Women have been making art for centuries, yet their work has been seen as secondary or has gone unrecognised altogether. Women Making Art asks why this is so, and what it would take for us to realise the extent of women's extraordinary contribution to the arts. Meskimmon examines work by a wide range of women artists from different cultures and historical periods, including Re...(展开全部)

Women have been making art for centuries, yet their work has been seen as secondary or has gone unrecognized altogether. Women Making Art asks why this is so, and what it would take for us to realize the extent of women's extraordinary contribution to the arts. Marsha Meskimmon mobilizes contemporary feminist thinking to reconsider how and why women have made art. She examine...(展开全部)

New, completely revised and re-written edition. Offers a detailed, but asccesible account of the vital German philosophical tradition of thinking about art and the self. Looks at recent historical research and contemporary arguments in philosophy and theory in the humanities, following the path of German philosophy from Kant, via Ficthe and Holderlin, the early Romantis, Schel...(展开全部)

玛丽莲·斯托克斯塔德（著）： 教授、艺术史学家、策展人，曾任美国“高校艺术协会”（ College Art Association）主席、国际中世纪艺术中心主席，为斯潘塞艺术博物馆创始馆长，荣获美国女性艺术核心委员会（Women's Caucus for Art）终身成就奖、堪萨斯艺术委员会年度艺术教育家。《时代》杂志将她评为大学最受欢迎的100位女作家之一。 迈克尔·柯思伦（著）： 斯沃斯摩尔学院的艺术史教授，他曾任该院的美术系主任、中世纪研究协调员及人文中世纪、罗马艺术及建筑课程、美术通史课程等。 王春辰等（译）： 中央美术学院教授，博士生导师，中央美术学院美术馆副馆长，第55届威尼斯国际艺术双年展中国馆策展人，从事当代艺术与批评研究工作。

Product Description Only yesterday aesthetics stood accused of concealing cultural games of social distinction. Now it is considered a parasitic discourse from which artistic practices must be freed. But aesthetics is not a discourse. It is a historical regime of the identification of art. This regime is paradoxical, because it founds the autonomy of art only at the price of su...(展开全部)

Product Description Only yesterday aesthetics stood accused of concealing cultural games of social distinction. Now it is considered a parasitic discourse from which artistic practices must be freed. But aesthetics is not a discourse. It is a historical regime of the identification of art. This regime is paradoxical, because it founds the autonomy of art only at the price of su...(展开全部)

With more than four million copies in print in 14 languages, History of Art has long been considered the indispensable art reference. Now, this classic survey of Western art returns in a thoroughly updated and expanded Sixth Edition with 150 new illustrations, completely redrawn maps, and updated bibliography and website directory. The much-anticipated new edition brings togeth...(展开全部)

With more than four million copies in print in 14 languages, History of Art has long been considered the indispensable art reference. Now, this classic survey of Western art returns in a thoroughly updated and expanded Sixth Edition with 150 new illustrations, completely redrawn maps, and updated bibliography and website directory. The much-anticipated new edition brings togeth...(展开全部)

An authoritative history of art history from its medieval origins to its modern predicaments In this wide-ranging and authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of wr...(展开全部)

From the late 1990s until today, China's sound practice has been developing in an increasingly globalized socio-political-aesthetic milieu, receiving attentions and investments from the art world, music industry and cultural institutes, with nevertheless, its unique acoustic philosophy remaining silent. This book traces the history of sound practice from contemporary Chinese vi...(展开全部)