Roger Benjamin
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Lavishly illustrated with exotic images ranging from Renoir's forgotten Algerian oeuvre to the abstract vision of Matisse's Morocco and beyond, this book is the first history of Orientalist art during the period of high modernism. Roger Benjamin, drawing on a decade of research in untapped archives, introduces many unfamiliar paintings, posters, miniatures, and panoramas and discovers an art movement closely bound to French colonial expansion.
Orientalist Aesthetics approaches the visual culture of exoticism by ranging across the decorative arts, colonial museums, traveling scholarships, and art criticism in the Salons of Paris and Algiers.
Benjamin's rediscovery of the important Society of French Orientalist Painters provides a critical context for understanding a lush body of work, including that of indigenous Algerian artists never before discussed in English.
The painter-critic Eugène Fromentin tackled the unfamiliar atmospheric conditions of the desert, Etienne Dinet sought a more truthful mode of ethnographic painting by converting to Islam, and Mohammed Racim melded the Persian miniature with Western perspective. Benjamin considers armchair Orientalists concocting dreams from studio bric-à-brac, naturalists who spent years living in the oases of the Sahara, and Fauve and Cubist travelers who transposed the discoveries of the Parisian Salons to create decors of indigenous figures and tropical plants. The network that linked these artists with writers and museum curators was influenced by a complex web of tourism, rapid travel across the Mediterranean, and the march of modernity into a colonized culture.
Orientalist Aesthetics shows how colonial policy affected aesthetics, how Europeans visualized cultural difference, and how indigenous artists in turn manipulated Western visual languages.
(Excerpt from amazon.com)
Moral Ground brings together the testimony of over 80 visionaries — theologians and religious leaders, scientists, elected officials, business leaders, naturists, activists, and writers — to present a diverse and compelling call to honor our individual and collective moral responsibilities to our planet. In the face of environmental degradation and global climate change, scientific knowledge alone does not tell us what we ought to do. The missing premise of the argument and much-needed centerpiece in the debate to date has been the need for ethical values, moral guidance, and principled reasons for doing the right thing for our planet, its animals, its plants, and its people. This book encourages a newly discovered, or rediscovered, commitment to consensus about our ethical obligation to the future and why it’s wrong to wreck the world.
本書從政治、文化和生活的角度對全球化問題作了深刻的分析，生動地論述了不斷增長的全球依賴性是如何影響我們的日常生活，如何影響我們當中的每一個人的。全書共五章。
本書是作者一九八五年五月在其母校浙江美術學院講學時的筆錄，其中包括作者與美術學院師生的交流以及作者對美院師生作品的美術批評。
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