Viking Art refers to the visual art produced by those of Scandinavian origin or descent, both at home and abroad, during the Viking Age (c.\u00a0800\u20131100). The term refers not to art in the sense of fine art or painting but to decoration, for almost all the artifacts decorated with Viking art styles also have a practical function\u2014ornamental metalwork such as jewelry being the most common because it was frequently deposited in graves to accompany the dead. We also see Viking art on stone monuments such as memorials and, much more rarely because of poorer rates of survival, on wooden furniture and ships. Almost all of these objects have been recovered through archaeology, and thus the study of Viking art and archaeology are closely interrelated. The study of Viking art is chiefly concerned with style. In their 1966 survey, David Wilson and Ole Klindt-Jensen carried out the first systematic characterization of the subject in English, identifying a series of successive art styles by way of their diagnostic motifs, regional expressions, and date range and positioning Viking art within a continuum of Germanic animal art stretching back to the Scandinavian Migration Period of the 5th century (Viking Art, cited under General Overviews). This approach is still favored by most (see especially works by David Wilson, Signe Horn Fuglesang, and James Graham-Campbell). One notable advance is that the chronology of Viking art has been refined by recent dendrochronological (tree-ring) dating (see Dendrochronological Dating of the Viking-Age Ship Burials at Oseberg, Gokstad and Tune, Norway; Tiere\u2014Menschen\u2014G\u00f6tter: Wikingerzeitliche Kunststile und ihre neuzeitliche Rezeption; Developments around the Baltic and the North Sea in the Viking Age, all cited under Dating). Significantly, scholars have also begun to interpret \u201cmeaning\u201d in Viking art\u2019s motifs, figures, and narratives (see Viking Art, cited under General Overviews, and entries under Symbolism) although overall this topic attracts surprisingly little attention. Both approaches are, however, reflected in this article, which aims to balance a subject bibliography for each major stylistic phase (Oseberg, Borre, Jellinge, Mammen, Ringerike, and Urnes) with an emphasis on message, media, and craftsmanship.<\/p>","DOI":"10.1093\/obo\/9780199920105-0074","type":"reference-entry","created":{"date-parts":[[2016,4,1]],"date-time":"2016-04-01T15:41:58Z","timestamp":1459525318000},"source":"Crossref","is-referenced-by-count":0,"title":["Viking Art"],"prefix":"10.1093","member":"286","published-online":{"date-parts":[[2016,2,25]]},"container-title":["Art History"],"original-title":["Viking Art"],"language":"en","deposited":{"date-parts":[[2022,3,22]],"date-time":"2022-03-22T13:47:14Z","timestamp":1647956834000},"score":10.565632,"resource":{"primary":{"URL":"https:\/\/oxfordbibliographies.com\/view\/document\/obo-9780199920105\/obo-9780199920105-0074.xml"}},"issued":{"date-parts":[[2016,2,25]]},"ISBN":["9780199920105"],"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/obo\/9780199920105-0074","published":{"date-parts":[[2016,2,25]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T20:38:58Z","timestamp":1726000738980},"reference-count":0,"publisher":"Oxford University Press","isbn-type":[{"type":"electronic","value":"9781884446054"}],"content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.1093\/gao\/9781884446054.013.60000104467","type":"reference-entry","created":{"date-parts":[[2021,6,15]],"date-time":"2021-06-15T14:12:48Z","timestamp":1623766368000},"source":"Crossref","is-referenced-by-count":0,"title":["Jewish art: Funerary art"],"prefix":"10.1093","author":[{"given":"Pau","family":"Figueras","sequence":"first","affiliation":[]},{"given":"Edward van","family":"Voolen","sequence":"additional","affiliation":[]}],"member":"286","published-online":{"date-parts":[[2003]]},"container-title":["Oxford Art Online"],"original-title":["Jewish art: Funerary