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Dal servitor di piazza al conoscitore</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5973059" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2067693" href="https://unito.academia.edu/JenniferCooke">Jennifer Cooke</a><script data-card-contents-for-user="2067693" type="text/json">{"id":2067693,"first_name":"Jennifer","last_name":"Cooke","domain_name":"unito","page_name":"JenniferCooke","display_name":"Jennifer Cooke","profile_url":"https://unito.academia.edu/JenniferCooke?f_ri=15749","photo":"https://0.academia-photos.com/2067693/676892/149054089/s65_jennifer.cooke.jpeg"}</script></span></span></li><li class="js-paper-rank-work_5973059 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5973059"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5973059, container: ".js-paper-rank-work_5973059", }); });</script></li><li class="js-percentile-work_5973059 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 5973059; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_5973059"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_5973059 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="5973059"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 5973059; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=5973059]").text(description); $(".js-view-count-work_5973059").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_5973059").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="5973059"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="15749" href="https://www.academia.edu/Documents/in/Art_Criticism">Art Criticism</a>, <script data-card-contents-for-ri="15749" type="text/json">{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="80763" href="https://www.academia.edu/Documents/in/Art_and_Society_Art_Theory_Art_History_and_Criticism_Sociology_of">Art and Society, Art Theory, Art History & Criticism,Sociology of</a>, <script data-card-contents-for-ri="80763" type="text/json">{"id":80763,"name":"Art and Society, Art Theory, Art History \u0026 Criticism,Sociology of","url":"https://www.academia.edu/Documents/in/Art_and_Society_Art_Theory_Art_History_and_Criticism_Sociology_of?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="285773" href="https://www.academia.edu/Documents/in/The_literature_of_art_history">The literature of art history</a><script data-card-contents-for-ri="285773" type="text/json">{"id":285773,"name":"The literature of art history","url":"https://www.academia.edu/Documents/in/The_literature_of_art_history?f_ri=15749","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5973059]'), work: {"id":5973059,"title":"Storie dell'arte in Piemonte. 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Philologie du japonisme, « ce caprice de dilettante blasé » suivi de : Le « jeu japonais », de Marcel Proust à Ernest Chesneau</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized"><a href="https://www.arllfb.be/composition/membres/basch.html" rel="nofollow">https://www.arllfb.be/composition/membres/basch.html</a> Les arts du Japon ont révolutionné l’esthétique du XIXe siècle. Quand il créa en 1872 le mot « japonisme » qui devait s’imposer dans toutes les langues, l’historien de l’art Philippe... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45483116" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden"><a href="https://www.arllfb.be/composition/membres/basch.html" rel="nofollow">https://www.arllfb.be/composition/membres/basch.html</a><br /><br />Les arts du Japon ont révolutionné l’esthétique du XIXe siècle. Quand il créa en 1872 le mot « japonisme » qui devait s’imposer dans toutes les langues, l’historien de l’art Philippe Burty n’en proposa qu’une définition négative en récusant le critique qui traita son invention de « caprice de dilettante blasé ». L’identification de son contradicteur, Jules-Antoine Castagnary, permet de mieux situer la naissance du « japonisme » dans son contexte littéraire, artistique, savant et politique.<br />Une autre découverte figure en annexe de cette article : la description par Ernest Chesneau, en 1868, du « jeu japonais » que Marcel Proust associa à l’épisode de la madeleine dans Du côté de chez Swann.<br /><br />The arts of Japan revolutionized the aesthetics of the 19th century. When, in 1872, he coined the word « Japonisme » which was to become established in all languages, the art historian Philippe Burty offered only a negative definition, challenging the critic who called his invention « the whim of a blasé dilettante ». The identification of his opponent, Jules-Antoine Castagnary, allows us to better situate the birth of « Japonisme » in its literary, artistic, scholarly and political context.<br />Another discovery is appended to this article: Ernest Chesneau’s 1868 description of the « Japanese paper game » that Marcel Proust associated with the madeleine episode in Swann’s Way.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45483116" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ed412bc751d9604b32fdef7ca0737295" rel="nofollow" data-download="{"attachment_id":65981811,"asset_id":45483116,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65981811/download_file?st=MTczMzM0NDg3Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12800372" href="https://sorbonne-fr.academia.edu/SophieBasch">Sophie Basch</a><script data-card-contents-for-user="12800372" type="text/json">{"id":12800372,"first_name":"Sophie","last_name":"Basch","domain_name":"sorbonne-fr","page_name":"SophieBasch","display_name":"Sophie Basch","profile_url":"https://sorbonne-fr.academia.edu/SophieBasch?f_ri=15749","photo":"https://0.academia-photos.com/12800372/3637464/144196268/s65_sophie.basch.jpeg"}</script></span></span></li><li class="js-paper-rank-work_45483116 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45483116"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45483116, container: ".js-paper-rank-work_45483116", }); 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$(".js-view-count[data-work-id=45483116]").text(description); $(".js-view-count-work_45483116").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_45483116").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="45483116"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">18</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2473" href="https://www.academia.edu/Documents/in/Material_Culture_Studies">Material Culture Studies</a>, <script data-card-contents-for-ri="2473" type="text/json">{"id":2473,"name":"Material Culture Studies","url":"https://www.academia.edu/Documents/in/Material_Culture_Studies?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14985" href="https://www.academia.edu/Documents/in/Decorative_Arts">Decorative Arts</a><script data-card-contents-for-ri="14985" type="text/json">{"id":14985,"name":"Decorative Arts","url":"https://www.academia.edu/Documents/in/Decorative_Arts?f_ri=15749","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=45483116]'), work: {"id":45483116,"title":"Philippe Burty contre Castagnary. Philologie du japonisme, « ce caprice de dilettante blasé » suivi de : Le « jeu japonais », de Marcel Proust à Ernest Chesneau","created_at":"2021-03-12T00:12:33.219-08:00","url":"https://www.academia.edu/45483116/Philippe_Burty_contre_Castagnary_Philologie_du_japonisme_ce_caprice_de_dilettante_blas%C3%A9_suivi_de_Le_jeu_japonais_de_Marcel_Proust_%C3%A0_Ernest_Chesneau?f_ri=15749","dom_id":"work_45483116","summary":"https://www.arllfb.be/composition/membres/basch.html\n\nLes arts du Japon ont révolutionné l’esthétique du XIXe siècle. Quand il créa en 1872 le mot « japonisme » qui devait s’imposer dans toutes les langues, l’historien de l’art Philippe Burty n’en proposa qu’une définition négative en récusant le critique qui traita son invention de « caprice de dilettante blasé ». L’identification de son contradicteur, Jules-Antoine Castagnary, permet de mieux situer la naissance du « japonisme » dans son contexte littéraire, artistique, savant et politique.\nUne autre découverte figure en annexe de cette article : la description par Ernest Chesneau, en 1868, du « jeu japonais » que Marcel Proust associa à l’épisode de la madeleine dans Du côté de chez Swann.\n\nThe arts of Japan revolutionized the aesthetics of the 19th century. When, in 1872, he coined the word « Japonisme » which was to become established in all languages, the art historian Philippe Burty offered only a negative definition, challenging the critic who called his invention « the whim of a blasé dilettante ». The identification of his opponent, Jules-Antoine Castagnary, allows us to better situate the birth of « Japonisme » in its literary, artistic, scholarly and political context.\nAnother discovery is appended to this article: Ernest Chesneau’s 1868 description of the « Japanese paper game » that Marcel Proust associated with the madeleine episode in Swann’s Way.\n\n\n","downloadable_attachments":[{"id":65981811,"asset_id":45483116,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12800372,"first_name":"Sophie","last_name":"Basch","domain_name":"sorbonne-fr","page_name":"SophieBasch","display_name":"Sophie Basch","profile_url":"https://sorbonne-fr.academia.edu/SophieBasch?f_ri=15749","photo":"https://0.academia-photos.com/12800372/3637464/144196268/s65_sophie.basch.jpeg"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=15749","nofollow":false},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15749","nofollow":false},{"id":2473,"name":"Material Culture Studies","url":"https://www.academia.edu/Documents/in/Material_Culture_Studies?f_ri=15749","nofollow":false},{"id":14985,"name":"Decorative Arts","url":"https://www.academia.edu/Documents/in/Decorative_Arts?f_ri=15749","nofollow":false},{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749"},{"id":16556,"name":"19th Century French Literature","url":"https://www.academia.edu/Documents/in/19th_Century_French_Literature?f_ri=15749"},{"id":19362,"name":"Marcel Proust","url":"https://www.academia.edu/Documents/in/Marcel_Proust?f_ri=15749"},{"id":26780,"name":"Baudelaire","url":"https://www.academia.edu/Documents/in/Baudelaire?f_ri=15749"},{"id":30726,"name":"Art Nouveau","url":"https://www.academia.edu/Documents/in/Art_Nouveau?f_ri=15749"},{"id":31790,"name":"James McNeill Whistler","url":"https://www.academia.edu/Documents/in/James_McNeill_Whistler?f_ri=15749"},{"id":53409,"name":"Arts and Crafts","url":"https://www.academia.edu/Documents/in/Arts_and_Crafts?f_ri=15749"},{"id":78161,"name":"Joris-Karl Huysmans","url":"https://www.academia.edu/Documents/in/Joris-Karl_Huysmans?f_ri=15749"},{"id":94434,"name":"Japonism","url":"https://www.academia.edu/Documents/in/Japonism?f_ri=15749"},{"id":97059,"name":"Japonisme","url":"https://www.academia.edu/Documents/in/Japonisme?f_ri=15749"},{"id":1229584,"name":"Preraphaelites","url":"https://www.academia.edu/Documents/in/Preraphaelites?f_ri=15749"},{"id":1344638,"name":"Octave Mirbeau","url":"https://www.academia.edu/Documents/in/Octave_Mirbeau?f_ri=15749"},{"id":1559599,"name":"Ernest Fenollosa","url":"https://www.academia.edu/Documents/in/Ernest_Fenollosa?f_ri=15749"},{"id":2408723,"name":"Champfleury","url":"https://www.academia.edu/Documents/in/Champfleury?f_ri=15749"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_2235216" data-work_id="2235216" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/2235216/An_Introduction_to_Art_Criticism">An Introduction to Art Criticism</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2235216" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="af08d48e6bc9d85ef132f9591571f395" rel="nofollow" data-download="{"attachment_id":60354301,"asset_id":2235216,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60354301/download_file?st=MTczMzM0NDg3Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2596864" href="https://mica.academia.edu/KerrHouston">Kerr Houston</a><script data-card-contents-for-user="2596864" type="text/json">{"id":2596864,"first_name":"Kerr","last_name":"Houston","domain_name":"mica","page_name":"KerrHouston","display_name":"Kerr Houston","profile_url":"https://mica.academia.edu/KerrHouston?f_ri=15749","photo":"https://0.academia-photos.com/2596864/817927/49155238/s65_kerr.houston.jpg"}</script></span></span></li><li class="js-paper-rank-work_2235216 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2235216"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2235216, container: ".js-paper-rank-work_2235216", }); });</script></li><li class="js-percentile-work_2235216 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x 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});</script></span><script>$(function() { $(".js-view-count-work_2235216").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="2235216"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="15749" href="https://www.academia.edu/Documents/in/Art_Criticism">Art Criticism</a>, <script data-card-contents-for-ri="15749" type="text/json">{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="32834" href="https://www.academia.edu/Documents/in/Art_writing">Art writing</a>, <script data-card-contents-for-ri="32834" type="text/json">{"id":32834,"name":"Art writing","url":"https://www.academia.edu/Documents/in/Art_writing?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="36473" href="https://www.academia.edu/Documents/in/Diderot_Denis">Diderot, Denis</a>, <script data-card-contents-for-ri="36473" type="text/json">{"id":36473,"name":"Diderot, Denis","url":"https://www.academia.edu/Documents/in/Diderot_Denis?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="43952" href="https://www.academia.edu/Documents/in/Clement_Greenberg">Clement Greenberg</a><script data-card-contents-for-ri="43952" type="text/json">{"id":43952,"name":"Clement Greenberg","url":"https://www.academia.edu/Documents/in/Clement_Greenberg?f_ri=15749","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=2235216]'), work: {"id":2235216,"title":"An Introduction to Art 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Denis","url":"https://www.academia.edu/Documents/in/Diderot_Denis?f_ri=15749","nofollow":false},{"id":43952,"name":"Clement Greenberg","url":"https://www.academia.edu/Documents/in/Clement_Greenberg?f_ri=15749","nofollow":false},{"id":83758,"name":"Writing about/with art","url":"https://www.academia.edu/Documents/in/Writing_about_with_art?f_ri=15749"},{"id":152388,"name":"Art Theory and Criticism","url":"https://www.academia.edu/Documents/in/Art_Theory_and_Criticism?f_ri=15749"},{"id":1276368,"name":"Baudelaire Et Art","url":"https://www.academia.edu/Documents/in/Baudelaire_Et_Art?f_ri=15749"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_42740109 coauthored" data-work_id="42740109" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/42740109/FIELD_A_Journal_of_Socially_Engaged_Art_Criticism_Issue_15_Learning_Art_and_Resistance_from_the_South">FIELD: A Journal of Socially Engaged Art Criticism Issue 15: Learning Art and Resistance from the South</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">FIELD: A Journal of Socially Engaged Art Criticism is pleased to announce the launch of issue #15, “Learning Art and Resistance from the South”. This issue was guest edited by Eva Marxen of the School of the Art Institute of Chicago.