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The Philosophy and Art of Wang Guangyi: Aesthetics and Contemporary Art

Editat de Tiziana Andina, Erica Onnis
en Limba Engleză Paperback – 23 dec 2020
Wang Guangyi, one of the stars of the new wave of Chinese art, has artistically addressed major philosophical trends in Western philosophy while drawing on Taoism, Marxism and Maoism. By bringing together a team of experts in the philosophy of art to discuss his work, The Philosophy and Art of Wang Guangyi presents the first philosophical exploration of Wang's art, his thought and his analysis of Chinese society. From his use of words in images to his reference to the classics of Western painting, contributors set Wang's work against key questions in contemporary art. As well as answering what makes the language of pop art successful, they examine whether art and its history have come to an end, as Hegel posited, and if it is possible or even necessary to rework a new narrative for the history of contemporary art. The Philosophy and Art of Wang Guangyi marks an important contribution to understanding the background, work and ideas of a 21st-century political artist outside the West.
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Specificații

ISBN-13: 9781350231146
ISBN-10: 1350231142
Pagini: 296
Dimensiuni: 156 x 234 x 25 mm
Greutate: 0.42 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Seria Aesthetics and Contemporary Art

Locul publicării:London, United Kingdom

Caracteristici

Brings together well-known scholars in philosophy of art to discuss the impact and aesthetics of Wang's Guangyi work

Notă biografică

Tiziana Andina is Associate Professor of Philosophy at the University of Turin, Italy.Erica Onnis is a PhD student in theoretical philosophy at the University of Turin, Italy, where since 2015, she is a member of the Labont - Center for Ontology.

Cuprins

List of FiguresNotes on ContributorsIntroduction: Chinese Contemporary Art: Between Deconstruction and Construction, Tiziana Andina and Erica Onnis 1. Defining the Human and Humanizing the DivineGratings, Barriers and Boundaries. Wang Guangyi's Transcendental Painting, Luca IlletteratiWang Guangyi. Popular Study on Anthropology, Demetrio Paparoni 2. Duplicating the SceneWang Guangyi's "Material Spirit": a Religion Embodied in Art, Tiziana AndinaThe Tears of Pictures. Duplication and Inflection in Wang Guangyi's Oeuvre, Enrico Terrone 3. Bridging the Cultural Divide Through PopOn the Meanings of Propaganda, Erica OnnisA Critique of Wang Guangyi's "Great Criticism: Coca Cola", Xian Zhou 4. Words and Images: Two Instruments to Describe the WorldWang Guangyi and the Culture of the Cover: on Contemporary Pop Art and Political Theology, Babette BabichThe Globalist Dimension of Art. Wang Guangyi and Transculturalism, Davide Dal Sasso 5. Erasing the EmotionsGrief and the Power of the Mind, Carola BarberoThinking with Idols. A Conversation with Wang Guangyi, Andrew Cohen 6. The Circle of Life: Presenting and Representing Food.Food Art, A Hymn to Nature, Mary Bittner WisemanFood in Wang Guangyi's Art, Nicola Perullo 7. In Dialogue with Wang GuangyiNothingness, God, the Soul and the World. A Conversation with Wang Guangyi, Demetrio PaparoniDark Learning, Mysticism and Art. A Conversation with Wang Guangyi, Yan Shanchun Index

Recenzii

Wang Guangyi is the most significant painter to have emerged out of the 1980s encounter between Western and Chinese postmodernisms. This volume's essays and interviews --adeptly traversing conventional boundaries of art criticism, philosophy, history, and political theory-comprise the most significant treatment in English of Guangyi's ironic, intellectual, cool, subversive, and yet wildly popular art. And more generally, the book makes vivid how Chinese contemporary art, despite deploying seemingly similar aesthetic strategies to those found in the West, developed out of substantially sui generis concerns.
By focusing on Wang Guangyi, a trendsetter in contemporary Chinese art since the mid-1980s, this original volume presents a variety of angles to rethink many key concepts and visual strategies in contemporary art across the East-West divide. In so doing it provides an unusually detailed and sensitive analysis of an important artist as well as a possible model for transregional and interdisciplinary studies on global contemporary art.