Art History

Download Art in Minutes by Susie Hodge PDF

By Susie Hodge

This concise but finished advisor to the historical past of paintings is the ideal instruction manual for all would-be paintings buffs. paintings historian Susie Hodge takes you on a whistle-stop foreign journey of the entire significant philosophies, activities, levels, advancements, artists, and issues, from prehistoric artwork to Hyperrealism. different innovations coated comprise Greek classicism, Gothic artwork, the Renaissance, Baroque, Romanticism, Realism, Impressionism, Cubism, surrealism, Pop artwork, and Minimalism.

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Earlier twentieth-century flirtations with mass-culture imagery, industrial production modes, and broader distribution networks had made inroads into the premises on which the fine art object was conceived and executed. But those premises were being challenged anew at the levels of imagery, production, and distribution in the 1960s and 1970s. Pop art not only celebrated the iconography of mass media, it made use of commercial production means such as silk screen and photomechanical transfer. Minimalist artists had their work fabricated in machine shops by industry professionals.

6. , 109. 7. Ibid. Norie Neumark 20 8. , 103–104. 9. Ibid. 10. , 267 n. 2. 11. Jacques Derrida, The Post Card: From Socrates to Freud and Beyond, trans. Alan Bass (Chicago: University of Chicago Press, 1987), 64–65. Thanks to John Ricco for alerting me to the Blanchotian waiting at the heart of Mail Art and e-mail. 12. Klaus Beyrer, quoted in Siegert, Relays, 11. 13. Derrida, Post Card, 65–66. 14. Avital Ronell, The Telephone Book: Technology, Schizophrenia, Electric Speech (Lincoln: University of Nebraska Press, 1989).

12. Klaus Beyrer, quoted in Siegert, Relays, 11. 13. Derrida, Post Card, 65–66. 14. Avital Ronell, The Telephone Book: Technology, Schizophrenia, Electric Speech (Lincoln: University of Nebraska Press, 1989). Ronell’s telephone book (a seminal text) answers the noisy calls of telephony very fully, so I will not rehearse her arguments here. (For a further discussion of Ronell, see my “E/motional Machines: Esprit de corps,” in Conference Proceedings for Affective Encounters: Rethinking Embodiment in Feminist Media Studies, ed.

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