History of art Books

Book Synopsis* A comprehensive anthology offering a new approach to the visual arts classified as Early Christian-Byzantine. * Comprised of essays from experts in the field that integrate the newer, historiographical research into 'the canon' of established scholarship.Trade Review"This volume brings together with much intelligence key essays from across the fields of Ancient, Late Antique, Early Christian, Byzantine, Medieval, and Islamic art and architecture." (David Roxburgh, Harvard University) "This is a very useful volume of important papers by scholars working on all the different cultures that surrounded the Mediterranean from Late Antiquity on, and juxtaposes them to shed light on their complex interactions and interdependence." (Tony Eastmond, University of Courtauld)Table of ContentsList of Contributors. List of Illustrations. Series Editor’s Preface. Editor’s Acknowledgments. Acknowledgments to Sources. Introduction: Remapping the Art of the Mediterranean. Part I: Late Antiquity: Converging Cultures, Competing Traditions. Pagan, Jewish, Christian, and Sasanian Art. 1. The Changing Nature of Roman Art and the Art-Historical Problem of Style: Jás Elsner. 2. Good and Bad Images from the Synagogue of Dura Europos: Contexts, Subtexts, Intertexts: Annabel Jane Wharton. 3. Exotic Taste: The Lure of Sasanian Persia: Anna Gonosová. 4. Dionysiac Motifs: Richard Ettinghausen. Part II: Continuities: Tradition and Formation of Cultural Identities. 5. The Good Life: Henry Maguire. 6. Hellenism and Islam: G. W. Bowersock. 7. The Draped Universe of Islam: Lisa Golombek. Part III: Image and Word: Early Medieval, Byzantine, and Islamic Art. 8. The Beginnings of Biblical Illustration: John Lowden. 9 Sacred Image, Sacred Power: Gary Vikan. 10. The Umayyad Dome of the Rock in Jerusalem: Oleg Grabar. 11. The Image of the Word: Notes on the Religious Iconography of Islam: Erica. Cruikshank Dodd. 12. Islam, Iconoclasm, and the Declaration of Doctrine: G. R. D. King. Part IV: Local Syncretistic Traditions: Jews, Muslims, and Christians. 13. Hebrew Book Illumination in the Fatimid Era: Rachel Milstein. 14. An Icon at Mt. Sinai and Christian Painting in Muslim Egypt during the Thirteenth and Fourteenth Centuries: Robert S. Nelson. Part V: Luxury Arts and the Representation of the Court. 15. The Cup of San Marco and the “Classical” in Byzantium: Ioli Kalavrezou. 16. Images of the Court: Henry Maguire. 17. But Is It Art?: Robin Cormack. Part VI: Expanding Boundaries: Spain, Sicily, Venice, and Beyond. 18. Pathways of Portability: Islamic and Christian Interchange from the Tenth to the Twelfth Century: Eva R. Hoffman. 19. Islam, Christianity, and the Problem of Religious Art: Jerrilyn D. Dodds. 20. The Medieval Object-Enigma, and the Problem of the Cappella Palatina in Palermo: William Tronzo. 21. Venice and Islam in the Middle Ages: Some Observations on the Question of Architectural Influence: Deborah Howard. Index

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Book SynopsisAsian Art is the first comprehensive anthology of important primary documents and key contemporary scholarship on Asian art history.Trade Review“Asian Art is a rich and very useful sourcebook that combines the voices of original authors and primary texts with some of the most interesting contemporary art historical studies.” Richard Vinograd, Stanford University “The choice of material in this anthology demonstrates why anyone interested in visual culture should carefully consider art produced in Asia. It wisely covers not just well-known traditions but also contemporary art practice.” Janice Leoshko, University of Texas at AustinTable of ContentsAcknowledgments. Series Editor’s Preface. Part I. Introduction. Part II. South and Southeast Asia. Selected Periods and Dates. 1. “Ashokan Edicts,” from Sources of Indian Tradition, Vol. 1: Ainslie T. Embree, editor. 2. Selections from Stories of the Buddha and The Jataka: Caroline A. F. Rhys Davids and W.H.D. Rouse, translators. 3. “The Country of Khotan and the Image Procession” and “The Image Procession,” from A Record of the Buddhist Countries: Fa-Hsien [Faxian]. 4. "Varaha, the Boar," "Brahma, Vishnu and the Linga of Siva; Mt. Govardhana," "The Origin of the Goddess from the Gods," and "The Death of Mahisha, the Buffalo Demon" from Classical Hindu Mythology: A Reader in the Sanskrit Puranas: Cornelia Dimmitt and J.A.B. van Buitenen, editors and translators. 5. Playful Ambiguity and Political Authority at the Large Relief at Mamallapuram. Padma Kaimal. 6. Excerpts from Borobudur: Louis Frederic. 7. "Reading Love Imagery on the Indian Temple" from Love in Asian Art and Culture: Vidya Dehejia. 8. Excerpts from Angkor Wat: Time, Space, and Kingship. Eleanor Mannikka. 9. "Akbar riding the elephant Havai " and "Akbar supervising the construction of Fatehpur Sikri" from The Akbar Nama of Abul Fazl: Henry Beveridge, translator. 10. Excerpts from The Jahangirnama: Memoirs of Jahangir, Emperor of India. Wheeler M. Thackston, translator and editor. 11. Orthodoxy, Innovation, and Revival: Considerations of the Past in Imperial Mughal Tomb Architecture: Michael Brand. 12. "Timeless Symbols: Royal Portraits from Rajasthan 17th-19th Centuries" from The Idea of Rajasthan: Vishakha Desai. 13. "Indian Images Collected" from Lives of Indian Images: Richard Davis. 14. "Image as Presence," from From the Sacred Realm: Treasures of Tibetan Art from the Newark Museum: Janet Gyatso. 15. Excerpts from Making Merit, Making Art: A Thai Temple in Wimbledon: Sandra Cate. 16. "The Artist as Charismatic Individual: Raja Ravi Varma" from Art and Nationalism in Colonial India, 1850-1922: Partha Mitter. 17. "The “East-West” Opposition in Chandigarh’s Le Corbusier" from Chandigarh's Le Corbusier: The Struggle for Modernity in Postcolonial India: Vikramaditya Prakash. 18. "Skyscraper Competition in Asia: New City Images and New City Forms" from Imaging the City: Larry R. Ford. Part III. East Asia. Selected Periods and Dates. 