Believing Is Seeing Mary Anne Staniszewski Pdf 17
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How Mary Anne Staniszewski Challenges Our Perception of Art
In her book Believing Is Seeing: Creating the Culture of Art, Mary Anne Staniszewski explores the question of what makes something art and how art is shaped by cultural and historical contexts. Staniszewski, who studies culture and art in relation to political and social notions, argues that art is not a fixed or universal category, but rather a product of human perception and interpretation. She examines various examples of art from different periods and places, such as the paleolithic Venus of Willendorf, Michelangelo's Sistine Chapel frescoes, Marcel Duchamp's ready-made urinal, Cindy Sherman's photographs, and Spike Lee's films, and shows how they challenge our assumptions and expectations about art. She also analyzes the role of institutions, such as museums, galleries, academies, and critics, in creating and validating the culture of art.
Staniszewski's book is a provocative and insightful work that invites us to rethink our relationship with art and to question the authority and criteria that define it. She demonstrates that believing is seeing, meaning that our beliefs shape our vision and understanding of art. By exposing the cultural and historical factors that influence our perception of art, she encourages us to be more aware and critical of our own assumptions and preferences. She also suggests that art can be a powerful tool for social change and political expression, as it can challenge dominant ideologies and offer alternative perspectives. Believing Is Seeing: Creating the Culture of Art is a must-read for anyone interested in art history, theory, criticism, or practice.
The book was published by Penguin Publishing Group in 1995 and has 308 pages. It is available in PDF format online at https://archive.org/details/believingisseein00stan. The book has received positive reviews from readers and critics alike, who praise Staniszewski's originality, intelligence, and clarity.[^1^] [^2^]
In the first chapter of the book, Staniszewski introduces the concept of the masterpiece and traces its origin and evolution. She argues that the masterpiece is not an inherent quality of a work of art, but rather a social construct that depends on the recognition and approval of a certain group of people. She shows how the notion of the masterpiece emerged in the Renaissance, when artists began to compete for fame and patronage, and how it was influenced by the development of art criticism, the rise of the art market, and the formation of museums. She also examines how the masterpiece has been challenged and redefined by modern and contemporary artists, such as Picasso, Duchamp, Warhol, and Sherman, who questioned the authority and criteria of artistic judgment.
In the second chapter, Staniszewski discusses the term art and its various meanings and implications. She explains that art is not a natural or universal category, but rather a historical and cultural invention that reflects the values and interests of a specific society. She traces the origin and evolution of the term art from ancient Greece to modern times, and shows how it has been used to distinguish between different forms of human expression and activity. She also analyzes how the term art has been contested and expanded by various groups and movements, such as feminism, multiculturalism, postmodernism, and postcolonialism, who challenged the exclusion and marginalization of certain forms of art.
In the third chapter, Staniszewski explores the theory of art and its role in shaping our perception and understanding of art. She argues that theory is not a neutral or objective explanation of art, but rather a subjective and ideological interpretation that reflects the interests and agendas of its creators. She examines various theories of art from different periods and places, such as Plato's idealism, Kant's aesthetics, Hegel's historicism, Greenberg's formalism, Danto's end of art, and Bourdieu's sociolo