By Donald Preziosi;Claire Farago

ISBN-10: 1405192399

ISBN-13: 9781405192392

Art isn't What you think that It Is makes use of unique study to provide a chain of severe incursions into the present kingdom of dialogue at the concept of paintings, making take place what has been mostly lacking or unsaid in these discussions.

  • Links museology, background, concept, and feedback to the realities of latest social stipulations and exhibits how they've got structurally functioned in numerous contexts
  • Deals with divisive and arguable difficulties resembling blasphemy and idolatry, and the matter of inventive truth
  • Addresses kinfolk among eu notions approximately artwork and artifice and people built in different and particularly indigenous cultural traditions

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Extra info for Art Is Not What You Think It Is (Blackwell Manifestos)

Sample text

It is the idea of complete freedom, and its analysis resonates with the language of Sartre and French Communism under whose banner Parmelin writes, even though she had by this time begun to question the rigidity of the Party line. ’ Throughout the chapter entitled ‘Picasso the Moralist’ are illustrations of studies and variations that make up Picasso’s last political painting, the 16  : ’  SUITE  24 Rape of the Sabines, done at the time of the Cuban missile crisis at the end of October .

As Rudolf Arnheim points out, there are other models which attempt to explain art produced in advanced years.  In the latter, Arnheim suggests that in works of a late style there is a repetition of the same kind of thing or event, a loss of distinctive textures, a looseness which extends from the execution to the way in which narratives are structured, and finally to the uniformity of the artist’s inclusive view of the world. It is tempting to see Picasso’s work through the lens that Arnheim provides.

I believe that Picasso has felt increasingly exiled. His deepest needs have not been met in France. To explain why this should be so, we must consider what Picasso has  been exiled from: the Spain of his childhood and youth.  Privately, it was a means of controlling his anxiety about his ‘lost’ Spain to which he knew he would never return. Publicly, it provided a mechanism through which he could control the image that he presented for consumption. As Picasso grew older, his Hispanicity, and consequently his difference gained increasing importance.

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Art Is Not What You Think It Is (Blackwell Manifestos) by Donald Preziosi;Claire Farago


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