Art, Design and Visual Culture: An Introduction by Malcolm Barnard

By Malcolm Barnard

This attention-grabbing exam of visible event bargains a proof and review of the conventional technique of reading visible tradition. such a lot of our adventure is visual--we receive such a lot of our details and information via sight, no matter if from studying books and newspapers, from looking at tv, or from speedy glimpsing highway indicators. lots of our judgments and judgements, in addition to our leisure and sport, are in response to the visible event. utilizing a variety of old and modern examples, this e-book argues that the teams which artists and architects shape, the audiences and markets which they promote to, and the several social sessions that are produced and reproduced through paintings and layout are all a part of the winning clarification and demanding assessment of visible culture.

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Conclusion This chapter set out to introduce and begin to define the notion of visual culture. It proposed to do this by looking first at different conceptions of the visual and second at different conceptions of the cultural, explaining the strengths and weaknesses of all these conceptions. It has proved to be the case that these conceptions cannot be simply accepted or rejected on the basis of their strengths and weaknesses as they are culturally specific. Different cultural and social groups will have different conceptions of the visual and the cultural, which are used to constitute those groups as groups in distinction from other groups.

There is the odd reference to things which are not what would usually be called 'fine art' - various etching and engraving techniques are represented, as are the Book of Kells and the Sutton Hoo ship burial material. Abbot Suger's porphyry jar and some fourteenth-century ivories are also to be found among the painting, sculpture and architecture, but the products of civilisation are predominantly oil-paintings, architecture and sculpture. Every once in a while Clark gives a clue as to what he is thinking of when he writes 'civilisation'.

The cultural groups which Clark ignores are well-documented in Polhemus's book. Black cultures are represented by Rastas, Zooties and rude boys, for example. Working-class cultures, whether they survived for long as working-class or not, are found in the styles and attitudes of Skinheads, Oil and Casuals, for example. And the place of women is filled by flygirls, cuties andriot-grrrls. These groups are not and would not be considered cultural groups in Clark's book; they are marginalised, patronised or simply ignored.

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