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159 found
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1 — 50 / 159
  1. added 2018-11-26
    Por una estética apegada a la vida.José Ramón Fabelo Corzo - 2010 - Revista de Filosofía (Venezuela) 66 (3):89-100.
    Los actuales procesos de estetización del mundo de la vida y de transformación de objetos cotidianos en obras de arte tienden a ser interpretados teóricamente como una difuminación de las fronteras entre arte y vida. Cualquier cosa puede ser arte -afirma Arthur C. Danto, uno de los más reconocidos filósofos del arte de la actualidad-, pero ¿lo puede ser en realidad? Este ensayo se cuestiona esa afirmación basado en los límites axiológicos de la misma.
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  2. added 2018-10-02
    Josef Albers, "So ist Kunst ... Erlebnis", Weimarer Verlagsgesellschaft: Wiesbaden 2018.Martina Sauer - 2018 - Wiesbaden, Germany: Weimarer Verlagsgesellschaft.
    This is the first coherent monography about the life and work of the important Bauhaus master Josef Albers. It aims to discover Albers as a teacher and an artist anew. Thus, 40 years after his death an artist shall be honored, who has had till now not enough attention within the Bauhaus masters. It fall too short to introduce him solely as the teacher and idea provider of the basic course at the Bauhaus. After his emigration to the US he (...)
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  3. added 2018-08-20
    Machines for Living: Philosophy of Technology and the Photographic Image.Ryan Wittingslow - 2014 - Dissertation, University of Sydney
    This dissertation examines the relationship that exists between two distinct and seemingly incompatible bodies of scholarship within the field of contemporary philosophy of technology. The first, as argued by postmodern pragmatist Barry Allen, posits that our tools and what we make with them are epistemically important; disputing the idea that knowledge is strictly sentential or propositional, he claims instead that knowledge is the product of a performance that is both superlative and artefactual, rendering technology importantly world-constituting. The second, as argued (...)
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  4. added 2018-05-06
    Art as Alchemy: The Bildobjekt Interpretation of Pictorial Illusion.Jens Dam Ziska - 2018 - Journal of Aesthetics and Art Criticism 76 (2):225-234.
    I argue that if we read E. H. Gombrich's Art and Illusion with the charity that it deserves, we will find a much subtler theory of depiction than the illusion theory that is usually attributed to Gombrich. Instead of suggesting that pictures are illusory because they cause us to have experiences as of seeing the depicted objects face to face, I argue that Art and Illusion is better read as making the point that naturalistic pictures are illusory because they cause (...)
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  5. added 2018-04-10
    A New Conception of 'Art'.Jakob Zaaiman - 2018
    The traditional conception of art is about sensual beauty and refined taste; modern art on the other hand has introduced an entirely unexpected dimension to the visual arts, namely that of ‘revelatory narrative’. Classical art aspires to present works which can be appreciated as sensually beautiful; modern art, when it succeeds, presents us instead with the unsettling narrative. This radical difference in artistic purpose is something relatively new, and not yet fully appreciated or understood.
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  6. added 2018-03-26
    Képkeretes történetek.Gizela Horvath - 2017 - Cluj Napoca - Oradea , Romania: Egyetemi Műhely Kiadó - Partium Kiadó.
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  7. added 2018-03-26
    Az autonóm művészet alkonya.Gizela Horvath - 2017 - In Bakó Rozália Klára & Gizela Horvath (eds.), Diskurzusok az alkonyról ARGUMENTOR Műhelykonferencia Nagyvárad, 2017. szeptember 8. Nagyvárad - Debrecen ebreceni Egyetemi Kiadó: Partium Kiadó, Debreceni Egyetemi Kiadó. pp. 151-164..
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  8. added 2018-03-26
    A szép és a semmi.Gizela Horvath - 2016 - Cluj Napoca - Oradea, Romania: Egyetemi Műhely Kiadó - Partiumi Kiadó.
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  9. added 2018-03-26
    Les chaussures de qui ? L'identité des oeuvres d'art.Gizela Horvath - 2011 - Synthesis Philosophica 26 (2):283-297.