art"],"language":"en","deposited":{"date-parts":[[2021,6,15]],"date-time":"2021-06-15T14:12:49Z","timestamp":1623766369000},"score":10.478256,"resource":{"primary":{"URL":"http:\/\/www.oxfordartonline.com\/groveart\/documentID\/oao-9781884446054-e-60000104467"}},"issued":{"date-parts":[[2003]]},"ISBN":["9781884446054"],"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gao\/9781884446054.013.60000104467","published":{"date-parts":[[2003]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T03:54:09Z","timestamp":1725940449761},"reference-count":0,"publisher":"Oxford University 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mobilier"],"language":"en","deposited":{"date-parts":[[2018,11,29]],"date-time":"2018-11-29T09:17:58Z","timestamp":1543483078000},"score":10.449272,"resource":{"primary":{"URL":"http:\/\/www.oxfordartonline.com\/groveart\/documentid\/oao-9781884446054-e-7000004437"}},"issued":{"date-parts":[[2003]]},"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gao\/9781884446054.article.t004437","published":{"date-parts":[[2003]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T03:46:51Z","timestamp":1725940011666},"reference-count":0,"publisher":"Oxford University Press","content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2003]]},"DOI":"10.1093\/gao\/9781884446054.article.t018994","type":"reference-entry","created":{"date-parts":[[2017,12,13]],"date-time":"2017-12-13T00:44:23Z","timestamp":1513125863000},"source":"Crossref","is-referenced-by-count":0,"title":["Concrete art"],"prefix":"10.1093","member":"286","container-title":["Oxford Art Online"],"original-title":["Concrete art"],"language":"en","deposited":{"date-parts":[[2018,11,29]],"date-time":"2018-11-29T09:39:41Z","timestamp":1543484381000},"score":10.435334,"resource":{"primary":{"URL":"http:\/\/www.oxfordartonline.com\/groveart\/documentid\/oao-9781884446054-e-7000018994"}},"issued":{"date-parts":[[2003]]},"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gao\/9781884446054.article.t018994","published":{"date-parts":[[2003]]}},{"indexed":{"date-parts":[[2024,5,15]],"date-time":"2024-05-15T01:28:38Z","timestamp":1715736518308},"publisher-location":"London","edition-number":"2","reference-count":0,"publisher":"Routledge","isbn-type":[{"value":"9781003431756","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2023,8,10]]},"DOI":"10.4324\/9781003431756-12","type":"book-chapter","created":{"date-parts":[[2023,8,10]],"date-time":"2023-08-10T14:52:59Z","timestamp":1691679179000},"page":"162-172","source":"Crossref","is-referenced-by-count":0,"title":["Art History, Art Criticism, and the Art Press"],"prefix":"10.4324","author":[{"given":"Jeffrey","family":"Taylor","sequence":"first","affiliation":[]}],"member":"301","container-title":["The Art Business"],"language":"en","deposited":{"date-parts":[[2023,8,10]],"date-time":"2023-08-10T14:53:30Z","timestamp":1691679210000},"score":10.432891,"resource":{"primary":{"URL":"https:\/\/www.taylorfrancis.com\/books\/9781003431756\/chapters\/10.4324\/9781003431756-12"}},"issued":{"date-parts":[[2023,8,10]]},"ISBN":["9781003431756"],"references-count":0,"URL":"https:\/\/doi.org\/10.4324\/9781003431756-12","published":{"date-parts":[[2023,8,10]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T04:02:43Z","timestamp":1725940963876},"reference-count":0,"publisher":"Oxford University Press","content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2003]]},"DOI":"10.1093\/gao\/9781884446054.article.t077516","type":"reference-entry","created":{"date-parts":[[2018,1,12]],"date-time":"2018-01-12T15:19:53Z","timestamp":1515770393000},"source":"Crossref","is-referenced-by-count":0,"title":["Semantic art"],"prefix":"10.1093","member":"286","container-title":["Oxford Art Online"],"original-title":["Semantic art"],"language":"en","deposited":{"date-parts":[[2018,11,29]],"date-time":"2018-11-29T10:31:57Z","timestamp":1543487517000},"score":10.422201,"resource":{"primary":{"URL":"http:\/\/www.oxfordartonline.com\/groveart\/documentid\/oao-9781884446054-e-7000077516"}},"issued":{"date-parts":[[2003]]},"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gao\/9781884446054.article.t077516","published":{"date-parts":[[2003]]}},{"indexed":{"date-parts":[[2025,12,11]],"date-time":"2025-12-11T05:05:28Z","timestamp":1765429528535,"version":"3.46.0"},"reference-count":0,"publisher":"Oxford