By Lara-Vinca Masini
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Pat Getz-Gentle presents a transparent and unique survey of the Cycladic interval, an early Bronze Age tradition that thrived on the center of the Aegean. particularly, she emphasizes the stairs resulting in the enduring, reclining folded-arm determine that uniquely defines the Cycladic period. Getz-Gentle additionally makes a speciality of the private aesthetics of fifteen carvers, numerous of whom are pointed out and mentioned during this quantity.
The accumulating of drawings used to be lengthy the province of artists themselves. The Florentine Vasari shaped one of many first big and systematic collections of drawings, and his instance was once by means of Rembrandt, Rubens, Lely, Reynolds, and Lawrence. nice eu museums—the Uffizi, the Louvre, the Berlin Museum, and the British Museum—have outdated and demanding collections of drawings.
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Drucker traces social and cultural transformation as an idea at the basis of a wide range of “prophetic announcements” about technology, art, and media from the 1960s and 1970s. There was also fascination, she notes, with “transformations produced by the movement of information through a system of interconnected electronic and computational devices” (42). Further, the transformative power for art itself was enacted for many through new, interactive relations with their audiences. In an important sense, as Drucker suggests, the concern with interactivity, as a new technological and communication strategy, was more broadly framed by the different understandings and practices in relation to social re- Part I 30 lationships.
The remaining chapters contribute to this contextualizing, but with focuses on one or more speciﬁc projects, artists, or activities. In all cases, however, the approach in this part of the book is from the point of view of a cultural critic or historian rather than an involved artist (though some of the authors are artists and have been involved in some of the projects). The authors draw out and foreground the issues as they see them and develop their own critical arguments about those issues. The chapters in part II approach their subjects more intimately, written as they are by or with people who were involved in the projects discussed.
28–29, 33. 23. , Alice Yaeger Kaplan, Reproductions of Banality: Fascism, Literature and French Intellectual Life (Minneapolis: University of Minnesota Press, 1986), esp. chaps. 1 and 4. 24. McLuhan, Understanding Media, 8. 25. Saper, Networked Art, 5, 151. 26. , 149. 27. , 12, 31, 134. 28. Dick Higgins, A Dialectic of Centuries: Notes towards a Theory of the New Arts (New York: Printed Editions, 1978), 14; see also 28. 29. , 13. 30. , 8. Norie Neumark 22 31. , 12. 32. Quoted in Tilman Baumgärtel, “Net Art: On the History of Artistic Work with Telecommunications Media,” in net_condition_art and global media, ed.
Art Nouveau Vinca Masini by Lara-Vinca Masini