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_42740109" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">FIELD: A Journal of Socially Engaged Art Criticism is pleased to announce the <br />launch of issue #15, “Learning Art and Resistance from the South”. This issue <br />was guest edited by Eva Marxen of the School of the Art Institute of Chicago. It <br />consists of a series of essays, interviews and other documents generated in <br />response to the exhibition Talking to Action: Art, Pedagogy and Activism in the <br />Americas. The exhibition, curated by Bill Kelley, Jr., was featured at the SAIC <br />Sullivan Galleries in 2018. As part of the exhibition the Sullivan Galleries <br />organized a number of public programs and events, from which the following <br />material was drawn. This issue of FIELD, like the exhibition which was its <br />catalyst, understands artistic practice and political praxis as interdependent and <br />mutually enriching. It locates an important nexus for these concerns in a range of <br />new artistic and cultural projects developed in Latin America over the past <br />decade. One of the primary focal points for the essays included here is the <br />ongoing struggle against neo-liberal capitalism. If we want to develop a deeper <br />understanding of the corrosive nature of neo-liberalism, and the forms of <br />resistance necessary to challenge it, we have much to learn from the Latin <br />American experience. One of the most important lessons it can offer us concerns <br />the generative nature of resistance itself. For the artists and collectives presented <br />in this issue of FIELD political resistance is not simply utilitarian, but rather, <br />constitutes a form of creative production that is capable of generating its own <br />unique forms of insight, and of re-shaping consciousness, and subjectivity, itself. <br />What emerges from these practices is not merely the epiphenomenal expression <br />of a naïve and spontaneous “actionism” but rather, a coherent pedagogical and <br />critical methodology from which new paradigms of both resistance and creation <br />can emerge. This issue of FIELD features bi-lingual translations in Spanish and <br />English. Contributors include Almudena Caso and Hannah Barco, David <br />Gutiérrez and Paulina E. Varas, Dignicraft and Ionit Behar, the Iconoclasistas <br />collective, Sandra de la Loza, Eduardo Molinari and Josh Rios, Red <br />Conceptualismos del Sur, Guillermo Rivera-Aguilera and Luis Jiménez, Mirliana <br />Ramírez-Pereira and Eva Marxen. FIELD is available on-line at: <a href="http://fieldjournal" rel="nofollow">http://fieldjournal</a>. <br />com/.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/42740109" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="484175cc32561a2cb9d8445084577357" rel="nofollow" data-download="{"attachment_id":62958264,"asset_id":42740109,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/62958264/download_file?st=MTczMzM0NDg3Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="53720266" href="https://independent.academia.edu/EMarxen">Eva Marxen</a><script data-card-contents-for-user="53720266" type="text/json">{"id":53720266,"first_name":"Eva","last_name":"Marxen","domain_name":"independent","page_name":"EMarxen","display_name":"Eva Marxen","profile_url":"https://independent.academia.edu/EMarxen?f_ri=15749","photo":"https://0.academia-photos.com/53720266/22936218/22075146/s65_eva.marxen.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-42740109">+10</span><div class="hidden js-additional-users-42740109"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://csub.academia.edu/BillKelleyJr">Bill Kelley Jr.</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/HannahBarco">Hannah Barco</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://uic.academia.edu/IonitBehar">Ionit Behar</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://una-edu.academia.edu/EduardoMolinari">Eduardo Molinari</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/sandradee6">sandra dee</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://cracvalparaiso.academia.edu/paulinavaras">paulina varas</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unam.academia.edu/DavidGutierrezcasta%C3%B1eda">David Gutierrez Castañeda</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/MirlianaMarcelaRam%C3%ADrez">Mirliana Marcela Ramírez</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://pucv.academia.edu/GuillermoRiveraAguilera">Guillermo Rivera-Aguilera</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://pucv.academia.edu/LuisJim%C3%A9nezD%C3%ADaz">Luis Jiménez Díaz</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-42740109'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-42740109').html(); 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This issue\r\nwas guest edited by Eva Marxen of the School of the Art Institute of Chicago. It\r\nconsists of a series of essays, interviews and other documents generated in\r\nresponse to the exhibition Talking to Action: Art, Pedagogy and Activism in the\r\nAmericas. The exhibition, curated by Bill Kelley, Jr., was featured at the SAIC\r\nSullivan Galleries in 2018. As part of the exhibition the Sullivan Galleries\r\norganized a number of public programs and events, from which the following\r\nmaterial was drawn. This issue of FIELD, like the exhibition which was its\r\ncatalyst, understands artistic practice and political praxis as interdependent and\r\nmutually enriching. It locates an important nexus for these concerns in a range of\r\nnew artistic and cultural projects developed in Latin America over the past\r\ndecade. One of the primary focal points for the essays included here is the\r\nongoing struggle against neo-liberal capitalism. If we want to develop a deeper\r\nunderstanding of the corrosive nature of neo-liberalism, and the forms of\r\nresistance necessary to challenge it, we have much to learn from the Latin\r\nAmerican experience. One of the most important lessons it can offer us concerns\r\nthe generative nature of resistance itself. For the artists and collectives presented\r\nin this issue of FIELD political resistance is not simply utilitarian, but rather,\r\nconstitutes a form of creative production that is capable of generating its own\r\nunique forms of insight, and of re-shaping consciousness, and subjectivity, itself.\r\nWhat emerges from these practices is not merely the epiphenomenal expression\r\nof a naïve and spontaneous “actionism” but rather, a coherent pedagogical and\r\ncritical methodology from which new paradigms of both resistance and creation\r\ncan emerge. This issue of FIELD features bi-lingual translations in Spanish and\r\nEnglish. Contributors include Almudena Caso and Hannah Barco, David\r\nGutiérrez and Paulina E. Varas, Dignicraft and Ionit Behar, the Iconoclasistas\r\ncollective, Sandra de la Loza, Eduardo Molinari and Josh Rios, Red\r\nConceptualismos del Sur, Guillermo Rivera-Aguilera and Luis Jiménez, Mirliana\r\nRamírez-Pereira and Eva Marxen. FIELD is available on-line at: http://fieldjournal.\r\ncom/.","downloadable_attachments":[{"id":62958264,"asset_id":42740109,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":53720266,"first_name":"Eva","last_name":"Marxen","domain_name":"independent","page_name":"EMarxen","display_name":"Eva Marxen","profile_url":"https://independent.academia.edu/EMarxen?f_ri=15749","photo":"https://0.academia-photos.com/53720266/22936218/22075146/s65_eva.marxen.jpg"},{"id":163388,"first_name":"Bill","last_name":"Kelley Jr.","domain_name":"csub","page_name":"BillKelleyJr","display_name":"Bill Kelley Jr.","profile_url":"https://csub.academia.edu/BillKelleyJr?f_ri=15749","photo":"https://0.academia-photos.com/163388/41604/21250539/s65_bill.kelley_jr..jpg"},{"id":155292276,"first_name":"Hannah","last_name":"Barco","domain_name":"independent","page_name":"HannahBarco","display_name":"Hannah Barco","profile_url":"https://independent.academia.edu/HannahBarco?f_ri=15749","photo":"/images/s65_no_pic.png"},{"id":568843,"first_name":"Ionit","last_name":"Behar","domain_name":"uic","page_name":"IonitBehar","display_name":"Ionit Behar","profile_url":"https://uic.academia.edu/IonitBehar?f_ri=15749","photo":"https://0.academia-photos.com/568843/838003/45940865/s65_ionit.behar.jpg"},{"id":16799789,"first_name":"Eduardo","last_name":"Molinari","domain_name":"una-edu","page_name":"EduardoMolinari","display_name":"Eduardo Molinari","profile_url":"https://una-edu.academia.edu/EduardoMolinari?f_ri=15749","photo":"https://0.academia-photos.com/16799789/4602229/153500762/s65_eduardo.molinari.jpg"},{"id":18072637,"first_name":"sandra","last_name":"dee","domain_name":"independent","page_name":"sandradee6","display_name":"sandra dee","profile_url":"https://independent.academia.edu/sandradee6?f_ri=15749","photo":"/images/s65_no_pic.png"},{"id":5820809,"first_name":"paulina","last_name":"varas","domain_name":"cracvalparaiso","page_name":"paulinavaras","display_name":"paulina varas","profile_url":"https://cracvalparaiso.academia.edu/paulinavaras?f_ri=15749","photo":"https://0.academia-photos.com/5820809/6113047/36240355/s65_paulina.varas.jpg"},{"id":162312,"first_name":"David","last_name":"Gutierrez Castañeda","domain_name":"unam","page_name":"DavidGutierrezcastañeda","display_name":"David Gutierrez Castañeda","profile_url":"https://unam.academia.edu/DavidGutierrezcasta%C3%B1eda?f_ri=15749","photo":"https://0.academia-photos.com/162312/87254/95202/s65_david.gutierrez_casta_eda.jpg"},{"id":73438879,"first_name":"Mirliana Marcela","last_name":"Ramírez","domain_name":"independent","page_name":"MirlianaMarcelaRamírez","display_name":"Mirliana Marcela Ramírez","profile_url":"https://independent.academia.edu/MirlianaMarcelaRam%C3%ADrez?f_ri=15749","photo":"https://0.academia-photos.com/73438879/18813399/18773128/s65_mirliana_marcela.ram_rez.jpg"},{"id":3344232,"first_name":"Guillermo","last_name":"Rivera-Aguilera","domain_name":"pucv","page_name":"GuillermoRiveraAguilera","display_name":"Guillermo Rivera-Aguilera","profile_url":"https://pucv.academia.edu/GuillermoRiveraAguilera?f_ri=15749","photo":"https://0.academia-photos.com/3344232/1120362/4151612/s65_guillermo.rivera.jpg"},{"id":32707805,"first_name":"Luis","last_name":"Jiménez Díaz","domain_name":"pucv","page_name":"LuisJiménezDíaz","display_name":"Luis Jiménez Díaz","profile_url":"https://pucv.academia.edu/LuisJim%C3%A9nezD%C3%ADaz?f_ri=15749","photo":"https://0.academia-photos.com/32707805/9756376/10868781/s65_luis.jim_nez_d_az.jpg_oh_9ac6fcae9894b37201b0f07ce7fcbe5f_oe_5626efa8___gda___1445722425_2d5d90811da864f05838158d441438fc"}],"research_interests":[{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=15749","nofollow":false},{"id":813,"name":"Political Philosophy","url":"https://www.academia.edu/Documents/in/Political_Philosophy?f_ri=15749","nofollow":false},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=15749","nofollow":false},{"id":2860,"name":"Postcolonial Studies","url":"https://www.academia.edu/Documents/in/Postcolonial_Studies?f_ri=15749","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15749"},{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749"},{"id":19161,"name":"Curatorial Studies and Practice","url":"https://www.academia.edu/Documents/in/Curatorial_Studies_and_Practice?f_ri=15749"},{"id":28372,"name":"Activist Art","url":"https://www.academia.edu/Documents/in/Activist_Art?f_ri=15749"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11111474" data-work_id="11111474" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11111474/Beauty_introduction_">Beauty (introduction)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">This is the introduction to the Beauty book I edited for MIT/Whitechapel</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11111474" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4b9c6a749de49b85fe273bb9c8e84846" rel="nofollow" data-download="{"attachment_id":36782357,"asset_id":11111474,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36782357/download_file?st=MTczMzM0NDg3Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1482819" href="https://arts-london.academia.edu/DaveBeech">Dave Beech</a><script data-card-contents-for-user="1482819" type="text/json">{"id":1482819,"first_name":"Dave","last_name":"Beech","domain_name":"arts-london","page_name":"DaveBeech","display_name":"Dave Beech","profile_url":"https://arts-london.academia.edu/DaveBeech?f_ri=15749","photo":"https://0.academia-photos.com/1482819/528915/36387482/s65_dave.beech.jpg"}</script></span></span></li><li class="js-paper-rank-work_11111474 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" 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data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1698" href="https://www.academia.edu/Documents/in/Marxism">Marxism</a>, <script data-card-contents-for-ri="1698" type="text/json">{"id":1698,"name":"Marxism","url":"https://www.academia.edu/Documents/in/Marxism?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a><script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15749","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=11111474]'), work: {"id":11111474,"title":"Beauty (introduction)","created_at":"2015-02-26T06:43:39.625-08:00","url":"https://www.academia.edu/11111474/Beauty_introduction_?f_ri=15749","dom_id":"work_11111474","summary":"This is the introduction to the Beauty book I edited for MIT/Whitechapel","downloadable_attachments":[{"id":36782357,"asset_id":11111474,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1482819,"first_name":"Dave","last_name":"Beech","domain_name":"arts-london","page_name":"DaveBeech","display_name":"Dave 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type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1386" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a><script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=15749","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=7928640]'), work: {"id":7928640,"title":"Social Art 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href="https://www.academia.edu/39259279/The_State_of_Art_Criticism_in_2019">The State of Art Criticism in 2019</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">This is a two-part essay on the current condition and prospects of art criticism around the world.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39259279" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b722e1569a7994d6e03883e23e370ebf" rel="nofollow" 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","downloadable_attachments":[{"id":59392616,"asset_id":39259279,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":15483,"first_name":"James","last_name":"Elkins","domain_name":"saic","page_name":"JElkins","display_name":"James Elkins","profile_url":"https://saic.academia.edu/JElkins?f_ri=15749","photo":"https://0.academia-photos.com/15483/5205/5067/s65_james.elkins.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15749","nofollow":false},{"id":994,"name":"Journalism","url":"https://www.academia.edu/Documents/in/Journalism?f_ri=15749","nofollow":false},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=15749","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15749","nofollow":false},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=15749"},{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749"},{"id":16863,"name":"Online Journalism","url":"https://www.academia.edu/Documents/in/Online_Journalism?f_ri=15749"},{"id":20868,"name":"Theory and Practice of Visual Arts","url":"https://www.academia.edu/Documents/in/Theory_and_Practice_of_Visual_Arts?f_ri=15749"},{"id":87805,"name":"Newspapers and online journalism","url":"https://www.academia.edu/Documents/in/Newspapers_and_online_journalism?f_ri=15749"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33879264" data-work_id="33879264" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33879264/Leonora_Carrington_Lucy_Skaer">Leonora Carrington / Lucy Skaer</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">A review for Corridor8 magazine online, 28 July 2016 of an exhibition at Leeds College of Art. <a href="http://corridor8.co.uk/article/review-leonora-carrington-lucy-skaer-leeds-college-of-art/" rel="nofollow">http://corridor8.co.uk/article/review-leonora-carrington-lucy-skaer-leeds-college-of-art/</a></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33879264" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="44e9bb6d09d9e217d7a419496f364323" rel="nofollow" data-download="{"attachment_id":53855404,"asset_id":33879264,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53855404/download_file?st=MTczMzM0NDg3Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1424068" href="https://independent.academia.edu/DerekHorton">Derek Horton</a><script data-card-contents-for-user="1424068" type="text/json">{"id":1424068,"first_name":"Derek","last_name":"Horton","domain_name":"independent","page_name":"DerekHorton","display_name":"Derek Horton","profile_url":"https://independent.academia.edu/DerekHorton?f_ri=15749","photo":"https://0.academia-photos.com/1424068/513047/151514533/s65_derek.horton.jpeg"}</script></span></span></li><li class="js-paper-rank-work_33879264 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33879264"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33879264, container: ".js-paper-rank-work_33879264", }); 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$(".js-view-count[data-work-id=33879264]").text(description); $(".js-view-count-work_33879264").