    Le problème de l’identité dans le monde de l’art est pertinent sous de nombreux aspects. Cet article vise à examiner l’identité de l’oeuvre d’art. L’examen est construit en trois étapes : le problème d’identification d’un objet en tant qu’oeuvre d’art, le problème des propriétés pertinentes d’une oeuvre d’art et la question de l’auteur de l’oeuvre comme décisive (ou pas) pour l’identification d’une oeuvre d’art. Ces questions se sont posées avec l’évolution de la pratique artistique et de la théorie de l’art (...)
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  10. added 2018-03-26
    Čije cipele? Identitet u umjetničkim djelima.Gizela Horvath - 2011 - Synthesis Philosophica 26 (2):283-297.
    Problem identiteta u svijetu umjetnosti je važan iz mnogih perspektiva. Ovaj rad ima namjeru raspraviti identitet umjetničkih djela. Rasprava je izvedena u tri koraka: problem identifikacije predmeta kao umjetničkog djela, problem relevantnih svojstava umjetničkog djela i pitanje autora kao odlučujuće (ili ne) za identifikaciju umjetničkog djela. Ova pitanja su se otvorila evolucijom umjetničke prakse i teorije u prošlom stoljeću. Pojava ready-madea destabilizirala je čvrsti identitet umjetničkog djela te nametnula zadatak odluke o razlici između umjetničkog djela i njegovog perceptivno identičnog para. (...)
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  11. added 2018-03-26
    Wessen Schuhe? Identität der Kunstwerke.Gizela Horvath - 2011 - Synthesis Philosophica 26 (2):283-297.
    Die Problemstellung der Identität in der Welt der Kunst ist aus allerlei Perspektiven gewichtig. Dieser Artikel strebt eine Debatte über die Identität der Kunstwerke an. Die Diskussion wird in drei Schritten aufgebaut: die Frage der Identifizierung eines Objektes als Kunstwerk, das Problem der relevanten Eigenschaften eines Kunstwerks und letzten Endes die Frage des Autors als ausschlaggebend (oder nicht) für die Identifizierung des Kunstwerks. Diese Thematik wurde aufgeworfen gleichlaufend mit der Evolution der Kunstpraxis samt – theorie im vergangenen Jahrhundert. Die Erscheinung (...)
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  12. added 2018-03-20
    Play Ergo Sum. Un'analisi del videogioco tra finzione, identità e trasporto.Manuel Maximilian Riolo - 2016 - Rome: UniversItalia Editrice.
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  13. added 2018-03-20
    Play Ergo Sum. Un'analisi del videogioco tra finzione, identità e trasporto.Manuel Maximilian Riolo - 2016 - Rome: UniversItalia Editrice.
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  14. added 2018-02-21
    The Substitution Principle Revisited.Jakub Stejskal - 2018 - Source: Notes in the History of Art 37 (3):150-157.
    In their Anachronic Renaissance, Alexander Nagel and Christopher Wood identify two principles upon which, in fifteenth-century Europe, a work of art might establish its validity or authority: substitution and performance. It has become established wisdom that the dual schema of substitution and performance follows Hans Belting's dualism of the medieval cult of the image and the modern aesthetic system of art. This, I submit, is not just a mistake, but also prevents from evaluating one of the book's most ambitious contributions (...)
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  15. added 2018-02-17
    Just What is It That Makes the Same so Different? The Object After Post-Object Art.Allen Alain Viguier - 2015 - Hotel des Bains Editions..
    In the book’s two texts concepts of art "return" from the past, mostly from the founding narrative of contemporary art, but they are not taking us back to the past. The past that is recovered in our present is a measure of the distance that separates us from it. The texts' central proposition operates through the bracketing of objects. By suspending its own internality an object allows itself to be examined through its external relations in the material context of art (...)
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  16. added 2018-02-16
    Art and Pornography: Philosophical Essays.Hans Maes & Jerrold Levinson (eds.) - 2012 - Oxford University Press UK.
    Art and Pornography presents a series of essays which investigate the artistic status and aesthetic dimension of pornographic pictures, films, and literature, and explores the distinction, if there is any, between pornography and erotic art. Is there any overlap between art and pornography, or are the two mutually exclusive? If they are, why is that? If they are not, how might we characterize pornographic art or artistic pornography, and how might pornographic art be distinguished, if at all, from erotic art? (...)
