Ebooks Free Download | Art and Agency: An Anthropological Theory | In Art and Agency, Alfred Gell formulates an anthropological theory of visual art that focuses on the social context of art production, circulation, and reception. As a theory of the nexus of social relations involving works of art, this work suggests that in certain contexts, art-objects substitute for persons and thus mediate social agency. Diversely illustrated and based on European, Polynesian, Melanesian, and Australian sources, Art and Agency was completed just before Gell's death at the age of fifty-one in January 1997.
It embodies the intellectual bravura, lively wit, vigor, and erudition for which he was admired, and will stand as an enduring testament to one of the most gifted anthropologists of his generatio. Reading this book modified my self-image and expanded my understanding of the image-making industry. The text is a little disjointed because it's a rough draft (the author did not live to see it edited or published), but Gell's brilliance and humor are nonetheless transmitted by the book. Hang in there. Although some conflicting portions of the text have since been pointed out by scholars, Gell's case is solid enough to serve as a springboard for a theory of "understanding" art that could be applicable globally. Who else has done that? The lowest common denominator Gell found looks pretty math-like (we put math models in space capsules because it's a "universal" language), but the book is NOT math-boring. Delightful, eclectic examples illustrate his ideas. I recommend this book for humanities students, artists, art historians and those who are searching for a connection between math and the arts.
It embodies the intellectual bravura, lively wit, vigor, and erudition for which he was admired, and will stand as an enduring testament to one of the most gifted anthropologists of his generatio. Reading this book modified my self-image and expanded my understanding of the image-making industry. The text is a little disjointed because it's a rough draft (the author did not live to see it edited or published), but Gell's brilliance and humor are nonetheless transmitted by the book. Hang in there. Although some conflicting portions of the text have since been pointed out by scholars, Gell's case is solid enough to serve as a springboard for a theory of "understanding" art that could be applicable globally. Who else has done that? The lowest common denominator Gell found looks pretty math-like (we put math models in space capsules because it's a "universal" language), but the book is NOT math-boring. Delightful, eclectic examples illustrate his ideas. I recommend this book for humanities students, artists, art historians and those who are searching for a connection between math and the arts.
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