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_33879264").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="33879264"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4951" href="https://www.academia.edu/Documents/in/Surrealism">Surrealism</a>, <script data-card-contents-for-ri="4951" type="text/json">{"id":4951,"name":"Surrealism","url":"https://www.academia.edu/Documents/in/Surrealism?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15749" href="https://www.academia.edu/Documents/in/Art_Criticism">Art Criticism</a>, <script data-card-contents-for-ri="15749" type="text/json">{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="235597" href="https://www.academia.edu/Documents/in/Leonora_Carrington">Leonora Carrington</a><script data-card-contents-for-ri="235597" type="text/json">{"id":235597,"name":"Leonora Carrington","url":"https://www.academia.edu/Documents/in/Leonora_Carrington?f_ri=15749","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=33879264]'), work: {"id":33879264,"title":"Leonora Carrington / Lucy Skaer","created_at":"2017-07-14T00:35:43.411-07:00","url":"https://www.academia.edu/33879264/Leonora_Carrington_Lucy_Skaer?f_ri=15749","dom_id":"work_33879264","summary":"A review for Corridor8 magazine online, 28 July 2016 of an exhibition at Leeds College of Art. http://corridor8.co.uk/article/review-leonora-carrington-lucy-skaer-leeds-college-of-art/\n","downloadable_attachments":[{"id":53855404,"asset_id":33879264,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1424068,"first_name":"Derek","last_name":"Horton","domain_name":"independent","page_name":"DerekHorton","display_name":"Derek Horton","profile_url":"https://independent.academia.edu/DerekHorton?f_ri=15749","photo":"https://0.academia-photos.com/1424068/513047/151514533/s65_derek.horton.jpeg"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15749","nofollow":false},{"id":4951,"name":"Surrealism","url":"https://www.academia.edu/Documents/in/Surrealism?f_ri=15749","nofollow":false},{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749","nofollow":false},{"id":235597,"name":"Leonora Carrington","url":"https://www.academia.edu/Documents/in/Leonora_Carrington?f_ri=15749","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35360585" data-work_id="35360585" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35360585/Situating_Jacqueline_de_Jong">Situating Jacqueline de Jong</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The periphery of the Situationist International is in danger of coming to look more interesting than the main event. Jacqueline de Jong—whose condensed but potent retrospective Imaginary Disobedience was on view at the Los Angeles gallery... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35360585" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The periphery of the Situationist International is in danger of coming to look more interesting than the main event. Jacqueline de Jong—whose condensed but potent retrospective Imaginary Disobedience was on view at the Los Angeles gallery Château Shatto—belonged to the group from around 1960 to 1962, when she was either expelled or resigned (the difference appears to be academic).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35360585" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3cb4ebed974c772cc059769adf7abf86" rel="nofollow" data-download="{"attachment_id":55220931,"asset_id":35360585,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55220931/download_file?st=MTczMzM0NDg3Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3200313" href="https://wisc.academia.edu/DanielSpaulding">Daniel Spaulding</a><script data-card-contents-for-user="3200313" type="text/json">{"id":3200313,"first_name":"Daniel","last_name":"Spaulding","domain_name":"wisc","page_name":"DanielSpaulding","display_name":"Daniel Spaulding","profile_url":"https://wisc.academia.edu/DanielSpaulding?f_ri=15749","photo":"https://0.academia-photos.com/3200313/5700621/159554214/s65_daniel.spaulding.jpg"}</script></span></span></li><li class="js-paper-rank-work_35360585 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35360585"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35360585, container: ".js-paper-rank-work_35360585", }); 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Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=15749","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15749","nofollow":false},{"id":5081,"name":"Painting","url":"https://www.academia.edu/Documents/in/Painting?f_ri=15749"},{"id":5193,"name":"Guy Debord","url":"https://www.academia.edu/Documents/in/Guy_Debord?f_ri=15749"},{"id":12702,"name":"Situationism","url":"https://www.academia.edu/Documents/in/Situationism?f_ri=15749"},{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749"},{"id":32138,"name":"Situationist International","url":"https://www.academia.edu/Documents/in/Situationist_International?f_ri=15749"},{"id":152388,"name":"Art Theory and Criticism","url":"https://www.academia.edu/Documents/in/Art_Theory_and_Criticism?f_ri=15749"},{"id":608016,"name":"Society of the 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href="https://www.academia.edu/Documents/in/Prehistoric_Archaeology">Prehistoric Archaeology</a>, <script data-card-contents-for-ri="399" type="text/json">{"id":399,"name":"Prehistoric Archaeology","url":"https://www.academia.edu/Documents/in/Prehistoric_Archaeology?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="803" href="https://www.academia.edu/Documents/in/Philosophy">Philosophy</a>, <script data-card-contents-for-ri="803" type="text/json">{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="816" 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Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749"},{"id":31591,"name":"Abstract Expressionism","url":"https://www.academia.edu/Documents/in/Abstract_Expressionism?f_ri=15749"},{"id":33438,"name":"Ancient Greek and Roman Art","url":"https://www.academia.edu/Documents/in/Ancient_Greek_and_Roman_Art?f_ri=15749"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_74502372" data-work_id="74502372" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/74502372/%E5%8F%B0%E7%81%A3%E6%94%9D%E5%BD%B1%E8%88%87%E5%BD%B1%E5%83%8F%E5%8F%B2%E4%B8%AD%E7%9A%84%E5%BF%83%E7%9C%BC%E8%88%87%E5%BF%83%E8%B1%A1">台灣攝影與影像史中的心眼與心象</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li 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Wang","profile_url":"https://independent.academia.edu/PoWeiWang?f_ri=15749","photo":"https://0.academia-photos.com/6539720/2725055/4728090/s65_po-wei.wang.jpg"}],"research_interests":[{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=15749","nofollow":false},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=15749","nofollow":false},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=15749","nofollow":false},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=15749","nofollow":false},{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35394776" data-work_id="35394776" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35394776/1897_Il_debutto_dellarte_russa_allEsposizione_Internazionale_di_Venezia">1897: Il debutto dell'arte russa all'Esposizione Internazionale di Venezia</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In 1897 Russia had its debut at the Venice International Art Exhibition, with a group show commissioned by the State Academy of Fine Arts in Saint Petersburg and curated by Ilya Repin. Based on Russian and Italian unpublished archival... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35394776" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In 1897 Russia had its debut at the Venice International Art Exhibition, with a group show commissioned by the State Academy of Fine Arts in Saint Petersburg and curated by <br />Ilya Repin. Based on Russian and Italian unpublished archival documentation and press reviews, the article sheds light on the organization of the art show, while also addressing <br />its critical and popular reception, mostly characterized by common places and stereotypes derived from Russian literature. In turn, such a critical response fitted the rhetoric of a “national character” promoted by early Biennale exhibitions and its collateral events, from public acquisitions to art criticism awards. <br /> <br />Con una mostra collettiva realizzata su commissione dell’Accademia Imperiale di Belle Arti di San Pietroburgo e a cura di Il’ja Repin, la Russia debuttò all’Esposizione Internazionale d’Arte di Venezia alla sua seconda edizione (1897). Alla luce di documenti inediti e di recensioni critiche di provenienza sia russa che italiana, l’articolo prende in esame le alterne fasi di realizzazione della rassegna e la sua accoglienza da parte di critica e pubblico. Ne emerge un quadro ricettivo in cui l’orizzonte d’attesa nei confronti dell’arte russa è in larga parte condizionato da precognizioni e stereotipi di natura letteraria, orientati verso l’individuazione di quel “carattere nazionale”, a cui si ispirava il “concorso delle nazioni” delle prime Biennali e le sue attività collaterali, dalle acquisizioni pubbliche ai premi alla critica</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35394776" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="dcc413130c331925533d157ebb3333d7" rel="nofollow" data-download="{"attachment_id":55255012,"asset_id":35394776,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55255012/download_file?st=MTczMzM0NDg3Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6271774" href="https://unive.academia.edu/MatteoBertel%C3%A9">Matteo Bertelé</a><script data-card-contents-for-user="6271774" type="text/json">{"id":6271774,"first_name":"Matteo","last_name":"Bertelé","domain_name":"unive","page_name":"MatteoBertelé","display_name":"Matteo Bertelé","profile_url":"https://unive.academia.edu/MatteoBertel%C3%A9?f_ri=15749","photo":"https://0.academia-photos.com/6271774/2787483/3249701/s65_matteo.bertel_.jpg"}</script></span></span></li><li class="js-paper-rank-work_35394776 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35394776"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35394776, container: ".js-paper-rank-work_35394776", }); 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$(".js-view-count[data-work-id=35394776]").text(description); $(".js-view-count-work_35394776").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35394776").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35394776"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">19</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="15749" href="https://www.academia.edu/Documents/in/Art_Criticism">Art Criticism</a>, <script data-card-contents-for-ri="15749" type="text/json">{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="21751" href="https://www.academia.edu/Documents/in/Russian_and_Soviet_Art">Russian & Soviet Art</a>, <script data-card-contents-for-ri="21751" type="text/json">{"id":21751,"name":"Russian \u0026 Soviet Art","url":"https://www.academia.edu/Documents/in/Russian_and_Soviet_Art?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="21796" href="https://www.academia.edu/Documents/in/Imagology">Imagology</a>, <script data-card-contents-for-ri="21796" type="text/json">{"id":21796,"name":"Imagology","url":"https://www.academia.edu/Documents/in/Imagology?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="22114" href="https://www.academia.edu/Documents/in/Nineteenth-century_National_Exhibitions">Nineteenth-century National Exhibitions</a><script data-card-contents-for-ri="22114" type="text/json">{"id":22114,"name":"Nineteenth-century National Exhibitions","url":"https://www.academia.edu/Documents/in/Nineteenth-century_National_Exhibitions?f_ri=15749","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35394776]'), work: {"id":35394776,"title":"1897: Il debutto dell'arte russa all'Esposizione Internazionale di Venezia","created_at":"2017-12-10T14:09:43.469-08:00","url":"https://www.academia.edu/35394776/1897_Il_debutto_dellarte_russa_allEsposizione_Internazionale_di_Venezia?f_ri=15749","dom_id":"work_35394776","summary":"In 1897 Russia had its debut at the Venice International Art Exhibition, with a group show commissioned by the State Academy of Fine Arts in Saint Petersburg and curated by\r\nIlya Repin. Based on Russian and Italian unpublished archival documentation and press reviews, the article sheds light on the organization of the art show, while also addressing\r\nits critical and popular reception, mostly characterized by common places and stereotypes derived from Russian literature. In turn, such a critical response fitted the rhetoric of a “national character” promoted by early Biennale exhibitions and its collateral events, from public acquisitions to art criticism awards.