19. "The Nine Tripods and Traditional Chinese Concepts of Monumentality" from Monumentality in Early Chinese Art and Architecture: Wu Hung. 20. Shang and Zhou Bronze inscriptions, translated by Wu Hung and Deborah Sommer. 21. "A Magic Army for the Emperor" from Ten Thousand Things: Lothar Ledderose. 22. “The Tigress,” from Once the Buddha Was A Monkey: Arya Sura's Jatakamala. Arya Shura. 23. “The Six Laws of Xie He,” from Some T’ang and Pre-T’ang Texts on Chinese Painting: William Reynolds Beal Acker, translator and editor. 24. "The Taming of the Shrew: Wang Hsi-chih ([Wang Xizhi], 303-361) and Calligraphic Gentrification in the Seventh Century" from Character and Context in Chinese Calligraphy: Eugene Y. Wang. 25. “Ise Jingu,” from Architecture and Authority in Japan: William H. Coaldrake. 26. Proclamation of the Emperor Shomu on the Erection of the Great Buddha Image, from Sources of Japanese Tradition, Vol. 1. 27. “Of Nature and Art: Monumental Landscape,” from Beyond Representation: Chinese Painting and Calligraphy 8th-14th Century: Wen C. Fong. 28. Guo Xi's writings on landscape painting. Susan Bush and Hsio-Yen, Shih, translators and editors. 29. Jocho’s statue of Amida at the Byodo-in and cultural legitimization in late Heian Japan: Samuel C. Morse. 30. “The Oak Tree,” from The Tale of Genji: Murasaki Shikibu. 31. The Unity of the Three Creeds: A Theme in Japanese Ink Painting of the Fifteenth Century: John M. Rosenfield. 32. "Symbolic Virtue and Political Legitimation: Tea and Politics in the Momoyama Period" from The Politics of Reclusion: Kendall H. Brown. 33. “Practices of Vision,” from Pictures and Visuality in Early Modern China. Craig Clunas. 34. Excerpts from Chinese Imperial City Planning: Nancy Shatzman Steinhardt. 35. Letters from European travelers about the Forbidden City: “A Jesuit in Beijing: Louis Lecomte” and “An English ambassador in Beijing: Aeneas Anderson”. 36. “The Conventional Success of Ch’en Shu,” from Flowering in the Shadows: Women in the History of Chinese and Japanese Painting: Marsha Weidner. 37. “Artistic Tradition and the Depiction of Reality: True-View Landscape Painting of the Chosen Dynasty,” from Arts of Korea: Yi Song-mi. 38. The Meaning of Western Perspective in Edo Popular Culture: Timon Screech. 39. “The Kizaemon Tea-bowl,” from The Unknown Craftsman: Soetsu Yanagi. 40. Excerpts from Quotations from Chairman Mao Tse-tung. Mao Tse-tung. 41. Icons of Power: Mao Zedong and the Cultural Revolution from Picturing Power in the People's Republic of China: Robert Benewick. 42. "Morphology of Revenge: The Yomiuri Indépendant Artists and Social Protest Tendencies in the 1960s" from Japanese Art after 1945: Scream Against the Sky. Alexandra Munroe. 43. Pseudo-languages: A Conversation with Wenda Gu, Xu Bing, and Jonathan Hay: Simon Leung. 44. "Believing is Seeing: Transforming Orientalism and the Occidental Gaze" from Asia/America: Identities in Contemporary Asian American Art: John Kuo Wei Tchen. Index

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Book SynopsisAsian Art is the first comprehensive anthology of important primary documents and key contemporary scholarship on Asian art history.Trade Review“Asian Art is a rich and very useful sourcebook that combines the voices of original authors and primary texts with some of the most interesting contemporary art historical studies.” Richard Vinograd, Stanford University “The choice of material in this anthology demonstrates why anyone interested in visual culture should carefully consider art produced in Asia. It wisely covers not just well-known traditions but also contemporary art practice.” Janice Leoshko, University of Texas at AustinTable of ContentsAcknowledgments. Series Editor’s Preface. Part I. Introduction. Part II. South and Southeast Asia. Selected Periods and Dates. 1. “Ashokan Edicts,” from Sources of Indian Tradition, Vol. 1: Ainslie T. Embree, editor. 2. Selections from Stories of the Buddha and The Jataka: Caroline A. F. Rhys Davids and W.H.D. Rouse, translators. 3. “The Country of Khotan and the Image Procession” and “The Image Procession,” from A Record of the Buddhist Countries: Fa-Hsien [Faxian]. 4. "Varaha, the Boar," "Brahma, Vishnu and the Linga of Siva; Mt. Govardhana," "The Origin of the Goddess from the Gods," and "The Death of Mahisha, the Buffalo Demon" from Classical Hindu Mythology: A Reader in the Sanskrit Puranas: Cornelia Dimmitt and J.A.B. van Buitenen, editors and translators. 5. Playful Ambiguity and Political Authority at the Large Relief at Mamallapuram. Padma Kaimal. 6. Excerpts from Borobudur: Louis Frederic. 7. "Reading Love Imagery on the Indian Temple" from Love in Asian Art and Culture: Vidya Dehejia. 8. Excerpts from Angkor Wat: Time, Space, and Kingship. Eleanor Mannikka. 9. "Akbar riding the elephant Havai " and "Akbar supervising the construction of Fatehpur Sikri" from The Akbar Nama of Abul Fazl: Henry Beveridge, translator. 10. Excerpts from The Jahangirnama: Memoirs of Jahangir, Emperor of India. Wheeler M. Thackston, translator and editor. 11. Orthodoxy, Innovation, and Revival: Considerations of the Past in Imperial Mughal Tomb Architecture: Michael Brand. 12. "Timeless Symbols: Royal Portraits from Rajasthan 17th-19th Centuries" from The Idea of Rajasthan: Vishakha Desai. 13. "Indian Images Collected" from Lives of Indian Images: Richard Davis. 14. "Image as Presence," from From the Sacred Realm: Treasures of Tibetan Art from the Newark Museum: Janet Gyatso. 15. Excerpts from Making Merit, Making Art: A Thai Temple in Wimbledon: Sandra Cate. 16. "The Artist as Charismatic Individual: Raja Ravi Varma" from Art and Nationalism in Colonial India, 1850-1922: Partha Mitter. 17. "The “East-West” Opposition in Chandigarh’s Le Corbusier" from Chandigarh's Le Corbusier: The Struggle for Modernity in Postcolonial India: Vikramaditya Prakash. 18. "Skyscraper Competition in Asia: New City Images and New City Forms" from Imaging the City: Larry R. Ford. Part III. East Asia. Selected Periods and Dates. 19. "The Nine Tripods and Traditional Chinese Concepts of Monumentality" from Monumentality in Early Chinese Art and Architecture: Wu Hung. 20. Shang and Zhou Bronze inscriptions, translated by Wu Hung and Deborah Sommer. 