a guide to understanding art history through critical reading of the field's most innovative and influential texts, focusing on the past two centuries.Each section focuses on a key issue: art as history; aesthetics; form, content, and style; anthropology; meaning and interpretation; authorship and identity; and the phenomenon of globalization.More than thirty readings from writers as diverse as Winckelmann, Kant, Mary Kelly, and Michel Foucault are brought together, with editorial introductions to each topic providing background information, bibliographies, and critical elucidations of the issues at stake.This updated and expanded edition contains sixteen newly included extracts from key thinkers in the history of art, from Giorgio Vasari to Walter Benjamin and Satya Mohanty; a new section on globalization; and also a new concluding essay from Donald Preziosi on the tasks of the art historian today.
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Critical Terms for Art History, Second Edition
"Art" has always been contested terrain, whether the object in question is a medieval tapestry or Duchamp's Fountain.But questions about the categories of "art" and "art history" acquired increased urgency during the 1970s, when new developments in critical theory and other intellectual projects dramatically transformed the discipline.The first edition of Critical Terms for Art History both mapped and contributed to those transformations, offering a spirited reassessment of the field's methods and terminology. Art history as a field has kept pace with debates over globalization and other social and political issues in recent years, making a second edition of this book not just timely, but crucial.Like its predecessor, this new edition consists of essays that cover a wide variety of "loaded" terms in the history of art, from sign to meaning, ritual to commodity.Each essay explains and comments on a single term, discussing the issues the term raises and putting the term into practice as an interpretive framework for a specific work of art.For example, Richard Shiff discusses "Originality" in Vija Celmins's To Fix the Image in Memory, a work made of eleven pairs of stones, each consisting of one "original" stone and one painted bronze replica.In addition to the twenty-two original essays, this edition includes nine new ones—performance, style, memory/monument, body, beauty, ugliness, identity, visual culture/visual studies, and social history of art—as well as new introductory material.All help expand the book's scope while retaining its central goal of stimulating discussion of theoretical issues in art history and making that discussion accessible to both beginning students and senior scholars. Contributors: Mark Antliff, Nina Athanassoglou-Kallmyer, Stephen Bann, Homi K.Bhabha, Suzanne Preston Blier, Michael Camille, David Carrier, Craig Clunas, Whitney Davis, Jas Elsner, Ivan Gaskell, Ann Gibson, Charles Harrison, James D.Herbert, Amelia Jones, Wolfgang Kemp, Joseph Leo Koerner, Patricia Leighten, Paul Mattick Jr., Richard Meyer, W.J. T. Mitchell, Robert S. Nelson, Margaret Olin, William Pietz, Alex Potts, Donald Preziosi, Lisbet Rausing, Richard Shiff, Terry Smith, Kristine Stiles, David Summers, Paul Wood, James E.Young
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The New Art History : A Critical Introduction
The New Art History provides a comprehensive introduction to the fundamental changes which have occurred in both the institutions and practice of art history over the last thirty years.Jonathan Harris examines and accounts for the new approaches to the study of art which have been grouped loosely under the term 'the new art history'.He distinguishes between these and earlier forms of 'radical' or 'critical' analysis, explores the influence of other disciplines and traditions on art history, and relates art historical ideas and values to social change.Structured around an examination of key texts by major contemporary critics, including Tim Clarke, Griselda Pollock, Fred Orton, Albert Boime, Alan Wallach and Laura Mulvey, each chapter discusses a key moment in the discipline of art history, tracing the development and interaction of Marxist, feminist and psychoanalytic critical theories.Individual chapters include: * Capitalist Modernity, the Nation-State and Visual Representation * Feminism, Art, and Art History * Subjects, Identities and Visual Ideology * Structures and Meanings in Art and Society * The Representation of Sexuality
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What would be socially critical art?
Socially critical art is art that addresses and critiques social, political, and cultural issues. It often challenges the status quo and aims to provoke thought, discussion, and action. Socially critical art can take many forms, including visual art, performance art, literature, and music, and it can address a wide range of topics such as inequality, injustice, discrimination, and environmental degradation. This type of art often seeks to raise awareness, inspire change, and give voice to marginalized or oppressed communities.
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What would be good socially critical art?
Good socially critical art would be work that challenges the status quo, raises awareness about important social issues, and promotes empathy and understanding. It should provoke thought and discussion about topics such as inequality, discrimination, and injustice. This type of art can take many forms, including visual art, performance art, literature, and film, and should aim to inspire positive change and action in society.
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Socially critical or critical of society?
The phrase "socially critical" typically refers to works of art, literature, or commentary that examine and critique social issues, norms, and structures. On the other hand, "critical of society" may imply a more general and broad critique of societal values, institutions, and behaviors. Both phrases ultimately convey a similar idea of questioning and challenging the status quo, but "socially critical" may be more focused on specific social issues, while "critical of society" may encompass a broader range of societal aspects.
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What are ideas for socially critical caricature art?
Some ideas for socially critical caricature art could include depicting political figures in exaggerated and unflattering ways to highlight their flaws or controversial actions. Another idea could be to create caricatures of powerful corporations or industries to critique their impact on society or the environment. Additionally, artists could create caricatures that challenge stereotypes or address social issues such as racism, sexism, or income inequality. Ultimately, socially critical caricature art should aim to provoke thought and spark conversations about important issues facing society.
