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Dans la rencontre entre l’architecture contemporaine et le patrimoine bâti, l’actualisation en tant que phénomène culturel se propose comme solution à la polarité conservation-création. L’explosion des formes en architecture contemporaine, parallèlement à la montée d’une prédominance de la signature de l’architecte, semble a priori difficilement réconciliable avec l’extension de la notion de patrimoine. Or, que ce soit pour des raisons économiques, environnementales, fonctionnelles ou patrimoniales, les insertions d’éléments d’architecture contemporaine sur des bâtiments patrimoniaux contribuent au développement urbain et font partie de la praxis actuelle. Dans cet ouvrage, le phénomène de l’actualisation est décomposé pour comprendre comment celui-ci contribue à reformuler le sens des sites patrimoniaux transformés. Ce processus communicationnel se pose comme une réponse à l’obsolescence patrimoniale. D’objet-relique, le patrimoine devient un projet dynamique, constituant ainsi un genre architectural particulier et indépendant.
Addiction to alcohol, tobacco, and other drugs is one of the major public health issues of our time. It accounts for one of every five deaths in the United States and costs approximately one-half trillion dollars per year in health care expenditures and lost productivity. Its human costs are untold and perhaps uncountable. Addiction and Art puts a human face on addiction through the creative work of individuals who have been touched by it. The art included here presents unique stories about addiction. Many pieces are stark representations of life on the edge. Others are disturbing contemplations of life, meaning, and death. Some even reflect the allure of addiction and a fondness for substance abuse. A panel of addiction scientists, artists, and professionals from the art world selected the 61 pieces included here from more than 1,000 submissions. Accompanied by a written statement from the artist, each creation is emblematic of the destructive power of addiction and the regenerative power of recovery. Stunning and occasionally unsettling, this unique portfolio reveals addiction art as a powerful complement to addiction science.
Expeditions of the University of Pennsylvania Museum of Archaeology and Anthropology
Since 1887 the University Museum has been one of the leading archaeology and anthropology museums in the world and has sponsored field research in every corner of the globe. A key outcome, from its first expedition to Nippur, in modern-day Iraq, through more than 300 expeditions in the past century, to its research in fifteen different countries today, has been a wealth of primary photographs capturing both expeditions and excavations and also images of modern peoples on every inhabited continent of our planet.
These vintage photographs, carefully selected from hundreds of thousands, range from mundane record-keeping pictures to glorious aesthetic treats, and they are in demand by international scholars and students and researchers worldwide. One of the most powerful of media to convey information about—and to advance understanding of—foreign peoples and places is photography. Soldiers, missionaries, merchants, and other travelers carried out early anthropological photography in distant lands. Field photography was extremely difficult when the Museum began its research program in the late 1880s, requiring the transport of a complete dark room and other heavy equipment. The Museum's intrepid adventurers sought scientific accuracy, with no artifice that may have obscured the realism of the image.
An engaging narrative essay highlighting the Museum's fieldwork explains the contexts of the range of photographs from the Museum's Archives and the role of photography in studying human cultures.
Conversations on Disquieting Art
Through a series of provocative conversations, Frederick Luis Aldama and Herbert Lindenberger, who have written widely on literature, film, music, and art, locate a place for the discomforting and the often painfully unpleasant within aesthetics. The conversational format allows them to travel informally across many centuries and many art forms. They have much to tell one another about the arts since the advent of modernism soon after 1900—the nontonal music, for example, of the Second Vienna School, the chance-directed music and dance of John Cage and Merce Cunningham, the in-your-faceness of such diverse visual artists as Francis Bacon, Pablo Picasso, Willem de Kooning, Egon Schiele, Otto Dix, and Damien Hirst. They demonstrate as well a long tradition of discomforting art stretching back many centuries, for example, in the Last Judgments of innumerable Renaissance painters, in Goya’s so-called “black” paintings, in Wagner’s Tristan chord, and in the subtexts of Shakespearean works such as King Lear and Othello. This book is addressed at once to scholars of literature, art history, musicology, and cinema. Although its conversational format eschews the standard conventions of scholarly argument, it provides original insights both into particular art forms and into individual works within these forms. Among other matters, it demonstrates how recent work in neuroscience may provide insights in the ways that consumers process difficult and discomforting works of art. The book also contributes to current aesthetic theory by charting the dialogue that goes on—especially in aesthetically challenging works—between creator, artifact, and consumer.
