Images at the Crossroads: Media and Meaning in Greek Art

Looking at Greek Art offers a practical guide to the methods for approaching, analyzing, and contextualizing an unfamiliar piece of Greek art. It demonstrates how objects are dated and assigned to an artist or region; how to interpret the subject matter and narrative; how to reconstruct the context for which an object was made, distributed, and used; and how we can explore broader cultural perspectives by looking at questions of identity, gender, and relationships to surrounding cultures. Each section focuses on different theoretical approaches, providing an overview of the theories, key terms, and required evidence. Case studies serve to demonstrate each process and some key issues to consider when using a given approach. This book explores a variety of media, including terracotta, metalwork, and jewelry, and includes examples of art found in major museum collections in the United States and Europe.

2022

Journal of European Periodical Studies

This article is a first attempt to analyze a number of Greek popular journals from the first half of the twentieth century in the frame of cultural, media, and historical interrelations and its logical inherences and to investigate them as both autonomous objects of study and a particular form of press, media, and reading product. Starting with an overview of the state of the art, it argues that the journals analyzed, Ελλάς [Hellas] (1907–21), Εικονογραφημένος Παρνασσός [Illustrated Parnassos] (1910–23), Εικονογραφημένη [Illustration] (1904–24), and Μπουκέτο [Bouquet] (1924–46), should be seen as examples of a new media format that introduced a new form of documentation combining the dissemination of encyclopedic knowledge with popular entertainment, innovative forms of representation, and the extensive use of images.

Journal of Art Historiography, , 2019

2010

Smith/A Companion to Greek Art, 2012

When Percy Gardner was appointed the first Lincoln and Merton Professor of Classical Archaeology at Oxford in 1887, the discipline was still largely in its infancy. His book entitled The Principles of Greek Art, written almost 100 years ago, demonstrates that classical archaeology of the day was as much about beautiful objects and matters of style as it was about excavation and data recording. Now, as then, the terms 'Greek art', 'classical art', and indeed 'classical archaeology' are somewhat interchangeable (Walter 2006: 4-7). To many ears the term 'classical' simply equals Greek-especially the visual and material cultures of 5 th and 4 th c. bc Athens. Yet it should go without saying, in this day and age, that Greek art is no longer as rigidly categorized or as superficially understood as it was in the 18 th , 19 th , and much of the 20 th c. By Gardner's own day, the picture was already starting to change. Classical archaeology, with Greek art at the helm, was coming into its own. The reverence with which all things 'classical' were once heldbe they art or architecture, poetry or philosophy-would eventually cease to exist with the same intensity in the modern 21 st c. imagination. At the same CHAPTER 1

Roy In the first half of the 20th century there emerged movements and artistic groups in Arts' Metropolis that dealt with the rapid development of science and technology: Dadaists who satirized the machine, Futurists who deified electricity and the industrial revolution, Constructivists who proposed the osmosis of art, architecture and science. In the 1950's and 1960's, skepticism and enthusiasm, the two extreme reactions to the involvement of technology in art, gave way to the inquiring spirit. The most famous artistic teams who explored the new possibilities and media offered to Art by technology and science, was the "Zero" group in Germany, "GRAV" (Groupe de Recherche d'Art Visuel) in France, and EAT (Experiments in Art and Technology) in the United States. Otto Piene, Nam June Paik, Douglas Davis, Paul Earls, Piotr Kowalski, Woody Wazulka and others are but a few of the many artists who used technological applications as their media. During the 1980s, the use of Digital Technology in Art, gained ground over the analogue one, while during the 1990's Net Art and Web Art were born. This renaissancelike convergence of cognitive fields, gave the opportunity to experimental and Interdisciplinary Art to use the landmark inventions of its time as the means for criticism and intervention: Electricity, information, technology, robotics, space technology, the web and biotechnology. The theorists who predicted that 21st century culture would be digital and its art would be net art were right. But even the ones who disagreed, naming the 21st century "the era of biotechnological civilization", were right as well. But, the path that the Greek art followed during the second half of the 20th century, was somewhat different. First of all, the interwar period"s art in Greece, has its roots in an historical, ethnological and technological basis, very different than the one of western industrial countries during the same period.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].

Art East/Central , 2021