21. "A Magic Army for the Emperor" from Ten Thousand Things: Lothar Ledderose. 22. “The Tigress,” from Once the Buddha Was A Monkey: Arya Sura's Jatakamala. Arya Shura. 23. “The Six Laws of Xie He,” from Some T’ang and Pre-T’ang Texts on Chinese Painting: William Reynolds Beal Acker, translator and editor. 24. "The Taming of the Shrew: Wang Hsi-chih ([Wang Xizhi], 303-361) and Calligraphic Gentrification in the Seventh Century" from Character and Context in Chinese Calligraphy: Eugene Y. Wang. 25. “Ise Jingu,” from Architecture and Authority in Japan: William H. Coaldrake. 26. Proclamation of the Emperor Shomu on the Erection of the Great Buddha Image, from Sources of Japanese Tradition, Vol. 1. 27. “Of Nature and Art: Monumental Landscape,” from Beyond Representation: Chinese Painting and Calligraphy 8th-14th Century: Wen C. Fong. 28. Guo Xi's writings on landscape painting. Susan Bush and Hsio-Yen, Shih, translators and editors. 29. Jocho’s statue of Amida at the Byodo-in and cultural legitimization in late Heian Japan: Samuel C. Morse. 30. “The Oak Tree,” from The Tale of Genji: Murasaki Shikibu. 31. The Unity of the Three Creeds: A Theme in Japanese Ink Painting of the Fifteenth Century: John M. Rosenfield. 32. "Symbolic Virtue and Political Legitimation: Tea and Politics in the Momoyama Period" from The Politics of Reclusion: Kendall H. Brown. 33. “Practices of Vision,” from Pictures and Visuality in Early Modern China. Craig Clunas. 34. Excerpts from Chinese Imperial City Planning: Nancy Shatzman Steinhardt. 35. Letters from European travelers about the Forbidden City: “A Jesuit in Beijing: Louis Lecomte” and “An English ambassador in Beijing: Aeneas Anderson”. 36. “The Conventional Success of Ch’en Shu,” from Flowering in the Shadows: Women in the History of Chinese and Japanese Painting: Marsha Weidner. 37. “Artistic Tradition and the Depiction of Reality: True-View Landscape Painting of the Chosen Dynasty,” from Arts of Korea: Yi Song-mi. 38. The Meaning of Western Perspective in Edo Popular Culture: Timon Screech. 39. “The Kizaemon Tea-bowl,” from The Unknown Craftsman: Soetsu Yanagi. 40. Excerpts from Quotations from Chairman Mao Tse-tung. Mao Tse-tung. 41. Icons of Power: Mao Zedong and the Cultural Revolution from Picturing Power in the People's Republic of China: Robert Benewick. 42. "Morphology of Revenge: The Yomiuri Indépendant Artists and Social Protest Tendencies in the 1960s" from Japanese Art after 1945: Scream Against the Sky. Alexandra Munroe. 43. Pseudo-languages: A Conversation with Wenda Gu, Xu Bing, and Jonathan Hay: Simon Leung. 44. "Believing is Seeing: Transforming Orientalism and the Occidental Gaze" from Asia/America: Identities in Contemporary Asian American Art: John Kuo Wei Tchen. Index

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Book SynopsisExhibition Experiments is a lively collection that considers experiments with museological form that challenge our understanding of - and experience with - museums.Trade Review“A challenging and fascinating book that theorizes exhibitions as media for encounter, enactment, experience, and the creation rather than the transmission of knowledge. It opens up a whole new way of thinking about the potential of galleries and museums. Essential reading.” Eilean Hooper-Greenhill, University of Leicester “This scintillating collection offers the most original treatment yet of experiment as an appealing, provoking ideology that has pulled together diverse critical approaches in the study of modern culture. An absorbing read all the way through.” George Marcus, University of California, Irvine “This book combines stimulating essays by established scholars who have pioneered research into exhibitionary practice, with exciting and innovative chapters by younger scholars. It will be of equal relevance to museum professionals and the audiences who participate in the museum experience.” Howard Morphy, Australian National University Table of ContentsTable of Contents. 1. Experiments in Exhibition, Ethnography, Art and Science. Paul Basu and Sharon Macdonald. 2. Legibility and Affect: Museums as New Media. Michelle Henning. 3. The Labrynthine Aesthetic in Contemporary Museum Design. Paul Basu. 4. Exhibition as Film. Mieke Bal. 5. Experimenting with Representation: Iconoclash! and Making Things Public. Peter Weibel and Bruno Latour. 6. Walking on a Story Board, Performing Shared Incompetence. Exhibiting "Science" in the Public Realm. Xperiment! - Bernd Kraeftner, Judith Kroell, and Isabel Warner. 7. From Capital to Enthusiasm: an Exhibitionary Practice. Neil Cummings and Marysia Lewandowska. 8. The Politics of Display. Ann-Sofi Sidén’s WARTE MAL!, Art History and Social Documentary. A seminar with Laura Bear, Clare Carolin, Griselda Pollock and Ann-Sofi Sidén. Edited by Clare Carolin and Cathy Haynes. 9. From Exhibiting to Installing Ethnography: Experiments at the Museum of Anthropology of the University of Coimbra (Portugal) 1999-2005. Nuno Porto. 10. Raising Specters: Welcoming Hybrid Phantoms at Chicago’s Museum of Science and Industry. Anne Lorimer. 11. Exposing Expo: exhibition entrepreneurship and experimental reflexivity in late modernity. Alexa Färber