University Press","isbn-type":[{"type":"electronic","value":"9781884446054"}],"content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.1093\/gao\/9781884446054.article.t069315","type":"reference-entry","created":{"date-parts":[[2018,1,12]],"date-time":"2018-01-12T10:10:01Z","timestamp":1515751801000},"source":"Crossref","is-referenced-by-count":0,"title":["Prehistoric art"],"prefix":"10.1093","member":"286","published-online":{"date-parts":[[2003]]},"container-title":["Oxford Art Online"],"original-title":["Prehistoric art"],"language":"en","deposited":{"date-parts":[[2025,12,11]],"date-time":"2025-12-11T05:00:58Z","timestamp":1765429258000},"score":10.420332,"resource":{"primary":{"URL":"https:\/\/www.oxfordartonline.com\/groveart\/documentID\/oao-9781884446054-e-7000069315"}},"issued":{"date-parts":[[2003]]},"ISBN":["9781884446054"],"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gao\/9781884446054.article.t069315","published":{"date-parts":[[2003]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:00:18Z","timestamp":1725926418501},"reference-count":0,"publisher":"Oxford University Press","content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2003]]},"DOI":"10.1093\/gao\/9781884446054.article.t082850","type":"reference-book","created":{"date-parts":[[2017,12,12]],"date-time":"2017-12-12T20:52:51Z","timestamp":1513111971000},"source":"Crossref","is-referenced-by-count":0,"title":["Systems art"],"prefix":"10.1093","member":"286","container-title":["Oxford Art Online"],"original-title":["Systems art"],"language":"en","deposited":{"date-parts":[[2017,12,12]],"date-time":"2017-12-12T20:52:51Z","timestamp":1513111971000},"score":10.419885,"resource":{"primary":{"URL":"http:\/\/www.oxfordartonline.com\/groveart\/view\/10.1093\/gao\/9781884446054.001.0001\/oao-9781884446054-e-7000082850"}},"issued":{"date-parts":[[2003]]},"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gao\/9781884446054.article.t082850","published":{"date-parts":[[2003]]}},{"indexed":{"date-parts":[[2024,5,3]],"date-time":"2024-05-03T09:56:17Z","timestamp":1714730177409},"reference-count":0,"publisher":"Oxford University Press","isbn-type":[{"value":"9780199920105","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"
\u201cInstallation art\u201d is a term applied to room-sized works of art that are large enough for the viewer to enter. While the term has been in use since the end of the 1980s, large-scale spatial works appeared sporadically in Europe beginning decades earlier and have been retroactively seen as precursors of this contemporary practice. In the 1960s and 1970s, a few scholars began to identify an increasing tendency for artists to create room-sized works of art. They variously called these works environments, art spaces, or situations and proposed art historical lineages for them, particularly the work of the Italian Futurists, El Lissitzky, and Kurt Schwitters\u2019s Merzbau. Initially the holistic ideals that led De Stijl and Russian Constructivist artists to create three-dimensional environments were cited alongside the gestures of Dada artists and Marcel Duchamp. A distinction between the latter and Modernist sources is more evident in recent scholarship. By the end of the 1990s, there were a considerable number of artists producing installation art in Europe and the United States, and the literature soon caught up, growing rapidly in the first decade of the 21st century. Initially, emphasis in the literature was on installation art\u2019s formal qualities. Encyclopedias and glossaries of art identified ephemerality and response to the properties of a physical site as its key characteristics. However, this focus shifted as installation artists increasingly began engaging with cultural and social contexts, expanding the discussion of space to include these less tangible concerns. In recent years viewer participation has emerged as a central critical issue for installation art. While an emphasis on the viewer\u2019s experience was discussed in response to some 1960s and 1970s installations, by the middle of the first