Youngner examines the transformation of the depiction of industry in 19th century Pittsburgh from environmental nuisance to an idealized glorification of industrial might, in both fine art and illustration.

Eighteen essays written by Buchloh over the last twenty years, each looking at a single artist within the framework of specific theoretical and historical questions. Some critics view the postwar avant-garde as the empty recycling of forms and strategies from the first two decades of the twentieth century. Others view it, more positively, as a new articulation of the specific conditions of cultural production in the postwar period. Benjamin Buchloh, one of the most insightful art critics and theoreticians of recent decades, argues for a dialectical approach to these positions.This collection contains eighteen essays written by Buchloh over the last twenty years. Each looks at a single artist within the framework of specific theoretical and historical questions. The art movements covered include Nouveau Realisme in France (Arman, Yves Klein, Jacques de la Villegle) art in postwar Germany (Joseph Beuys, Sigmar Polke, Gerhard Richter), American Fluxus and pop art (Robert Watts and Andy Warhol), minimalism and postminimal art (Michael Asher and Richard Serra), and European and American conceptual art (Daniel Buren, Dan Graham). Buchloh addresses some artists in terms of their oppositional approaches to language and painting, for example, Nancy Spero and Lawrence Weiner. About others, he asks more general questions concerning the development of models of institutional critique (Hans Haacke) and the theorization of the museum (Marcel Broodthaers); or he addresses the formation of historical memory in postconceptual art (James Coleman). One of the book's strengths is its systematic, interconnected account of the key issues of American and European artistic practice during two decades of postwar art. Another is Buchloh's method, which integrates formalist and socio-historical approaches specific to each subject.

The history of modern art is often told through aesthetic breakthroughs that sync well with cultural and political change. From Courbet to Picasso, from Malevich to Warhol, it is accepted that art tracks the disruptions of industrialization, fascism, revolution, and war. Yet filtering the history of modern art only through catastrophic events cannot account for the subtle developments that lead to the profound confusion at the heart of contemporary art. In Industry and Intelligence, the artist Liam Gillick writes a nuanced genealogy to help us appreciate contemporary art's engagement with history even when it seems apathetic or blind to current events. Taking a broad view of artistic creation from 1820 to today, Gillick follows the response of artists to incremental developments in science, politics, and technology. The great innovations and dislocations of the nineteenth and twentieth centuries have their place in this timeline, but their traces are alternately amplified and diminished as Gillick moves through artistic reactions to liberalism, mass manufacturing, psychology, nuclear physics, automobiles, and a host of other advances. He intimately ties the origins of contemporary art to the social and technological adjustments of modern life, which artists struggled to incorporate truthfully into their works.

This book presents new information on the export trade, patronage, artistic collaboration, and the small-scale shop traditions that defined early Rhode Island craftsmanship. This stunning volume features more than 200 illustrations of beautifully constructed and carved objects—including chairs, high chests, bureau tables, and clocks—that demonstrate the superb workmanship and artistic skill of the state’s furniture makers.

Art versus industry? is about the encounters between the visual arts and industry in Britain during the long nineteenth-century. It looks beyond the oppositions that were established between these two spheres by later interpretations of the work of John Ruskin, William Morris and the Arts andCrafts movement, to reveal surprising examples of collaboration - between artists, craftspeople, designers, inventors, curators, engineers and educators - at a crucial period in the formation of the cultural and commercial identity of Britain and its colonies.This lively and richly illustrated collection operates across disciplines to explore such diverse subjects as the production of lace, the mechanical translation of sculpture, the display of stained glass, the use of the kaleidoscope in painting and pattern design, the emergence of domestic electriclighting, the politics of ornament and the development of art and design education and international exhibitions in India. With contributions by leading academics in the fields of art history, museums studies and the history and philosophy of science, its approach is as varied as its contents, oftendrawing on little-used primary sources and offering new perspectives on existing literature.Art versus industry? provides an essential source to both students and academics in the (British) histories of art and design, museum studies, the history and philosophy of science and postcolonial studies. It will also appeal to the general reader interested in the industrial and visual cultures ofthe Victorian period.

This book explores the organization of creative industries, including the visual and performing arts, movies, theater, sound recordings, and book publishing. In each, artistic inputs are combined with other, "humdrum" inputs. But the deals that bring these inputs together are inherently problematic: artists have strong views; the muse whispers erratically; and consumer approval remains highly uncertain until all costs have been incurred. To assemble, distribute, and store creative products, business firms are organized, some employing creative personnel on long-term contracts, others dealing with them as outside contractors; agents emerge as intermediaries, negotiating contracts and matching creative talents with employers. Firms in creative industries are either small-scale pickers that concentrate on the selection and development of new creative talents or large-scale promoters that undertake the packaging and widespread distribution of established creative goods. In some activities, such as the performing arts, creative ventures facing high fixed costs turn to nonprofit firms. To explain the logic of these arrangements, the author draws on the analytical resources of industrial economics and the theory of contracts. He addresses the winner-take-all character of many creative activities that brings wealth and renown to some artists while dooming others to frustration; why the "option" form of contract is so prevalent; and why even savvy producers get sucked into making "ten-ton turkeys," such as Heaven's Gate. However different their superficial organization and aesthetic properties, whether high or low in cultural ranking, creative industries share the same underlying organizational logic.