Sentence examples for discourse of art from inspiring English sources
"His work fits so easily within the discourse of art," said Campbell.
At a recent weekend symposium on the role of the curator in contemporary culture, organized by the Philadelphia Exhibitions Initiative, Dave Hickey made the interesting point that "the discourse of art is about conflict of interest".
Too long confined to the discourse of art history and the continents of Europe and North America, the discipline is at last yielding substantial books and exhibitions devoted to the photography of Japan, Africa, Latin America and India, and to the distinctive photographies that have grown out of medicine, the criminal justice system, the family, anthropology and so on.
This volume of essays and interviews begins with this foundational work, offering an early statement by the artist, a subsequent interview, and an essay situating the work within a broader broader discourse of art and social purpose in the early 1970s.
She discusses intellectual life in early-twentieth-century Vienna, demonstrating the rich cross-fertilization that occurred between art history and psychoanalysis, and scrutinizes the historical situation of Jewish art historians and psychoanalysts in Vienna in the 1930s, considering the impact of exile and an assimilationist ethic on the discourse of art history.
And how does one avoid the dangers of isolating artistic practice originating from one place on our planet from the wider discourse of art?
Gillespie reveals how overlapping discourses of art, science, and technology shaped perceptions of the daguerreotype, illuminating the medium's complex polygenesis while conveying America's embrace of the technology as a sign of its providentially ordained progress.
She connects the ideas of dress and technology historically, in terms of major discourses of art and culture, and in terms of mass media and media culture, citing such thinkers as Giorgio Agamben, Manuel De Landa, and Gilles Deleuze and Félix Guattari.
We will explore the racial issues raised by American films along with how filmmakers represent gender, American humor, discourses of art and the popular, and the conventions of narrative.
The book's four sections PARADOXES, ECOLOGIES, JURISDICTIONS, and SIGNALS reflect conversations had in the wake of the original symposium and capture themes of urgent concern in the discourses of art and architecture, but also of anthropology, philosophy, political economy, and civic media.
In a paper published posthumously in 2001, Frank Sibley evokes the longstanding controversy surrounding the reproducibility of works of art and contends that in this regard a "two-way pull" is a pervasive feature of the practices and discourses of art.