\r\n\r\nCon una mostra collettiva realizzata su commissione dell’Accademia Imperiale di Belle Arti di San Pietroburgo e a cura di Il’ja Repin, la Russia debuttò all’Esposizione Internazionale d’Arte di Venezia alla sua seconda edizione (1897). Alla luce di documenti inediti e di recensioni critiche di provenienza sia russa che italiana, l’articolo prende in esame le alterne fasi di realizzazione della rassegna e la sua accoglienza da parte di critica e pubblico. Ne emerge un quadro ricettivo in cui l’orizzonte d’attesa nei confronti dell’arte russa è in larga parte condizionato da precognizioni e stereotipi di natura letteraria, orientati verso l’individuazione di quel “carattere nazionale”, a cui si ispirava il “concorso delle nazioni” delle prime Biennali e le sue attività collaterali, dalle acquisizioni pubbliche ai premi alla critica","downloadable_attachments":[{"id":55255012,"asset_id":35394776,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6271774,"first_name":"Matteo","last_name":"Bertelé","domain_name":"unive","page_name":"MatteoBertelé","display_name":"Matteo Bertelé","profile_url":"https://unive.academia.edu/MatteoBertel%C3%A9?f_ri=15749","photo":"https://0.academia-photos.com/6271774/2787483/3249701/s65_matteo.bertel_.jpg"}],"research_interests":[{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749","nofollow":false},{"id":21751,"name":"Russian \u0026 Soviet Art","url":"https://www.academia.edu/Documents/in/Russian_and_Soviet_Art?f_ri=15749","nofollow":false},{"id":21796,"name":"Imagology","url":"https://www.academia.edu/Documents/in/Imagology?f_ri=15749","nofollow":false},{"id":22114,"name":"Nineteenth-century National Exhibitions","url":"https://www.academia.edu/Documents/in/Nineteenth-century_National_Exhibitions?f_ri=15749","nofollow":false},{"id":28394,"name":"Exhibition, Museum, Expositions and Worlds Fairs","url":"https://www.academia.edu/Documents/in/Exhibition_Museum_Expositions_and_Worlds_Fairs?f_ri=15749"},{"id":38045,"name":"Russian Art","url":"https://www.academia.edu/Documents/in/Russian_Art?f_ri=15749"},{"id":45994,"name":"Biennales","url":"https://www.academia.edu/Documents/in/Biennales?f_ri=15749"},{"id":128164,"name":"Venice Biennale","url":"https://www.academia.edu/Documents/in/Venice_Biennale?f_ri=15749"},{"id":148083,"name":"World's Fairs","url":"https://www.academia.edu/Documents/in/Worlds_Fairs?f_ri=15749"},{"id":226095,"name":"History of Exhibitions","url":"https://www.academia.edu/Documents/in/History_of_Exhibitions?f_ri=15749"},{"id":279526,"name":"Biennale di Venezia","url":"https://www.academia.edu/Documents/in/Biennale_di_Venezia?f_ri=15749"},{"id":505489,"name":"Russian and Soviet art and culture","url":"https://www.academia.edu/Documents/in/Russian_and_Soviet_art_and_culture?f_ri=15749"},{"id":1299862,"name":"Академия художеств","url":"https://www.academia.edu/Documents/in/%D0%90%D0%BA%D0%B0%D0%B4%D0%B5%D0%BC%D0%B8%D1%8F_%D1%85%D1%83%D0%B4%D0%BE%D0%B6%D0%B5%D1%81%D1%82%D0%B2?f_ri=15749"},{"id":1327955,"name":"Русское искусство","url":"https://www.academia.edu/Documents/in/%D0%A0%D1%83%D1%81%D1%81%D0%BA%D0%BE%D0%B5_%D0%B8%D1%81%D0%BA%D1%83%D1%81%D1%81%D1%82%D0%B2%D0%BE?f_ri=15749"},{"id":1467721,"name":"Art History/Biennale History","url":"https://www.academia.edu/Documents/in/Art_History_Biennale_History?f_ri=15749"},{"id":1632364,"name":"русско-итальянские связи","url":"https://www.academia.edu/Documents/in/%D1%80%D1%83%D1%81%D1%81%D0%BA%D0%BE-%D0%B8%D1%82%D0%B0%D0%BB%D1%8C%D1%8F%D0%BD%D1%81%D0%BA%D0%B8%D0%B5_%D1%81%D0%B2%D1%8F%D0%B7%D0%B8?f_ri=15749"},{"id":2495091,"name":"Ilya Repin","url":"https://www.academia.edu/Documents/in/Ilya_Repin?f_ri=15749"},{"id":2500432,"name":"Илья Ефимович Репин","url":"https://www.academia.edu/Documents/in/%D0%98%D0%BB%D1%8C%D1%8F_%D0%95%D1%84%D0%B8%D0%BC%D0%BE%D0%B2%D0%B8%D1%87_%D0%A0%D0%B5%D0%BF%D0%B8%D0%BD?f_ri=15749"},{"id":3710405,"name":"Императорская Академия художеств","url":"https://www.academia.edu/Documents/in/%D0%98%D0%BC%D0%BF%D0%B5%D1%80%D0%B0%D1%82%D0%BE%D1%80%D1%81%D0%BA%D0%B0%D1%8F_%D0%90%D0%BA%D0%B0%D0%B4%D0%B5%D0%BC%D0%B8%D1%8F_%D1%85%D1%83%D0%B4%D0%BE%D0%B6%D0%B5%D1%81%D1%82%D0%B2?f_ri=15749"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37883890" data-work_id="37883890" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37883890/Su_Leonardo_e_i_cartoni_della_Sant_Anna_tra_Resta_Ghezzi_Bellori_e_Bottari">Su Leonardo e i cartoni della Sant’Anna tra Resta, Ghezzi, Bellori e Bottari</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">in «Notizie di pittura raccolte dal Padre Resta». Il carteggio con Giuseppe Ghezzi e altri corrispondenti, a cura di Maria Rosa Pizzoni, Roma, UniversItalia, 2018, pp. 107-128. - Su padre Sebastiano Resta e Leonardo da Vinci si veda... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37883890" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">in «Notizie di pittura raccolte dal Padre Resta». Il carteggio con Giuseppe Ghezzi e altri corrispondenti, a cura di Maria Rosa Pizzoni, Roma, UniversItalia, 2018, pp. 107-128. <br />- <br />Su padre Sebastiano Resta e Leonardo da Vinci si veda anche: <a href="https://www.academia.edu/49350830/_Vero_lume_il_Leonardo_e_i_Leonardo_di_padre_Resta" rel="nofollow">https://www.academia.edu/49350830/_Vero_lume_il_Leonardo_e_i_Leonardo_di_padre_Resta</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37883890" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="38d0817a31842b1af9b96dfb91446cf2" rel="nofollow" data-download="{"attachment_id":58785421,"asset_id":37883890,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58785421/download_file?st=MTczMzM0NDg3Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="824526" href="https://uniroma2.academia.edu/FrancescoGrisolia">Francesco Grisolia</a><script data-card-contents-for-user="824526" type="text/json">{"id":824526,"first_name":"Francesco","last_name":"Grisolia","domain_name":"uniroma2","page_name":"FrancescoGrisolia","display_name":"Francesco Grisolia","profile_url":"https://uniroma2.academia.edu/FrancescoGrisolia?f_ri=15749","photo":"https://0.academia-photos.com/824526/286964/62130396/s65_francesco.grisolia.jpg"}</script></span></span></li><li class="js-paper-rank-work_37883890 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37883890"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37883890, container: ".js-paper-rank-work_37883890", }); 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$(".js-view-count[data-work-id=37883890]").text(description); $(".js-view-count-work_37883890").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37883890").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37883890"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2987" href="https://www.academia.edu/Documents/in/Renaissance_Studies">Renaissance Studies</a>, <script data-card-contents-for-ri="2987" type="text/json">{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="12974" href="https://www.academia.edu/Documents/in/Drawing">Drawing</a>, <script data-card-contents-for-ri="12974" type="text/json">{"id":12974,"name":"Drawing","url":"https://www.academia.edu/Documents/in/Drawing?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13966" href="https://www.academia.edu/Documents/in/History_of_Art">History of Art</a><script data-card-contents-for-ri="13966" type="text/json">{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=15749","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37883890]'), work: {"id":37883890,"title":"Su Leonardo e i cartoni della Sant’Anna tra Resta, Ghezzi, Bellori e Bottari","created_at":"2018-11-30T05:17:44.789-08:00","url":"https://www.academia.edu/37883890/Su_Leonardo_e_i_cartoni_della_Sant_Anna_tra_Resta_Ghezzi_Bellori_e_Bottari?f_ri=15749","dom_id":"work_37883890","summary":"in «Notizie di pittura raccolte dal Padre Resta». Il carteggio con Giuseppe Ghezzi e altri corrispondenti, a cura di Maria Rosa Pizzoni, Roma, UniversItalia, 2018, pp. 107-128.\r\n- \r\nSu padre Sebastiano Resta e Leonardo da Vinci si veda anche: https://www.academia.edu/49350830/_Vero_lume_il_Leonardo_e_i_Leonardo_di_padre_Resta","downloadable_attachments":[{"id":58785421,"asset_id":37883890,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":824526,"first_name":"Francesco","last_name":"Grisolia","domain_name":"uniroma2","page_name":"FrancescoGrisolia","display_name":"Francesco Grisolia","profile_url":"https://uniroma2.academia.edu/FrancescoGrisolia?f_ri=15749","photo":"https://0.academia-photos.com/824526/286964/62130396/s65_francesco.grisolia.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15749","nofollow":false},{"id":2987,"name":"Renaissance 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Overall, this new body of work addresses themes of sanctuary and flight through mediations of vision, visionary experience.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_23640221" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">David Ferguson's large-scale paintings give a first impression of thick, built-up impasto and painterly textures.  Overall, this new body of work addresses themes of sanctuary and flight through mediations of vision, visionary experience. and movement. It is only when one examines another aspect of his newest works, his austerely minimalistic, monochromatic wall assemblages, that the viewer perceives the effect of built-up paint in the larger chromatic works is an illusion. The grounds for Ferguson's painterly surfaces are, themselves, sculptural works:  cast-cotton fibre panels mounted on board. 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href="https://www.academia.edu/39156040/%E5%BC%B5%E7%A2%A9%E5%B0%B9_Kosmos_%E5%8C%97%E7%BE%8E%E9%A4%A8">張碩尹，「Kosmos」＠北美館</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39156040" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b8135cd64d3f3189eee22924a57b99fd" rel="nofollow" data-download="{"attachment_id":59280191,"asset_id":39156040,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" 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Wang","profile_url":"https://independent.academia.edu/PoWeiWang?f_ri=15749","photo":"https://0.academia-photos.com/6539720/2725055/4728090/s65_po-wei.wang.jpg"}</script></span></span></li><li class="js-paper-rank-work_39156040 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39156040"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39156040, container: ".js-paper-rank-work_39156040", }); });</script></li><li class="js-percentile-work_39156040 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39156040; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = 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data-has-card-for-ri="15749" href="https://www.academia.edu/Documents/in/Art_Criticism">Art Criticism</a>, <script data-card-contents-for-ri="15749" type="text/json">{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="18736" href="https://www.academia.edu/Documents/in/New_Media_Art">New Media Art</a><script data-card-contents-for-ri="18736" type="text/json">{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=15749","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39156040]'), work: {"id":39156040,"title":"張碩尹，「Kosmos」＠北美館","created_at":"2019-05-16T20:10:01.824-07:00","url":"https://www.academia.edu/39156040/%E5%BC%B5%E7%A2%A9%E5%B0%B9_Kosmos_%E5%8C%97%E7%BE%8E%E9%A4%A8?f_ri=15749","dom_id":"work_39156040","summary":null,"downloadable_attachments":[{"id":59280191,"asset_id":39156040,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6539720,"first_name":"Po-Wei","last_name":"Wang","domain_name":"independent","page_name":"PoWeiWang","display_name":"Po-Wei Wang","profile_url":"https://independent.academia.edu/PoWeiWang?f_ri=15749","photo":"https://0.academia-photos.com/6539720/2725055/4728090/s65_po-wei.wang.jpg"}],"research_interests":[{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=15749","nofollow":false},{"id":2080,"name":"Installation Art","url":"https://www.academia.edu/Documents/in/Installation_Art?f_ri=15749","nofollow":false},{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749","nofollow":false},{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=15749","nofollow":false},{"id":54424,"name":"science and technology studies (STS)","url":"https://www.academia.edu/Documents/in/science_and_technology_studies_STS_?f_ri=15749"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37265982" data-work_id="37265982" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37265982/Ceramics_That_Kill_Quilts_That_Admonish_Linda_Lighton_and_Jessica_Wohl">Ceramics That Kill Quilts That Admonish Linda Lighton and Jessica Wohl</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Critical review considers the work of ceramics artist Linda Lighton and fiber artist Jessica Wohl, both of whom use their disciplines to illuminate societal anomalies concerning gun control and domestic violence.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37265982" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8afe307201b87fa2b6bd4265bc93ede6" rel="nofollow" data-download="{"attachment_id":57219800,"asset_id":37265982,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" 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style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37265982"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1663" href="https://www.academia.edu/Documents/in/Domestic_Violence">Domestic Violence</a>, <script data-card-contents-for-ri="1663" type="text/json">{"id":1663,"name":"Domestic Violence","url":"https://www.academia.edu/Documents/in/Domestic_Violence?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15749" href="https://www.academia.edu/Documents/in/Art_Criticism">Art Criticism</a>, <script data-card-contents-for-ri="15749" type="text/json">{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16161" href="https://www.academia.edu/Documents/in/Textile_and_Fiber_Art">Textile and Fiber Art</a><script data-card-contents-for-ri="16161" type="text/json">{"id":16161,"name":"Textile and Fiber Art","url":"https://www.academia.edu/Documents/in/Textile_and_Fiber_Art?f_ri=15749","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37265982]'), work: {"id":37265982,"title":"Ceramics That Kill Quilts That Admonish Linda Lighton and Jessica Wohl","created_at":"2018-08-20T13:24:19.773-07:00","url":"https://www.academia.edu/37265982/Ceramics_That_Kill_Quilts_That_Admonish_Linda_Lighton_and_Jessica_Wohl?f_ri=15749","dom_id":"work_37265982","summary":"Critical review considers the work of ceramics artist Linda Lighton and fiber artist Jessica Wohl, both of whom use their disciplines to illuminate societal anomalies concerning gun control and domestic violence. ","downloadable_attachments":[{"id":57219800,"asset_id":37265982,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":17009977,"first_name":"Blair","last_name":"Schulman","domain_name":"independent","page_name":"BSchulman","display_name":"Blair Schulman","profile_url":"https://independent.academia.edu/BSchulman?f_ri=15749","photo":"https://0.academia-photos.com/17009977/11441205/12761598/s65_blair.schulman.jpg"}],"research_interests":[{"id":1663,"name":"Domestic Violence","url":"https://www.academia.edu/Documents/in/Domestic_Violence?f_ri=15749","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15749","nofollow":false},{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749","nofollow":false},{"id":16161,"name":"Textile and Fiber Art","url":"https://www.academia.edu/Documents/in/Textile_and_Fiber_Art?f_ri=15749","nofollow":false},{"id":32682,"name":"Gun Control","url":"https://www.academia.edu/Documents/in/Gun_Control?f_ri=15749"},{"id":58128,"name":"Ceramics","url":"https://www.academia.edu/Documents/in/Ceramics?f_ri=15749"},{"id":88351,"name":"Weaving","url":"https://www.academia.edu/Documents/in/Weaving?f_ri=15749"},{"id":236002,"name":"Quilting","url":"https://www.academia.edu/Documents/in/Quilting?f_ri=15749"},{"id":310813,"name":"Criticality","url":"https://www.academia.edu/Documents/in/Criticality?f_ri=15749"},{"id":1575666,"name":"Kansas City","url":"https://www.academia.edu/Documents/in/Kansas_City?f_ri=15749"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35536022" data-work_id="35536022" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35536022/K_fenomenol%C3%B3gii_umeleckej_kritiky_Towards_the_Phenomenology_of_Art_Criticism_">K fenomenológii umeleckej kritiky (Towards the Phenomenology of Art Criticism)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Husserlian phenomenology can analyze the art criticism in two ways: first, it can analyze its very transcendental possibilities; second, it can analyze it as a particular cultural institution. The former approach places art criticism... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35536022" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Husserlian phenomenology can analyze the art criticism in two ways: first, it can analyze its very transcendental possibilities; second, it can analyze it as a particular cultural institution. The former approach places art criticism within analyses of pure consciousness at the " crossroad " between aesthetic and natural attitude while arguing for primacy of the aesthetic experience in artistic value judgment. This analysis comes with a particular normative prescription for the art criticism. However, such prescription does not sufficiently address the multifaceted tasks the living art criticism takes upon itself. Therefore, the article investigates and outlines the latter approach , too, that is, the ways in which Husserlian phenomenology can engage with the art criticism as a cultural institution. Leads are offered by Husserl's treatment of the ethical dimension of vocation, which could be fruitful for the art criticism as well.