Isbn: 9791254600870 - nothing too beautiful for the gods. altars and contemporary creation. catalogo della mostra (lens, 15 dicembre 2024-20 aprile 2025). ediz. inglese e francese (24 risultati)

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Hardcover. Condizione: new. Hardcover. Globalisation has forced us to stop thinking that art only exists in the West. The very notion of art was invented by the West and refers to the learned version of its material culture. It was then projected onto other civilisations, particularly Asian ones, and finally onto the preliterate societies of Africa and Oceania. Whether or not these cultures possess the concept of art is of little importance, because when they honour their gods, they inevitably address what they consider to be the acme of beauty. For a long time, this openness to other aesthetics was based on the arts of the past, until it was finally accepted that there were living creators in these distant lands, and that today's means of communication have brought them closer to us. These others who appeared in the 1980s are by no means a homogenous group. Without stretching this analysis too far, they can be regarded as falling into two categories: those who have opted for modernity and submit to the demands of the market and Western based institutions, and those who concentrate on giving visual expression to their communities and beliefs, ignoring the demands of the art market. Australian Aboriginal art represents an intermediate situation, since alongside art of a sacred nature, there are works deliberately produced for sale, initially encouraged by missionaries. Nothing too beautiful for the gods aims to show the variety of works connected with the spiritual impulse, from those used in religious rites to contemporary artworks that refer to them. These hybrid works are often the result of accommodations with modernity. The exhibition and accompanying book bring together altars from Africa, the Caribbean and Asia, works by artists invested with religious responsibilities (Didi, Shiraga), works by religious artists (Ramoun) and others by artists who refer explicitly to religions and spirituality (Sooja Kim, El Anatsui, Vasquez de la Horra, Bedia, Boltanski, Viola). Text in English and French. AUTHOR: Jean Hubert Martin is an art historian of international standing. He is known especially for his remarkable contribution to the Francis Picabia exhibition held in the Grand Palais in 1976, as well as for the innovations he introduced into the field of museology in the 1980s. JeanHubert Martin also played a key role in organising the Magiciens de la Terre exhibition (1989) at the Centre GeorgesPompidou and the Grande Halle de la Villette, reflecting the growing interest in primitive art. SELLING POINTS: . Explores the concept of art and the sacred across different cultures . Nothing too beautiful for the gods brings together religious artifacts, contemporary art that references religion, and works by artists who are invested in religious traditions . Artists featured in the book include Didi, Shiraga, Ramoun, Sooja Kim, El Anatsui, Vasquez de la Horra, Bedia, Boltanski, and Viola 90 colour illustrations This book argues that globalisation challenges the Western idea of art and explores how different cultures express spirituality through art. Text in English and French. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. …