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  17. added 2018-01-10
    Gombrich: la Historia del arte y las humanidades.Carlos Vanegas - 2016 - In El pluralismo del pensar. Historia del arte y humanismo. Medellín, Colombia: Universidad de Antioquia. pp. 127-149.
    Gombrich: la Historia del arte y las humanidades hace un estudio de la sobresaliente figura de Ernst Gombrich (1909-2001), como un punto de encuentro común para el investigador y el alumno sobre el arte y sus relatos legitimadores en la tradición humanista. De esta manera, planteo el interés por pensar la Historia del arte para el presente, en el cual Gombrich se enfrena al problema del método de la Historia como una humanidad en el ámbito académico, tanto en el mundo (...)
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  18. added 2018-01-10
    Yosman Botero y Postcolombino.Carlos Vanegas - 2016 - Co-herencia:301-303.
    La obra de Yosman Botero siempre ha orbitado entre paradojas. Desde los mismos lugares suplementarios de su obra, como los títulos de sus series Full of Emptiness (2013), Immaterial matter (2014) y Postcolombino (2016) se plantea una encrucijada tanto de la “supervivencia de las imágenes” del arte como de su capacidad comunicativa de la realidad: ya sea esta la experiencia del arte o la realidad social colombiana, o lo que sea que entendemos por “lo real”, tan cara a las propuestas (...)
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  19. added 2018-01-10
    Paul Gauguin y Mario Vargas Llosa, entre el arte y la literatura. Manao Tupapau-El espíritu del muerto la recuerda, 1892.Carlos Vanegas - 2015 - Poliantea:227-251.
    Entre el arte y la literatura se han generado múltiples reflexiones que han sido estudiadas por la historia del arte, la teoría literaria y la estética, entre otros. Igualmente, podemos considerar una larga tradición de artistas y escritores que se han empeñado, por medio de ensayos, críticas y manifiestos, en considerar los ámbitos y lugares de competencia de cada forma artística, así como sus lugares de similitud y diferencia en una larga tradición de préstamos interartísticos entre la palabra y la (...)
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  20. added 2018-01-10
    Ante la fragilidad de la memoria.Carlos Vanegas, Javier Domínguez, Carlos Arturo Fernández & Daniel Tobón - 2014 - In Carlos Vanegas, Javier Domínguez, Carlos Arturo Fernández & Daniel Tobón (eds.), El arte y la Fragilidad de la memoria. Medellín, Colombia: Sílaba Editores. pp. 259-275.
    Si no me falla la memoria, fue el dibujante Álvaro Barrios quien afirmó que el trabajo del artista contemporáneo colombiano se desarrolla según una agenda de trabajo. Si miramos algunos fenómenos del arte último en Colombia, podemos señalar que su agenda está determinada por el intento de comprensión de los procesos de la violencia en el país, a partir de una amplia gama de aproximaciones al concepto de memoria que ha tenido resonancia en las disciplinas humanísticas, las investigaciones académicas, el (...)
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  21. added 2018-01-10
    La fotografía y los desplazamientos en el arte contemporáneo colombiano. [REVIEW]Carlos Vanegas - 2013 - Cuadernos de Música, Artes Visuales y Artes Escénicas:137-140.
    PHOTOGRAPHY AND ITS DISPLACEMENTS IN COLOMBIAN CONTEMPORARY ART. BOOK REVIEW: THE LIMITS OF THE INDEX. THE PHOTOGRAPHIC IMAGE AND CONTEMPORARY ART IN COLOMBIA BY EFREN GIRALDO.
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  22. added 2017-12-29
    Iconic Turn: A Plea for Three Turns of the Screw.Emmanuel Alloa - 2015 - Culture, Theory, and Critique 56 (3).
    In the early 1990s, W.J.T. Mitchell and Gottfried Boehm independently proclaimed that the humanities were witnessing a ‘pictorial’ or ‘iconic turn’. Twenty years later, we may wonder whether this announcement was describing an event that had already taken place or whether it was rather calling forth for it to happen. The contemporary world is, more than ever, determined by visual artefacts. Still, our conceptual arsenal, forged during centuries of logocentrism, still falls behind the complexity of pictorial meaning. The essay has (...)
