Search results for 'Art, Modern' (try it on Scholar)

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  1.  4
    Paul Mattick (2003). Art in its Time: Theories and Practices of Modern Aesthetics. Routledge.
    Art In Its Time takes a close look at the way in which art has become integral to the everyday 'ordinary' life of modern society. It explores the prevalent notion of art as transcending its historical moment, and argues that art cannot be separated from the everyday as it often provides material to represent social struggles and class, to explore sexuality, and to think about modern industry and our economic relationships.
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  2.  5
    Paul Crowther (2012). The Phenomenology of Modern Art: Exploding Deleuze, Illuminating Style. Continuum International Publishing Group.
    The first sustained phenomenological approach to modern art, taking a new approach and drawing upon an unsual selection of thinkers.
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  3.  13
    Jennifer Dyer Harnish (2011). Serial Images: The Modern Art of Iteration. Lit.
    Chapter One Introduction Serial Iteration in Modern Art This book is an analysis of the theoretical and historical relations between modern painting and seriality. While many modern artists have created and presented their works in the ...
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  4. Patrick Maynard (1991). Review of J. Kirk Varnedoe, A Fine Disregard: What Makes Modern Art Modern. Journal of Aesthetics and Art Criticism 49 (4):390-392.
     
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  5.  1
    Karsten Harries (1970). The Meaning of Modern Art: A Philosophical Interpretation. Journal of Aesthetics and Art Criticism 28 (3):403-404.
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  6. Robert L. Herbert (2000). Modern Artists on Art.
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  7. J. P. Hodin (1972). Modern Art and the Modern Mind.
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  8. M. Ramirez-Montagut & P. Selz (2000). Beyond the Mainstream: Essays on Modern and Contemporary Art. The European Legacy 5 (1):135-135.
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  9. Herbert Edward Read (1971). The Philosophy of Modern Art. Freeport, N.Y.,Books for Libraries Press.
  10. Aaron Scharf (1976). The Emerging of Modern Art in the Early Twentieth Century.
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  11.  10
    Robert Klein (1979). Form and Meaning: Essays on the Renaissance and Modern Art. Viking Press.
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  12.  21
    Moshe Barasch (1990). Modern Theories of Art. New York University Press.
    In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and (...)
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  13. Jean-Marie Schaeffer (2009). Art of the Modern Age: Philosophy of Art From Kant to Heidegger. Princeton University Press.
     
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  14. Moshe Barasch (1998). Modern Theories of Art, 2 From Impressionism to Kandinsky.
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  15. David Kelley & Edward Timms (1985). Unreal City Urban Experience in Modern European Literature and Art.
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  16. F. D. Klingender (1975). Marxism and Modern Art: An Approach to Social Realism. Lawrence and Wishart.
  17. Alexander Nagel & Lorenzo Pericolo (eds.) (2010). Subject as Aporia in Early Modern Art. Ashgate.
     
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  18. Lorenzo Pericolo (2010). Subject as Aporia in Early Modern Art. Ashgate.
     