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Book SynopsisExhibition Experiments is a lively collection that considers experiments with museological form that challenge our understanding of - and experience with - museums.Trade Review“A challenging and fascinating book that theorizes exhibitions as media for encounter, enactment, experience, and the creation rather than the transmission of knowledge. It opens up a whole new way of thinking about the potential of galleries and museums. Essential reading.” Eilean Hooper-Greenhill, University of Leicester “This scintillating collection offers the most original treatment yet of experiment as an appealing, provoking ideology that has pulled together diverse critical approaches in the study of modern culture. An absorbing read all the way through.” George Marcus, University of California, Irvine “This book combines stimulating essays by established scholars who have pioneered research into exhibitionary practice, with exciting and innovative chapters by younger scholars. It will be of equal relevance to museum professionals and the audiences who participate in the museum experience.” Howard Morphy, Australian National University Table of ContentsTable of Contents. 1. Experiments in Exhibition, Ethnography, Art and Science. Paul Basu and Sharon Macdonald. 2. Legibility and Affect: Museums as New Media. Michelle Henning. 3. The Labrynthine Aesthetic in Contemporary Museum Design. Paul Basu. 4. Exhibition as Film. Mieke Bal. 5. Experimenting with Representation: Iconoclash! and Making Things Public. Peter Weibel and Bruno Latour. 6. Walking on a Story Board, Performing Shared Incompetence. Exhibiting "Science" in the Public Realm. Xperiment! - Bernd Kraeftner, Judith Kroell, and Isabel Warner. 7. From Capital to Enthusiasm: an Exhibitionary Practice. Neil Cummings and Marysia Lewandowska. 8. The Politics of Display. Ann-Sofi Sidén’s WARTE MAL!, Art History and Social Documentary. A seminar with Laura Bear, Clare Carolin, Griselda Pollock and Ann-Sofi Sidén. Edited by Clare Carolin and Cathy Haynes. 9. From Exhibiting to Installing Ethnography: Experiments at the Museum of Anthropology of the University of Coimbra (Portugal) 1999-2005. Nuno Porto. 10. Raising Specters: Welcoming Hybrid Phantoms at Chicago’s Museum of Science and Industry. Anne Lorimer. 11. Exposing Expo: exhibition entrepreneurship and experimental reflexivity in late modernity. Alexa Färber

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Book SynopsisArt''s Agency and Art History re-articulates the relationship of the anthropology of art to key methodological and theoretical approaches in art history, sociology, and linguistics. Explores important concepts and perspectives in the anthropology of art Includes nine groundbreaking case studies by an internationally renowned group of art historians and art theorists Covers a wide range of periods, including Bronze-Age China, Classical Greece, Rome, and Mayan, as well as the modern Western world Features an introductory essay by leading experts, which helps clarify issues in the field Includes numerous illustrations Trade Review"A very interesting volume, not only for the excellent quality of its chapters, but also because it shows promising perspectives in the cross-fertilization between anthropology and art history." (Journal of the Royal Anthropological Institute, March 2009) "This book represents an extended, timely and extremely valuable exploration of the applicability of the work of Alfred Gell." (The Classical Review, 2008) "Not a single paper presented here failed to provoke or delight this reviewer. This edited volume offers an excellent introduction to Gell’s ideas.... It will surely form an important place in the growing canon of Gell-inspired literature." (Journal of Hellenic Studies, February 2009)Table of ContentsSeries Editor’s Preface. Preface. List of Illustrations. Notes on Contributors. 1. Introduction: Art and Agency and Art History: Jeremy Tanner (University College London ) and Robin Osborne (University of Cambridge). 2. Enchantment and Sacrifice in Early Egypt: David Wengrow (University College London). 3. Agency Marked, Agency Ascribed: The Affective Object in Ancient Mesopotamia: Irene J. Winter (Harvard University). 4. Portraits and Agency: A Comparative View: Jeremy Tanner (University College London). 5. The Agency of, and the Agency for, the Wanli Emperor: Jessica Rawson (University of Oxford). 6. The Material Efficacy of the Elizabethan Jeweled Miniature: a Gellian Experiment: Jessen Kelly (University of California at Berkeley). 7. Representational Art in Ancient Peru and the Work of Alfred Gell: Jeffrey Quilter (Peabody Museum, Harvard). 8. Gell's Idols and Roman Cult: Peter Stewart (Courtauld Institute of Art in London). 9. Sex, Agency, and History: the Case of Athenian Painted Pottery: Robin Osborne (University of Cambridge). 10. Abducting the Agency of Art: Whitney Davis (University of California at Berkeley). Index

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Book SynopsisMaterial culture is not static: objects are created, used and re-used, sometimes for centuries, and their lives interact with those of the people who made and used them. The essays in this book discuss the social lives' of objects in late-medieval and renaissance Italy, ranging from maiolica, through sculpture and prostitutes' jewellery, to miraculous painted images. Demonstrates the continued life of these objects well past the deaths of their creators and patrons. Contains a series of original contributions by young scholars, representing a broad range of approaches. Trade Review“All in all, this is a useful, at times thought-provoking, and never less than informative collection of essays.” (Sixteenth Century Journal, Winter 2008)Table of ContentsNote from the Series Editor. Preface. Introduction: Toothpicks and Green Hangings: Nicholas Penny. Part I: The Creation of the Object: Patricia L. Reilly. What You See Is What You Get: Colour In Italian Renaissance Istoriato Ware: Steve Wharton. ‘Sculpsit Cellinius Neptunam’: The Biography of the Neptune Fountain in Cellini’s Vita: Victoria C. Gardner Coates. Part II: The Life of the Object: Rupert Shepherd. Banquet Plate and Renaissance Culture: A Day in the Life: Valerie Taylor. For Use and Display: Selected Furnishings and Domestic Goods in Fifteenth-Century Florentine Interiors: James R. Lindow. Fragments from the ‘Life Histories’ of Jewellery belonging to Prostitutes inEarly-Modern Rome: Tessa Storey. Part III: The After-Life of the Object: Roberta J. M. Olson. The Icon of Santa Maria Maggiore, Rome: An Image and its Afterlife: Kirstin Noreen. One Pontile, Two Pontili: The Choir Screens of Modena Cathedral: Dawn Cunningham. The Afterlife of an Early Medieval Chapel: Giovanni Battista Ricci and Perceptions of the Christian Past in Post-Tridentine Rome: Ann Van Dijk. The Scrittoio Della Calliope in the Palazzo Vecchio: A Tuscan Museum: Andrea M. Gáldy. Index.