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35536022" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f3f771757810559587f3360ba988fe13" rel="nofollow" data-download="{"attachment_id":55401500,"asset_id":35536022,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55401500/download_file?st=MTczMzM0NDg3Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4259456" href="https://sav-sk.academia.edu/MichalLipt%C3%A1k">Michal Lipták</a><script data-card-contents-for-user="4259456" type="text/json">{"id":4259456,"first_name":"Michal","last_name":"Lipták","domain_name":"sav-sk","page_name":"MichalLipták","display_name":"Michal Lipták","profile_url":"https://sav-sk.academia.edu/MichalLipt%C3%A1k?f_ri=15749","photo":"https://0.academia-photos.com/4259456/1689668/65891335/s65_michal.lipt_k.jpg"}</script></span></span></li><li class="js-paper-rank-work_35536022 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35536022"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35536022, container: ".js-paper-rank-work_35536022", }); });</script></li><li class="js-percentile-work_35536022 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35536022; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_35536022"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_35536022 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="35536022"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35536022; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35536022]").text(description); $(".js-view-count-work_35536022").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35536022").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35536022"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1386" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a>, <script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5178" href="https://www.academia.edu/Documents/in/Phenomenology">Phenomenology</a>, <script data-card-contents-for-ri="5178" type="text/json">{"id":5178,"name":"Phenomenology","url":"https://www.academia.edu/Documents/in/Phenomenology?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8436" href="https://www.academia.edu/Documents/in/Edmund_Husserl">Edmund Husserl</a><script data-card-contents-for-ri="8436" type="text/json">{"id":8436,"name":"Edmund Husserl","url":"https://www.academia.edu/Documents/in/Edmund_Husserl?f_ri=15749","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35536022]'), work: {"id":35536022,"title":"K fenomenológii umeleckej kritiky (Towards the Phenomenology of Art Criticism)","created_at":"2017-12-29T06:37:30.125-08:00","url":"https://www.academia.edu/35536022/K_fenomenol%C3%B3gii_umeleckej_kritiky_Towards_the_Phenomenology_of_Art_Criticism_?f_ri=15749","dom_id":"work_35536022","summary":"Husserlian phenomenology can analyze the art criticism in two ways: first, it can analyze its very transcendental possibilities; second, it can analyze it as a particular cultural institution. The former approach places art criticism within analyses of pure consciousness at the \" crossroad \" between aesthetic and natural attitude while arguing for primacy of the aesthetic experience in artistic value judgment. This analysis comes with a particular normative prescription for the art criticism. However, such prescription does not sufficiently address the multifaceted tasks the living art criticism takes upon itself. Therefore, the article investigates and outlines the latter approach , too, that is, the ways in which Husserlian phenomenology can engage with the art criticism as a cultural institution. Leads are offered by Husserl's treatment of the ethical dimension of vocation, which could be fruitful for the art criticism as well.","downloadable_attachments":[{"id":55401500,"asset_id":35536022,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4259456,"first_name":"Michal","last_name":"Lipták","domain_name":"sav-sk","page_name":"MichalLipták","display_name":"Michal Lipták","profile_url":"https://sav-sk.academia.edu/MichalLipt%C3%A1k?f_ri=15749","photo":"https://0.academia-photos.com/4259456/1689668/65891335/s65_michal.lipt_k.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=15749","nofollow":false},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=15749","nofollow":false},{"id":5178,"name":"Phenomenology","url":"https://www.academia.edu/Documents/in/Phenomenology?f_ri=15749","nofollow":false},{"id":8436,"name":"Edmund Husserl","url":"https://www.academia.edu/Documents/in/Edmund_Husserl?f_ri=15749","nofollow":false},{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_30831903" data-work_id="30831903" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/30831903/Jos%C3%A9_Luis_de_la_Nuez_Santana_Perspectivas_historiogr%C3%A1ficas_del_arte_latinoamericano_en_la_segunda_mitad_del_siglo_XX_modernidad_postmodernidad_e_identidad_Revista_de_Historiograf%C3%ADa_III_no_5_2006_pp_188_201_ISSN_1885_2718_">José Luis de la Nuez Santana, "Perspectivas historiográficas del arte latinoamericano en la segunda mitad del siglo XX: modernidad, postmodernidad e identidad", Revista de Historiografía, III, nº 5, 2006, pp. 188-201 (ISSN: 1885-2718)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30831903" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f3254a5448eafe85ad5880e45b7e1f0b" rel="nofollow" data-download="{"attachment_id":51263547,"asset_id":30831903,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51263547/download_file?st=MTczMzM0NDg3Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="58248749" href="https://uc3m.academia.edu/JOSELUISDELANUEZSANTANA">JOSE LUIS DE LA NUEZ SANTANA</a><script data-card-contents-for-user="58248749" type="text/json">{"id":58248749,"first_name":"JOSE LUIS DE LA","last_name":"NUEZ SANTANA","domain_name":"uc3m","page_name":"JOSELUISDELANUEZSANTANA","display_name":"JOSE LUIS DE LA NUEZ SANTANA","profile_url":"https://uc3m.academia.edu/JOSELUISDELANUEZSANTANA?f_ri=15749","photo":"https://0.academia-photos.com/58248749/22091429/21330444/s65_jose_luis_de_la.nuez_santana.jpg"}</script></span></span></li><li class="js-paper-rank-work_30831903 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30831903"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30831903, container: ".js-paper-rank-work_30831903", }); });</script></li><li class="js-percentile-work_30831903 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 30831903; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { 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u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="30831903"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3840" href="https://www.academia.edu/Documents/in/Latin_American_Art">Latin American Art</a>, <script data-card-contents-for-ri="3840" type="text/json">{"id":3840,"name":"Latin American Art","url":"https://www.academia.edu/Documents/in/Latin_American_Art?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15749" href="https://www.academia.edu/Documents/in/Art_Criticism">Art Criticism</a>, <script data-card-contents-for-ri="15749" type="text/json">{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="152388" href="https://www.academia.edu/Documents/in/Art_Theory_and_Criticism">Art Theory and Criticism</a>, <script data-card-contents-for-ri="152388" type="text/json">{"id":152388,"name":"Art Theory and Criticism","url":"https://www.academia.edu/Documents/in/Art_Theory_and_Criticism?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="314766" href="https://www.academia.edu/Documents/in/Arte_Contemporaneo_Latinoamericano">Arte Contemporáneo Latinoamericano</a><script data-card-contents-for-ri="314766" type="text/json">{"id":314766,"name":"Arte Contemporáneo Latinoamericano","url":"https://www.academia.edu/Documents/in/Arte_Contemporaneo_Latinoamericano?f_ri=15749","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=30831903]'), work: {"id":30831903,"title":"José Luis de la Nuez Santana, \"Perspectivas 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latinoamericano","url":"https://www.academia.edu/Documents/in/Historia_del_arte_latinoamericano?f_ri=15749"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_75971255" data-work_id="75971255" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/75971255/The_Experimental_Turn_in_the_Visual_Arts">The Experimental Turn in the Visual Arts</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/75971255" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span 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class="u-tcGrayDark u-fw700" data-has-card-for-user="3375165" href="https://sun.academia.edu/KathrynSmith">Kathryn Smith</a><script data-card-contents-for-user="3375165" type="text/json">{"id":3375165,"first_name":"Kathryn","last_name":"Smith","domain_name":"sun","page_name":"KathrynSmith","display_name":"Kathryn Smith","profile_url":"https://sun.academia.edu/KathrynSmith?f_ri=15749","photo":"https://0.academia-photos.com/3375165/6425288/15375453/s65_kathryn.smith.jpg"}</script></span></span></li><li class="js-paper-rank-work_75971255 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="75971255"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 75971255, container: ".js-paper-rank-work_75971255", }); });</script></li><li class="js-percentile-work_75971255 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span 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href="https://www.academia.edu/Documents/in/Installation_Art">Installation Art</a>, <script data-card-contents-for-ri="2080" type="text/json">{"id":2080,"name":"Installation Art","url":"https://www.academia.edu/Documents/in/Installation_Art?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3189" href="https://www.academia.edu/Documents/in/Experimental_Media_Arts">Experimental Media Arts</a><script data-card-contents-for-ri="3189" type="text/json">{"id":3189,"name":"Experimental Media Arts","url":"https://www.academia.edu/Documents/in/Experimental_Media_Arts?f_ri=15749","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=75971255]'), work: {"id":75971255,"title":"The Experimental Turn in the Visual Arts","created_at":"2022-04-10T01:01:18.291-07:00","url":"https://www.academia.edu/75971255/The_Experimental_Turn_in_the_Visual_Arts?f_ri=15749","dom_id":"work_75971255","summary":null,"downloadable_attachments":[{"id":83659175,"asset_id":75971255,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3375165,"first_name":"Kathryn","last_name":"Smith","domain_name":"sun","page_name":"KathrynSmith","display_name":"Kathryn Smith","profile_url":"https://sun.academia.edu/KathrynSmith?f_ri=15749","photo":"https://0.academia-photos.com/3375165/6425288/15375453/s65_kathryn.smith.jpg"}],"research_interests":[{"id":1386,"name":"Art 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Art","url":"https://www.academia.edu/Documents/in/Contemporary_South_African_Art?f_ri=15749"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44773704" data-work_id="44773704" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44773704/MANUEL_DE_LA_CRUZ_GONZ%C3%81LEZ_Promesa_trunca">MANUEL DE LA CRUZ GONZÁLEZ: Promesa trunca</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">La demanda de aceptación a lo largo de su carrera artística, por parte del artista costarricense, Manuel de la Cruz González Luján (1909-1986), ha legado una obra globalmente débil en profundidad ideativa, y a menudo mimética de las... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44773704" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La demanda de aceptación a lo largo de su carrera artística, por parte del artista costarricense, Manuel de la Cruz González Luján (1909-1986), ha legado una obra globalmente débil en profundidad ideativa, y a menudo mimética de las corrientes de moda entre 1948 y 1958, especialmente, cuando estuvo fuera del país.<br />El hecho de que se haya convertido en una figura mítica en las artes visuales de Costa Rica obedece al desconocimiento de su obra, así como al apasionamiento con que se intentó juzgar su trabajo en el pasado, para bien o para mal, de acuerdo al crítico de arte, Juan Carlos Flores Zúñiga, que lo conoció personalmente, entrevistó varias veces y escribió sobre su obra.<br />Este artículo crítico fue publicado en el Diario La Nación, el 7 de febrero de 1986.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44773704" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ed7949383846df9665288d8deac89e60" rel="nofollow" data-download="{"attachment_id":65264578,"asset_id":44773704,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65264578/download_file?st=MTczMzM0NDg3Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="24480086" href="https://pdx.academia.edu/JuanFloresZu%C3%B1iga">Juan Carlos Flores Zúñiga</a><script data-card-contents-for-user="24480086" type="text/json">{"id":24480086,"first_name":"Juan Carlos","last_name":"Flores Zúñiga","domain_name":"pdx","page_name":"JuanFloresZuñiga","display_name":"Juan Carlos Flores Zúñiga","profile_url":"https://pdx.academia.edu/JuanFloresZu%C3%B1iga?f_ri=15749","photo":"https://0.academia-photos.com/24480086/6607595/148935474/s65_juan_carlos.flores_z_iga.jpg"}</script></span></span></li><li class="js-paper-rank-work_44773704 InlineList-item InlineList-item--bordered hidden"><span 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class="js-view-count-work_44773704 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="44773704"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44773704; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44773704]").text(description); $(".js-view-count-work_44773704").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44773704").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44773704"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15749" href="https://www.academia.edu/Documents/in/Art_Criticism">Art Criticism</a>, <script data-card-contents-for-ri="15749" type="text/json">{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="79037" href="https://www.academia.edu/Documents/in/Historia_del_Arte">Historia del Arte</a>, <script data-card-contents-for-ri="79037" type="text/json">{"id":79037,"name":"Historia del Arte","url":"https://www.academia.edu/Documents/in/Historia_del_Arte?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="565776" href="https://www.academia.edu/Documents/in/Critica_De_Artes_Visuales">Crítica De Artes Visuales</a><script data-card-contents-for-ri="565776" type="text/json">{"id":565776,"name":"Crítica De Artes Visuales","url":"https://www.academia.edu/Documents/in/Critica_De_Artes_Visuales?f_ri=15749","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44773704]'), work: {"id":44773704,"title":"MANUEL DE LA CRUZ GONZÁLEZ: Promesa trunca","created_at":"2020-12-25T12:00:45.088-08:00","url":"https://www.academia.edu/44773704/MANUEL_DE_LA_CRUZ_GONZ%C3%81LEZ_Promesa_trunca?f_ri=15749","dom_id":"work_44773704","summary":"La demanda de aceptación a lo largo de su carrera artística, por parte del artista costarricense, Manuel de la Cruz González Luján (1909-1986), ha legado una obra globalmente débil en profundidad ideativa, y a menudo mimética de las corrientes de moda entre 1948 y 1958, especialmente, cuando estuvo fuera del país.\nEl hecho de que se haya convertido en una figura mítica en las artes visuales de Costa Rica obedece al desconocimiento de su obra, así como al apasionamiento con que se intentó juzgar su trabajo en el pasado, para bien o para mal, de acuerdo al crítico de arte, Juan Carlos Flores Zúñiga, que lo conoció personalmente, entrevistó varias veces y escribió sobre su obra.\nEste artículo crítico fue publicado en el Diario La Nación, el 7 de febrero de 1986.","downloadable_attachments":[{"id":65264578,"asset_id":44773704,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":24480086,"first_name":"Juan Carlos","last_name":"Flores Zúñiga","domain_name":"pdx","page_name":"JuanFloresZuñiga","display_name":"Juan Carlos Flores Zúñiga","profile_url":"https://pdx.academia.edu/JuanFloresZu%C3%B1iga?f_ri=15749","photo":"https://0.academia-photos.com/24480086/6607595/148935474/s65_juan_carlos.flores_z_iga.