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Description
Pierre Bourdieu is now recognized as one of the key contemporary critics of culture and the visual arts. Art Rules analyses Bourdieu's work on the visual arts to provide the first overview of his theory of culture and aesthetics.
Bourdieu's engagement with both postmodernism and the 'problem of aesthetics' provides a new way of analysing the visual arts. His interest is in how artistic fields function and the implications their processes have for art and artistic practice.
Art Rules applies Bourdieu's theory of practice to the three fields of museums, photography and painting. These practical examples are used as a springboard to address visual arts in the 21st Century and to establish Bourdieu's 'Rules of Art'.
Table of Contents
PART I: THEORY
2. Bourdieu: A Brief History of Theory
3. Aesthetics and the Visual Arts
PART II: PRACTICE
4. Museums
5. Painting
6. Photography
PART III: VISUAL ARTS IN THE 21ST CENTURY
7. Back to the Future
8. Conclusion
Product details
Published | Jan 01 2007 |
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Format | Hardback |
Edition | 1st |
Extent | 256 |
ISBN | 9781845202330 |
Imprint | Berg Publishers |
Illustrations | 18 b&w illustrations, bibliography, index |
Dimensions | 234 x 156 mm |
Publisher | Bloomsbury Publishing |
About the contributors
Reviews
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This book will change the ways in which Bourdieu is used in cultural studies and the sociology of aesthetics - it makes The Rules of Art and Bourdieu's books on photography as important as Distinction in those fields. Offering a clear and concise analysis of Bourdieu's works on aesthetics and sociology, Art Rules goes beyond to provide Bourdieu-inspired assessments of cultural production and consumption.
Dan Schubert, Department of Sociology, Dickinson College, USA
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A welcome addition to the growing body of literature on Bourdieu's sociology of culture which will become a useful tool for students and specialists in sociology, art history and related disciplines.
Cultural Sociology
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A lively and forceful book, which will provide a good introduction to Bourdieu for sociology and art history students.
Peter Collier, Cambridge University