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  23. added 2017-11-20
    Art's Visual Efficacy: The Case of Anthony Forge's Abelam Corpus.Jakub Stejskal - 2016/2017 - Res: Anthropology and Aesthetics 67:78-93.
    This paper addresses the question of whether a general method is capable of accommodating the vast array of contexts in which art objects are studied. I propose a framework for such a general method, which is, however, limited to a specific research task: reconstructing the circumstances under which a culturally and/or temporally distant or “exotic” art object becomes interesting (or menacing) to look at. The proposed framework is applied to evaluate Anthony Forge’s essays on the visual art of the Abelam. (...)
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  24. added 2017-10-02
    Sublimidad e imaginación en el combate tierra-mundo: una lectura existencialista de la desgarradura del arte en Heidegger.Francisco Salinas - 2014 - Aisthesis 56:39-52.
    [ENG] On the basis of a reading of Heidegger's Der Ursprung des Kunstwerkes, the problematic of understanding the relational concepts of "earth" and "world" is developed. The proposal here is situated from an existential approach that links the earth with the concepts of sublimity and world, understood on the basis of an opening within imagination. To articulate these ideas, this paper fundamentally draws from arguments by Kant, Nancy and Arendt. The proposal here is that Heidegger seeks to explain how the (...)
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  25. added 2017-09-30
    Georg Simmel Und Die Philosophie der Kunst.Emil Utitz - 1920 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 14:1-41.
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  26. added 2017-06-24
    Introduction to the Issue: Psychophysical Integrity of the Human Self. Comparative Approach: Philosophy, Literature and Art.Marzenna Jakubczak - 2015 - Argument: Biannual Philosophical Journal 5 (1):5-8.
    The current issue of Argument: Biannual Philosophical Journal (2015, vol. 5, no. 1) provides a platform for cross‑cultural studies of the human body, the embodied mind, agency, intentionality, and various axiological aspects of the human psychophysical identity. Out of the twenty articles that compose this issue, thirteen original papers address the leading theme, namely Psychophysical integrity of the human self. Comparative approach: philosophy, literature and art. The multidisciplinary and comparative perspectives include references to Western and eastern cultural traditions, as well (...)
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  27. added 2017-06-24
    Architektura stupy buddyjskiej jako przykład projektu sakralnego.Marzenna Jakubczak - 1999 - In Ewa Rewers (ed.), Przestrzeń, filozofia i architektura. Poznań, Poland: Wydawnictwo Fundacji Humaniora. pp. 251-268.
  28. added 2017-05-09
    WHAT IS ART (Classificatory Disputes, Aesthetic Judgements, Contemporary Art.Ulrich De Balbian - 2017 - Philosophy and Art.
    WHAT is art? Classificatory disputes.. Classificatory disputes about what is art SEE this link for the images embeded in the text!! https://ulrichdebalbian.wordpress.com/2015/05/09/classificatory-disputes-about-what-is-art/ -/- Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes (...)
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  29. added 2017-02-16
    Are All Multiples the Same? The Problematic Nature of the Limited Edition.K. E. Gover - 2015 - Journal of Aesthetics and Art Criticism 73 (1):69-80.
    The aim of this inquiry is to determine whether printmaking is best understood ontologically as analogous to a work-performance relation. Are prints the visual analogue of symphonies? My motivation for pursuing the comparison of printmaking to music is twofold. First, because relatively little has been written on the ontology of fine art prints, our use of an already developed body of scholarship will help us to gain some traction on the question. Second, within the existing literature on the ontology of (...)
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  30. added 2017-02-15
    The Visual Arts and Cultural Literacy.John Adkins Richardson - 1990 - Journal of Aesthetic Education 24 (1):57.
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  31. added 2017-02-15
    Composition: Writing and the Visual Arts.Catherine Golden - 1986 - Journal of Aesthetic Education 20 (3):59.
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  32. added 2017-02-15
    Industrial Design: On Its Characteristics and Relationships to the Visual Fine Arts.Curtis Carter - unknown
    Industrial design and the visual arts share a common aesthetic basis as demonstrated by their common use of aesthetic principles and by designers who are also visual artists. The author examines the rationale for exhibiting industrial products in art museums and the similarities and differences between industrial design and the fine arts. He argues that industrial design shares important theoretical concepts with the visual fine arts.
