The theory and practice of imitation has long been central to the construction of art and yet imitation is still frequently confused with copying. Theorizing Imitation in the Visual Arts challenges this prejudice by revealing the ubiquity of the practice across cultures and geographical borders.
This fascinating collection of original essays has been compiled by a group of leading scholars Challenges the prejudice of imitation in art by bringing to bear a perspective that reveals the ubiquity of the practice of imitation across cultural and geographical borders Brings light to a broad range of areas, some of which have been little researched in the past
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6 | (2) |
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Chapter 1 Why Imitation, and Why Global? |
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8 | (22) |
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Chapter 2 Post-Western Poetics: Postmodern Appropriation Art in Australia |
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30 | (20) |
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Chapter 3 Essentially the Same: Eduardo Costa's Minimal Differences and Latin American Conceptualism |
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50 | (18) |
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Chapter 4 Like Father, Like Son: Bernini's Filial Imitation of Michelangelo |
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68 | (22) |
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Chapter 5 Navajo Sandpainting in the Age of Cross-Cultural Replication |
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90 | (20) |
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Chapter 6 Copying and Theory in Edo-Period Japan (1615-1868) |
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110 | (20) |
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Chapter 7 Original Imitations for Sale: Dafen and Artistic Commodification |
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130 | (16) |
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Chapter 8 The Temporal Logic of Citation in Chinese Painting |
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146 | (20) |
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166 | (20) |
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Chapter 10 The Image Valued `As Found' and the Reconfiguring of Mimesis in Post-War Art |
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186 | (22) |
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Chapter 11 History Lessons: Imitation, Work and the Temporality of Contemporary Art |
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208 | (21) |
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| Index |
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229 | |
Paul Duro is Professor of Art History and Visual and Cultural Studies at the University of Rochester, NY. He has published articles on the theory and practice of imitation, the sublime, art institutions, frame theory, the hierarchy of the genres, and Heidegger and travel writing. He is also the author of The Rhetoric of the Frame: Essays on the Boundaries of the Artwork (1996) and The Academy and the Limits of Painting in Seventeenth-Century France (1997).
