Howard Singerman - Art Subjects : Making Artists in the American University book DJV, FB2, TXT
9780520215023 English 0520215028 Nearly every artist under the age of 50 in the United States in the late-20th century has a Master of Fine Arts degee. This study places that degree in its proper historical framework and ideological context. Arguing that where artists are trained makes a difference in the forms and meanings they produce, he shows how the university, with its disciplined organization of knowledge and demand for language, played a critical role in the production of modernism in the visual arts. Now it is shaping what we call postmodernism - like postmodernist art, the graduate university stresses theory and research over manual skills and traditional techniques of representation., Nearly every artist under the age of fifty in the United States today has a Master of Fine Arts degree. Howard Singermans thoughtful study is the first to place that degree in its proper historical framework and ideological context. Arguing that where artists are trained makes a difference in the forms and meanings they produce, he shows how the university, with its disciplined organization of knowledge and demand for language, played a critical role in the production of modernism in the visual arts. Now it is shaping what we call postmodernism: like postmodernist art, the graduate university stresses theory and research over manual skills and traditional techniques of representation. Singerman, who holds an M.F.A. in sculpture as well as a Ph.D. in Visual and Cultural Studies, is interested in the question of the artist as a "professional" and what that word means for and about the fashioning of artists. He begins by examining the first campus-based art schools in the 1870s and goes on to consider the structuring role of women art educators and women students; the shift from the "fine arts" to the "visual arts"; the fundamental grammar of art laid down in the schoolroom; and the development of professional art training in the American university. Singermans book reveals the ways we have conceived of art in the past hundred years and have institutionalized that conception as atelier activity, as craft, and finally as theory and performance., Queen Mar�a of Castile, wife of Alfonso V, "the Magnanimous," king of the Crown of Aragon, governed Catalunya in the mid-fifteenth century while her husband conquered and governed the kingdom of Naples. For twenty-six years, she maintained a royal court and council separate from and roughly equivalent to those of Alfonso in Naples. Such legitimately sanctioned political authority is remarkable given that she ruled not as queen in her own right but rather as Lieutenant-General of Catalunya with powers equivalent to the king's. Mar�a does not fit conventional images of a queen as wife and mother; indeed, she had no children and so never served as queen-regent for any royal heirs in their minorities or exercised a queen-mother's privilege to act as diplomat when arranging the marriages of her children and grandchildren. But she was clearly more than just a wife offering advice: she embodied the king's personal authority and was second only to the king himself. She was his alter ego, the other royal body fully empowered to govern. For a medieval queen, this official form of corulership, combining exalted royal status with official political appointment, was rare and striking. The King's Other Body is both a biography of Mar�a and an analysis of her political partnership with Alfonso. Mar�a's long, busy tenure as lieutenant prompts a reconsideration of long-held notions of power, statecraft, personalities, and institutions. It is also a study of the institution of monarchy and a theoretical reconsideration of the operations of gender within it. If the practice of monarchy is conventionally understood as strictly a man's job, Mar�a's reign presents a compelling argument for a more complex model, one attentive to the dynamic relationship of queenship and kingship and the circumstances and theories that shaped the institution she inhabited., This is a scholarly, theoretically smart, and accessible book about the changes in the training of artists in twentieth-century America, as that training has moved from ateliers and art academies to universities (and art schools that think of themselves as universities). More than just education history, however, this book relates the evolution of art itself to changes in pedagogy and theory (both educational and cultural).
9780520215023 English 0520215028 Nearly every artist under the age of 50 in the United States in the late-20th century has a Master of Fine Arts degee. This study places that degree in its proper historical framework and ideological context. Arguing that where artists are trained makes a difference in the forms and meanings they produce, he shows how the university, with its disciplined organization of knowledge and demand for language, played a critical role in the production of modernism in the visual arts. Now it is shaping what we call postmodernism - like postmodernist art, the graduate university stresses theory and research over manual skills and traditional techniques of representation., Nearly every artist under the age of fifty in the United States today has a Master of Fine Arts degree. Howard Singermans thoughtful study is the first to place that degree in its proper historical framework and ideological context. Arguing that where artists are trained makes a difference in the forms and meanings they produce, he shows how the university, with its disciplined organization of knowledge and demand for language, played a critical role in the production of modernism in the visual arts. Now it is shaping what we call postmodernism: like postmodernist art, the graduate university stresses theory and research over manual skills and traditional techniques of representation. Singerman, who holds an M.F.A. in sculpture as well as a Ph.D. in Visual and Cultural Studies, is interested in the question of the artist as a "professional" and what that word means for and about the fashioning of artists. He begins by examining the first campus-based art schools in the 1870s and goes on to consider the structuring role of women art educators and women students; the shift from the "fine arts" to the "visual arts"; the fundamental grammar of art laid down in the schoolroom; and the development of professional art training in the American university. Singermans book reveals the ways we have conceived of art in the past hundred years and have institutionalized that conception as atelier activity, as craft, and finally as theory and performance., Queen Mar�a of Castile, wife of Alfonso V, "the Magnanimous," king of the Crown of Aragon, governed Catalunya in the mid-fifteenth century while her husband conquered and governed the kingdom of Naples. For twenty-six years, she maintained a royal court and council separate from and roughly equivalent to those of Alfonso in Naples. Such legitimately sanctioned political authority is remarkable given that she ruled not as queen in her own right but rather as Lieutenant-General of Catalunya with powers equivalent to the king's. Mar�a does not fit conventional images of a queen as wife and mother; indeed, she had no children and so never served as queen-regent for any royal heirs in their minorities or exercised a queen-mother's privilege to act as diplomat when arranging the marriages of her children and grandchildren. But she was clearly more than just a wife offering advice: she embodied the king's personal authority and was second only to the king himself. She was his alter ego, the other royal body fully empowered to govern. For a medieval queen, this official form of corulership, combining exalted royal status with official political appointment, was rare and striking. The King's Other Body is both a biography of Mar�a and an analysis of her political partnership with Alfonso. Mar�a's long, busy tenure as lieutenant prompts a reconsideration of long-held notions of power, statecraft, personalities, and institutions. It is also a study of the institution of monarchy and a theoretical reconsideration of the operations of gender within it. If the practice of monarchy is conventionally understood as strictly a man's job, Mar�a's reign presents a compelling argument for a more complex model, one attentive to the dynamic relationship of queenship and kingship and the circumstances and theories that shaped the institution she inhabited., This is a scholarly, theoretically smart, and accessible book about the changes in the training of artists in twentieth-century America, as that training has moved from ateliers and art academies to universities (and art schools that think of themselves as universities). More than just education history, however, this book relates the evolution of art itself to changes in pedagogy and theory (both educational and cultural).