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Art criticism --- Art.

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"Mines the more than 300 newspapers published in New York City before the Civil War for art criticism, in order to trace the changing political positions of artists, artworks, and authors"--

Art criticism --- History

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"DISORDERING THE ESTABLISHMENT tells the story of the generation of French artists who used new aesthetic forms to critique artistic and political institutions in the years leading up to and following May '68. Daniel Buren, André Cadere and other artists brought art to the streets, using it to question assumptions of what art should be, and where it should be seen. Focusing on four artists - or art groups - Lily Woodruff gives a nuanced account of how artists employed participatory and collective projects in varying but complementary attempts to question and redefine their historical moment. The book has four chapters. Chapter 1 describes the 1966 Groupe de Recherche d'Art Visuel (GRAV), a collective that created works asking viewers to perpetually negotiate with illusions constructed by artists, while resisting mystification. Social engineers within the context of the art world, GRAV constructed instability against the technocrats through street action that ambiguously reproduced the Establishment's techniques from a Marxian perspective. Chapter 2 highlights Daniel Buren's early gallery and street installations, which worked to decenter the viewer and critique French cultural policy through camouflage. By adopting the visual language of his environment, Buren's work played between visibility and invisibility, provocatively alienating viewers. In chapter 3, Woodruff explains how Andre Cadere's work developed on the theme of artistic autonomy in tension with avant-garde artistic strategies of the time. A migrant who relocated to Western Europe to escape persecution in communist Romania, Cadere produced a single type of iconic work based on systematically repeated formulas that were intended to neutralize his own subjectivity and the significance of the viewer's interpretation. Similar to Buren, his work was produced in both everyday and institutional spaces. Chapter 4 is about the Collectif d'Art Sociologique's (CAS) Social Realism. Rejecting traditional painting and sculpture, CAS shifted the emphasis onto the audience and made the reality of social relations appear concretely where they had otherwise been obscured by dominant ideology, making space for the constant renewal that defines democratic participation. This book will be of interest to scholars in art history, criticism and theory, and French cultural history and to readers interested in the global sixties"--

Art criticism --- Interactive art. --- History

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"DISORDERING THE ESTABLISHMENT tells the story of the generation of French artists who used new aesthetic forms to critique artistic and political institutions in the years leading up to and following May '68. Daniel Buren, André Cadere and other artists brought art to the streets, using it to question assumptions of what art should be, and where it should be seen. Focusing on four artists - or art groups - Lily Woodruff gives a nuanced account of how artists employed participatory and collective projects in varying but complementary attempts to question and redefine their historical moment. The book has four chapters. Chapter 1 describes the 1966 Groupe de Recherche d'Art Visuel (GRAV), a collective that created works asking viewers to perpetually negotiate with illusions constructed by artists, while resisting mystification. Social engineers within the context of the art world, GRAV constructed instability against the technocrats through street action that ambiguously reproduced the Establishment's techniques from a Marxian perspective. Chapter 2 highlights Daniel Buren's early gallery and street installations, which worked to decenter the viewer and critique French cultural policy through camouflage. By adopting the visual language of his environment, Buren's work played between visibility and invisibility, provocatively alienating viewers. In chapter 3, Woodruff explains how Andre Cadere's work developed on the theme of artistic autonomy in tension with avant-garde artistic strategies of the time. A migrant who relocated to Western Europe to escape persecution in communist Romania, Cadere produced a single type of iconic work based on systematically repeated formulas that were intended to neutralize his own subjectivity and the significance of the viewer's interpretation. Similar to Buren, his work was produced in both everyday and institutional spaces. Chapter 4 is about the Collectif d'Art Sociologique's (CAS) Social Realism. Rejecting traditional painting and sculpture, CAS shifted the emphasis onto the audience and made the reality of social relations appear concretely where they had otherwise been obscured by dominant ideology, making space for the constant renewal that defines democratic participation. This book will be of interest to scholars in art history, criticism and theory, and French cultural history and to readers interested in the global sixties"--

Art criticism --- Interactive art. --- History

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O termo hibridez em bibliotecas tornou-se popular entre os anos de 1980 e 2000. Destacava-se, na ocasião, por tratar a tecnologia como um meio de auxílio às atividades realizadas no âmbito interno institucional. Com o passar do tempo, o tema foi sendo cada vez menos explorado no contexto de tais unidades. Entretanto, o conceito de hibridez em si continuou a sua trajetória nas organizações, e a sua implementação ultrapassou as estruturas internas, alcançando os mais variados ambientes da sociedade. Assim, é notável a lacuna existente de novos estudos que projetem as oportunidades e as possibilidades de interlocução das bibliotecas e da hibridez. Com a contribuição de especialistas nas tipologias das bibliotecas comunitária, escolar, especializada, universitária e pública, Rosângela Formentini Caldas e Rafaela Carolina da Silva retomam o tema de hibridez e tecem aspectos conceituais, relacionados aos ambientes de bibliotecas, conferindo um diálogo que se destaca enquanto cerne de múltiplas possibilidades de atuação. Uma obra de leitura indispensável para os profissionais que entendem a biblioteca para além de sua estrutura física. O texto é provocativo e apresenta a influência das bibliotecas híbridas como fator de representatividade para o desenvolvimento de comunidades, conferindo novos modos de se utilizar a tecnologia a favor da constituição de um coletivo inteligente, demonstrando que o conceito de hibridez abrange uma rede complexa de saberes que podem se unir e promover um novo olhar sobre o tema.

Art criticism. --- Art --- Arts --- Criticism --- Analysis, interpretation, appreciation