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Book SynopsisThis anthology presents classic and recent scholarship on Italian art from 1600-1750. Arranged thematically, it highlights the key debates with which art historians continue to grapple.Trade Review"Scholarly and thorough." [Four star rating] Art Times "Old classics and new team up in this exciting anthology that will serve students and scholars alike for years to come. The Seicento field is not only represented here by broad discussions of style, art theory, and patronage but also by fascinating case studies of artistic practice, gender, science, and the art market . . . A shot of adrenalin for this important area of art history." David M. Stone, University of Delaware "Those of us working in baroque studies are lucky to have some of the best scholars and essayists in the discipline of art history writing about European, and specifically Italian, art of the 17th and 18th centuries; we are doubly lucky that Susan Dixon has gathered together so many of them for this volume." Vernon Hyde-Minor, University of Colorado at BoulderTable of ContentsPart I: Appearances. 1. What is Baroque? (Erwin Panofsky). 2. The Idea of the Painter, the Sculptor and the Architect (Pietro Bellori Giovan). 3. Fighting with Style (Phillip Sohm). 4. Bernini’s Conception of the Visual Arts: 'Un Bel Composto' (Irving Lavin). 5. Ars Tornandi: Baroque Architecture and the Lathe (Joseph Connors). 6. A Taste for Tiepolo (Alpers, Svetlana and Michael Baxandall). Part II: Artistic Practice, Production and Consumption. 7. Practice in the Carracci Academy (Gail Feigenbaum). 8. Artemisia in Her Father’s House (Patrizia Cavazzini). 9. Disegni, Bozzetti, Legnetti and Modelli in Roman Seicento Sculpture (Jennifer Montagu). 10. Architects and Clods: The Emergence of Urban Planning in the Context of Palace Architecture in Seventeenth-Century Rome (Dorothy Metzger Habel). 11. The Mechanics of Seventeenth-Century Patronage (Francis Haskell). 12. Scrambling for Scudi: Notes on Painters’ Earnings in Early Baroque Rome (Richard Spear). 13. The Marketing of Pietro Testa's Poetic Inventions (Francesco Consagra). 14.Inside the Palace: People and Furnishings (Patricia Waddy). Part III: Meaning: Conceived and Received. 15. A Comment on the Iconography of Pietro da Cortona’s Barberini Ceiling (Walter Vitzthum). 16.Seeing the Shroud: Guarini’s Reliquary Chapel in Turin and the Ostentation of a Dynastic Relic (John Beldon Scott). 17. Myth and the New Science: Vico, Tiepolo, and the Language of the Optimates (Christopher Drew Armstrong). 18.Problems of the Theme (Rudolf Wittkower). 19. Devotion and Desire: The Reliquary Chapel of Maria Maddalena de'Pazzi (Karen-Edis Barzman). 20. Pastoralism in the Roman Baroque Villa and in Claude Lorrain (Myths and Realities of the Roman Campagna: Mirka Benes). Part IV: Critique of the Past and the New Science. 21. The Role of Classical Models in Bernini's and Poussin's Preparatory Work (Rudolf Wittkower). 22. The Greek Style and the Prehistory of Neoclassicism (Charles Dempsey). 23. Piranesi and Francesco Bianchini: Capricci in the Service of Pre-Scientific Archaeology (Susan M. Dixon). 24. Cigoli's Immacolata and Galileo's Moon: Astronomy and the Virgin in Early Seicento Rome (Steven F. Ostrow). 25. The Fate of Pictures: Appearance, Truth, and Ambiguity (David Freedberg). 26. Lodoli on Function and Representation (Joseph Rykwert).

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Book SynopsisThis anthology presents classic and recent scholarship on Italian art from 1600-1750. Arranged thematically, it highlights the key debates with which art historians continue to grapple.Trade Review"Scholarly and thorough." [Four star rating] Art Times "Old classics and new team up in this exciting anthology that will serve students and scholars alike for years to come. The Seicento field is not only represented here by broad discussions of style, art theory, and patronage but also by fascinating case studies of artistic practice, gender, science, and the art market . . . A shot of adrenalin for this important area of art history." David M. Stone, University of Delaware "Those of us working in baroque studies are lucky to have some of the best scholars and essayists in the discipline of art history writing about European, and specifically Italian, art of the 17th and 18th centuries; we are doubly lucky that Susan Dixon has gathered together so many of them for this volume." Vernon Hyde-Minor, University of Colorado at BoulderTable of ContentsList of Illustrations ix Preface xi Acknowledgments xiv Part I Appearances 1 1 What is Baroque? 7Erwin Panofsky 2 The Idea of the Painter, the Sculptor and the Architect 22Giovan Pietro Bellori 3 Fighting with Style 34Philip Sohm 4 Bernini’s Conception of the Visual Arts: “Un Bel Composto” 51Irving Lavin 5 Ars Tornandi: Baroque Architecture and the Lathe 57Joseph Connors 6 A Taste for Tiepolo 65Svetlana Alpers and Michael Baxandall Part II Artistic Practice, Production and Consumption 81 7 Practice in the Carracci Academy 87Gail Feigenbaum 8 Artemisia in Her Father’s House 98Patrizia Cavazzini 9 Disegni, Bozzetti, Legnetti and Modelli in Roman Seicento Sculpture 113Jennifer Montagu 10 Architects and Clods: The Emergence of Urban Planning in the Context of Palace Architecture in Seventeenth-Century Rome 120Dorothy Metzger Habel 11 The Mechanics of Seventeenth-Century Patronage 133Francis Haskell 12 Scrambling for Scudi: Notes on Painters’ Earnings in Early Baroque Rome 151Richard E. Spear 13 The Marketing of Pietro Testa’s “Poetic Inventions” 169Francesca Consagra 14 Inside the Palace: People and Furnishings 178Patricia Waddy Part III Meaning: Conceived and Received 195 15 A Comment on the Iconography of Pietro da Cortona’s Barberini Ceiling 201Walter Vitzthum 16 Seeing the Shroud: Guarini’s Reliquary Chapel in Turin and the Ostension of a Dynastic Relic 209John Beldon Scott 17 Myth and the New Science: Vico, Tiepolo, and the Language of the Optimates 230Christopher Drew Armstrong 18 Problems of the Theme 251Rudolf Wittkower 19 Devotion and Desire: The Reliquary Chapel of Maria Maddalena de’Pazzi 265Karen-Edis Barzman 20 Pastoralism in the Roman Baroque Villa and in Claude Lorrain: Myths and Realities of the Roman Campagna 283Mirka Beneš Part IV Critique of the Past and the New Science 299 21 The Role of Classical Models in Bernini’s and Poussin’s Preparatory Work 305Rudolf Wittkower 22 The Greek Style and the Prehistory of Neoclassicism 311Charles Dempsey 23 Piranesi and Francesco Bianchini: Capricci in the Service of Pre-scientific Archaeology 326Susan M. Dixon 24 Cigoli’s Immacolata and Galileo’s Moon: Astronomy and the Virgin in Early Seicento Rome 339Steven F. Ostrow 25 The Fate of Pictures: Appearance, Truth, and Ambiguity 361David Freedberg 26 Lodoli on Function and Representation 372Joseph Rykwert Index 384

