Details
Paolozzi and Wittgenstein
The Artist and the Philosopher|
96,29 € |
|
| Verlag: | Palgrave Macmillan |
| Format: | |
| Veröffentl.: | 10.05.2019 |
| ISBN/EAN: | 9783030158460 |
| Sprache: | englisch |
Dieses eBook enthält ein Wasserzeichen.
Beschreibungen
<p></p><p>This impressive edited collection investigates the relationship between British Pop Art pioneer Eduardo Paolozzi and the philosopher Ludwig Wittgenstein. At this time, when Paolozzi’s oeuvre is in the process of being rediscovered, his long-time fascination with Wittgenstein requires thorough exploration, as it discloses a deeper understanding of his artistic production, further helping to reassess the philosopher’s actual impact on visual arts and its theory in the second half of the 20th century.</p><p> </p><p> </p><p>With 13 diverse and comprehensive chapters, bringing together philosophers and art historians, this volume aims at retracing and pondering the influence of Wittgenstein on the idea of art in Paolozzi, thus giving an unprecedented insight into Wittgenstein’s philosophy as employed by contemporary artists.</p><p></p>
<p>1. An Introduction to the Artist who ‘needed’ Wittgenstein</p>
<p>Diego Mantoan and Luigi Perissinotto</p>
<p>Part I. Aesthetic Grammar: from Wittgenstein to Paolozzi</p>
<p>2. Aesthetic Family Resemblances between Wittgenstein and Paolozzi</p>
<p>Silvana Borutti</p>
<p>3. The philosopher as artist: Ludwig Wittgenstein seen through Eduardo Paolozzi</p>
<p>Wolfgang Huemer</p>
<p>4. Paolozzi and the Diverse Manners of Ornamenting Wittgenstein in the Arts</p>
<p>Alessandro Del Puppo</p>
<p>5. Assembled pieces: collage techniques in the work of Eduardo Paolozzi and Ludwig Wittgenstein</p>
Maren Wienigk<p></p>
<p>Part II. Paolozzi: on Reading Wittgenstein</p>
<p>6. Paolozzi reads Wittgenstein: Moments in a Research Process</p>
<p>Luigi Perissinotto</p>
<p>7. “Ragged” Perception in Eduardo Paolozzi’s Figures from the 1950s</p>
<p>Rachel Stratton</p>
<p>8. Poetic Metaphor: Paolozzi’s Animated Films and Their Relation to Wittgenstein</p>
Stefanie Stallschus<p></p>
<p>9. Assembling reminders for a particular purpose: Paolozzi’s ephemera, toys and collectibles</p>
<p>Diego Mantoan</p>
<p>Part III. Wittgenstein: on Influencing Art</p>
10. Experience and Interpretation: An Art Theoretical Commentary on Wittgenstein’s Conception of ‘Aspect’<p></p>
<p>Michael Lüthy</p>
<p>11. On a Certain Vagueness in the Definition of Art: Margolis’ Aesthetics and Wittgenstein’s Legacy</p>
<p>Roberta Dreon</p>
<p>12. The Sides of Limit and the Possibilities for Artistic Creation: On the Influence of Wittgenstein’s Philosophy on Contemporary Art</p>
<p>Davide Dal Sasso</p>
<p>13. Wittgenstein in New York (and elsewhere): From Paolozzi to Bochner in the 1960s</p>
<p>Francesco Guzzetti</p>
<p>Appendix: The quotes in Paolozzi’s screenprint series As Is When (1964–65)</p>
<p>Wolfgang Huemer and Diego Mantoan</p>
Index<p></p><p></p><p></p>
<p>Diego Mantoan and Luigi Perissinotto</p>
<p>Part I. Aesthetic Grammar: from Wittgenstein to Paolozzi</p>
<p>2. Aesthetic Family Resemblances between Wittgenstein and Paolozzi</p>
<p>Silvana Borutti</p>
<p>3. The philosopher as artist: Ludwig Wittgenstein seen through Eduardo Paolozzi</p>
<p>Wolfgang Huemer</p>
<p>4. Paolozzi and the Diverse Manners of Ornamenting Wittgenstein in the Arts</p>
<p>Alessandro Del Puppo</p>
<p>5. Assembled pieces: collage techniques in the work of Eduardo Paolozzi and Ludwig Wittgenstein</p>
Maren Wienigk<p></p>
<p>Part II. Paolozzi: on Reading Wittgenstein</p>
<p>6. Paolozzi reads Wittgenstein: Moments in a Research Process</p>
<p>Luigi Perissinotto</p>
<p>7. “Ragged” Perception in Eduardo Paolozzi’s Figures from the 1950s</p>
<p>Rachel Stratton</p>
<p>8. Poetic Metaphor: Paolozzi’s Animated Films and Their Relation to Wittgenstein</p>
Stefanie Stallschus<p></p>
<p>9. Assembling reminders for a particular purpose: Paolozzi’s ephemera, toys and collectibles</p>
<p>Diego Mantoan</p>
<p>Part III. Wittgenstein: on Influencing Art</p>
10. Experience and Interpretation: An Art Theoretical Commentary on Wittgenstein’s Conception of ‘Aspect’<p></p>
<p>Michael Lüthy</p>
<p>11. On a Certain Vagueness in the Definition of Art: Margolis’ Aesthetics and Wittgenstein’s Legacy</p>
<p>Roberta Dreon</p>
<p>12. The Sides of Limit and the Possibilities for Artistic Creation: On the Influence of Wittgenstein’s Philosophy on Contemporary Art</p>
<p>Davide Dal Sasso</p>
<p>13. Wittgenstein in New York (and elsewhere): From Paolozzi to Bochner in the 1960s</p>
<p>Francesco Guzzetti</p>
<p>Appendix: The quotes in Paolozzi’s screenprint series As Is When (1964–65)</p>
<p>Wolfgang Huemer and Diego Mantoan</p>
Index<p></p><p></p><p></p>
<p><b>Diego Mantoan</b>, Assistant Professor in Contemporary Art History at Ca’ Foscari University Venice (Italy), works for renowned art archives across Europe and his earlier book “The Road To Parnassus” (2015) entered the 2016 Berger Prize long-list of <i>The British Art Journal</i>.</p><p> </p><p> <b>Luigi Perissinotto</b>, Professor of Philosophy of Language and former Head of the Department of Philosophy and Cultural Heritage at Ca’ Foscari University Venice (Italy), is a renowned scholar of philosophy of language and a specialist in Wittgenstein.<br></p>
<p>Illuminates the links between Eduardo Paolozzi and Ludwig Wittgenstein</p><p>Explores how Wittgenstein's idea of art influenced the initiator of pop art</p><p>Provides cross-disciplinary insight into Wittengenstein's philosophy as applied to contemporary art</p>
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