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Condizione: NEW. Milano: 5 Continents editions, 2025 9791254600870 1190 N vol.: 1, N pag.: 192, Peso: 1190, L: 27, W: 22.5, Illustr.: COL, N illustr.: 90 Un dialogo tra culture attraverso l'arte sacra. La globalizzazione ha messo fine all'idea che l'arte fosse un fenomeno esclusivo dell'Occidente. Il concetto stesso di "arte", infatti, è stato inventato in Occidente per definire la versione colta della propria produzione materiale. Successivamente, è stato applicato ad altre civiltà, in particolare a quelle asiatiche e, in tempi più recenti, alle società africane e oceaniche prive di sistemi di scrittura. Indipendentemente dal fatto che queste culture possedessero o meno la nozione di arte, è innegabile che la loro produzione materiale, concepita per onorare le divinità, fosse creata con l'intento di realizzare qualcosa di esteticamente pregevole. Per lungo tempo, quest'apertura verso altre estetiche ha riguardato principalmente le arti del passato. Solo in tempi recenti si è iniziato a riconoscere l'esistenza di artisti viventi in queste regioni lontane, resi più vicini a noi grazie ai moderni mezzi di comunicazione. Questi "altri", emersi negli anni Ottanta, non costituiscono un gruppo omogeneo. Si possono distinguere due categorie principali: da un lato, artisti che hanno abbracciato la modernità e si sottopongono alle strategie imposte dal mercato e dalle istituzioni di stampo occidentale; dall'altro, artisti che dedicano la loro attività a espressioni visive all'interno delle proprie comunità e in linea con le loro credenze, senza alcun contatto con il mercato dell'arte. L'arte aborigena australiana rappresenta una situazione intermedia tra queste: accanto a opere di carattere sacro, esiste una produzione destinata alla vendita, inizialmente promossa dai missionari. "Nothing too Beautiful for the Gods" (Niente è troppo bello per gli dei) si propone di mostrare la varietà delle opere ispirate alla spiritualità, da quelle utilizzate per i riti religiosi a quelle d'arte contemporanea che a esse si rifanno. Queste opere ibride sono spesso il frutto di un compromesso con la modernità. L'esposizione e il libro che l'accompagna riuniscono altari africani, caraibici e asiatici, artisti che ricoprono cariche religiose (Didi, Shiraga), opere di artisti credenti (Ramoun) e di artisti che si riferiscono esplicitamente alle religioni e alla spiritualità (Sooja Kim, El Anatsui, Vasquez de la Horra, Bedia, Boltanski, Viola). Mostra: Fondation Opale, Lens - Crans-Montana, Valais, Suisse dal 15 dicembre 2024 al 25 aprile 2025. Un dialogo tra culture attraverso l'arte sacra. La globalizzazione ha messo fine all'idea che l'arte fosse un fenomeno esclusivo dell'Occidente. Il concetto stesso di "arte", infatti, è stato inventato in Occidente per definire la versione colta della propria produzione materiale. Successivamente, è stato applicato ad altre civiltà, in particolare a quelle asiatiche e, in tempi più recenti, alle società africane e oceaniche prive di sistemi di scrittura. Indipendentemente dal fatto che queste culture possedessero o meno la nozione di arte, è innegabile che la loro produzione materiale, concepita per onorare le divinità, fosse creata con l'intento di realizzare qualcosa di esteticamente pregevole. Per lungo tempo, quest'apertura verso altre estetiche ha riguardato principalmente le arti del passato. Solo in tempi recenti si è iniziato a riconoscere l'esistenza di artisti viventi in queste regioni lontane, resi più vicini a noi grazie ai moderni mezzi di comunicazione. Questi "altri", emersi negli anni Ottanta, non costituiscono un gruppo omogeneo. Si possono distinguere due categorie principali: da un lato, artisti che hanno abbracciato la modernità e si sottopongono alle strategie imposte dal mercato e dalle istituzioni di stampo occidentale; dall'altro, artisti che dedicano la loro attività a espressioni visive all'interno delle proprie comunità e in linea con le loro credenze, senza alcun contatto con il mercato dell'arte. L'arte. …

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Buch. Condizione: Neu. Neuware - This book argues that globalisation challenges the Western idea of art and explores how different cultures express spirituality through art. Text in English and French.Globalization has forced us to stop thinking that art only exists in the West. The very notion of art was invented by the West and refers to the learned version of its material culture. It was then projected onto other civilizations, particularly Asian ones, and finally onto the preliterate societies of Africa and Oceania. Whether or not these cultures possess the concept of art is of little importance, because when they honor their gods, they inevitably address what they consider to be the acme of beauty. For a long time, this openness to other aesthetics was based on the arts of the past, until it was finally accepted that there were living creators in these distant lands, and that today's means of communication have brought them closer to us. These "others" who appeared in the 1980s are by no means a homogenous group. Without stretching this analysis too far, they can be regarded as falling into two categories: those who have opted for modernity and submit to the demands of the market and Western based institutions, and those who concentrate on giving visual expression to their communities and beliefs, ignoring the demands of the art market. Australian Aboriginal art represents an intermediate situation, since alongside art of a sacred nature, there are works deliberately produced for sale, initially encouraged by missionaries. Nothing Too Beautiful for the Gods aims to show the variety of works connected with the spiritual impulse, from those used in religious rites to contemporary artworks that refer to them. These hybrid works are often the result of accommodations with modernity. The exhibition and accompanying book bring together altars from Africa, the Caribbean and Asia, works by artists invested with religious responsibilities (Didi, Shiraga), works by religious artists (Ramoun) and others by artists who refer explicitly to religions and spirituality (Sooja Kim, El Anatsui, Vasquez de la Horra, Bedia, Boltanski, Viola). Text in English and French.…

