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The art world is bound to the economy, writes Julian Stallabrass, "as tightly as Ahab to the white whale." In Art Incorporated, Stallabrass offers a provocative look at contemporary art and the dramatic changes that have taken place in the last twenty years, illuminating the connections between money, politics, and art. Stallabrass notes that the spectacular crash of 1989 profoundly changed the character of contemporary art, shattering the art-world's self-importance and producing a reaction against art that engaged with theory and politics, in favor of art that set out to awe, entertain, and be sold. He describes the growth of biennials and other art events across the globe in the 1990s, the construction of new museums of contemporary art, and the expansion of many museums already in existence. These activities, Stallabrass writes, have become steadily more commercial, as museums establish alliances with corporations, bring their products closer to commercial culture, and move from modeling themselves on libraries to becoming more like theme parks. In connection with this, he offers an insightful look at installation art, which is often seen as an art that firmly resists buying and selling, pointing out that installations appeal to museums precisely because a work of art that can only be seen on a particular site ensures that viewers have to go there. Shedding light on everything from the greatly increased visibility for women artists, to the intense competition between art and television, to the conservative backlash against notorious works, Art Incorporated provides a frank and penetrating view of the contemporary art world.
England and the Italian Renaissance was first published in 1954 and pioneered a new approach to comparative cultural history. It was Sir John Hale’s first major book and provided the foundation for his distinguished career as a historian of Italian history, art and culture. Since England and the Italian Renaissance is based on an analysis of primary materials and focuses on perennial themes, it endures as an important contribution to historical scholarship. The clear, chronological narrative is beautifully written and illuminates both British and Italian cultural history. This fourth edition includes a new introduction by Edward Chaney who is an expert on Anglo-Italian cultural relations, the Grand Tour and the history of collecting. As well as providing an introduction to the writings of John Hale and this book in particular, Professor Chaney surveys the scholarship of the past 50 years and supplies the reader with an up-to-date bibliography. This revision will enable a new generation of readers to enjoy Hale’s classic history.