decade of the 21st century, viewer participation was foregrounded as a major entry point for analyses, and recent scholarship has continued this trend. Installation art defies traditional divisions between specific mediums, which continues to earn it both support and criticism. As a medium it challenges not only critics but historians as well. Ephemeral in nature, installation art initially posed similar difficulties to the historian as performance and body art, leaving few material remains. This has changed to a degree, as installation art is no longer assumed to be uncollectible. Conservation and preservation issues have also captured significant attention in recent years. Projects involving the sharing of information by international teams of curators, conservators, and artists not only have addressed practical concerns but also have raised questions about the essence of an installation that was conceived for a given space at a particular moment in time. The debate on reinstallation is a testament to installation art\u2019s challenging nature and is an important consideration for the art historian.<\/p>","DOI":"10.1093\/obo\/9780199920105-0026","type":"reference-entry","created":{"date-parts":[[2013,6,12]],"date-time":"2013-06-12T17:08:35Z","timestamp":1371056915000},"source":"Crossref","is-referenced-by-count":0,"title":["Installation Art"],"prefix":"10.1093","author":[{"given":"Julie","family":"Reiss","sequence":"first","affiliation":[]}],"member":"286","published-online":{"date-parts":[[2014,1,30]]},"container-title":["Art History"],"original-title":["Installation Art"],"language":"en","deposited":{"date-parts":[[2021,9,23]],"date-time":"2021-09-23T19:39:38Z","timestamp":1632425978000},"score":10.412953,"resource":{"primary":{"URL":"https:\/\/oxfordbibliographies.com\/view\/document\/obo-9780199920105\/obo-9780199920105-0026.xml"}},"issued":{"date-parts":[[2014,1,30]]},"ISBN":["9780199920105"],"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/obo\/9780199920105-0026","published":{"date-parts":[[2014,1,30]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T03:55:06Z","timestamp":1725940506643},"reference-count":0,"publisher":"Oxford University Press","content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2003]]},"DOI":"10.1093\/gao\/9781884446054.article.t004298","type":"reference-entry","created":{"date-parts":[[2017,12,12]],"date-time":"2017-12-12T16:37:26Z","timestamp":1513096646000},"source":"Crossref","is-referenced-by-count":0,"title":["Art Abstrait"],"prefix":"10.1093","member":"286","container-title":["Oxford Art Online"],"original-title":["Art Abstrait"],"language":"en","deposited":{"date-parts":[[2018,11,29]],"date-time":"2018-11-29T04:17:42Z","timestamp":1543465062000},"score":10.412209,"resource":{"primary":{"URL":"http:\/\/www.oxfordartonline.com\/groveart\/documentid\/oao-9781884446054-e-7000004298"}},"issued":{"date-parts":[[2003]]},"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gao\/9781884446054.article.t004298","published":{"date-parts":[[2003]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T03:47:45Z","timestamp":1725940065816},"reference-count":0,"publisher":"Oxford University Press","content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2003]]},"DOI":"10.1093\/gao\/9781884446054.article.t018527","type":"reference-entry","created":{"date-parts":[[2017,12,12]],"date-time":"2017-12-12T22:55:43Z","timestamp":1513119343000},"source":"Crossref","is-referenced-by-count":0,"title":["Cold art"],"prefix":"10.1093","member":"286","container-title":["Oxford Art Online"],"original-title":["Cold art"],"language":"en","deposited":{"date-parts":[[2018,11,29]],"date-time":"2018-11-29T04:38:59Z","timestamp":1543466339000},"score":10.407053,"resource":{"primary":{"URL":"http:\/\/www.oxfordartonline.com\/groveart\/documentid\/oao-9781884446054-e-7000018527"}},"issued":{"date-parts":[[2003]]},"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gao\/9781884446054.article.t018527","published":{"date-parts":[[2003]]}},{"indexed":{"date-parts":[[2025,12,11]],"date-time":"2025-12-11T05:10:45Z","timestamp":1765429845787,"version":"3.46.0"},"reference-count":0,"publisher":"Oxford