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In her 1970 book Meaning and Expression: Toward a Sociology of Art, Hanna Deinhard gives one approach: "The point of departure of the sociology of art is the question: How is it possible that works of art, which always originate as products of human activity within a particular time and society and for a particular time, society, or function -- even though they are not necessarily produced as ...
Social sculpture is a phrase used to describe an expanded concept of art that was invented by the artist and founding member of the German Green Party, Joseph Beuys.Beuys created the term "social sculpture" to embody his understanding of art's potential to transform society.
Sociological Art aimed to develop a critical analysis of art and society through interventionist artistic practices and associated writing that drew on the methods and theories of sociology. It envisioned art in terms of interaction, animation, pedagogy, and the creation of structures of exchange, provocation, and disruption of conventional ...
Martin Heidegger: Politics, Art, and Technology. New York: Holmes; Schapiro, Meyer. 1994. “The Still Life as a Personal Object - A Note on Heidegger and van Gogh”, ”Further Notes on Heidegger and van Gogh”, in: Theory and Philosophy of Art: Style, Artist, and Society, Selected papers 4, New York: George Braziller, 135-142; 143-151.
The 1898 visit by Bert Geer Phillips and Ernest L. Blumenschein to Taos was an early step in the creation of the Taos art colony and the Taos Society of Artists. In addition to the society, Mabel Dodge Luhan was instrumental in promoting Taos to artists and writers within her circle.
Ottonian art is a style in pre-romanesque German art, covering also some works from the Low Countries, northern Italy and eastern France. It was named by the art historian Hubert Janitschek after the Ottonian dynasty which ruled Germany and northern Italy between 919 and 1024 under the kings Henry I, Otto I, Otto II, Otto III and Henry II. [128]
Art historian Dawn Ades writes, "Far from being inferior, or purely decorative, crafts like textiles or ceramics, have always had the possibility of being the bearers of vital knowledge, beliefs and myths." [51] Recognizable art markets between Natives and non-Natives emerged upon contact, but the 1820–1840s were a highly prolific time.
Two exhibitions featuring artwork from both East and West Germany were curated at the Musée d'Art Moderne de la Ville de Paris in 1981. [105] The exhibition for East German art presented itself as "the good founded by socialist realism to better embody a possible alternative to the crisis of values experienced by the West." [106]
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