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World Cinema : A Critical Introduction
World Cinema: A Critical Introduction is a comprehensive yet accessible guide to film industries across the globe.From the 1980s onwards, new technologies and increased globalization have radically altered the landscape in which films are distributed and exhibited.Films are made from the large-scale industries of India, Hollywood, and Asia, to the small productions in Bhutan and Morocco.They are seen in multiplexes, palatial art cinemas in Cannes, traveling theatres in rural India, and on millions of hand-held mobile screens. Authors Deshpande and Mazaj have developed a method of charting this new world cinema that makes room for divergent perspectives, traditions, and positions, while also revealing their interconnectedness and relationships of meaning.In doing so, they bring together a broad range of issues and examples—theoretical concepts, viewing and production practices, film festivals, large industries such as Nollywood and Bollywood, and smaller and emerging film cultures—into a systemic yet flexible map of world cinema. The multi-layered approach of this book aims to do justice to the depth, dynamism, and complexity of the phenomenon of world cinema.For students looking to films outside of their immediate context, this book offers a blueprint that will enable them to transform a casual encounter with a film into a systematic inquiry into world cinema.
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Art History : A Critical Introduction to its Methods
Art History: A critical introduction to its methods provides a lively and stimulating introduction to methodological debates within art history.Offering a lucid account of approaches from Hegel to post-colonialism, the book provides a sense of art history’s own history as a discipline from its emergence in the late-eighteenth century to contemporary debates.By explaining the underlying philosophical and political assumptions behind each method, along with clear examples of how these are brought to bear on visual and historical analysis, the authors show that an adherence to a certain method is, in effect, a commitment to a set of beliefs and values.The book makes a strong case for the vitality of the discipline and its methodological centrality to new fields such as visual culture. This book will be of enormous value to undergraduate and graduate students, and also makes its own contributions to ongoing scholarly debates about theory and method. -- .
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Medievalism: a Critical History
An accessibly-written survey of the origins and growth of the discipline of medievalism studies. The field known as "medievalism studies" concerns the life of the Middle Ages after the Middle Ages. Originating some thirty years ago, it examines reinventions and reworkings of the medieval from the Reformation to postmodernity,from Bale and Leland to HBO's Game of Thrones.But what exactly is it? An offshoot of medieval studies? A version of reception studies? Or a new form of cultural studies? Can such a diverse field claim coherence? Should it be housed in departments of English, or History, or should it always be interdisciplinary?In responding to such questions, the author traces the history of medievalism from its earliest appearances in the sixteenth century to the present day, across a range of examples drawn from the spheres of literature, art, architecture, music and more.He identifies two major modes, the grotesque and the romantic, and focuses on key phases of the development of medievalism in Europe: the Reformation, the late eighteenth century, and above all the period between 1815 and 1850, which, he argues, represents the zenith of medievalist cultural production.He also contends that the 1840s were medievalism's one moment of canonicity in several European cultures at once.After that, medievalism became a minority form, rarely marked with cultural prestige, though always pervasive and influential. Medievalism: a Critical History scrutinises several key categories - space, time, and selfhood - and traces the impact of medievalism on each.It will be the essential guide to a complex and still evolving field of inquiry. David Matthews is Professor of Medieval and Medievalism Studies at the University of Manchester.
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Cancel Culture : A Critical Analysis
“Cancel culture” has become one of the most charged concepts in contemporary culture and politics, but mainstream critiques from both the left and the right provide only snapshots of responses to the phenomenon.Takinga media and cultural studies perspective, this book traces the origins of cancel practices and discourses, and discusses their subsequent evolution within celebrity and fan cultures, consumer culture, and national politics in the U.S. and China. Moving beyond popular press accounts about the latest targets of cancelling or familiar free speech debates, this analysis identifies multiple lineages for both cancelling and criticisms about cancelling, underscoring the various configurations of power associated with “cancel culture” in particular cultural and political contexts.
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What is critical realism as an art movement?
Critical realism is an art movement that emerged in the early 20th century as a response to the rise of abstract art. It focuses on depicting the world in a realistic and detailed manner, often with a critical or social commentary. Artists associated with critical realism aim to represent the world as it is, highlighting social issues, political events, and human experiences. This movement seeks to engage viewers in a dialogue about the realities of the world around them, challenging them to think critically about society and their place within it.
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What are some ideas for socially critical caricature art?
Some ideas for socially critical caricature art could include depicting political figures in exaggerated and unflattering ways to highlight their flaws or controversial actions. Another idea could be to create caricatures of wealthy individuals or corporations to critique issues of income inequality or corporate greed. Additionally, artists could create caricatures that satirize societal norms or stereotypes to challenge viewers' perceptions and provoke thought about social issues such as racism, sexism, or discrimination.
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Could society tolerate more critical art in the past?
In the past, society may have been less tolerant of critical art due to a variety of factors such as stricter censorship, limited access to alternative viewpoints, and a more conservative cultural climate. Artists who challenged the status quo or criticized societal norms often faced backlash, censorship, or even persecution. However, as society has evolved and become more open to diverse perspectives, there is now greater acceptance and appreciation for critical art that challenges the prevailing social, political, and cultural narratives. This shift has allowed for more freedom of expression and has enabled critical art to provoke important conversations and promote social change.
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How do you write a source-critical analysis in history?
To write a source-critical analysis in history, start by examining the source's authorship, date, and purpose to understand its context. Evaluate the source's credibility by considering the author's background, biases, and potential motivations. Analyze the content of the source by comparing it to other sources from the same time period and considering any inconsistencies or contradictions. Finally, draw conclusions about the source's reliability and significance in shaping historical understanding.
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