Post-Digital Publishing Practices in Contemporary Arts Publishing
| dc.contributor.advisor | Bailey, Robert | |
| dc.contributor.author | Rogers, Kelly | |
| dc.contributor.committeeMember | Fields, Alison | |
| dc.contributor.committeeMember | Duncan-O'Neill, Erin | |
| dc.date.accessioned | 2019-12-13T21:37:39Z | |
| dc.date.available | 2019-12-13T21:37:39Z | |
| dc.date.issued | 2019-12 | |
| dc.date.manuscript | 2019-12 | |
| dc.description.abstract | A consideration of the ways in which post-digital influence impacts visual culture, and specifically arts publishing. The post-digital moment creates a unique opportunity for analog/digital crossover, which manifests in publishing practices and publications. This thesis aims to dedicate a space for discourse concerning these contemporary practices. Focusing on self-reflexive sources about arts publishing, this study analyzes the hybridization of media, pointing to mediatization as a result of our contemporary moment and its integrated digital influences. I address design and object composition of publications and artistic publishing practices using visual analysis to evaluate the tangible (or non-tangible) aspects of the publication and assess the multidisciplinary reach of arts publishing. This type of analysis supports the ideas of arts publishing as artistic practice, and allows us to develop a literary and aesthetic commentary about contemporary arts publishing and the latest developments in this field. I look at these primary sources as artistic objects and critique them also as conceptual pieces. While art objects are usually the focus of most art historians, the recent boom in arts publications and reflections on publishing practices in the arts warrants special attention and a thorough academic examination to consider how arts publishing functions alongside other, more-recognized media of the art world. Academic and communications design specialist Brad Haylock speaks to the lack of attention for this subject in DISTRIBUTED, an anthology published in 2018: “I enjoy curating exhibitions; editing a multi-authored volume gives me the same kind of buzz. Clearly, there are a great many parallels between the two types of practice, but, while the discipline of curating has received much attention in recent years, the aesthetics of editing is too rarely discussed.” Arts publishing is an important intersection of the visual and conceptual that provides a way for us to historicize the dissemination of some of the most important contemporary theory, texts, and interdisciplinary design that is foundational to our discipline. This thesis provides an expansion of the traditional art history subjects by considering the digital humanities and visual culture as fundamental to post-digital analyses of the arts. | en_US |
| dc.identifier.uri | https://hdl.handle.net/11244/323222 | |
| dc.language | en_US | en_US |
| dc.rights | Attribution-NonCommercial-NoDerivatives 4.0 International | * |
| dc.rights.uri | http://creativecommons.org/licenses/by-nc-nd/4.0/ | * |
| dc.subject | publishing | en_US |
| dc.subject | mediatization | en_US |
| dc.subject | art history | en_US |
| dc.subject | visual culture | en_US |
| dc.thesis.degree | Master of Arts in Art History | en_US |
| dc.title | Post-Digital Publishing Practices in Contemporary Arts Publishing | en_US |
| ou.group | Weitzenhoffer Family College of Fine Arts::School of Visual Arts | en_US |
| shareok.nativefileaccess | restricted | en_US |