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Book SynopsisRenaissance Art Reconsidered showcases the aesthetic principles and the workaday practices guiding daily life through these years of extraordinary human achievement. A major new anthology, bringing to life the places, works, media, and issues that define Renaissance art Ideal for use on Renaissance studies courses and for reference by students of art history Moves beyond the borders of Italy to consider European, Mediterranean, and post Byzantine art, widening the traditional focus of Renaissance art Includes letters, treatises, contracts, inventories, and other public documents, many of which are translated into English for the first time in this volume Showcases the aesthetic principles and the workaday practices guiding daily life through these years of extraordinary human achievement, providing crucial insight into the art and the context in which it was prTrade Review?The text is well written and informative without being overly technical or employing excessive terminology.? (Association of Art Historians2009) ?Renaissance Art Reconsidered is rich in detail and broad in scope, but its most important accomplishment is its conveyance of individual attitudes on the great value placed on all forms of art. It provides a view of what was expected both throughout the creative process and in the end result. This anthology gives us insight into the needs and problems of the creative process of the artists, patrons, and viewers of the Renaissance.? (Sixteenth Century Journal, Winter 2008) Table of ContentsNotes on Contributors. Preface. Introduction. Part I: Making Renaissance Art. Drawing and Workshop Practice. Cennino Cennini on Drawing. Alberti on Drawing Figures. Francesco Squarcione Details the Drawing Regime for his Pupils. Gerard Horenbout takes on two Apprentices. A Master’s Duty of Care for his Apprentices. Leonardo da Vinci on Drawing. Dürer gives Drawings as Gifts and Uses them to pay day-to-day Expenses. Dürer Lists the Qualities Required to be a Painter. Joachim Camerarius Praises Dürer’s Drawings. Linear Perspective. Cennino Cennini’s Method for Depicting Buildings in a Painting. Alberti and the Earliest Written Description of Single-point Perspective. Lorenzo Ghiberti Lists the Sources for Perspective. Filarete’s Method for Making Drawings of Buildings. Piero Della Francesca’s Perspective for Painters. Manetti’s Descriptions of Brunelleschi’s Experiments. Leonardo da Vinci on single-point and Aerial Perspective. Sculpture. Posthumous Inventory of Tournai Sculptor Colart le Cat. Michelozzo and Donatello are Contracted to make the Prato Pulpit. Report on Donatello’s Progress on the Prato Pulpit. The Brussels Painters’ Guild Claims Exclusive Rights to Market Painted Works of Art. Extracts from De Statua by Leon Battista Alberti. 1470 regulations of the Antwerp Guild of St Luke. Utrecht Sculptor Adriaen van Wesel makes a Carved Altarpiece for the Confraternity of Our Ladys’ Hertogenbosch. Architecture. Filarete’s System of Architecture. Brunelleschi’s Practice of Architecture. Panel Painting. Cennino Cennini’s Instructions on How to Paint Drapery in a Fresco Painting. Cennino Cennini’s Instructions on How to Acquire the Skills to Paint on Panel. Cennino Cennini’s Instructions on How to Prepare and Size a Panel. Cennino Cennini’s Instructions on How to Paint a Panel. Contract for Sassetta’s Madonna della Neve Altarpiece. A Fee is fixed for Madonna della Neve Altarpiece. Second Valuation of Sassetta’s Madonna della Neve Altarpiece. Final Valuation of Sassetta’s Madonna della Neve Altarpiece. Contract for Enguerrand Quarton’s Coronation of the Virgin Altarpiece. Prints and Printmaking. An ordinance from the Stadsarchief, Leuven, Concerning Printmaker Jan van den Berghe. The Hard Business of Printing. A Printer tries to Protect his Creative Rights. Dürer’s Letter to Jakob Heller. A Letter from block-cutter Jost de Negker to Maximilian I. The Purchase of the Contents of an Antwerp Printer’s Workshop. Erasmus’s Eulogy on Dürer. Robert Peril’s Agreement Regarding the Manufacture of Printed Playing Cards in Antwerp. Vasari's life of Marcantonio Raimondi. Treatises, Histories, Artists and Education. Lorenzo Ghiberti on the Education Required for Making Sculpture. Two Florentine Views of Art History: (1) Antonio Manetti. Two Florentine Views of Art History: (2) Leonardo da Vinci. Books known or Owned by Leonardo da Vinci. Courtiers Discuss the Merits of Painting and Sculpture. Part II: Locating Renaissance Art. Florence and Rome. Domenico Veneziano looks for Work in Florence. The Contract for Wall Paintings at the Sistine Chapel. The Valuation of the first four Narratives at the Sistine Chapel. Botticelli Pursues Outstanding Payments for his work in the Sistine Chapel. Filippino Lippi works for Cardinal Carafa in Rome at Lorenzo de’ Medici’s. Suggestion. Filippino Lippi Explains to Filippo Strozzi why he has gone to Rome. A dialogue between Florence and Rome against Savonarola. The Duke of Milan’s Agent Reports on Florentine Artists. Michelangelo’s Letter to Lorenzo de’ Pierfrancesco de’ Medici from Rome. A Cultural Tourist Describes Some of the Sites in Rome. Netherlandish Networks. Pedro Tafur’s Impressions of the Netherlands in the 1430s. Lluís Dalmau is Contracted to make an Altarpiece for the Councillors’ Chapel in Barcelona. Ciriaco d’Ancona’s Comments on a Deposition Triptych by Rogier van der Weyden. Bartlommeo Facio’s Description of the Work of Jan van Eyck and Rogier van der Weyden. Marcantonio Michiel Records Netherlandish Paintings in the Homes of Collectors in Venice and Padua in the Early Sixteenth Century. Pietro Summonte Describes to Marcantonio Michiel Works by Van Eyck and Rogier van der Weyden in Naples. Tapestries. Statutes of the Tapestry-Makers’ Guild in Brussels. The Signoria of Florence Recommends a Weaver from Bruges. A Dispute Between the Painters’ Guild and the Tapestry-Makers’ Guild. Siena. Ghiberti’s Admiration for Early Sienese Art. The Commission for the Reconstructed Altar and Altarpiece for the Cappella dei Signori. Aeneas Silvius Piccolomini and International Politics. Pius II’s Canonization of Saint Catherine of Siena. Pius II’s Description of his Cathedral in Pienza and its Interior. The Post-Byzantine Renaissance. The Will of the Painter Angelos Akotantos. Ioannes Akotantos Sells the Drawings of his Brother, Angelos Akotantos. Contract to Teach the Art of Painting in the Workshop of Loannes Akotantos. Contract to Teach the Art of Painting in the Workshop of Andreas Pavias. Andreas Pavias Intervenes to Secure the Return of an Icon Painted by Angelos Akotantos. The Commission from the Venetian Ruler of Nauplio, for a Pala A’altare. On the Making of Anthibola (Imprinted Cartoons). How to Plaster a Wall. Venice. Extract From the Mariegola (rule-book) of the Mercers Company in Venice. Gentile Bellini Undertakes the Decoration of the Grand Council Chamber. Gentile Bellini is sent on a Mission to Constantinople. Giovanni