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15749","nofollow":false},{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749","nofollow":false},{"id":79037,"name":"Historia del Arte","url":"https://www.academia.edu/Documents/in/Historia_del_Arte?f_ri=15749","nofollow":false},{"id":565776,"name":"Crítica De Artes Visuales","url":"https://www.academia.edu/Documents/in/Critica_De_Artes_Visuales?f_ri=15749","nofollow":false},{"id":1009195,"name":"Expresionismo","url":"https://www.academia.edu/Documents/in/Expresionismo?f_ri=15749"},{"id":3030346,"name":"Juan Carlos Flores Zuñiga","url":"https://www.academia.edu/Documents/in/Juan_Carlos_Flores_Zu%C3%B1iga?f_ri=15749"},{"id":3188731,"name":"Ars Kriterion E-Zine","url":"https://www.academia.edu/Documents/in/Ars_Kriterion_E-Zine?f_ri=15749"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36962517" data-work_id="36962517" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36962517/Art_Review_Queer_Biennial_What_If_Utopia_docx">Art Review: Queer Biennial: What If Utopia.docx</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Critically queer critique of the Queer Biennial in Los Angeles, this year subtitled, "What if Utopia," which fails to even answer the question visually or via the art talk. Published in Artillery Magazine and on their online site:... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36962517" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Critically queer critique of the Queer Biennial in Los Angeles, this year subtitled, "What if Utopia," which fails to even answer the question visually or via the art talk.<br />Published in Artillery Magazine and on their online site: <a href="https://artillerymag.com/queer-biennial-what-if-utopia/" rel="nofollow">https://artillerymag.com/queer-biennial-what-if-utopia/</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36962517" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa 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itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1026901" href="https://independent.academia.edu/RSummers">Robert Summers</a><script data-card-contents-for-user="1026901" type="text/json">{"id":1026901,"first_name":"Robert","last_name":"Summers","domain_name":"independent","page_name":"RSummers","display_name":"Robert Summers","profile_url":"https://independent.academia.edu/RSummers?f_ri=15749","photo":"https://0.academia-photos.com/1026901/902666/19722985/s65_robert.summers.jpg"}</script></span></span></li><li class="js-paper-rank-work_36962517 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36962517"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36962517, container: ".js-paper-rank-work_36962517", }); });</script></li><li class="js-percentile-work_36962517 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window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36962517]").text(description); $(".js-view-count-work_36962517").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_36962517").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="36962517"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">16</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="699" href="https://www.academia.edu/Documents/in/Queer_Studies">Queer Studies</a>, <script data-card-contents-for-ri="699" type="text/json">{"id":699,"name":"Queer Studies","url":"https://www.academia.edu/Documents/in/Queer_Studies?f_ri=15749","nofollow":false}</script><a 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u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Esztétikai gondolkodás a felvilágosodás korában (1650-1800): Az ízlésesztétika paradigmája, Budapest: Gondolat, 2013. 210-258. A 18. század elején történik meg az áttörés a francia kultúrában is. Ekkor lép fel néhány olyan gondolkodó,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10436419" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Esztétikai gondolkodás a felvilágosodás korában (1650-1800): Az ízlésesztétika paradigmája, Budapest: Gondolat, 2013. 210-258. <br /> <br />A 18. század elején történik meg az áttörés a francia kultúrában is. Ekkor lép fel néhány olyan gondolkodó, akik valóban önálló filozófiai problémaként tekintenek a szépre és a művészetekre, s akik megalkotják a szépművészetek érvényes gyűjtőkategóriáját. Ők készítik elő a terepet a francia felvilágosodás nagy alkotóinak – akik egyébként hozzájuk hasonlóan szintén érdeklődnek a szép és az ízlés kérdései iránt, de már nem pusztán elméleti problémaként, hanem alkotó művészekként, írókként, akik a gyakorlat és az elmélet szintjén egyaránt szembesülnek az esztétikai kérdésfelvetéssel.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10436419" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a7df332a71fe5965308bfd1727a5bbe9" rel="nofollow" data-download="{"attachment_id":36504473,"asset_id":10436419,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36504473/download_file?st=MTczMzM0NDg3Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="233177" href="https://uni-nke.academia.edu/FerencH%C3%B6rcher">Ferenc Hörcher</a><script data-card-contents-for-user="233177" type="text/json">{"id":233177,"first_name":"Ferenc","last_name":"Hörcher","domain_name":"uni-nke","page_name":"FerencHörcher","display_name":"Ferenc Hörcher","profile_url":"https://uni-nke.academia.edu/FerencH%C3%B6rcher?f_ri=15749","photo":"https://0.academia-photos.com/233177/51454/17942501/s65_ferenc.h_rcher.png"}</script></span></span></li><li class="js-paper-rank-work_10436419 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10436419"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10436419, container: ".js-paper-rank-work_10436419", }); 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$(".js-view-count[data-work-id=10436419]").text(description); $(".js-view-count-work_10436419").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_10436419").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="10436419"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">23</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="128" href="https://www.academia.edu/Documents/in/History">History</a>, <script data-card-contents-for-ri="128" type="text/json">{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="135" href="https://www.academia.edu/Documents/in/Intellectual_History">Intellectual History</a>, <script data-card-contents-for-ri="135" type="text/json">{"id":135,"name":"Intellectual History","url":"https://www.academia.edu/Documents/in/Intellectual_History?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="660" href="https://www.academia.edu/Documents/in/French_Literature">French Literature</a>, <script data-card-contents-for-ri="660" type="text/json">{"id":660,"name":"French Literature","url":"https://www.academia.edu/Documents/in/French_Literature?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="803" href="https://www.academia.edu/Documents/in/Philosophy">Philosophy</a><script data-card-contents-for-ri="803" type="text/json">{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=15749","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=10436419]'), work: {"id":10436419,"title":"A felvilágosodás esztétikájának francia kontextusai (The French Contexts of the Aesthetics of the Enlightenment, in Hungarian)","created_at":"2015-02-01T12:32:07.496-08:00","url":"https://www.academia.edu/10436419/A_felvil%C3%A1gosod%C3%A1s_eszt%C3%A9tik%C3%A1j%C3%A1nak_francia_kontextusai_The_French_Contexts_of_the_Aesthetics_of_the_Enlightenment_in_Hungarian_?f_ri=15749","dom_id":"work_10436419","summary":"Esztétikai gondolkodás a felvilágosodás korában (1650-1800): Az ízlésesztétika paradigmája, Budapest: Gondolat, 2013. 210-258.\r\n\r\nA 18. század elején történik meg az áttörés a francia kultúrában is. 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href="https://www.academia.edu/33357909/%EA%B9%8C%EB%8B%A4%EB%A1%9C%EC%9A%B4_%EB%8C%80%EC%83%81_%EA%B0%95%EC%88%98%EB%AF%B8_Ticklish_Object_Sumi_Kang_academia_edu_pdf">까다로운 대상 강수미 Ticklish Object Sumi Kang academia edu.pdf</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">서문_까다로운 대상: 2000년 이후 한국 현대미술 1부 실제는 나의 힘 1 physics 1 평면 각뜨기와 양생 | 강홍구의 <언더프린트> 2 individual 1 자본주의 작가 시스템을 타고 넘기 | 함경아의 <악어강 위로 튕기는 축구공이 그린 그림> 3 physics 2 21세기, 현미경적 세부의 스펙터클 | 함진의 동시대 세계 4 meta-physics 1 내 섬세함에서 섬세한 우리의 존재로 | 우순옥의... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33357909" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">서문_까다로운 대상: 2000년 이후 한국 현대미술<br /><br /><br />1부 실제는 나의 힘<br /><br />1 physics 1 평면 각뜨기와 양생 | 강홍구의 <언더프린트> <br />2 individual 1 자본주의 작가 시스템을 타고 넘기 | 함경아의 <악어강 위로 튕기는 축구공이 그린 그림> <br />3 physics 2 21세기, 현미경적 세부의 스펙터클 | 함진의 동시대 세계 <br />4 meta-physics 1 내 섬세함에서 섬세한 우리의 존재로 | 우순옥의 <잠시 동안의 드로잉> <br />5 physics 3 집 속에서 나와 집으로 | 서도호의 '나는 누구, 여긴 어디?'<br />6 physics 4 표면-파사드 인물 주체 | 오형근의 <아줌마>에서 <소녀들의 화장법>까지 <br />7 physics 5 완벽한 꿈세계와 회화의 이미지 | 정소연의 <홀마크 프로젝트> <br />8 physics 6 숭고의 꿈을 (괄호) 치고 | 공성훈의 그림들 <br />9 meta-physics 2 리퀴드·뉘앙스·트랜지션 | 함양아의 미술에서 비디오적인 것 <br />10 physics 7 플라이낚시꾼의 가짜 현실성 미술 | 진기종의 'On Air' <br />11 physics 8 이 세대의 이미지 조립 원형극장 | 전채강의 '오늘의 사건들' 회화 <br />12 individual 2 그림의 시작-구석에서, 예술이 되다 만 것들과 더불어 | 김지원의 회화 매트릭스<br />13 physics 9 풍경사진의 넘치는 아름다움, 불편한 인식 | 정주하의 '서쪽' 바다 <br />14 physics 10 간유리의 아름다움, 실제로 | 조혜진의 섬 혹은 집 <br /><br /><br />2부 퓌시스-메타 혹은 메타-퓌시스 <br /><br />15 meta-physics 3 하나의 전시가 문제 | 최수정의 과잉 및 정신분산적 미술 <br />16 physics 11 나는 볼 수 없다―some과 such의 미학 | 함경아의 '유령 같은 과정' <br />17 meta-physics 4 오리지널-페이크 | 준양의 '시차적 한옥' <br />18 physics 12 정전停電의 테크닉 | 박찬경, 한국 현대사의 유령과 미술 <br />19 meta-physics 5 '보안여관'의 유혹 | 미디어 아티스트 이준과 소설가 한유주의 다원예술 <br />20 meta-physics 6 말&이미지 | 최승훈+박선민의 '신문-시' <br />21 meta-physics 7 사랑-미술 | 손정은의 존재론 <br />22 individual 3 뿌리로서의 미술과 음악 숭배 너머 | 김은형의 경우<br />23 individual 4 이처럼 시적이고 지적인 세계 | 베르나르 프리츠의 회화 <br />24 physics 13 향유의 횡단 | 이동욱의 'I don't know anything' <br />25 physics 14 관심과 사랑 | 김용철 미술의 두 에너지 <br />26 individual 5 유토피아·不在·生 | 배병우의 反/미학적 사진 <br />27 meta-physics 8 소진하며 아름다워진 것들의 에코그래피 | 정현의 조각 <br />28 individual 6 불가능한 시각을 위한 反빛 | 곽남신의 그림자 <br />29 meta-physics 9 유크로니아의 예술 행위 | 조덕현과 꿈 <br />30 meta-physics 10 동양/서양에서 온 꽃의 미학적 가치 | 코디최의 시각예술 <br />31 meta-physics 11 우리의 메타-퓌시스를 위하여 | 故 이종호 건축가, 서울 세운상가, 벤야민 미학 강의, 나<br /><br />후기 <br />주註</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33357909" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span 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physics 7 플라이낚시꾼의 가짜 현실성 미술 | 진기종의 'On Air' \n11 physics 8 이 세대의 이미지 조립 원형극장 | 전채강의 '오늘의 사건들' 회화 \n12 individual 2 그림의 시작-구석에서, 예술이 되다 만 것들과 더불어 | 김지원의 회화 매트릭스\n13 physics 9 풍경사진의 넘치는 아름다움, 불편한 인식 | 정주하의 '서쪽' 바다 \n14 physics 10 간유리의 아름다움, 실제로 | 조혜진의 섬 혹은 집 \n\n\n2부 퓌시스-메타 혹은 메타-퓌시스 \n\n15 meta-physics 3 하나의 전시가 문제 | 최수정의 과잉 및 정신분산적 미술 \n16 physics 11 나는 볼 수 없다―some과 such의 미학 | 함경아의 '유령 같은 과정' \n17 meta-physics 4 오리지널-페이크 | 준양의 '시차적 한옥' \n18 physics 12 정전停電의 테크닉 | 박찬경, 한국 현대사의 유령과 미술 \n19 meta-physics 5 '보안여관'의 유혹 | 미디어 아티스트 이준과 소설가 한유주의 다원예술 \n20 meta-physics 6 말\u0026이미지 | 최승훈+박선민의 '신문-시' \n21 meta-physics 7 사랑-미술 | 손정은의 존재론 \n22 individual 3 뿌리로서의 미술과 음악 숭배 너머 | 김은형의 경우\n23 individual 4 이처럼 시적이고 지적인 세계 | 베르나르 프리츠의 회화 \n24 physics 13 향유의 횡단 | 이동욱의 'I don't know anything' \n25 physics 14 관심과 사랑 | 김용철 미술의 두 에너지 \n26 individual 5 유토피아·不在·生 | 배병우의 反/미학적 사진 \n27 meta-physics 8 소진하며 아름다워진 것들의 에코그래피 | 정현의 조각 \n28 individual 6 불가능한 시각을 위한 反빛 | 곽남신의 그림자 \n29 meta-physics 9 유크로니아의 예술 행위 | 조덕현과 꿈 \n30 meta-physics 10 동양/서양에서 온 꽃의 미학적 가치 | 코디최의 시각예술 \n31 meta-physics 11 우리의 메타-퓌시스를 위하여 | 故 이종호 건축가, 서울 세운상가, 벤야민 미학 강의, 나\n\n후기 \n주註","downloadable_attachments":[{"id":53415725,"asset_id":33357909,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12123713,"first_name":"Sumi","last_name":"Kang","domain_name":"dongduk","page_name":"SumiKang","display_name":"Sumi Kang","profile_url":"https://dongduk.academia.edu/SumiKang?f_ri=15749","photo":"https://0.academia-photos.com/12123713/6663846/15297682/s65_sumi.kang.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=15749","nofollow":false},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=15749","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15749","nofollow":false},{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749","nofollow":false},{"id":348188,"name":"Asian Art","url":"https://www.academia.edu/Documents/in/Asian_Art?f_ri=15749"},{"id":460354,"name":"Korean Contemporary Art","url":"https://www.academia.edu/Documents/in/Korean_Contemporary_Art?f_ri=15749"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45569912" data-work_id="45569912" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45569912/The_New_Art_Examiner_Chicagos_Independent_Voice_of_the_Visual_Arts_1973_2002">The New Art Examiner: Chicago's "Independent Voice of the Visual Arts," 1973-2002</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Born out of the seismic cultural shifts associated with the late 1960s-early 1970s, coming of age in the hyper-inflated art world of the 1980s, and, in its maturity, embracing its role in the global re-theorization of art practices that... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45569912" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Born out of the seismic cultural shifts associated with the late 1960s-early 1970s, coming of age in the hyper-inflated art world of the 1980s, and, in its maturity, embracing its role in the global re-theorization of art practices that characterized the 1990s, the independent, Chicago-based New Art Examiner was a fearless chronicler of almost three decades of art world change.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div 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href="https://www.academia.edu/41841891/Review_of_Lewis_Bush_Metropole_and_Antony_Cairns_CTY">Review of Lewis Bush, Metropole; and Antony Cairns, CTY</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Review of two photobooks: 'Metropole' by Lewis Bush, and 'CTY' by Antony Cairns</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/41841891" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b329bbc2be06338f0ea9b42579189516" rel="nofollow" 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href="https://www.academia.edu/35825780/%CE%97_%CE%B4%CE%B9%CE%B1_%CE%B4%CE%B7%CE%BC%CE%BF%CF%83%CE%B9%CE%B5%CF%85%CE%BC%CE%AC%CF%84%CF%89%CE%BD_%CE%BC%CE%B5%CE%BC%CE%B1%CF%81%CF%84%CF%85%CF%81%CE%B7%CE%BC%CE%AD%CE%BD%CE%B7_%CF%84%CE%B5%CF%87%CE%BD%CE%BF%CE%BA%CF%81%CE%B9%CF%84%CE%B9%CE%BA%CE%AE_%CE%B9%CE%BA%CE%B1%CE%BD%CF%8C%CF%84%CE%B7%CF%84%CE%B1_%CF%84%CE%BF%CF%85_%CE%96_%CE%A0%CE%B1%CF%80%CE%B1%CE%BD%CF%84%CF%89%CE%BD%CE%AF%CE%BF%CF%85_%CF%84%CE%B7%CE%BD_%CF%80%CE%B5%CF%81%CE%AF%CE%BF%CE%B4%CE%BF_1896_1917_The_art_criticisms_of_the_director_of_the_National_Gallery_Z_Papantoniou_in_the_period_1896_1918">Η δια δημοσιευμάτων μεμαρτυρημένη τεχνοκριτική ικανότητα του Ζ. Παπαντωνίου την περίοδο 1896-1917 / The art-criticisms of the director of the National Gallery Z. Papantoniou in the period 1896-1918</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Δημοσιεύτηκε στο Ά. Σαραφιανός – Π. Ιωάννου (επιμ.), "Ερευνητικά ζητήματα στην ιστορία της τέχνης: Από τον ύστερο μεσαίωνα μέχρι τις μέρες μας", Πρακτικά του Δ΄ Συνεδρίου Ιστορίας της Τέχνης, Αθήνα, ΑΣΚΤ, 30 Νοεμβρίου – 2 Δεκεμβρίου 2012,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35825780" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Δημοσιεύτηκε στο Ά. Σαραφιανός – Π. Ιωάννου (επιμ.), "Ερευνητικά ζητήματα στην ιστορία της τέχνης: Από τον ύστερο μεσαίωνα μέχρι τις μέρες μας", Πρακτικά του Δ΄ Συνεδρίου Ιστορίας της Τέχνης, Αθήνα, ΑΣΚΤ, 30 Νοεμβρίου – 2 Δεκεμβρίου 2012, Αθήνα, Ασίνη, 2016, σελ. 463-478.<br />Published in A. Sarafianos and P. Ioannou (eds.), Research issues in the history of art: From the late Middle Ages to the present day, Proceedings of the 4th International Conference organized by the Association of Greek Art Historians (Athens, School of Fine Arts, 30 November-2 December 2012), Athens, Asini, 2016, p. 463-478 (in Greek).