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  19.  72
    James I. Porter (2009). Is Art Modern? Kristeller's ‘Modern System of the Arts’ Reconsidered. British Journal of Aesthetics 49 (1):1-24.
    The Modern System of the Arts : A Study in the History of Aesthetics’ is a classic statement of the view, now widely adopted but rarely examined, that aesthetics became possible only in the eighteenth-century with the emergence of the fine arts. I wish to contest this view, for three reasons. Firstly, Kristeller's historical account can be questioned; alternative and equally plausible accounts are available. Secondly, ‘the modern system of the arts ’ appears to have been neither a (...)
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  20.  2
    James porter (2009). Is Art Modern? BJA 49 (1):1-24.
    Kristeller's article ‘The Modern System of the Arts: A Study in the History of Aesthetics’ is a classic statement of the view, now widely adopted but rarely examined, that aesthetics became possible only in the eighteenth-century with the emergence of the fine arts. I wish to contest this view, for three reasons. Firstly, Kristeller's historical account can be questioned; alternative and equally plausible accounts are available. Secondly, ‘the modern system of the arts’ appears to have been neither a (...)
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  21. Francisco Vicent Galdón (2012). El Museu d'Art Modern de Tarragona, un grato encuentro con el arte actual. Critica 62 (981):93.
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  22. Peter Beilharz (2010). Review: John Anderson, Lectures on Political Theory 1941—45, Ed. Creagh McLean Cole (Sydney University Press, 2007) Bernard Smith, The Formalesque — A Guide to Modern Art and Its History (Macmillan, 2007). [REVIEW] Thesis Eleven 101 (1):134-136.
    Review: John Anderson, Lectures on Political Theory 1941—45, ed. Creagh McLean Cole Bernard Smith, The Formalesque — A Guide to Modern Art and Its History.
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  23.  17
    Jason Miller (2012). Collision: The Death of Art and the Sunday of Life: Hegel on the Fate of Modern Art. Evental Aesthetics 1 (1):39-47.
    Focusing specifically on Hegels analysis of Dutch genre painting in the Lectures on Aesthetics, Jason Miller argues that Hegel regards modern art not as a failure to convey the deepest interests of a culture or society, but as a welcome liberation of art in which it comes to reflect the diversity and complexity of human experience.
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  24.  22
    Christine Magerski (2012). Arnold Gehlen Modern Art as Symbol of Modern Society. Thesis Eleven 111 (1):81-96.
    Arnold Gehlen is one of the most controversial figures of German intellectual history. Gehlen’s commitment to National Socialism (a commitment he never disavowed) is mostly seen in close connection with his theoretical focus on institutions. According to Gehlen, what mankind requires above all is order and thus the protection of institutions. And yet, by reducing Gehlen’s sociology to the necessity of order one misses the analytical scope of his writings. As this article aims to show, the strength of Gehlen’s sociology (...)
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  25.  8
    Richard Shiff (2013). Watch Out for Thinking (Even Fuzzy Thinking) Concept and Percept in Modern Art. Common Knowledge 19 (1):65-87.
    This article, a contribution to the Common Knowledge symposium “Fuzzy Studies: On the Consequence of Blur,” documents how some modern artists and critics have argued against any sort of verbal thinking about art. Beyond describing works of visual art and pronouncing on their relative quality, critics often assume responsibility for explaining what a given work means. Because paintings and sculptures are less precisely codified, less articulate, than verbalized communications, they may seem to require verbal translation. Yet some artists and (...)
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  26.  4
    Simon Fokt, Defining Art Culturally : Modern Theories of Art - a Synthesis.
    Numerous theories have attempted to overcome the anti-essentialist scepticism about the possibility of defining art. While significant advances have been made in this field, it seems that most modern definitions fail to successfully address the issue of the ever-changing nature of art raised by Morris Weitz, and rarely even attempt to provide an account which would be valid in more than just the modern Western context. This thesis looks at the most successful definitions currently defended, determines their strengths (...)
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  27.  5
    Michael Baur (1996). Adorno and Heidegger on Art in the Modern World. Philosophy Today 40 (3):357-366.
    First, this article considers some similarities between Adorno and Heidegger concerning the role of art in the modern world. Next, the article outlines some crucial differences; for example, Adorno regards all thought (including that which gives rise to art) as intrinsically dominative, while Heidegger holds that even dominative, objectifying thought presupposes a kind of thought that is not dominative or objectifying. An articulation of these differences helps to illuminate the ways in which the ideas of both Adorno and Heidegger (...)
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  28.  3
    J. Wolff (2000). The Feminine in Modern Art: Benjamin, Simmel and the Gender of Modernity. Theory, Culture and Society 17 (6):33-53.
    The concept of `the feminine' has generally been employed to denigrate the work of women artists. A central project of feminist art historians, therefore, has been to challenge the use of the term. This article argues instead that the term can be mobilized in a more productive way, to investigate the very constitution of discourses of gender and, in particular, the discursive production of modernism as itself `masculine'. Reading for `inscriptions in the feminine', as well as for tensions and contradictions (...)
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  29.  3
    Harold Rosenberg (1975). Metaphysical Feelings in Modern Art. Critical Inquiry 2 (2):217-232.
    The aesthetic is present everywhere—in the street, in department stores, movie houses, mountainsides, as in the art gallery, the cathedral, the sacred grove. By universalizing the concept of the aesthetic, modern art has destroyed the barrier that once marked off Beauty and the Sublime as separate realms of being. In the eyes of modern art and modernist aesthetics, anything can legitimately appeal to taste. President Eisenhower, complaining about modern art, said that he had been brought up to (...)
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  30.  2
    E. Sevanen (2001). Art as an Autopoietic Sub-System of Modern Society: A Critical Analysis of the Concepts of Art and Autopoietic Systems in Luhmann's Late Production. Theory, Culture and Society 18 (1):75-103.
    This article is concerned with Niklas Luhmann's theory of art which he formulated in the 1990s, based on his general theory of autopoietic systems. This theory regards modern society as a functionally differentiated formation whose sub-systems operate according to their inner principles of communication. According to this, the domain of art can also be seen as an operationally closed and self-referential communicative system. The basic problem in these notions lies in the way in which their description of the relationships (...)
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  31. Jennifer Anna Gosetti-Ferencei (2010). The Ecstatic Quotidian: Phenomenological Sightings in Modern Art and Literature. Penn State University Press.
    Fascination with quotidian experience in modern art, literature, and philosophy promotes ecstatic forms of reflection on the very structure of the everyday world. Gosetti-Ferencei examines the ways in which modern art and literature enable a study of how we experience quotidian life. She shows that modernism, while exhibiting many strands of development, can be understood by investigating how its attentions to perception and expectation, to the common quality of things, or to childhood play gives way to experiences of (...)
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  32.  2
    Karsten Harries (1979). Meaning of Modern Art. Northwestern University Press.
    Originally published in 1968, Karsten Harries's classic work provides a philosophical understanding of how modern art differs fundamentally from the art of earlier periods.
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  33. Edward Tingley (1995). Game of Knowledge: The Modern Interpretation of Art. Dissertation, University of Ottawa (Canada)
    Summation. A specifically modern approach to the interpretation of art is distinguished, rooted in the insight that cognitivity in interpretation must be oriented by sensitivity to the subject-object paradigm. It is shown that specific modern theory of interpretation has become established in twentieth-century theory and practice. That theory is demonstrated to be a set of interpretative rules. The hidden dependence of those rules on specific conceptions of the nature of a work of art is revealed. Three such conceptions (...)
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  34.  9
    Manfred Kienpointner (1997). On the Art of Finding Arguments: What Ancient and Modern Masters of Invention Have to Tell Us About the" Ars Inveniendi". Argumentation 11 (2):225-236.
    This paper deals with what has been called "ars inveniendi" in antiquity, medieval and early modern times. A survey of different techniques of finding tenable and relevant arguments is presented . Their advantages and disadvantages are critically compared. It is suggested that a mixture of strategies of finding arguments should be used. Finally, a few remarks showing the relationship beween the strategies of finding arguments and creativity in general are given.
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  35.  8
    Agnes Ballestrem (1998). Modern Art, Who Cares? Techne 8:5-6.
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  36. Marjorie Bowen (1939). Ethics in Modern Art. Watts.
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  37. Christopher Green (1987). Cubism and its Enemies Modern Movements and Reaction in French Art, 1916-1928. Monograph Collection (Matt - Pseudo).
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  38. Francis Donald Klingender (1945). Marxism and Modern Art. New York, International Publishers.
     
