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Titlebook: Art in the City, the City in Art; Elisha Masemann Book 2024 The Editor(s) (if applicable) and The Author(s) 2024 Contemporary Art.Urban ar

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樓主: arouse
41#
發(fā)表于 2025-3-28 14:53:38 | 只看該作者
42#
發(fā)表于 2025-3-28 21:23:13 | 只看該作者
43#
發(fā)表于 2025-3-29 02:41:23 | 只看該作者
,The Lorentz Oscillator Model and Beyond …,ices to interrogate this relationship across different layers of the city. A critical appraisal is made of the tensions that arise between discourses on the city that stress rationality and functionality on one hand, and a proliferation of creative ‘misuses’ proposed through diverse forms of art intervention in urban space.
44#
發(fā)表于 2025-3-29 04:59:43 | 只看該作者
45#
發(fā)表于 2025-3-29 10:06:45 | 只看該作者
,Establishing the City’s ‘Ground Rules’,ices to interrogate this relationship across different layers of the city. A critical appraisal is made of the tensions that arise between discourses on the city that stress rationality and functionality on one hand, and a proliferation of creative ‘misuses’ proposed through diverse forms of art intervention in urban space.
46#
發(fā)表于 2025-3-29 13:37:43 | 只看該作者
Art’s Non-rational Uses for the Citys is art beginning in the late 1960s that tends to make the city ‘strange’ through moments that subvert coherent order. Fluxus art and happenings demonstrate experimental uses for city spaces while performance and conceptual works situate alternative responses to the city’s top-down logic and the excesses of rational-functional order.
47#
發(fā)表于 2025-3-29 16:47:53 | 只看該作者
Book 2024rom the topdown..structures of urban life. Moving between theory and praxis, the book..situates the city as both a concept and physical construct through which lives and..possibilities are shaped or defined. In response, certain modalities of art create..spontaneous, non-rational and playful interlu
48#
發(fā)表于 2025-3-29 20:10:15 | 只看該作者
49#
發(fā)表于 2025-3-30 01:59:06 | 只看該作者
Ideology and the Cityo examine an ideology of normative use operating in the urban system today, with the broader effects of globalisation and neoliberalism since the late-twentieth century. This lays the foundations for a discussion of artists’ misuses of an ideological order as they seek to expose latent hierarchies of power.
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