Art & Visual Culture 1100-1600: Medieval to Renaissance by Kim W. Woods

By Kim W. Woods

This quantity contains essays on key topics of medieval and Renaissance paintings, together with analyses of sacred paintings, Gothic structure, the artwork of the crusades, and artwork at court docket. Key artists equivalent to Simone Martini and Botticelli are integrated, in addition to defining monuments of the interval reminiscent of the Basilica of Saint Denis and Westminster Abbey.

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Shanken argues that the former attempts remained largely fruitless while the latter became so successful that an autonomous, but also isolated, new media artworld emerged. His essay outlines aspects of convergence and divergence between the two artworlds, as well as the changes that new means of ­production and dissemination have brought about for the roles of the artist, curator, and museum. Most importantly, Shanken examines what new media art and mainstream contemporary art have to offer each other in the process of generating critical d ­ iscourse around the social impact of emerging technological media and cultural practices.

They also address the social contexts in which digital art has emerged—the grass‐roots, ad‐hoc, and temporary get‐togethers and initiatives that developed along with or even tried to counter the commercial digital landscape. One of the biggest challenges of integrating digital art into the mainstream artworld and nurturing its collectability has been the preservation of this art form. Digital art is engaged in a continuous struggle with an accelerating technological obsolescence that serves the profit‐generating strategies of the tech industry.

Memory, thoughts, and experiments—along with chance—may create fertile connections. The art system increasingly transforms itself into a type of organism comprising slices that organize themselves while the user has an opportunity to experience and produce combinatory meaning. Media Art’s Multifarious Potential for Complex Expression Thousands of artworks make use of and express the multifarious potential of media art. In the installations Osmose (1995) and Éphémère (1998) Charlotte Davies transports us into a visually powerful 3D simulation of a lush mineral‐vegetable sphere, which we can explore via a bodily interface consisting of a vest that monitors breathing; both works are classics of digital media art that generated more than 100 scientific and art‐ historical articles but were ignored by museum collections (Davis 2003; Davis and Harrison 1996).

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Art & Visual Culture 1100-1600: Medieval to Renaissance by Kim W. Woods
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