Everyday Genius

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Gary Alan Fine is the James E. Johnson Professor of Sociology at Northwestern University. He has written many books, including, most recently Talking Art: The Culture of Practice and the Practice of Culture and Players and Pawns: How Chess Builds Community and Culture, both published by the University of Chicago Press.

出版者:Univ of Chicago Press
作者:Fine, Gary Alan
出品人:
頁數:328
译者:
出版時間:2004
價格:30
裝幀:精裝
isbn號碼:9780226249506
叢書系列:
圖書標籤:
  • 藝術理論 
  • 文化研究 
  •  
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From Henry Darger’s elaborate paintings of young girls caught in a vicious war to the sacred art of the Reverend Howard Finster, the work of outsider artists has achieved unique status in the art world. Celebrated for their lack of traditional training and their position on the fringes of society, outsider artists nonetheless participate in a traditional network of value, status, and money. After spending years immersed in the world of self-taught artists, Gary Alan Fine presents Everyday Genius, one of the most insightful and comprehensive examinations of this network and how it confers artistic value.

Fine considers the differences among folk art, outsider art, and self-taught art, explaining the economics of this distinctive art market and exploring the dimensions of its artistic production and distribution. Interviewing dealers, collectors, curators, and critics and venturing into the backwoods and inner-city homes of numerous self-taught artists, Fine describes how authenticity is central to the system in which artists—often poor, elderly, members of a minority group, or mentally ill—are seen as having an unfettered form of expression highly valued in the art world. Respected dealers, he shows, have a hand in burnishing biographies of the artists, and both dealers and collectors trade in identities as much as objects.

Revealing the inner workings of an elaborate and prestigious world in which money, personalities, and values affect one another, Fine speaks eloquently to both experts and general readers, and provides rare access to a world of creative invention-both by self-taught artists and by those who profit from their work.

“Indispensable for an understanding of this world and its workings. . . . Fine’s book is not an attack on the Outsider Art phenomenon. But it is masterful in its anatomization of some of its contradictions, conflicts, pressures, and absurdities.”—Eric Gibson, Washington Times

具體描述

讀後感

評分

十多年前,艺术史家白谦慎曾做了一次测试:他把路边看到的“千佛”、“阳摩”等字反转,伪装成拓片状,在台湾大学美术史研究所演讲时,放给在场的教授、研究生们(其中有好几位是研究书法史的)看,宣称这些图片是新出土的北朝石刻文字。连他自己也感到吃惊的是,当时在场的居...

評分

十多年前,艺术史家白谦慎曾做了一次测试:他把路边看到的“千佛”、“阳摩”等字反转,伪装成拓片状,在台湾大学美术史研究所演讲时,放给在场的教授、研究生们(其中有好几位是研究书法史的)看,宣称这些图片是新出土的北朝石刻文字。连他自己也感到吃惊的是,当时在场的居...

評分

十多年前,艺术史家白谦慎曾做了一次测试:他把路边看到的“千佛”、“阳摩”等字反转,伪装成拓片状,在台湾大学美术史研究所演讲时,放给在场的教授、研究生们(其中有好几位是研究书法史的)看,宣称这些图片是新出土的北朝石刻文字。连他自己也感到吃惊的是,当时在场的居...

評分

十多年前,艺术史家白谦慎曾做了一次测试:他把路边看到的“千佛”、“阳摩”等字反转,伪装成拓片状,在台湾大学美术史研究所演讲时,放给在场的教授、研究生们(其中有好几位是研究书法史的)看,宣称这些图片是新出土的北朝石刻文字。连他自己也感到吃惊的是,当时在场的居...

評分

十多年前,艺术史家白谦慎曾做了一次测试:他把路边看到的“千佛”、“阳摩”等字反转,伪装成拓片状,在台湾大学美术史研究所演讲时,放给在场的教授、研究生们(其中有好几位是研究书法史的)看,宣称这些图片是新出土的北朝石刻文字。连他自己也感到吃惊的是,当时在场的居...

用戶評價

评分

“非主流藝術傢”到底算什麼?如何定位?“當代藝術”,及“主流藝術”,又如何定義自己。這本書語言很直白,精確。

评分

“非主流藝術傢”到底算什麼?如何定位?“當代藝術”,及“主流藝術”,又如何定義自己。這本書語言很直白,精確。

评分

“非主流藝術傢”到底算什麼?如何定位?“當代藝術”,及“主流藝術”,又如何定義自己。這本書語言很直白,精確。

评分

“非主流藝術傢”到底算什麼?如何定位?“當代藝術”,及“主流藝術”,又如何定義自己。這本書語言很直白,精確。

评分

“非主流藝術傢”到底算什麼?如何定位?“當代藝術”,及“主流藝術”,又如何定義自己。這本書語言很直白,精確。

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