Philosophy and the Visual Arts: Seeing and Abstracting
Springer Netherlands, Nov 30, 1987 - Philosophy - 361 pages
This volume consists of papers given to the Royal Institute of Philos ophy Conference on 'Philosophy and the Visual Arts: Seeing and Abstracting' given at the University of Bristol in September 1985. The contributors here come about equally from the disciplines of Philosophy and Art History and for that reason the Conference was hosted jointly by the Bristol University Departments of Philosophy and History of Art. Other conferences sponsored by the Royal Institute of Philosophy have been concerned with links between Philosophy and related disciplines, but here, with the generous support of South West Arts and with the enthusiastic co-operation of the staff of the Arnolfini Gallery in Bristol we were able to attempt even more in the way of bridge building; not only were we able to hold some of our meetings in as possible to the general the Gallery, thus making them as accessible public, but we were also privileged in having our discussions supported by two exhibitions of contemporary painting that together presented contrasting aspects of the abstracting enterprise. One, featuring works by Ian McKeever, and drawings and painting by Frank Auerbach, some of which are discussed and illustrated in the present volume, was about the painterly exploration of 'abstracting from' images in nature and in painting itself. The other, curated by Waldemar Januszczak, while showing some figurative works, was concerned with the 'pure' power of colour perceived 'abstractly, in its own right.
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MICHAEL PODRO Depiction and the Golden Calf
ANDREW HARRISON Dimensions of Meaning
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abstract art Abstract Expressionism aesthetic analogy Andrew Harrison artist attention Bacchus and Ariadne colour appearances colour constancy colour names colour reproduction colour solid colour systems complex concept configuration context conventions Cubism Cubist paintings depicted drawing E. H. Gombrich elements emotion example experience expression Expressionist fact feeling fictional truths figurative figurative art film gesture Golden Calf Henry Kahnweiler holograms holography hues idea identify illusion illusionistic imagine individual representation intended involves Kandinsky kind language light London look Malevich meaning nature object painter paper particular perceived perception perspective philosophical Picasso pictorial picture portrait portrayal possible Poussin Pozzo present problem production qualia quality space question realism recognitional capacities reference relations relationships representational art represented Richard Wollheim sense significance sort space of colour spatial spectators structure style suggest Suprematism surface theory things tion understanding viewer Visual Arts visual games Wollheim