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  39. Alex Neill & Aaron Ridley (1995). The Philosophy of Art Readings Ancient and Modern.
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  40. J. H. Raycroft, Minnie Cron Wheeler & J. Young (1888). The Progressive Art Guide an Entirely New Method of Self-Instruction on Modern Arts Shown in Their Progressive Stages of Completion. J.B. Young.
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  41. Xavier Rubert de Ventós (1980). Heresies of Modern Art. Columbia University Press.
     
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  42. Julian Young (2001). Heidegger and Modern Art. Cambridge University Press.
     
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  43. Justino Fernández (1964). An Aesthetic of Mexican Art: Ancient and Modern. Journal of Aesthetics and Art Criticism 23 (1):21-28.
  44.  3
    Sergius Kodera (2015). Dialogues Between the Art of Healing and the Art of Persuasion in the Early Modern Period. Journal of Early Modern Studies 4 (2):149-160.
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  45. Paul Klee (2012). On Modern Art. In Paul Klee: Philosophical Vision, From Nature to Art. Mcmullen Museum of Art, Boston College
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  46.  8
    Don Ihde (2008). Art Precedes Science: Or Did the Camera Obscura Invent Modern Science? In Jan Lazardzig, Ludger Schwarte & Helmar Schramm (eds.), Theatrum Scientiarum - English Edition, Volume 2, Instruments in Art and Science: On the Architectonics of Cultural Boundaries in the 17th Century. De Gruyter 383-393.
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  47.  5
    T. J. Clark (1985). The Painting of Modern Life: Paris in the Art of Manet and His Followers. Journal of Aesthetics and Art Criticism 44 (2):203-205.
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  48.  27
    Roger Seamon (2001). The Conceptual Dimension in Art and the Modern Theory of Artistic Value. Journal of Aesthetics and Art Criticism 59 (2):139–151.
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  49.  32
    Jacob Korg (1960). Modern Art Techniques in the Waste Land. Journal of Aesthetics and Art Criticism 18 (4):456-463.
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  50.  3
    John Adkins Richardson & Peter Salm (1972). Modern Art and Scientific Thought. Journal of Aesthetics and Art Criticism 30 (3):407-407.
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