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Museology --- Art --- Philosophy --- anno 1900-1999 --- kunst --- verzamelingen --- collecties --- musea --- archieven --- archivering --- museologie --- 069 --- Art museums --- Art museums. --- Philosophy. --- museology --- collection development --- art theory --- MAD-faculty 15 --- kunst en filosofie
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Philosophy and psychology of culture --- Aesthetics --- Mass communications --- Aesthetics, Modern --- Art --- Postmodernism --- Post-modernism --- Postmodernism (Philosophy) --- Arts, Modern --- Avant-garde (Aesthetics) --- Modernism (Art) --- Philosophy, Modern --- Post-postmodernism --- Beautiful, The --- Beauty --- Art and philosophy --- Philosophy --- Analysis, interpretation, appreciation --- History
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In the early twentieth century, art and its institutions came under critique from a new democratic and egalitarian spirit. The notion of works of art as sacred objects was decried and subsequently they would be understood merely as things. This meant an attack on realism, as well as on the traditional preservative mission of the museum. Acclaimed art theorist Boris Groys argues this led to the development of “direct realism”: an art that would not produce objects, but practices (from performance art to relational aesthetics) that would not survive. But for more than a century now, every advance in this direction has been quickly followed by new means of preserving art’s distinction. In this major new work, Groys charts the paradoxes produced by this tension, and explores art in the age of the thingless medium, the Internet. Groys claims that if the techniques of mechanical reproduction gave us objects without aura, digital production generates aura without objects, transforming all its materials into vanishing markers of the transitory present.
MAD-faculty 18 --- kunst en maatschappij --- hedendaagse kunst --- Art --- art theory --- philosophy of art --- net art --- Malevitsj, Kasimir --- anno 1900-1999 --- Aesthetics --- Beautiful, The --- Beauty --- Art and philosophy --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Criticism --- Literature --- Proportion --- Symmetry --- Analysis, interpretation, appreciation --- Psychology --- Radio broadcasting Aesthetics
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This collection of essays does not aim to illustrate a prefabricated theory of art, but rather follows the impulses given by artworks themselves. Philosopher and art critic Boris Groys writes about significant works and artists over the last century that have pushed his thinking in new directions. His compelling arguments do not try to replace the singular content or message of an artwork. Instead, his writings are inspired by art as a mind-changing practice?as if contemporary artists, completely secularized, can still produce a kind of conversion within the spectator. Particular Cases is an original exploration of pivotal concerns related to the development of contemporary art?originality and repetition, the valuation of artworks, materiality and production, historical and personal archives, and the language of power.
kunst --- Wall Jeff --- Warhol Andy --- Shanzhuan Wu --- Thorsdottir Inga Svala --- Stilinovic Mladen --- Schütte Thomas --- Sala Anri --- Manzoni Piero --- Kandinsky Wassily --- IRWIN --- Horn Rebecca --- Honert Martin --- Weiss David --- Fischli Peter --- Duchamp Marcel --- Chernysheva Olga --- Chan Paul --- Bartana Yael --- Alÿs Francis --- Althamer Pawel --- 7.039 --- 7.036 --- 7.01 --- twintigste eeuw --- eenentwintigste eeuw --- kunsttheorie --- Art --- essays --- art criticism --- Horn, Rebecca --- Stilinovic, Mladen --- Chan, Paul --- Bartana, Yael --- Warhol, Andy --- Duchamp, Marcel --- Thorsdottir, Inga Svala --- Wu Shanzhuan --- Chernysheva, Olga --- Manzoni, Piero --- Kandinsky, Vasili Vassileevich --- Wall, Jeff --- Schütte, Thomas --- Fischli, Peter --- Honert, Martin --- Sala, Anri --- Weiss, David --- Alÿs, Francis --- Althamer, Paweł --- IRWIN [Ljubljana] --- Kandinsky, Wassily
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Political philosophy. Social philosophy --- neoliberalisme --- politieke filosofie
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We have a responsibility to care for our own bodies, but our culture tends to thematise the bodies of desire and to ignore the bodies of care—ill bodies in need of self-care and social care. The discussion of care has a long philosophical tradition. Philosophy of Care retraces some episodes in this tradition—beginning with Plato and ending with Alexander Bogdanov, having passed through Hegel, Heidegger, Bataille and many others. The central question is who the proper subject of care is? Should I care for myself or trust the others, the system, the institutions? Here, the concept of the self-care becomes a revolutionary principle that confronts the individual with the dominating mechanisms of control.
Philosophy --- zorg
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Art --- anno 1900-1999 --- Russia
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