Bellini is Contracted to Decorate the Grand Council Chamber. Giovanni Bellini is Exempted from Duties in the Painters’ Guild. Alvise Vivarini’s Petition to Work on the Decoration of the Grand Council Chamber. Extract from Marin Sanudo’s Praise of the City of Venice. Extract from The Memoirs of Philippe de Commynes. Extract from Pietro Casola’s Account of a Pilgrimage to Jerusalem. The Bellini Brothers are Contracted to Work at the Scuola Grande di San Marco. Gentile Bellini agrees to Continue Work at the Scuola Grande di San Marco. Giovanni Bellini is Contracted to Complete his Brother’s Work. Dürer’s Correspondence on Venice, and on Venetian Art and Artists. From Francesco Sansovino’s Dialogue on All the Notable Things which are in Venice. Architectural Treatises. Vitruvius’ Ideas on Architecture. Alberti Improves on Vitruvius. Part III: Viewing Renaissance Art. Art, Class and Wealth. Treasures in the Ducal Chapel of Charles the Bold, Duke of Burgundy. The Camera Grande of Doctor Bartolo di Tura. Luxury goods in the Rooms of Lorenzo the Magnificent. Views on Art in Florence. The Florentine Merchant, Giovanni Rucellai, Discusses his Spending. A Coppersmith Describes the Festivities in Florence for St John the Baptist. Fra Girolamo Savonarola warns Florentines against the Dangers of the New type of Painting. The Cloth Merchants’ Guild Commission a New Sculpture for the Florentine Baptistery. A Meeting About Where to Place Michelangelo’s David. Illuminated Manuscripts. The Manuscripts in the Library of the Duke of Urbino. The Contract between Attavante and a Florentine Merchant for an Illuminated. Manuscript. The Chequered History of the Sforza Hours. The Preface to Sala’s Poetry Book. Art and Monarchy in France. The Tomb of Louis XI. Bourdichon: ‘Painter to the King’. Jean Robertet’s Poem About the Worst Painter in the World. Henri Baude’s ‘Moral Sayings for Making Tapestries’. Jean Lemaire de Belges. Jean Perréal de Paris: Painter and Poet. Michel Colombe’s Contract for a Tomb Project at Brou. The Travel Journal of Antonio de Beatis. The Market in Icons. John of Damascus on Images. The Will of Andreas Cornaros. Three Cretan Painters are Commissioned to Make 700 Icons of the Virgin. Contract for Employment of a Painter in the Workshop of Another. Contract for Employment of a Painter in the Workshop of Another. Commission for 10 Triptychs. Vasari’s Views on the ‘Greek’ Style. Art and Death. Leonardo Bruni Condemns the Tomb of the Poet Bartolommeo Aragazzi. John Lydgate’s Version of ‘The Dance of Death’ for the Cloister of St Paul’s. Cathedral, London. The Foundation Statutes of the Chantry at Ewelme. The Will of John Baret of Bury St Edmunds. The Choice of Artist for the Monument to Cardinal Niccolò Forteguerri in Pistoia. Cardinal Francesco Todeschini Piccolomini Prepares for his Death. The Wills of the ‘Catholic Monarchs’, Isabella and Ferdinand. The Reform of Images. Andreas Karlstadt, On the Removal of Images. Extract from Hieromymus Emser’s response to Karlstadt. Ulrich Zwingli’s Criticisms of Religious Images. Zurich Council Orders the Removal of Images from Churches. Luther States his Own Position on Religious Images. Sir Thomas More Defends the Use of Images. William Tyndale Responds to Sir Thomas More. Index.

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Book SynopsisRenaissance Art Reconsidered showcases the aesthetic principles and the workaday practices guiding daily life through these years of extraordinary human achievement. A major new anthology, bringing to life the places, works, media, and issues that define Renaissance art Ideal for use on Renaissance studies courses and for reference by students of art history Moves beyond the borders of Italy to consider European, Mediterranean, and post Byzantine art, widening the traditional focus of Renaissance art Includes letters, treatises, contracts, inventories, and other public documents, many of which are translated into English for the first time in this volume Showcases the aesthetic principles and the workaday practices guiding daily life through these years of extraordinary human achievement, providing crucial insight into the art and the context in which it was prTrade Review?The text is well written and informative without being overly technical or employing excessive terminology.? (Association of Art Historians2009) ?Renaissance Art Reconsidered is rich in detail and broad in scope, but its most important accomplishment is its conveyance of individual attitudes on the great value placed on all forms of art. It provides a view of what was expected both throughout the creative process and in the end result. This anthology gives us insight into the needs and problems of the creative process of the artists, patrons, and viewers of the Renaissance.? (Sixteenth Century Journal, Winter 2008) Table of ContentsNotes on Contributors. Preface. Introduction. Part I: Making Renaissance Art. Drawing and Workshop Practice. Cennino Cennini on Drawing. Alberti on Drawing Figures. Francesco Squarcione Details the Drawing Regime for his Pupils. Gerard Horenbout takes on two Apprentices. A Master’s Duty of Care for his Apprentices. Leonardo da Vinci on Drawing. Dürer gives Drawings as Gifts and Uses them to pay day-to-day Expenses. Dürer Lists the Qualities Required to be a Painter. Joachim Camerarius Praises Dürer’s Drawings. Linear Perspective. Cennino Cennini’s Method for Depicting Buildings in a Painting. Alberti and the Earliest Written Description of Single-point Perspective. Lorenzo Ghiberti Lists the Sources for Perspective. Filarete’s Method for Making Drawings of Buildings. Piero Della Francesca’s Perspective for Painters. Manetti’s Descriptions of Brunelleschi’s Experiments. Leonardo da Vinci on single-point and Aerial Perspective. Sculpture. Posthumous Inventory of Tournai Sculptor Colart le Cat. Michelozzo and Donatello are Contracted to make the Prato Pulpit. Report on Donatello’s Progress on the Prato Pulpit. The Brussels Painters’ Guild Claims Exclusive Rights to Market Painted Works of Art. Extracts from De Statua by Leon Battista Alberti. 