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This work brings together analysis of the gendered experience of urban space in an art historical context, with contributions from noted scholars.
Flaneurs in art.
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Public spaces
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Art, Modern
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Flâneurs dans l'art
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Espaces publics
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Art
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Social geography
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Environmental planning
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Sociology of the family. Sociology of sexuality
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anno 1800-1899
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France
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Public spaces in art.
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Flaneur (Motiv)
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Geschlechterrolle (Motiv)
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Öffentlicher Raum.
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Geschlechterrolle
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This illustrated, edited collection of essays brings together for the first time some of the pioneering art historian Linda Nochlin's most important writings on modernism and modernity from across her six-decade career. Before the publication of her seminal tract on feminism in art, 'Why Have There Been No Great Women Artists?', Nochlin had already firmly established herself as a major practitioner of a politically sophisticated and class-conscious social art history, with her writings on modernism being transformative to the discipline. Nochlin embraced Charles Baudelaire's conviction that modernity meant to be of one's time - and that the role of an art historian was to understand the art of the past not only in its own historical context, but according to the urgencies of the contemporary world. From academic debates about the nude in the 18th century to the work of Robert Gober in the 21st, whatever she turned her analytic eye to was very much conceived as the art of the now - the art we need to look at to navigate the complexities and contradictions of the present.
Art --- art [fine art] --- art history --- philosophy of art --- anno 1900-1999 --- anno 2000-2099 --- Modernism (Art) --- Modernism (Aesthetics) --- Aesthetics --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- art [discipline]
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Female nude in art --- Nude in art --- Cézanne, Paul, --- Saishang, Baoluo, --- Sezan, Pol, --- Sezanas, P., --- Sezann, Polʹ, --- סזאן, פאול, --- セザンヌ, --- Saishang, --- Criticism and interpretation.
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"In 2017, the Whitney Biennial included a painting by a white artist, Dana Schutz, of the lynched body of a young black child, Emmett Till. In 1979, anger brewed over a show at New York's Artists Space entitled The Nigger Drawings. In 1969, the Metropolitan Museum of Art's exhibition Harlem on My Mind did not include a single work by a black artist. In all three cases, black artists and writers and their allies organized vigorous responses using the only forum available to them: public protest. Whitewalling: Art, Race & Protest in 3 Acts reflects on these three incidents in the long and troubled history of art and race in America. It lays bare how the art world--no less than the country at large--has persistently struggled with the politics of race, and the ways this struggle has influenced how museums, curators and artists wrestle with notions of free speech and the specter of censorship. Whitewalling takes a critical and intimate look at these three "acts" in the history of the American art scene and asks: when we speak of artistic freedom and the freedom of speech, who, exactly, is free to speak?" -- Publisher's description
Art and race --- Freedom and art --- African Americans in art --- Aesthetics of art --- racial discrimination --- museums [buildings] --- art criticism --- African American --- minorities --- #breakthecanon --- United States --- kunst --- kunstgeschiedenis --- kunsttheorie --- twintigste eeuw --- eenentwintigste eeuw --- racisme --- museologie --- censuur --- Verenigde Staten --- Afro-Amerikanen --- 7.01 --- Art and freedom --- Artistic freedom --- Art --- Communication in art --- Creation (Literary, artistic, etc.) --- Afro-Americans in art --- Negroes in art --- Race and art --- Ethnopsychology --- History --- Censorship --- United States of America
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"Japanese American artist Ruth Asawa (1926-2013) is known for intricate crocheted-wire sculptures, a medium she explored throughout her career after first encountering it as a student at Black Mountain College in North Carolina. After graduating, Asawa moved to San Francisco and created dozens of works in wire and cast metal, among them an iconic bronze fountain--her first of many public commissions--for the city's Ghirardelli Square. Bringing together works from across Asawa's career, this expansive volume examines her output in depth and situates it within the context of 20th-century art"--
Asawa, Ruth --- Art --- sculpture [visual works] --- installations [visual works] --- cones [geometric figures] --- spheres [geometric figures] --- spirals [geometric figures] --- plant-derived motifs --- metal thread --- bronzes [visual works] --- drawing [image-making] --- painting [image-making] --- Metal sculpture --- Sculpture, Abstract --- Japanese American art --- 73.07 --- Asawa, Ruth 1926-2013 (°Norwalk, Verenigde Staten) --- Vrouwelijke kunstenaars --- Abstract sculpture --- Sculpture, Modern --- Art, Japanese American --- Ethnic art --- Metal-work --- Sculpture --- Beeldhouwkunst ; beeldhouwers A - Z --- Lanier, Ruth Asawa --- Criticism and interpretation. --- Exhibitions
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kunstgeschiedenis --- globalization --- art history --- Art --- methodology --- anno 2000-2099 --- Julien, Isaac --- Ferrari, León --- kunstgeschiedenis. --- Julien, Isaac. --- Ferrari, León.
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Art styles --- Iconography --- Art --- Sculpture --- Painting --- assemblages [sculpture] --- art [discipline] --- painting [image-making] --- Abstract [modern European style] --- Nature --- kleinsculptuur --- landscapes [representations] --- Murado, Antonio --- anno 1900-1999 --- anno 2000-2099 --- Spain
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Painting --- paintings [visual works] --- rivers --- waterfalls [natural bodies of water] --- caves --- landscapes [representations] --- Courbet, Gustave --- France
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