Since 1900, the connections between art and technology with nature have become increasingly inextricable. Through a selection of innovative readings by international scholars, this book presents the first investigation of the intersections between art, technology and nature in post-medieval times. Transdisciplinary in approach, this volume?s 14 essays explore art, technology and nature?s shifting constellations that are discernible at the micro level and as part of a larger chronological pattern. Included are subjects ranging from Renaissance wooden dolls, science in the Italian art academies, and artisanal epistemologies in the followers of Leonardo, to Surrealism and its precursors in Mannerist grotesques and the Wunderkammer, eighteenth-century plant printing, the climate and its artistic presentations from Constable to Olafur Eliasson, and the hermeneutics of bioart. In their comprehensive introduction, editors Camilla Skovbjerg Paldam and Jacob Wamberg trace the Kantian heritage of radically separating art and technology, and inserting both at a distance to nature, suggesting this was a transient chapter in history. Thus, they argue, the present renegotiation between art, technology and nature is reminiscent of the ancient and medieval periods, in which art and technology were categorized as aspects of a common area of cultivated products and their methods (the Latin ars, the Greek techne), an area moreover supposed to imitate the creative forces of nature.
Essay from the year 2013 in the subject Art - Miscellaneous, grade: A, , course: BA (Hons) Fine Arts, language: English, abstract: In Robert Rosenblum’s book "Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko", Rosenblum traces a continuing tradition in art from the 18th century to the 1960s, which centres upon the term ‘sublime’. In the past many artists (amongst them Caspar David Friedrich, Turner, Wassily Kandinsky, Mark Rothko, Barnett Newman) and theorists (amongst them Edmund Burke, Immanuel Kant, Jean-Francois Lyotard) have explored the transcendental nature of the sublime in art. Today we live in an age that prides itself on the loss of illusion. Ideas of transcendence in art are often seen as sentimental and viewed with skepticism. The word sublime seems to be stripped down to “the shock of the new” (often centered on horror). This essay explores how the transcendental sublime is situated in contemporary art. The ‘transcendental sublime’ will here refer to how looking at a work of art can enable one to be transported, going beyond the given limits to a place of accessing one’s spiritual side. Art that has used shock and terror to achieve a sense of the sublime will be excluded from this discussion.
An attempt to melt an iceberg with a blowtorch, an indoor lake of tequila, an ascent of Mt Everest, driftwood burnt with sunlight focused through a magnifying glass and a doorbell that emits the sound of a dying star; these are some of the extraordinary artistic strategies covered in this collection. Gathering together texts published since 2002, as well as specially written new essays, In Land traces recent engagements with landscape, nature, environment and the cosmos.
Animal Perception and Literary Language shows that the perceptual content of reading and writing derives from our embodied minds. Donald Wesling considers how humans, evolved from animals, have learned to code perception of movement into sentences and scenes. The book first specifies terms and questions in animal philosophy and surveys recent work on perception, then describes attributes of multispecies thinking and defines a tradition of writers in this lineage. Finally, the text concludes with literature coming into full focus in twelve case studies of varied readings. Overall, Wesling's book offers not a new method of literary criticism, but a reveal of what we all do with perceptual content when we read.
A professor of art history explores the last four decades of art history, raising important questions about authorship and materials, beginning in the era of "anything is art" and continuing through post-modern expressions of pastiche art that combine materials from many sources. (Fine Arts)
Part of the acclaimed 'Documents of Contemporary Art' series of anthologies. This collection of writings examines the pervasive and influential role of the Gothic in contemporary art, providing the first comprehensive overview of its uses within contemporary visual culture. The Gothic includes artists' writings by Mike Kelley, Damien Hirst, Tacita Dean, Jonathan Meese and Catherine Sullivan, complemented by literary extracts from Horace Walpole, William Gibson, Bret Easton Ellis and Stephen King, and theoretical writings by such key thinkers as Carol Clover, Beatriz Colomina, Julia Kristeva, Eve Kosofsky Sedgwick, Marina Warner and Slavoj Žižek. Artists surveyed include Matthew Barney, Louise Bourgeois, Tacita Dean, Sue de Beer, Janet Cardiff, Mark Dion, Stan Douglas, Robert Gober, Douglas Gordon, Dan Graham, Damien Hirst, Mike Kelley, Paul McCarthy, Teresa Margolles, Jonathan Meese, Raymond Pettibon, Paul Pfeiffer, Gregor Schneider, Cindy Sherman, Catherine Sullivan, Andy Warhol, and Jane and Louise Wilson. Writers include Jean Baudrillard, Elizabeth Bronfen, Edmund Burke, Carol Clover, Beatriz Colomina, Douglas Crimp, Jacques Derrida, Richard Dyer, Umberto Eco, Bret Easton Ellis, Trevor Fairbrother, Alex Farquharson, Hal Foster, Michel Foucault, Sigmund Freud, William Gibson, Christoph Grunenberg, Bruce Hainley, Judith Halberstam, Amelia Jones, Jonathan Jones, Mike Kelley, Julia Kristeva, Jacques Lacan, Patrick McGrath, Kobena Mercer, James Meyer, Edgar Allan Poe, Andrew Ross, Jerry Saltz, Eve Kosofsky Sedgwick, Mary Shelley, Nancy Spector, Robert Louis Stevenson, Anthony Vidler, Jeff Wall, Horace Walpole, Marina Warner, Anne Williams and Slavoj Žižek.
Part of the acclaimed 'Documents of Contemporary Art' series of anthologies . In a world where technology, spectacle and excess seem to eclipse former concepts of nature, the individual and society, what might be the characteristics of a contemporary sublime? If there is any consensus it is in the notion that the sublime represents a taking to the limits, to the point at which fixities begin to fragment. This anthology examines how ideas of the sublime are explored in the work of contemporary artists and theorists, in relation to the unpresentable, transcendence, terror, nature, technology, the uncanny and altered states. Artists surveyed include: Marina Abramović, Joseph Beuys, Tacita Dean, Walter De Maria, A K Dolven, Olafur Eliasson, Andreas Gursky, Jitka Hanzlová, Gary Hill, Susan Hiller, Shirazeh Houshiary, Anish Kapoor, Mike Kelley, Anselm Kiefer, Yves Klein, Richard Long, Barnett Newman, Tony Oursler, Cornelia Parker, Gerhard Richter, Doris Salcedo, Lorna Simpson, Hiroshi Sugimoto, Fred Tomaselli, James Turrell, Luc Tuymans, Bill Viola and Zhang Huan. Writers include: Marco Belpoliti, John Berger, Paul Crowther, Jacques Derrida, Okwui Enwezor, Jean Fisher, Barbara Claire Freeman, Jeremy Gilbert-Rolfe, Doreet LeVitte-Harten, Eleanor Heartney, Lynn M. Herbert, Luce Irigaray, Fredric Jameson, Lee Joon, Julia Kristeva, Jean-François Lyotard, Thomas McEvilley, Vijay Mishra, David Morgan, Jean-Luc Nancy, Jacques Rancière, Gene Ray, Robert Rosenblum, Philip Shaw, Marina Warner, Thomas Weiskel and Slavoj Žižek.
Contemporary art opens the archives of private memory and challenges our entrenched ways of perceiving reality. This catalogue looks at the nature and status of the document in media ranging from artefacts and filmic narrative to live performance. The essays explore various perspectives on what has been termed as the 'documentary turn' in contemporary art, analysing the ways in which artists recycle and reinterpret existing documents or documentary genres in their art.