University Press","isbn-type":[{"value":"9781884446054","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.1093\/oao\/9781884446054.013.90000373639","type":"reference-entry","created":{"date-parts":[[2025,12,11]],"date-time":"2025-12-11T05:07:23Z","timestamp":1765429643000},"source":"Crossref","is-referenced-by-count":0,"title":["Native North American art: Tourist art"],"prefix":"10.1093","author":[{"given":"Paula A.","family":"Baxter","sequence":"first","affiliation":[]}],"member":"286","published-online":{"date-parts":[[2003]]},"container-title":["Oxford Art Online"],"original-title":["Native North American art: Tourist art"],"language":"en","deposited":{"date-parts":[[2025,12,11]],"date-time":"2025-12-11T05:07:23Z","timestamp":1765429643000},"score":10.401052,"resource":{"primary":{"URL":"https:\/\/www.oxfordartonline.com\/groveart\/documentID\/oao-9781884446054-e-90000373639"}},"issued":{"date-parts":[[2003]]},"ISBN":["9781884446054"],"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/oao\/9781884446054.013.90000373639","published":{"date-parts":[[2003]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T03:56:55Z","timestamp":1725940615788},"reference-count":0,"publisher":"Oxford University Press","content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2003]]},"DOI":"10.1093\/gao\/9781884446054.article.t079524","type":"reference-entry","created":{"date-parts":[[2018,1,12]],"date-time":"2018-01-12T10:23:10Z","timestamp":1515752590000},"source":"Crossref","is-referenced-by-count":0,"title":["Soft art"],"prefix":"10.1093","author":[{"given":"Erika","family":"Billeter","sequence":"first","affiliation":[]}],"member":"286","container-title":["Oxford Art Online"],"original-title":["Soft art"],"language":"en","deposited":{"date-parts":[[2018,11,29]],"date-time":"2018-11-29T05:33:22Z","timestamp":1543469602000},"score":10.37866,"resource":{"primary":{"URL":"http:\/\/www.oxfordartonline.com\/groveart\/documentid\/oao-9781884446054-e-7000079524"}},"issued":{"date-parts":[[2003]]},"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gao\/9781884446054.article.t079524","published":{"date-parts":[[2003]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:13:07Z","timestamp":1725927187243},"reference-count":0,"publisher":"Oxford University Press","content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2003]]},"DOI":"10.1093\/gao\/9781884446054.article.t088951","type":"reference-book","created":{"date-parts":[[2017,12,12]],"date-time":"2017-12-12T23:16:53Z","timestamp":1513120613000},"source":"Crossref","is-referenced-by-count":0,"title":["Vernacular art"],"prefix":"10.1093","author":[{"given":"James","family":"Ayres","sequence":"first","affiliation":[]}],"member":"286","container-title":["Oxford Art Online"],"original-title":["Vernacular art"],"language":"en","deposited":{"date-parts":[[2017,12,12]],"date-time":"2017-12-12T23:16:53Z","timestamp":1513120613000},"score":10.37866,"resource":{"primary":{"URL":"http:\/\/www.oxfordartonline.com\/groveart\/view\/10.1093\/gao\/9781884446054.001.0001\/oao-9781884446054-e-7000088951"}},"issued":{"date-parts":[[2003]]},"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gao\/9781884446054.article.t088951","published":{"date-parts":[[2003]]}},{"indexed":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T23:59:09Z","timestamp":1725926349906},"reference-count":0,"publisher":"Oxford University Press","content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2003]]},"DOI":"10.1093\/gao\/9781884446054.article.t056320","type":"reference-book","created":{"date-parts":[[2017,12,13]],"date-time":"2017-12-13T04:23:57Z","timestamp":1513139037000},"source":"Crossref","is-referenced-by-count":0,"title":["Mec art"],"prefix":"10.1093","member":"286","container-title":["Oxford Art Online"],"original-title":["Mec art"],"language":"en","deposited":{"date-parts":[[2017,12,13]],"date-time":"2017-12-13T04:23:57Z","timestamp":1513139037000},"score":10.376228,"resource":{"primary":{"URL":"http:\/\/www.oxfordartonline.com\/groveart\/view\/10.1093\/gao\/9781884446054.001.0001\/oao-9781884446054-e-7000056320"}},"issued":{"date-parts":[[2003]]},"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gao\/9781884446054.article.t056320","published":{"date-parts":[[2003]]}},{"indexed":{"date-parts":[[2024,5,3]],"date-time":"2024-05-03T09:57:56Z","timestamp":1714730276224},"reference-count":0,"publisher":"Oxford University Press","isbn-type":[{"value":"9780199920105","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"
