Video Art Theory: A Comparative Approach demonstrates how video art functions on the basis of a comparative media approach, providing a crucial understanding of video as a medium in contemporary art and of the visual mediations we encounter in daily life. A critical investigation of the visual media and selected video artworks which contributes to the understanding of video as a medium in contemporary art The only study specifically devoted to theorizing the medium of video from the perspective of prominent characteristics which result from how video works deal with time, space, representation, and narrative The text has emerged out of the author’s own lectures and seminars on video art Offers a comparative approach which students find especially useful, offering new perspectives

The abundance of images in our everyday lives-and the speed at which they are consumed-seems to have left us unable to critique them. To rectify this situation, artists such as Daniel Richter, Jaune Quick-to-See Smith, and Artur Zmijewski have demonstrated that painting is brilliantly equipped to produce 'slow images' that enable, encourage and reward reflection. In this book, Helen Westgeest attempts to understand how various forms of slow painting can be used as tools to interrogate the visual mediations we encounter daily. Painting was expected to disappear in the digital age but, through interactive painting performances and painting-like manipulated photographs and videos, Westgeest shows how photography, video and new media art have themselves developed the visual strategies that painting had already mastered. Moreover, the fleeting nature of digital mass media appears to have unlocked a desire for more physically stable and enduring pictures, like paintings. Slow Painting charts how, in a world where the constant quest for speed can leave us exhausted, the appeal of this 'slower medium' has only grown.

Photography Theory in Historical Perspective: Case Studies from Contemporary Art aims to contribute to the understanding of the multifaceted and complex character of the photographic medium by dealing with various case studies selected from photographic practices in contemporary art, discussed in the context of views and theories of photography from its inception. uses case studies to explain photographic practices in contemporary art and place them in the context of theory presents current debates on theory of photography through comparisons to research of other visual media applicable to vernacular and documentary photography as well as art photography

This study demonstrates the significance of using contemporary art in scholarly debates about cultural aspects of skin, in particular “whiteness” as a phenomenon that is both overly visible and invisible. There is a need for a study of these artists’ strategies, which consist of drawing attention to whiteness by means of making whiteness “strange” through alternative visibilities. By increasing skin awareness, the selected socio-critical artworks also pertain to fostering visual literacy as another important contemporary concern. Chapters mainly focus on recent artworks that address ongoing skin-related debates in countries in Europe and North America, rooted in histories of ideology of white supremacy. Moreover, these artworks critically reflect on the alleged superiority of the history of Western European painting, including a focus on the representation of pale skin as model of beauty. The book will be of interest to scholars working in art history, race and ethnicity studies, and cultural studies.

Enthält: Zen in de jaren vijftig: Wisselwerking in de beeldende kunst tussen Oost en West: Samenvatting

A fully-illustrated paperback catalogue published on the occasion of Eileen Neff's exhibition, "Three or Four Clouds," at Bridgette Mayer Gallery from October 3 - 27, 2012.

Om de geschiedenis van de kunst goed te begrijpen, moeten we ook de geschiedenis van materiaaltoepassingen en maakprocessen kennen."Kunsttechnieken in historisch perspectief" wil feitelijke kennis bijbrengen over veelvuldig gebruikte materialen en bewerkingsmethoden, maar ook de vraag beantwoorden waarom een bepaalde techniek favoriet werd en daarna door een andere verdrongen. Het boek wil eveneens aanzetten tot het nadenken over de implicaties van het maakproces voor andere aspecten van de kunstgeschiedenis. Kunsttechnieken in historisch perspectief bestaat uit twintig hoofdstukken die kunsttechnieken uit zowel de oude beeldende kunst als moderne en hedendaagse kunst betreffen: schilderkunstige technieken, beeldhouwtechnieken, tekentechnieken, grafische technieken, fotografie, video, digitale kunst en installatiekunst. Tot slot komen technisch onderzoek, conservering en restauratie aan bod.