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  33. added 2017-02-14
    Looking at Embryos: The Visual and Conceptual Aesthetics of Emerging Form.Scott F. Gilbert & Marion Faber - 1996 - In Alfred I. Tauber (ed.), The Elusive Synthesis: Aesthetics and Science. Kluwer Academic Publishers. pp. 125--151.
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  34. added 2017-02-14
    Andrew Harrison, Ed., Philosophy and the Visual Arts: Seeing and Abstracting Reviewed By.Susan L. Feagin - 1988 - Philosophy in Review 8 (8):304-306.
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  35. added 2017-02-12
    The Critical Condition of Visual Arts.Edward Winthers - 1996 - Nordic Journal of Aesthetics 9 (16).
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  36. added 2017-02-11
    Children in the Visual Arts of Imperial Rome (Review).Jenifer Neils - 2007 - American Journal of Philology 128 (2):289-292.
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  37. added 2017-02-09
    Visual Theology: Forming and Transforming the Community Through the Arts Edited by Jensen, Robin M. And Kimberly J. Vrudny.Tanner Capps - 2011 - Journal of Aesthetics and Art Criticism 69 (3):346-348.
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  38. added 2017-02-09
    Critically Thinking Through Visual Arts.Don Fawkes - 2003 - Inquiry: Critical Thinking Across the Disciplines 22 (4):13-25.
    This paper applies the Sonoma Model of Critical Thinking to visual arts in an educational setting. The analysis produces insights into the functioning of the model, insights into visual arts, and pragmaticconclusions regarding relationships among art historians, visual artists, and others. We summarize the Sonoma Model of critical thinking and apply it to thinking about art history and visual arts. We use these insights to apply the Sonoma Model to thinking critically about visual arts in an educational environment. One application (...)
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  39. added 2017-02-08
    Ethics and the Visual Arts.Rudolph H. Weingartner - 2007 - Teaching Ethics 7 (2):123-126.
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  40. added 2017-02-03
    The Parallel of Linguistic and Visual Formulation in the Writing of Konrad Fiedler.Michael Podro - 1961 - Edizioni Di "Filosofia,".
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  41. added 2017-02-01
    Definitions of the Baroque in the Visual Arts.Wolfgang Stechow - 1946 - Journal of Aesthetics and Art Criticism 5 (2):109-115.
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  42. added 2017-01-29
    Lyricism as Applied to the Visual Arts.Robert Reiff - 1974 - Journal of Aesthetic Education 8 (2):73.
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  43. added 2017-01-28
    A History of Art Education: Intellectual and Social Currents in Teaching the Visual Arts.Arthur D. Efland - 1991 - Journal of Aesthetics and Art Criticism 49 (3):273-274.
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  44. added 2017-01-28
    "Philosophy and the Visual Arts: Seeing and Abstracting": Edited by Andrew Harrison. [REVIEW]Paul Humble - 1989 - British Journal of Aesthetics 29 (2):180.
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  45. added 2017-01-28
    A Theology of Artistic Sensibilities: The Visual Arts and the Church.John Dillenberger - 1988 - Journal of Aesthetics and Art Criticism 46 (3):433-434.
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  46. added 2017-01-28
    "Théophile Gautier: A Romantic Critic of the Visual Arts": Robert Snell. [REVIEW]Brian Kennedy - 1983 - British Journal of Aesthetics 23 (3):265.
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  47. added 2017-01-28
    "The Power of the Center: A Study of Composition in the Visual Arts": Rudolf Arnheim. [REVIEW]Philip Meeson - 1983 - British Journal of Aesthetics 23 (3):262.
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  48. added 2017-01-28
    "Bernini and the Unity of the Visual Arts": Irving Lavin. [REVIEW]L. R. Rogers - 1982 - British Journal of Aesthetics 22 (1):87.
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  49. added 2017-01-28
    The Visual Arts Today.Gyorgy Kepes - 1960 - Wesleyan University Press.
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  50. added 2017-01-27
    Art & Outrage: Provocation, Controversy and the Visual Arts: John Albert Walker; Wreckers of Civilisation: The Story of COUM Transmissions and Throbbing Gristle: Simon Ford.N. Mulholland - 2000 - British Journal of Aesthetics 40 (3):396-399.
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1 — 50 / 159