The modern Western category of \u201cart,\u201d itself notoriously difficult to define, had no direct equivalent in ancient Egypt. The term is nevertheless used today as a convenient way to refer to visual material with perceived aesthetic content surviving from ancient Egypt. In the past, use of the term \u201cart\u201d sometimes proved problematic, since it led scholars to distinguish in the Egyptian material between art and craft, and between artists and craftsmen, according to Western categorization, a division that does not appear to have been similarly meaningful for ancient Egypt. Egyptian art was a product of high culture pertaining to the king, his officials, and their families, who together formed no more than 5 percent of the population. For men, literacy was the key to membership of this elite group. Women, who were mostly illiterate, gained membership through their family connections. Although some types of art, especially monumental architecture visible in the landscape, would have been familiar to the non-elite, most would have been inaccessible and probably irrelevant to them. There is little evidence of surviving art made by and for the general population, although there could have been traditions of art making in perishable materials, such as unbaked mud, that have disappeared from the record. Ancient Egyptian civilization lasted for more than three thousand years from the original unification of the state around 3000 bce until the conversion of Egypt to Christianity in the 3rd to 4th centuries ce. It is impossible in this article to provide a detailed and in-depth overview of the scholarship pertaining to the art of more than three millennia from the inception of Egyptology as an academic discipline in the 19th century until the present. This article, therefore, concentrates in the main on the research published in approximately the last thirty years. Bibliography found in these publications can be used to access earlier scholarship. It is also impossible to include publications of individual monuments, for the most part temples and tombs, but references to these will be found in many of the cited works. The article will be divided into five major themes: general overviews relating to culture and society, religion, and kingship; art and visual culture; methodological and theoretical approaches; major categories of art and architecture; and historical periods.<\/p>","DOI":"10.1093\/obo\/9780199920105-0142","type":"reference-entry","created":{"date-parts":[[2021,10,25]],"date-time":"2021-10-25T14:16:22Z","timestamp":1635171382000},"source":"Crossref","is-referenced-by-count":0,"title":["Ancient Egyptian Art"],"prefix":"10.1093","member":"286","published-online":{"date-parts":[[2020,1,15]]},"container-title":["Art History"],"original-title":["Ancient Egyptian Art"],"language":"en","deposited":{"date-parts":[[2021,10,25]],"date-time":"2021-10-25T14:16:23Z","timestamp":1635171383000},"score":10.373405,"resource":{"primary":{"URL":"https:\/\/oxfordbibliographies.com\/view\/document\/obo-9780199920105\/obo-9780199920105-0142.xml"}},"issued":{"date-parts":[[2020,1,15]]},"ISBN":["9780199920105"],"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/obo\/9780199920105-0142","published":{"date-parts":[[2020,1,15]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T03:48:34Z","timestamp":1725940114634},"reference-count":0,"publisher":"Oxford University Press","content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2003]]},"DOI":"10.1093\/gao\/9781884446054.article.t004408","type":"reference-entry","created":{"date-parts":[[2017,12,12]],"date-time":"2017-12-12T22:56:07Z","timestamp":1513119367000},"source":"Crossref","is-referenced-by-count":0,"title":["Art