“ Knock, And He'll open the door. Vanish, And He'll make you shine like the sun. Fall, And He'll raise you to the heavens. Become nothing, And He'll turn you into everything. ” ― Rumi
An international best-seller, Artemisia is based on the passionate story of one of the Western world's first significant female artists. Born to the artist Orazio Gentileschi at the beginning of the 1600s, when artists were the celebrities of the day, Art
How and why did experience and knowledge become separated? Is it possible to talk of an infancy of experience, a “dumb” experience? For Walter Benjamin, the “poverty of experience” was a characteristic of modernity, originating in the catastrophe
Lauded by major contemporary artists and philosophers, Jacques Rancière’s work returns politics to its central place in understanding art. In The Future of the Image, Jacques Rancière develops a fascinating new concept of the image in contemporary art
The Politics of Aesthetics rethinks the relationship between art and politics, reclaiming "aesthetics" from the narrow confines it is often reduced to. Jacques Rancière reveals its intrinsic link to politics by analysing what they both have in common:
Jacques Ranciere was a student of Althusser before he famously turned against his mentor; now, he’s regarded as one of the major thinkers of our age. In his new book, he examines how the West can no longer simply extol the virtues of democracy by contra
This extraordinary book can be read on several levels. Primarily, it is the story of Joseph Jacotot, an exiles French schoolteacher who discovered in 1818 an unconventional teaching method that spread panic throughout the learned community of Europe.Knowi
Aisthesis is Jacques Ranciere's long-awaited, definitive statement on aesthetics, art and modernity. The book comprises a string of dramatic and evocative locales, each embodying specific artistic tendencies and together spanning the modern era--from Dres
The theorists of art and film commonly depict the modern audience as aesthetically and politically passive. In response, both artists and thinkers have sought to transform the spectator into an active agent and the spectacle into a communal performance.In
Only yesterday aesthetics stood accused of concealing cultural games of social distinction. Now it is considered a parasitic discourse from which artistic practices must be freed.But aesthetics is not a discourse. It is an historical regime of the identif
