From Francis Alyuml;s and Ursula Biemann to Vivan Sundaram; Allora Calzadilla; and the Center for Urban Pedagogy; some of the most compelling artists today are engaging with the politics of land use; including the growth of the global economy; climate change; sustainability; Occupy movements; and the privatization of public space. Their work pivots around a set of evolving questions: In what ways is land; formed over the course of geological time; also contemporary and formed by the conditions of the present? How might art contribute to the expansion of spatial and environmental justice? Editors Emily Eliza Scott and Kirsten Swenson bring together a range of international voices and artworks to illuminate this critical mass of practices. One of the first comprehensive treatments of land use in contemporary art; Critical Landscapes skillfully surveys the stakes and concerns of recent land-based practices; outlining the art historical contexts; methodological strategies; and geopolitical phenomena. This cross-disciplinary collection is destined to be an essential reference not only within the fields of art and art history; but also across those of cultural geography; architecture and urban planning; environmental history; and landscape studies.
#3908774 in eBooks 2015-01-12 2015-01-12File Name: B00XRVL0QW
Review
0 of 0 people found the following review helpful. The Tradition of Christian ArtBy Rod ZinkelTitus Burckhardt holds to a traditional approach to Christian art because Christian art requires it. "For this very reason traditional symbolism is never without beauty: according to the spiritual view of the world; the beauty of an object is nothing but the transparency of its existential envelopes; an art worthy of the name is beautiful because it is true." (Locations 136-138 Kindle version) Burckhardt expresses a premodern view of art (Medieval); as opposed to a modern view (Renaissance and after). In the former the truth of traditional symbolism is important; in the latter individual expression is important."One of the most tenacious of typically modern prejudices is the one that sets itself up against the impersonal and objective rules of an art; for fear that they should stifle creative genius. In reality no work exists that is traditional; and therefore bound by changeless principles; which does not give sensible expression to a certain creative joy of the soul; whereas modern individualism has produced; apart from a few works of genius which are nevertheless spiritually barren; all the uglinessmdash; the endless and despairing uglinessmdash; of the forms which permeate the ordinary life of our times." (Kindle Locations 146-150)In the first essay; ldquo;Introduction to the Sacred Art of Christianity;rdquo; and the last essay; ldquo;The Decadence and the Renewal of Christian Art;rdquo; Burckhardt writes of the differing perspectives; and the loss of the sacred in the modern one.The second essay; ldquo;The Role of Illuminated Manuscripts in Christian Art;rdquo; introduces the reader to several important manuscripts; such as the Book of Kells; the Book of Durrow; early Northumbrian manuscripts; early Syrian manuscripts; and the Ambrosian Illiad. The author writes of the style of illumination and the cultures these books came from.The title essay; the longest; is more technical than the others. Burckhardt discusses the art of the icon; architecture; and what these represent; medieval philosophy; mainly from Aristotle; but also from Plato and Boethius; and art of Eastern Orthodoxy. In this essay the author includes specific examples of each art.As these are essays; and the topics significant; the book is a rather broad overview; far from comprehensive. Aptly; the authorrsquo;s writing is significant. In writing a review there are many quotations I would have liked to have included. Burckhardtrsquo;s words have the weight of someone who knows religion and art; both of which use the language of manrsquo;s nature and the timeless.P.S. In the last essay; ldquo;The Decadence and the Renewal of Christian Art;rdquo; the author addresses the question of whether Christian art can be renewed or reborn. He makes two separate statements:"But a renewal of Christian art is not conceivable without an awakening of the contemplative spirit at the heart of Christianity; in the absence of this foundation; every attempt to restore Christian art will fail; it can never be anything but a barren reconstruction." (Kindle Locations 1461-1462)"Christian art will not be reborn unless it completely frees itself from individualistic relativism; and returns to the sources of its inspiration; which by definition are situated in the timeless." (Kindle Locations 1497-1498)0 of 2 people found the following review helpful. Five StarsBy CarolI love the product and the service in receiving it.14 of 14 people found the following review helpful. This lovely presentation is a top pick for newcomers to Christian art history or theoryBy Midwest Book ReviewTitus Burckhardts The Foundations Of Christian Art provides a fine illustrated edition of Burckhardts writings on Christian sacred art; pairing over a hundred color illustrations of such art with his expertise and insights. The entire history of Christian art is surveyed with a focus on its manuscripts and arts and crafts guilds and their connections to Christian spiritual concepts. This lovely presentation is a top pick for newcomers to Christian art history or theory.