informel"],"prefix":"10.1093","author":[{"given":"Philip","family":"Cooper","sequence":"first","affiliation":[]}],"member":"286","container-title":["Oxford Art Online"],"original-title":["Art informel"],"language":"en","deposited":{"date-parts":[[2018,11,29]],"date-time":"2018-11-29T09:17:55Z","timestamp":1543483075000},"score":10.365014,"resource":{"primary":{"URL":"http:\/\/www.oxfordartonline.com\/groveart\/documentid\/oao-9781884446054-e-7000004408"}},"issued":{"date-parts":[[2003]]},"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gao\/9781884446054.article.t004408","published":{"date-parts":[[2003]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T03:50:53Z","timestamp":1725940253566},"reference-count":0,"publisher":"Oxford University Press","content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2003]]},"DOI":"10.1093\/gao\/9781884446054.article.t018962","type":"reference-entry","created":{"date-parts":[[2017,12,13]],"date-time":"2017-12-13T05:42:42Z","timestamp":1513143762000},"source":"Crossref","is-referenced-by-count":1,"title":["Conceptual art"],"prefix":"10.1093","author":[{"given":"David","family":"Craven","sequence":"first","affiliation":[]}],"member":"286","container-title":["Oxford Art Online"],"original-title":["Conceptual art"],"language":"en","deposited":{"date-parts":[[2018,11,29]],"date-time":"2018-11-29T09:39:38Z","timestamp":1543484378000},"score":10.365014,"resource":{"primary":{"URL":"http:\/\/www.oxfordartonline.com\/groveart\/documentid\/oao-9781884446054-e-7000018962"}},"issued":{"date-parts":[[2003]]},"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/gao\/9781884446054.article.t018962","published":{"date-parts":[[2003]]}},{"indexed":{"date-parts":[[2024,5,15]],"date-time":"2024-05-15T01:28:39Z","timestamp":1715736519352},"publisher-location":"London","edition-number":"2","reference-count":0,"publisher":"Routledge","isbn-type":[{"value":"9781003431756","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2023,8,10]]},"DOI":"10.4324\/9781003431756-21","type":"book-chapter","created":{"date-parts":[[2023,8,10]],"date-time":"2023-08-10T14:52:59Z","timestamp":1691679179000},"page":"271-284","source":"Crossref","is-referenced-by-count":0,"title":["Art Advising, Art Finance, NFTs"],"prefix":"10.4324","author":[{"given":"Jeffrey","family":"Taylor","sequence":"first","affiliation":[]}],"member":"301","container-title":["The Art Business"],"language":"en","deposited":{"date-parts":[[2023,8,10]],"date-time":"2023-08-10T14:53:50Z","timestamp":1691679230000},"score":10.364594,"resource":{"primary":{"URL":"https:\/\/www.taylorfrancis.com\/books\/9781003431756\/chapters\/10.4324\/9781003431756-21"}},"issued":{"date-parts":[[2023,8,10]]},"ISBN":["9781003431756"],"references-count":0,"URL":"https:\/\/doi.org\/10.4324\/9781003431756-21","published":{"date-parts":[[2023,8,10]]}},{"indexed":{"date-parts":[[2024,5,3]],"date-time":"2024-05-03T09:56:54Z","timestamp":1714730214848},"reference-count":0,"publisher":"Oxford University Press","isbn-type":[{"value":"9780199920105","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"
While the dialogue between art and science has developed quite steadily since the post\u2013Second World War period, scholarship on this theme and museum support for interdisciplinary inquiries has followed a highly discontinuous trajectory. At the beginning of the Cold War, fears over the potentially devastating impact of technology gave rise to a significant body of literature that criticized the growing rift between humanities and sciences. The popularization of theories of relativity, quantum mechanics, and cybernetics in the 1960s, along with the growing access to new technological devices, spurred artists\u2019 interest in the design of objects, performances, and environments that enhanced viewers\u2019 awareness of their perceptual and behavioral responses or exposed them to complex information systems. Such works were often characterized by variability and unpredictability, requiring viewers to complete the work through their engagement or to observe its dependence on biological, sociopolitical, and technological conditions that were not under the artists\u2019 