Bøger af David Carrier

The artwork of Maria Bussmann, a trained academic German philosopher and a significant visual artist, provides an ideal test case for a philosophical study of visual art. Bussmann has internalized the relationship between art and philosophy. In this exploration of the history of German aesthetics through Bussmann's work, David Carrier places the philosophical tradition in the context of contemporary visual culture.Each chapter focuses on the arguments of a major philosopher whose concerns Bussmann has dealt with as an artist: Kant, Hegel, Merleau-Ponty, Wittgenstein and Arendt. Offering comparative accounts of artists and philosophers whose work is of especial relevance, Carrier shows how Bussmann responds visually to writings of philosophers in art that has an elusive but essential relationship to theorizing. Tackling the question of whether philosophical subjects can be presented visually, Carrier offers a fresh perspective on the German idealist position through the visual art of 21st-century artist steeped in the tradition and continually challenging it through her work.

Metaphysical thought has been excluded from much of the discourse on modern art, especially abstract painting. By connecting ideas about faith with the initiators of abstract painting, Joseph Masheck reveals how an underlying religiosity informed some of our most important abstract painters.Covering Wassily Kandinsky, Kazimir Malevich, Piet Mondrian, and El Lissitzky, Masheck shows how 'revealed religion' has been an underlying but fundamental determinant of the thinking and practice of abstract painting from its very originators. He contextualizes their art within some of the historical moments of the early 20th century, including the Russian revolution and the Stalinist period, and explores the appeal of certain themes, such as the Passion of Christ.A radical new theorization of the influence of religion over visual art, Faith in Art asks why metaphysics has been eliminated from the discussion where it might have something to say. This is a new way of thinking about a hundred years of abstract painting.

Artist Sean Scully and Art Critic David Carrier in Conversation

A study of England and its aesthetes. The essayists are John Ruskin, Walter Pater and Adrian Stokes. David Carter provides the commentary, and writes of these three aesthetes' concern with "perception as a way of knowing".

Explores the question of how an art history of all cultures could be written or if it is even possible to do so. Examines the political and moral issues raised by the consideration of a multicultural art history.

Traces the birth, evolution, and decline of the public art museum as an institution meant to spark democratic debate and discussion.

Examines art that stands outside the margins of the art world, the critical and cultural conditions that made this exclusion possible, and how recognizing this radically transforms our understanding of contemporary art.

Traces the different ways in which those writing about art history represent the same artistic works. The author uses four case studies to identify and explain changing styles of restoration and the history of interpretation, through the works of Piero, Caravaggio and Van Eyck.

This text concentrates on the theory and practice of art criticism during the 1980s. Giving a personal view of the artistic activity of the decade, the author examines the relationship between art criticism and art practice using work from Jean Baudrillard and Jacques Derrida and others.

This is a critical discussion of the traditional strategies of Poussin scholarship and an evaluation of the status of the artist. The book notes the limitations of traditional views, and argues that they not only shape our image of the artist, but also restrict our ability to grasp his concerns.

The great poet Charles Baudelaire (1821-1867) was also an extremely influential art critic. "High Art" relates the philosophical issues posed by Baudelaire's art writing to the theory and practice of modernist and postmodernist painting.

Tracing Krauss's development in this way provides the best method of understanding the changing styles of American art criticism from the 1960s through the present, and thus provides an invaluable source of historical and aesthetic knowledge for artists and art scholars alike.