Contemporary Art and Depression
Blanchot, Adorno, and Autonomy
Maurice Blanchot and Theodor W. Adorno are among the most difficult but also the most profound thinkers in twentieth-century aesthetics. While their methods and perspectives differ widely, they share a concern with the negativity of the artwork conceived in terms of either its experience and possibility or its critical expression. Such negativity is neither nihilistic nor pessimistic but concerns the status of the artwork and its autonomy in relation to its context or its experience. For both Blanchot and Adorno, negativity is the key to understanding the status of the artwork in post-Kantian aesthetics, and although it indicates how art expresses critical possibilities, albeit negatively, it also shows that art bears an irreducible ambiguity such that its meaning can always negate itself. This ambiguity takes on an added material significance when considered in relation to language, as the negativity of the work becomes aesthetic in the further sense of being both sensible and experimental. But in doing so the language of the literary work becomes a form of thinking that enables materiality to be thought in its ambiguity. In a series of rich and compelling readings, William S. Allen shows how an original and rigorous mode of thinking arises within Blanchot's early writings and how Adorno's aesthetics depends on a relation between language and materiality that has been widely overlooked. Furthermore, by reconsidering the problem of the autonomous work of art in terms of literature, a central issue in modernist aesthetics is given a greater critical and material relevance as a mode of thinking that is abstract and concrete, rigorous and ambiguous. While examples of this kind of writing can be found in the works of Blanchot and Beckett, the demands that such texts place on readers only confirm the challenges and the possibilities that literary autonomy poses to thought.
Images of Wine and Ritual
In deepening our understanding of the symposium in ancient Greece, this book embodies the wit and play of the images it explains: those decorating Athenian drinking vessels from the sixth and fifth centuries B.C. The vases used at banquets often depict the actual drinkers who commissioned their production and convey the flowing together of wine, poetry, music, games, flirtation, and other elements that formed the complex structure of the banquet itself. A close reading of the objects handled by drinkers in the images reveals various metaphors, particularly that of wine as sea, all expressing a wide range of attitudes toward an ambiguous substance that brings cheer but may also cause harm.
Not only does this work offer an anthropological view of ancient Greece, but it explores a precise iconographic system. In so doing it will encourage and enrich further reflection on the role of the image in a given culture.
Originally published in 1990.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
The role of the workshop in the creation of African art is the subject of this revelatory book. In the group setting of the workshop, innovation and imitation collide, artists share ideas and techniques, and creative expression flourishes. African Art and Agency from the Workshop examines the variety of workshops, from those which are politically driven or tourist oriented, to those based on historical patronage or allied to current artistic trends. Fifteen lively essays explore the impact of the workshop on the production of artists such as Zimbabwean stone sculptors, master potters from Cameroon, wood carvers from Nigeria, and others from across the continent.
Bodies of Knowledge at Work
Joanna Grabski and Carol Magee bring together a compelling collection that shows how interviews can be used to generate new meaning and how connecting with artists and their work can transform artistic production into innovative critical insights and knowledge. The contributors to this volume include artists, museum curators, art historians, and anthropologists, who address artistic production in a variety of locations and media to question previous uses of interview and provoke alternative understandings of art.
Vol. 49, (2016) through current issue
African Arts presents original research and critical discourse on traditional, contemporary, and popular African arts and expressive cultures. Since 1967, the journal has reflected the dynamism and diversity of this work, publishing full-color, richly illustrated articles incorporating the most current theory, practice, and intercultural dialogue. AA offers readers peer-reviewed articles concerning a range of art forms and visual cultures of the world’s second largest continent and its diasporas, plus book and exhibition reviews, artist portfolios, photo essays, and more.