complete control. Preoccupied primarily by the aesthetic qualities of these art practices and doubtful about their ability to provide a social critique of technology, many art critics faced significant challenges as they tried to develop new criteria for assessing their value. Scholarship on art and science flourished primarily between the mid-1960s and the mid-1970s when new platforms of collaboration among artists, scientists, and engineers were established, and museums organized exhibitions that promoted the production of technology-based projects. Critical interest in art and science declined sharply in the second half of the 1970s under the impact of growing skepticism over the aesthetic qualities of such works and their capacity to raise critical questions about the relationships among science, technology, and society. Between the 1970s and the mid-1990s, scholarship on artistic inquiries into science and technology was featured primarily in new media symposia, festivals, and journals. Advances in genetic sequencing, bioengineering, and neurosciences have catalyzed a renewed artistic and scholarly interest in interdisciplinary methods of inquiry since the turn of the century. Recent scholarship focuses on (i) analogies between the studio\/the museum and the laboratory; (ii) the ethical implications of scientific and artistic research; (iii) the technological mediation of sensorial experience and cognitive processes; (iv) the public display of knowledge production; and (v) the visual mapping and emergent behavior of complex networks. It is generally believed that artists can offer a critical angle on scientific methodologies and theories by examining the less evident repercussions of their applications and by bringing their sociopolitical implications into public debate. There is also an increased sense that artists developing projects at the intersection of art, science, and technology are not only creating representations of existing scientific knowledge, but are also leading new inquiries into the interdependence of biological, economic, social, and technological systems. More and more artists and art theorists emphasize the need for reciprocal exchanges between art and science. The caveat of this article is that it covers only scholarly literature available in English. It aims to provide a historical perspective upon debates regarding convergent trajectories between art and science since the 1960s. While some overlaps with the history of new media art are inevitable given the relevance of cybernetic theories and experimentation for both areas of study, the focus of this bibliography is on artists\u2019 use of scientific concepts, methods, and interdisciplinary approaches to art and knowledge production rather than on their reliance on new technology for acts of creative expression in general. Each bibliographic section reveals fluctuations in perspective on contemporary art and science by combining texts from different decades. Whenever possible, the sections include sources written by a broad range of agents that mediate the dialogue between art and science, including artists, art historians, curators, philosophers, scientists, and theorists.<\/p>","DOI":"10.1093\/obo\/9780199920105-0081","type":"reference-entry","created":{"date-parts":[[2016,5,31]],"date-time":"2016-05-31T07:27:13Z","timestamp":1464679633000},"source":"Crossref","is-referenced-by-count":0,"title":["Science and Contemporary Art"],"prefix":"10.1093","member":"286","published-online":{"date-parts":[[2016,5,26]]},"container-title":["Art History"],"original-title":["Science and Contemporary Art"],"language":"en","deposited":{"date-parts":[[2022,7,25]],"date-time":"2022-07-25T14:37:29Z","timestamp":1658759849000},"score":10.340712,"resource":{"primary":{"URL":"https:\/\/oxfordbibliographies.com\/view\/document\/obo-9780199920105\/obo-9780199920105-0081.xml"}},"issued":{"date-parts":[[2016,5,26]]},"ISBN":["9780199920105"],"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/obo\/9780199920105-0081","published":{"date-parts":[[2016,5,26]]}}],"items-per-page":20,"query":{"start-index":0,"search-terms":"Art"}}}