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Author:   Paul Duro (University of Rochester, New York, USA)
Publisher:   John Wiley and Sons Ltd
Imprint:   Wiley-Blackwell
Dimensions:   Width: 21.20cm , Height: 1.50cm , Length: 27.70cm
Weight:   0.839kg
ISBN:  

9781119004035

ISBN 10:   1119004039
Pages:   240
Publication Date:   25 December 2015
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Paperback
Publisher's Status:   Active
Availability:   Out of stock  
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Table of Contents

6 Notes on Contributors 8 Chapter 1 Why Imitation, and Why Global? Paul Duro 30 Chapter 2 Post-Western Poetics: Postmodern Appropriation Art in Australia Ian McLean 50 Chapter 3 Essentially the Same: Eduardo Costa’s Minimal Differences and Latin American Conceptualism Patrick Greaney 68 Chapter 4 Like Father, Like Son: Bernini’s Filial Imitation of Michelangelo Carolina Mangone 90 Chapter 5 Navajo Sandpainting in the Age of Cross-Cultural Replication Janet Catherine Berlo 110 Chapter 6 Copying and Theory in Edo-Period Japan (1615-1868) Kazuko Kameda-Madar 130 Chapter 7 Original Imitations for Sale: Dafen and Artistic Commodification Vivian Li 146 Chapter 8 The Temporal Logic of Citation in Chinese Painting Martin J. Powers 166 Chapter 9 Ingemination Richard Shiff 186 Chapter 10 The Image Valued ‘As Found’ and the Reconfiguring of Mimesis in Post-War Art Alex Potts 208 Chapter 11 History Lessons: Imitation, Work and the Temporality of Contemporary Art Jonathan Bordo 229 Index

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Author Information

Paul Duro is Professor of Art History and Visual and Cultural Studies at the University of Rochester, NY. He has published articles on the theory and practice of imitation, the sublime, art institutions, frame theory, the hierarchy of the genres, and Heidegger and travel writing. He is also the author of The Rhetoric of the Frame: Essays on the Boundaries of the Artwork (1996) and The Academy and the Limits of Painting in Seventeenth-Century France (1997).

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