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35825780" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="446775a64a29811a1c91a7cb07ec3720" rel="nofollow" data-download="{"attachment_id":55703247,"asset_id":35825780,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55703247/download_file?st=MTczMzM0NDg3OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1484935" href="https://crete.academia.edu/LefterisSpyrou">Lefteris Spyrou</a><script data-card-contents-for-user="1484935" type="text/json">{"id":1484935,"first_name":"Lefteris","last_name":"Spyrou","domain_name":"crete","page_name":"LefterisSpyrou","display_name":"Lefteris Spyrou","profile_url":"https://crete.academia.edu/LefterisSpyrou?f_ri=15749","photo":"https://0.academia-photos.com/1484935/529572/153492207/s65_lefteris.spyrou.jpg"}</script></span></span></li><li class="js-paper-rank-work_35825780 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35825780"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35825780, container: ".js-paper-rank-work_35825780", }); 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Ioannou (eds.), Research issues in the history of art: From the late Middle Ages to the present day, Proceedings of the 4th International Conference organized by the Association of Greek Art Historians (Athens, School of Fine Arts, 30 November-2 December 2012), Athens, Asini, 2016, p. 463-478 (in Greek).","downloadable_attachments":[{"id":55703247,"asset_id":35825780,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1484935,"first_name":"Lefteris","last_name":"Spyrou","domain_name":"crete","page_name":"LefterisSpyrou","display_name":"Lefteris Spyrou","profile_url":"https://crete.academia.edu/LefterisSpyrou?f_ri=15749","photo":"https://0.academia-photos.com/1484935/529572/153492207/s65_lefteris.spyrou.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15749","nofollow":false},{"id":15749,"name":"Art 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Particles》</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8493624" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e3583a170d0bed83890b8f3ded2c99c5" rel="nofollow" data-download="{"attachment_id":34874191,"asset_id":8493624,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" 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available to the body-feeling inside out and upside down, everywhere and nowhere, played and splayed out. Quarles's current... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_50888820" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Christina Quarles's paintings take pleasure in rendering the broad spectrum of thoughts, emotions and sensations available to the body-feeling inside out and upside down, everywhere and nowhere, played and splayed out. Quarles's current solo show at the Museum of Contemporary Art, Chicago, extends the logic of her paintings to the exhibition space ...</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/50888820" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c5e40467d3b986dc348df2f01aa8cc4f" rel="nofollow" data-download="{"attachment_id":68763018,"asset_id":50888820,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/68763018/download_file?st=MTczMzM0NDg3OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2368668" href="https://independent.academia.edu/SylvieFortin">Sylvie Fortin</a><script data-card-contents-for-user="2368668" type="text/json">{"id":2368668,"first_name":"Sylvie","last_name":"Fortin","domain_name":"independent","page_name":"SylvieFortin","display_name":"Sylvie Fortin","profile_url":"https://independent.academia.edu/SylvieFortin?f_ri=15749","photo":"https://0.academia-photos.com/2368668/745927/926007/s65_sylvie.fortin.jpg"}</script></span></span></li><li class="js-paper-rank-work_50888820 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="50888820"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 50888820, container: ".js-paper-rank-work_50888820", }); 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Quarles's current solo show at the Museum of Contemporary Art, Chicago, extends the logic of her paintings to the exhibition space ...","downloadable_attachments":[{"id":68763018,"asset_id":50888820,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2368668,"first_name":"Sylvie","last_name":"Fortin","domain_name":"independent","page_name":"SylvieFortin","display_name":"Sylvie Fortin","profile_url":"https://independent.academia.edu/SylvieFortin?f_ri=15749","photo":"https://0.academia-photos.com/2368668/745927/926007/s65_sylvie.fortin.jpg"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15749","nofollow":false},{"id":3114,"name":"Queer Theory","url":"https://www.academia.edu/Documents/in/Queer_Theory?f_ri=15749","nofollow":false},{"id":5081,"name":"Painting","url":"https://www.academia.edu/Documents/in/Painting?f_ri=15749","nofollow":false},{"id":15749,"name":"Art 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itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44076492/ALVARO_BRACCI_Arte_Teolog%C3%ADa_y_Cr%C3%ADtica">ALVARO BRACCI: Arte, Teología y Crítica</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">La obra impresa "Crucificatur", integración de gráfica y poesía, del artista italo-costarricense Alvaro Bracci (n. 1948), inspirada en su conocida serie de quince pinturas de gran formato sobre el vía crucis, de 1987, ha visto la luz... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44076492" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La obra impresa "Crucificatur", integración de gráfica y poesía, del artista italo-costarricense Alvaro Bracci (n. 1948), inspirada en su conocida serie de quince pinturas de gran formato sobre el vía crucis, de 1987, ha visto la luz coincidentemente con una pandemia global que ha llevado a la humanidad a reconocer su vulnerabilidad y dependencia.<br />El crítico de arte, Juan Carlos Flores Zúñiga, ofrece una lectura estética alternativa a esta innovadora publicación, en la nueva edición de Ars Kriterion E-Zine, sobre lo que significa la encarnación de Dios hecho hombre mediante Jesús en un contexto plástico y poético como el que ofrece Bracci y el cambio de paradigma crítico hacia una teología de la producción artística.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44076492" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text 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data-has-card-for-user="24480086" href="https://pdx.academia.edu/JuanFloresZu%C3%B1iga">Juan Carlos Flores Zúñiga</a><script data-card-contents-for-user="24480086" type="text/json">{"id":24480086,"first_name":"Juan Carlos","last_name":"Flores Zúñiga","domain_name":"pdx","page_name":"JuanFloresZuñiga","display_name":"Juan Carlos Flores Zúñiga","profile_url":"https://pdx.academia.edu/JuanFloresZu%C3%B1iga?f_ri=15749","photo":"https://0.academia-photos.com/24480086/6607595/148935474/s65_juan_carlos.flores_z_iga.jpg"}</script></span></span></li><li class="js-paper-rank-work_44076492 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44076492"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44076492, container: ".js-paper-rank-work_44076492", }); });</script></li><li class="js-percentile-work_44076492 InlineList-item 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" + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44076492]").text(description); $(".js-view-count-work_44076492").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44076492").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44076492"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15749" href="https://www.academia.edu/Documents/in/Art_Criticism">Art Criticism</a>, <script data-card-contents-for-ri="15749" type="text/json">{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="19777" href="https://www.academia.edu/Documents/in/Theology_and_the_Arts">Theology and the Arts</a>, <script data-card-contents-for-ri="19777" type="text/json">{"id":19777,"name":"Theology and the Arts","url":"https://www.academia.edu/Documents/in/Theology_and_the_Arts?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="43951" href="https://www.academia.edu/Documents/in/Rosalind_Krauss">Rosalind Krauss</a><script data-card-contents-for-ri="43951" type="text/json">{"id":43951,"name":"Rosalind Krauss","url":"https://www.academia.edu/Documents/in/Rosalind_Krauss?f_ri=15749","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44076492]'), work: {"id":44076492,"title":"ALVARO BRACCI: Arte, Teología y Crítica","created_at":"2020-09-12T18:06:25.963-07:00","url":"https://www.academia.edu/44076492/ALVARO_BRACCI_Arte_Teolog%C3%ADa_y_Cr%C3%ADtica?f_ri=15749","dom_id":"work_44076492","summary":"La obra impresa \"Crucificatur\", integración de gráfica y poesía, del artista italo-costarricense Alvaro Bracci (n. 1948), inspirada en su conocida serie de quince pinturas de gran formato sobre el vía crucis, de 1987, ha visto la luz coincidentemente con una pandemia global que ha llevado a la humanidad a reconocer su vulnerabilidad y dependencia.\nEl crítico de arte, Juan Carlos Flores Zúñiga, ofrece una lectura estética alternativa a esta innovadora publicación, en la nueva edición de Ars Kriterion E-Zine, sobre lo que significa la encarnación de Dios hecho hombre mediante Jesús en un contexto plástico y poético como el que ofrece Bracci y el cambio de paradigma crítico hacia una teología de la producción artística.","downloadable_attachments":[{"id":64433698,"asset_id":44076492,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":24480086,"first_name":"Juan Carlos","last_name":"Flores Zúñiga","domain_name":"pdx","page_name":"JuanFloresZuñiga","display_name":"Juan Carlos Flores Zúñiga","profile_url":"https://pdx.academia.edu/JuanFloresZu%C3%B1iga?f_ri=15749","photo":"https://0.academia-photos.com/24480086/6607595/148935474/s65_juan_carlos.flores_z_iga.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15749","nofollow":false},{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749","nofollow":false},{"id":19777,"name":"Theology and the 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Zuñiga","url":"https://www.academia.edu/Documents/in/Juan_Carlos_Flores_Zu%C3%B1iga?f_ri=15749"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43903440" data-work_id="43903440" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43903440/A_Conceptual_Model_for_Art_Criticism_Konceptualni_model_za_likovnu_kritiku">A Conceptual Model for Art Criticism Konceptualni model za likovnu kritiku</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In this work, we present a detailed analysis of the different acceptations and practices of art criticism. This investigation underpins a novel conceptual modelling that extends Cidoc CRM and has been specifically designed to semantically... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43903440" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In this work, we present a detailed analysis of the different acceptations and practices of art criticism. This investigation underpins a novel conceptual modelling that extends Cidoc CRM and has been specifically designed to semantically annotate art criticism-related data and documents in order to enhance in this context interoperability and more efficient data retrieval.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43903440" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5aa5d533710b11b98113cd2a3f7ad273" rel="nofollow" data-download="{"attachment_id":64227449,"asset_id":43903440,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64227449/download_file?st=MTczMzM0NDg3OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6982582" href="https://uniba-it.academia.edu/MariaGiovannaMancini">Maria Giovanna Mancini</a><script data-card-contents-for-user="6982582" type="text/json">{"id":6982582,"first_name":"Maria Giovanna","last_name":"Mancini","domain_name":"uniba-it","page_name":"MariaGiovannaMancini","display_name":"Maria Giovanna Mancini","profile_url":"https://uniba-it.academia.edu/MariaGiovannaMancini?f_ri=15749","photo":"https://0.academia-photos.com/6982582/15532344/16130814/s65_maria_giovanna.mancini.jpg"}</script></span></span></li><li class="js-paper-rank-work_43903440 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43903440"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43903440, container: ".js-paper-rank-work_43903440", }); 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$(".js-view-count[data-work-id=43903440]").text(description); $(".js-view-count-work_43903440").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43903440").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43903440"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="15749" href="https://www.academia.edu/Documents/in/Art_Criticism">Art Criticism</a>, <script data-card-contents-for-ri="15749" type="text/json">{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="49144" href="https://www.academia.edu/Documents/in/CIDOC_CRM">CIDOC CRM</a>, <script data-card-contents-for-ri="49144" type="text/json">{"id":49144,"name":"CIDOC CRM","url":"https://www.academia.edu/Documents/in/CIDOC_CRM?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="153804" href="https://www.academia.edu/Documents/in/Upper_Ontology">Upper Ontology</a><script data-card-contents-for-ri="153804" type="text/json">{"id":153804,"name":"Upper Ontology","url":"https://www.academia.edu/Documents/in/Upper_Ontology?f_ri=15749","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43903440]'), work: {"id":43903440,"title":"A Conceptual Model for Art Criticism Konceptualni model za likovnu kritiku","created_at":"2020-08-20T03:17:09.572-07:00","url":"https://www.academia.edu/43903440/A_Conceptual_Model_for_Art_Criticism_Konceptualni_model_za_likovnu_kritiku?f_ri=15749","dom_id":"work_43903440","summary":"In this work, we present a detailed analysis of the different acceptations and practices of art criticism. This investigation underpins a novel conceptual modelling that extends Cidoc CRM and has been specifically designed to semantically annotate art criticism-related data and documents in order to enhance in this context interoperability and more efficient data retrieval.","downloadable_attachments":[{"id":64227449,"asset_id":43903440,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6982582,"first_name":"Maria Giovanna","last_name":"Mancini","domain_name":"uniba-it","page_name":"MariaGiovannaMancini","display_name":"Maria Giovanna Mancini","profile_url":"https://uniba-it.academia.edu/MariaGiovannaMancini?f_ri=15749","photo":"https://0.academia-photos.com/6982582/15532344/16130814/s65_maria_giovanna.mancini.jpg"}],"research_interests":[{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749","nofollow":false},{"id":49144,"name":"CIDOC CRM","url":"https://www.academia.edu/Documents/in/CIDOC_CRM?f_ri=15749","nofollow":false},{"id":153804,"name":"Upper Ontology","url":"https://www.academia.edu/Documents/in/Upper_Ontology?f_ri=15749","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39116550" data-work_id="39116550" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39116550/%E5%9C%A8%E8%AA%9E%E8%A8%80%E8%88%87%E8%A8%98%E6%86%B6%E9%96%93%E6%89%BE%E5%B0%8B%E6%96%87%E5%8C%96%E7%9A%84%E5%AF%A6%E9%A9%97_%E8%87%BA%E7%81%A3%E9%8C%84%E5%83%8F%E8%97%9D%E8%A1%93%E7%9A%84%E8%AA%9E%E8%A8%80%E5%88%87%E9%9D%A2_2007_2011">在語言與記憶間找尋文化的實驗：臺灣錄像藝術的語言切面 2007–2011</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39116550" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4dce0aff0daea5ee4a5621506f3e2bb4" rel="nofollow" data-download="{"attachment_id":59239240,"asset_id":39116550,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59239240/download_file?st=MTczMzM0NDg3OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6539720" href="https://independent.academia.edu/PoWeiWang">Po-Wei Wang</a><script data-card-contents-for-user="6539720" type="text/json">{"id":6539720,"first_name":"Po-Wei","last_name":"Wang","domain_name":"independent","page_name":"PoWeiWang","display_name":"Po-Wei Wang","profile_url":"https://independent.academia.edu/PoWeiWang?f_ri=15749","photo":"https://0.academia-photos.com/6539720/2725055/4728090/s65_po-wei.wang.jpg"}</script></span></span></li><li class="js-paper-rank-work_39116550 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39116550"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39116550, container: ".js-paper-rank-work_39116550", }); 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Exhibition title: EVA & EMERICK Artist: Yael Efrati Curator: Nicola Trezzi Location: The National Museum of Contemporary Art, Bucharest, Romania. Dates: 26 April—2 September 2018 Exhibition made with the support of Mifal... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39115835" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Art review.<br /><br />Exhibition title: EVA & EMERICK<br />Artist: Yael Efrati<br />Curator: Nicola Trezzi<br />Location: The National Museum of Contemporary Art, Bucharest, Romania.<br />Dates: 26 April—2 September 2018<br />Exhibition made with the support of Mifal HaPais Council for the Culture and Arts, The Artis Grant Program & The Embassy of Israel in Romania</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39115835" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa 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itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6130894" href="https://unibuc.academia.edu/BeatriceBoban">Beatrice Boban</a><script data-card-contents-for-user="6130894" type="text/json">{"id":6130894,"first_name":"Beatrice","last_name":"Boban","domain_name":"unibuc","page_name":"BeatriceBoban","display_name":"Beatrice Boban","profile_url":"https://unibuc.academia.edu/BeatriceBoban?f_ri=15749","photo":"https://0.academia-photos.com/6130894/6209934/31534076/s65_beatrice.boban.jpg"}</script></span></span></li><li class="js-paper-rank-work_39115835 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39115835"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39115835, container: ".js-paper-rank-work_39115835", }); });</script></li><li class="js-percentile-work_39115835 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class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15749" href="https://www.academia.edu/Documents/in/Art_Criticism">Art Criticism</a>, <script data-card-contents-for-ri="15749" type="text/json">{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="20178" href="https://www.academia.edu/Documents/in/Conceptual_Art">Conceptual Art</a><script data-card-contents-for-ri="20178" type="text/json">{"id":20178,"name":"Conceptual Art","url":"https://www.academia.edu/Documents/in/Conceptual_Art?f_ri=15749","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39115835]'), work: {"id":39115835,"title":"Yael Efrati: What Does a Memory Want?","created_at":"2019-05-13T08:27:43.567-07:00","url":"https://www.academia.edu/39115835/Yael_Efrati_What_Does_a_Memory_Want?f_ri=15749","dom_id":"work_39115835","summary":"Art review.\n\nExhibition title: EVA \u0026 EMERICK\nArtist: Yael Efrati\nCurator: Nicola Trezzi\nLocation: The National Museum of Contemporary Art, Bucharest, Romania.\nDates: 26 April—2 September 2018\nExhibition made with the support of Mifal HaPais Council for the Culture and Arts, The Artis Grant Program \u0026 The Embassy of Israel in Romania\n","downloadable_attachments":[{"id":59235952,"asset_id":39115835,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6130894,"first_name":"Beatrice","last_name":"Boban","domain_name":"unibuc","page_name":"BeatriceBoban","display_name":"Beatrice Boban","profile_url":"https://unibuc.academia.edu/BeatriceBoban?f_ri=15749","photo":"https://0.academia-photos.com/6130894/6209934/31534076/s65_beatrice.boban.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15749","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15749","nofollow":false},{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749","nofollow":false},{"id":20178,"name":"Conceptual Art","url":"https://www.academia.edu/Documents/in/Conceptual_Art?f_ri=15749","nofollow":false},{"id":20868,"name":"Theory and Practice of Visual Arts","url":"https://www.academia.edu/Documents/in/Theory_and_Practice_of_Visual_Arts?f_ri=15749"},{"id":36586,"name":"Minimalism (Art)","url":"https://www.academia.edu/Documents/in/Minimalism_Art_?f_ri=15749"},{"id":152388,"name":"Art Theory and Criticism","url":"https://www.academia.edu/Documents/in/Art_Theory_and_Criticism?f_ri=15749"},{"id":417896,"name":"Art Reviews","url":"https://www.academia.edu/Documents/in/Art_Reviews?f_ri=15749"},{"id":1894078,"name":"Art Magazines","url":"https://www.academia.edu/Documents/in/Art_Magazines?f_ri=15749"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36359509" data-work_id="36359509" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36359509/_Du_Lo%C3%AFe_Fuller_peint_la_critique_dart_de_Georges_Rodenbach_au_prisme_de_Lo%C3%AFe_Fuller">"Du Loïe Fuller peint" : la critique d'art de Georges Rodenbach au prisme de Loïe Fuller</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Georges Rodenbach regarderait la peinture de Jules Chéret et d’Albert Besnard au prisme de la danse de Loïe Fuller : telle est l’hypothèse de cet article. Les correspondances suggérées entre danse et peinture par un subtil travail... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36359509" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Georges Rodenbach regarderait la peinture de Jules Chéret et d’Albert Besnard au prisme de la danse de Loïe Fuller : telle est l’hypothèse de cet article. Les correspondances suggérées entre danse et peinture par un subtil travail d’écriture permettent de dessiner les contours d’une esthétique moderne caractérisée par le travail sur la couleur, l’usage de l’électricité et un processus d’abstraction des formes qui rejoint la réflexion symboliste sur le rythme.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36359509" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4405305" href="https://faidherbe.academia.edu/CyrilBarde">Cyril Barde</a><script data-card-contents-for-user="4405305" type="text/json">{"id":4405305,"first_name":"Cyril","last_name":"Barde","domain_name":"faidherbe","page_name":"CyrilBarde","display_name":"Cyril Barde","profile_url":"https://faidherbe.academia.edu/CyrilBarde?f_ri=15749","photo":"https://0.academia-photos.com/4405305/2140559/126675559/s65_cyril.barde.jpg"}</script></span></span></li><li class="js-paper-rank-work_36359509 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36359509"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36359509, container: ".js-paper-rank-work_36359509", }); 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Les correspondances suggérées entre danse et peinture par un subtil travail d’écriture permettent de dessiner les contours d’une esthétique moderne caractérisée par le travail sur la couleur, l’usage de l’électricité et un processus d’abstraction des formes qui rejoint la réflexion symboliste sur le rythme.","downloadable_attachments":[],"ordered_authors":[{"id":4405305,"first_name":"Cyril","last_name":"Barde","domain_name":"faidherbe","page_name":"CyrilBarde","display_name":"Cyril Barde","profile_url":"https://faidherbe.academia.edu/CyrilBarde?f_ri=15749","photo":"https://0.academia-photos.com/4405305/2140559/126675559/s65_cyril.barde.jpg"}],"research_interests":[{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=15749","nofollow":false},{"id":7370,"name":"Symbolism","url":"https://www.academia.edu/Documents/in/Symbolism?f_ri=15749","nofollow":false},{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=15749","nofollow":false},{"id":16787,"name":"Fin de Siecle Literature \u0026 Culture","url":"https://www.academia.edu/Documents/in/Fin_de_Siecle_Literature_and_Culture?f_ri=15749","nofollow":false},{"id":37398,"name":"Decadence (Literature)","url":"https://www.academia.edu/Documents/in/Decadence_Literature_?f_ri=15749"},{"id":341664,"name":"Loie Fuller","url":"https://www.academia.edu/Documents/in/Loie_Fuller?f_ri=15749"},{"id":386215,"name":"Rodenbach","url":"https://www.academia.edu/Documents/in/Rodenbach?f_ri=15749"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38579535" data-work_id="38579535" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38579535/Rez_Hanno_Rauterberg_Wie_frei_ist_die_Kunst_Berlin_Suhrkamp_2018_3_2019">Rez.: Hanno Rauterberg, Wie frei ist die Kunst? (Berlin: Suhrkamp 2018), 3.2019</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38579535" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="311d687492ac2bd002155551b0d47d18" rel="nofollow" data-download="{"attachment_id":58652723,"asset_id":38579535,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58652723/download_file?st=MTczMzM0NDg3OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="7333194" href="https://uzh.academia.edu/andreasmauz">Andreas Mauz</a><script data-card-contents-for-user="7333194" type="text/json">{"id":7333194,"first_name":"Andreas","last_name":"Mauz","domain_name":"uzh","page_name":"andreasmauz","display_name":"Andreas Mauz","profile_url":"https://uzh.academia.edu/andreasmauz?f_ri=15749","photo":"https://0.academia-photos.com/7333194/14191853/72441960/s65_andreas.mauz.jpg"}</script></span></span></li><li class="js-paper-rank-work_38579535 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38579535"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38579535, container: ".js-paper-rank-work_38579535", }); 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(Critique of THAI-TAY exhibition)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/34727280" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="76c64b1249023434d85ff25cbbe919e3" rel="nofollow" data-download="{"attachment_id":54584199,"asset_id":34727280,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54584199/download_file?st=MTczMzM0NDg3OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="56155194" href="https://independentscholar.academia.edu/nawapooh">Nawapooh Sae-tang</a><script data-card-contents-for-user="56155194" type="text/json">{"id":56155194,"first_name":"Nawapooh","last_name":"Sae-tang","domain_name":"independentscholar","page_name":"nawapooh","display_name":"Nawapooh Sae-tang","profile_url":"https://independentscholar.academia.edu/nawapooh?f_ri=15749","photo":"https://0.academia-photos.com/56155194/15268414/17566443/s65_nawapooh.sae-tang.jpg"}</script></span></span></li><li class="js-paper-rank-work_34727280 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34727280"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34727280, container: ".js-paper-rank-work_34727280", }); 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Zbornik radova povodom 120. godišnjice rođenja i 30. godišnjice smrti Koste Strajnića</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/22469397" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="01a1af8990062d9256458b2abed2501d" rel="nofollow" data-download="{"attachment_id":43089835,"asset_id":22469397,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/43089835/download_file?st=MTczMzM0NDg3OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12598772" href="https://unizd.academia.edu/VinkoSrhoj">Vinko Srhoj</a><script data-card-contents-for-user="12598772" type="text/json">{"id":12598772,"first_name":"Vinko","last_name":"Srhoj","domain_name":"unizd","page_name":"VinkoSrhoj","display_name":"Vinko Srhoj","profile_url":"https://unizd.academia.edu/VinkoSrhoj?f_ri=15749","photo":"https://0.academia-photos.com/12598772/4674894/12065085/s65_vinko.srhoj.jpg"}</script></span></span></li><li class="js-paper-rank-work_22469397 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="22469397"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 22469397, container: ".js-paper-rank-work_22469397", }); 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Yet, book critics regularly pronounce the literary merits and failures of novels in their reviews.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_71224456" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Literary theorists and cultural sociologists alike acknowledge that there are no universal standards for appraising the value of a book. Yet, book critics regularly pronounce the literary merits and failures of novels in their reviews. Research on cultural criticism has shed considerable light on how reviewers are able to assess the meaning and value of novels in the absence of objective indicators of literary quality by relying on different cultural &apos;&apos;tools&apos;&apos;. This study examines how critics use authors&apos; race and ethnicity as a tool for constructing the value of literary fiction. Based on analysis of 265 book reviews from The New York Times Book Review and The New Yorker magazine, I find that reviewers use racial and ethnic identifiers to: (1) establish the authenticity of the novels, (2) classify works into ethnic genres, and (3) nominally identify international literary talent. I also present data on what influence racial and ethnic identification has for...</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/71224456" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e044367d5f72e34dfbc4d47e724334d2" rel="nofollow" data-download="{"attachment_id":80662463,"asset_id":71224456,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/80662463/download_file?st=MTczMzM0NDg3OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="199997" href="https://mcmaster.academia.edu/PhillipaChong">Phillipa Chong</a><script data-card-contents-for-user="199997" type="text/json">{"id":199997,"first_name":"Phillipa","last_name":"Chong","domain_name":"mcmaster","page_name":"PhillipaChong","display_name":"Phillipa Chong","profile_url":"https://mcmaster.academia.edu/PhillipaChong?f_ri=15749","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_71224456 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="71224456"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 71224456, container: ".js-paper-rank-work_71224456", }); 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Опыт «теоретизации» орнамента: «герменевтика» или бриколаж?: Рец. на кн.: Иванов Н.А. Орнамент: Герменевтика и глоссарий. Москва: Этерна, 2018. 352 с. // Terra artis. Искусство и дизайн. 2021. № 2. С. 152–157.</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/58949378" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9eb14f92b28044ac2f8bc4721c419d06" rel="nofollow" data-download="{"attachment_id":73111820,"asset_id":58949378,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/73111820/download_file?st=MTczMzM0NDg3OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="181812236" href="https://ghpa.academia.edu/TERRAARTISArtandDesignScientificJournal">TERRA ARTIS. 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The role of the curator as a type of artist is discussed, as is the importance of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_4133789" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This essay deals with the “Information” exhibition of 1970 at MoMA, one of the more significant exhibitions of Conceptual and related art of the period. The role of the curator as a type of artist is discussed, as is the importance of Marshall McLuhan’s writing to the exhibition.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4133789" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d45a39738ac25de766507bbf8196a08b" rel="nofollow" data-download="{"attachment_id":31653431,"asset_id":4133789,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31653431/download_file?st=MTczMzM0NDg3OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4984868" href="https://uleth.academia.edu/KennethRAllan">Kenneth R. 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