Hardcover. Condizione: new. Hardcover. Globalisation has forced us to stop thinking that art only exists in the West. The very notion of art was invented by the West and refers to the learned version of its material culture. It was then projected onto other civilisations, particularly Asian ones, and finally onto the preliterate societies of Africa and Oceania. Whether or not these cultures possess the concept of art is of little importance, because when they honour their gods, they inevitably address what they consider to be the acme of beauty. For a long time, this openness to other aesthetics was based on the arts of the past, until it was finally accepted that there were living creators in these distant lands, and that today's means of communication have brought them closer to us. These others who appeared in the 1980s are by no means a homogenous group. Without stretching this analysis too far, they can be regarded as falling into two categories: those who have opted for modernity and submit to the demands of the market and Western based institutions, and those who concentrate on giving visual expression to their communities and beliefs, ignoring the demands of the art market. Australian Aboriginal art represents an intermediate situation, since alongside art of a sacred nature, there are works deliberately produced for sale, initially encouraged by missionaries. Nothing too beautiful for the gods aims to show the variety of works connected with the spiritual impulse, from those used in religious rites to contemporary artworks that refer to them. These hybrid works are often the result of accommodations with modernity. The exhibition and accompanying book bring together altars from Africa, the Caribbean and Asia, works by artists invested with religious responsibilities (Didi, Shiraga), works by religious artists (Ramoun) and others by artists who refer explicitly to religions and spirituality (Sooja Kim, El Anatsui, Vasquez de la Horra, Bedia, Boltanski, Viola). Text in English and French. AUTHOR: Jean Hubert Martin is an art historian of international standing. He is known especially for his remarkable contribution to the Francis Picabia exhibition held in the Grand Palais in 1976, as well as for the innovations he introduced into the field of museology in the 1980s. JeanHubert Martin also played a key role in organising the Magiciens de la Terre exhibition (1989) at the Centre GeorgesPompidou and the Grande Halle de la Villette, reflecting the growing interest in primitive art. SELLING POINTS: . Explores the concept of art and the sacred across different cultures . Nothing too beautiful for the gods brings together religious artifacts, contemporary art that references religion, and works by artists who are invested in religious traditions . Artists featured in the book include Didi, Shiraga, Ramoun, Sooja Kim, El Anatsui, Vasquez de la Horra, Bedia, Boltanski, and Viola 90 colour illustrations This book argues that globalisation challenges the Western idea of art and explores how different cultures express spirituality through art. Text in English and French. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability. …

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Hardback. Condizione: New. 1st. Globalisation has forced us to stop thinking that art only exists in the West. The very notion of art was invented by the West and refers to the learned version of its material culture. It was then projected onto other civilisations, particularly Asian ones, and finally onto the preliterate societies of Africa and Oceania.Whether or not these cultures possess the concept of art is of little importance, because when they honour their gods, they inevitably address what they consider to be the acme of beauty. For a long time, this openness to other aesthetics was based on the arts of the past, until it was finally accepted that there were living creators in these distant lands, and that today's means of communication have brought them closer to us. These "others" who appeared in the 1980s are by no means a homogenous group. Without stretching this analysis too far, they can be regarded as falling into two categories: those who have opted for modernity and submit to the demands of the market and Western based institutions, and those who concentrate on giving visual expression to their communities and beliefs, ignoring the demands of the art market. Australian Aboriginal art represents an intermediate situation, since alongside art of a sacred nature, there are works deliberately produced for sale, initially encouraged by missionaries.Nothing Too Beautiful for the Gods aims to show the variety of works connected with the spiritual impulse, from those used in religious rites to contemporary artworks that refer to them. These hybrid works are often the result of accommodations with modernity. The exhibition and accompanying book bring together altars from Africa, the Caribbean and Asia, works by artists invested with religious responsibilities (Didi, Shiraga), works by religious artists (Ramoun) and others by artists who refer explicitly to religions and spirituality (Sooja Kim, El Anatsui, Vasquez de la Horra, Bedia, Boltanski, Viola).Text in English and French.…

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