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Art --- assemblages [sculpture] --- art [discipline] --- Vieille, Jacques --- Leccia, Ange --- Dusein, Gilles --- Gac, le, Jean --- Villeglé, Jacques --- Vilmouth, Jean-Luc --- Lavier, Bertrand --- Readymades belong to everyone --- BP [Nice] --- anno 1900-1999 --- France

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Roth, Dieter ; Spoerri, Daniel ; Manzoni, Piero ; Duchamp, Marcel ; Charlton, Alan ; Clairet, ALain ; Mc Collum, Allan ; Richter, Gerhard ; Dimitrijevic, Braco ; Levine, Sherrie ; Linke, Simon ; Prina, Stephen ; Durand-Ruel, Christophe ; etc.

Iconography --- artifacts [object genre] --- Levine, Sherrie --- Long, Richard --- McCollum, Allan --- Smithson, Robert --- Prina, Stephen --- Beuys, Joseph --- readymades belong to everyone --- Salomon, Jacques --- Klein, Yves --- Morris, Robert --- Manzoni, Piero --- Broodthaers, Marcel --- Spoerri, Daniel --- Locher, Thomas --- Durand-Ruel, Christophe --- Haacke, Hans --- Dimitrijević, Braco --- Duchamp, Marcel --- Richter, Gerhard --- Wilson, Ian --- Linke, Simon --- Dibbets, Jan --- Charlton, Alan --- Blondeau, Marc --- Roth, Dieter --- anno 1900-1999 --- Art --- Art, Modern --- Found objects (Art) --- Objets trouvés (Art) --- Exhibitions. --- Expositions --- Objets trouvés (Art) --- Les ready-made appartiennent à tout le monde --- Readymades belong to everyone

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Is there anything more entertaining, inspiring and instructive than observing art? Yes, it is watching the people interacting with this art. This book may forever change your approach to art as it urges you to always consider both the work and the response. Because ultimately artists create, but we - the audience - complete the picture.0'A Spectator is an Artist Too' is a visual essay about human behaviour around art: what happens when we are confronted with something immensely beautiful, challenging, or puzzling? Art historians only study objects, but how these objects are received is also worthy of our attention.The book also captures how art museums are changing, as they draw increasingly diverse audiences. The way the museum visitors responds to art is becoming more casual and creative - but also more swift or even banal. This shift is increased by a whole new breed of Instagram-friendly 'museums' worldwide, attracting experience-hungry visitors with immersive exhibitions defined by their Instagrammability.

Museology --- Art --- museology --- perception --- viewers [observers] --- audiences --- interactive art --- Art museum visitors --- Museum techniques --- kunst --- portretfotografie --- 77.041 --- 7.039 --- 7.01 --- 7.03 --- fotografie --- toeschouwers --- toeschouwer --- receptie-esthetica --- perceptie --- waarneming --- Museums --- Art museums --- Visitors to art museums --- Museum visitors --- Art museum attendance --- Technique --- Visitors --- Art museum visitors. --- Museum techniques. --- Applied museology --- Museography --- Museum practices --- Museum studies

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Iconography --- Art --- Sculpture --- Painting --- Photography --- installations [visual works] --- art [discipline] --- painting [image-making] --- motion pictures [visual works] --- sculpting --- tractors [vehicles] --- Ungauer, Sylvie --- Piffaretti, Bernard --- Lafont, Suzanne --- Vieille, Jacques --- Neu, Patrick --- Leccia, Ange --- Rousse, Georges --- Séchas, Alain --- Aubry, Michel --- Bartolani, Judith --- Bazile, Bernard --- Brandely, Daniel --- Caillol, Claude --- Cazal, Philippe --- Collin-Thiébaut, Gérard --- Dauriac, Jacqueline --- Faigenbaum, Patrick --- Garnell, Jean-Louis --- Kuntzel, Thierry --- Perrodin, François --- Poutays, Marie-Françoise --- Talec, Nathalie --- Tosani, Patrick --- Raynaud, Patrick --- Baquié, Richard --- Bertrand, Jean Pierre --- Readymades belong to everyone --- B.P. --- France

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"In what ways do the artistic avant-garde's representations of the human body reflect the catastrophe of World War I? The European modernists were inspired by developments in the nineteenth-century, yielding new forms of knowledge about the nature of reality and repositioning the human body as the new 'object' of knowledge. New 'visions' of the human subject were created within this transformation. However, modernity's reactionary political climate - for which World War I provided a catalyst - transformed a once liberal ideal between humanity, environment, and technology, into a tool of disciplinary rationalisation. Visions of the Human considers the consequences of this historical moment for the twentieth and twenty-first centuries. It explores the ways in which the 'technologies of the self' that inspired the avant-garde were increasingly instrumentalised by conservative politics, urbanism, consumer capitalism and the society of 'the spectacle'. This is an engaging and powerful study which challenges prior ideas and explores new ways of thinking about modern visual culture."--

Human figure in art. --- Art, European --- Modernism (Art) --- Art, Modern --- Human body in art --- Art --- Composition (Art) --- Figurative art --- Anatomy, Artistic --- Figure drawing --- Figure painting --- European art --- World War, 1914-1918 --- Art & design styles: c 1900 to c 1960 --- In art. --- European War, 1914-1918 --- First World War, 1914-1918 --- Great War, 1914-1918 --- World War 1, 1914-1918 --- World War I, 1914-1918 --- World War One, 1914-1918 --- WW I (World War, 1914-1918) --- WWI (World War, 1914-1918) --- History, Modern --- Nouveaux réalistes (Group of artists) --- Zaj (Group of artists) --- art [fine art] --- avant-garde --- visual culture --- Modernist --- Wereldoorlog I --- anno 1900-1999 --- art [discipline] --- lichaam (van de mens)