1470 regulations of the Antwerp Guild of St Luke. Utrecht Sculptor Adriaen van Wesel makes a Carved Altarpiece for the Confraternity of Our Ladys’ Hertogenbosch. Architecture. Filarete’s System of Architecture. Brunelleschi’s Practice of Architecture. Panel Painting. Cennino Cennini’s Instructions on How to Paint Drapery in a Fresco Painting. Cennino Cennini’s Instructions on How to Acquire the Skills to Paint on Panel. Cennino Cennini’s Instructions on How to Prepare and Size a Panel. Cennino Cennini’s Instructions on How to Paint a Panel. Contract for Sassetta’s Madonna della Neve Altarpiece. A Fee is fixed for Madonna della Neve Altarpiece. Second Valuation of Sassetta’s Madonna della Neve Altarpiece. Final Valuation of Sassetta’s Madonna della Neve Altarpiece. Contract for Enguerrand Quarton’s Coronation of the Virgin Altarpiece. Prints and Printmaking. An ordinance from the Stadsarchief, Leuven, Concerning Printmaker Jan van den Berghe. The Hard Business of Printing. A Printer tries to Protect his Creative Rights. Dürer’s Letter to Jakob Heller. A Letter from block-cutter Jost de Negker to Maximilian I. The Purchase of the Contents of an Antwerp Printer’s Workshop. Erasmus’s Eulogy on Dürer. Robert Peril’s Agreement Regarding the Manufacture of Printed Playing Cards in Antwerp. Vasari's life of Marcantonio Raimondi. Treatises, Histories, Artists and Education. Lorenzo Ghiberti on the Education Required for Making Sculpture. Two Florentine Views of Art History: (1) Antonio Manetti. Two Florentine Views of Art History: (2) Leonardo da Vinci. Books known or Owned by Leonardo da Vinci. Courtiers Discuss the Merits of Painting and Sculpture. Part II: Locating Renaissance Art. Florence and Rome. Domenico Veneziano looks for Work in Florence. The Contract for Wall Paintings at the Sistine Chapel. The Valuation of the first four Narratives at the Sistine Chapel. Botticelli Pursues Outstanding Payments for his work in the Sistine Chapel. Filippino Lippi works for Cardinal Carafa in Rome at Lorenzo de’ Medici’s. Suggestion. Filippino Lippi Explains to Filippo Strozzi why he has gone to Rome. A dialogue between Florence and Rome against Savonarola. The Duke of Milan’s Agent Reports on Florentine Artists. Michelangelo’s Letter to Lorenzo de’ Pierfrancesco de’ Medici from Rome. A Cultural Tourist Describes Some of the Sites in Rome. Netherlandish Networks. Pedro Tafur’s Impressions of the Netherlands in the 1430s. Lluís Dalmau is Contracted to make an Altarpiece for the Councillors’ Chapel in Barcelona. Ciriaco d’Ancona’s Comments on a Deposition Triptych by Rogier van der Weyden. Bartlommeo Facio’s Description of the Work of Jan van Eyck and Rogier van der Weyden. Marcantonio Michiel Records Netherlandish Paintings in the Homes of Collectors in Venice and Padua in the Early Sixteenth Century. Pietro Summonte Describes to Marcantonio Michiel Works by Van Eyck and Rogier van der Weyden in Naples. Tapestries. Statutes of the Tapestry-Makers’ Guild in Brussels. The Signoria of Florence Recommends a Weaver from Bruges. A Dispute Between the Painters’ Guild and the Tapestry-Makers’ Guild. Siena. Ghiberti’s Admiration for Early Sienese Art. The Commission for the Reconstructed Altar and Altarpiece for the Cappella dei Signori. Aeneas Silvius Piccolomini and International Politics. Pius II’s Canonization of Saint Catherine of Siena. Pius II’s Description of his Cathedral in Pienza and its Interior. The Post-Byzantine Renaissance. The Will of the Painter Angelos Akotantos. Ioannes Akotantos Sells the Drawings of his Brother, Angelos Akotantos. Contract to Teach the Art of Painting in the Workshop of Loannes Akotantos. Contract to Teach the Art of Painting in the Workshop of Andreas Pavias. Andreas Pavias Intervenes to Secure the Return of an Icon Painted by Angelos Akotantos. The Commission from the Venetian Ruler of Nauplio, for a Pala A’altare. On the Making of Anthibola (Imprinted Cartoons). How to Plaster a Wall. Venice. Extract From the Mariegola (rule-book) of the Mercers Company in Venice. Gentile Bellini Undertakes the Decoration of the Grand Council Chamber. Gentile Bellini is sent on a Mission to Constantinople. Giovanni Bellini is Contracted to Decorate the Grand Council Chamber. Giovanni Bellini is Exempted from Duties in the Painters’ Guild. Alvise Vivarini’s Petition to Work on the Decoration of the Grand Council Chamber. Extract from Marin Sanudo’s Praise of the City of Venice. Extract from The Memoirs of Philippe de Commynes. Extract from Pietro Casola’s Account of a Pilgrimage to Jerusalem. The Bellini Brothers are Contracted to Work at the Scuola Grande di San Marco. Gentile Bellini agrees to Continue Work at the Scuola Grande di San Marco. Giovanni Bellini is Contracted to Complete his Brother’s Work. Dürer’s Correspondence on Venice, and on Venetian Art and Artists. From Francesco Sansovino’s Dialogue on All the Notable Things which are in Venice. Architectural Treatises. Vitruvius’ Ideas on Architecture. Alberti Improves on Vitruvius. Part III: Viewing Renaissance Art. Art, Class and Wealth. Treasures in the Ducal Chapel of Charles the Bold, Duke of Burgundy. The Camera Grande of Doctor Bartolo di Tura. Luxury goods in the Rooms of Lorenzo the Magnificent. Views on Art in Florence. The Florentine Merchant, Giovanni Rucellai, Discusses his Spending. A Coppersmith Describes the Festivities in Florence for St John the Baptist. Fra Girolamo Savonarola warns Florentines against the Dangers of the New type of Painting. The Cloth Merchants’ Guild Commission a New Sculpture for the Florentine Baptistery. A Meeting About Where to Place Michelangelo’s David. Illuminated Manuscripts. The Manuscripts in the Library of the Duke of Urbino. The Contract between Attavante and a Florentine Merchant for an Illuminated. Manuscript. The Chequered History of the Sforza Hours. The Preface to Sala’s Poetry Book. Art and Monarchy in France. The Tomb of Louis XI. Bourdichon: ‘Painter to the King’. Jean Robertet’s Poem About the Worst Painter in the World. Henri Baude’s ‘Moral Sayings for Making Tapestries’. Jean Lemaire de Belges. Jean Perréal de Paris: Painter and Poet. Michel Colombe’s Contract for a Tomb Project at Brou. The Travel Journal of Antonio de Beatis. The Market in Icons. John of Damascus on Images. The Will of Andreas Cornaros. Three Cretan Painters are Commissioned to Make 700 Icons of the Virgin. Contract for Employment of a Painter in the Workshop of Another. Contract for Employment of a Painter in the Workshop of Another. Commission for 10 Triptychs. Vasari’s Views on the ‘Greek’ Style. Art and Death. Leonardo Bruni Condemns the Tomb of the Poet Bartolommeo Aragazzi. John Lydgate’s Version of ‘The Dance of Death’ for the Cloister of St Paul’s. Cathedral, London. The Foundation Statutes of the Chantry at Ewelme. The Will of John Baret of Bury St Edmunds. The Choice of Artist for the Monument to Cardinal Niccolò Forteguerri in Pistoia. Cardinal Francesco Todeschini Piccolomini Prepares for his Death. The Wills of the ‘Catholic Monarchs’, Isabella and Ferdinand. The Reform of Images. Andreas Karlstadt, On the Removal of Images. Extract from Hieromymus Emser’s response to Karlstadt. Ulrich Zwingli’s Criticisms of Religious Images. Zurich Council Orders the Removal of Images from Churches. Luther States his Own Position on Religious Images. Sir Thomas More Defends the Use of Images. William Tyndale Responds to Sir Thomas More. Index.

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Book SynopsisA collection of essays by art historians, anthropologists and commentators on contemporary visual culture on the theme of 'Location'.Table of ContentsOn location: Deborah Cherry and Fintan Cullen. The errant image: Rogier van derWeyden’s Deposition from the Cross and its copies: Amy Powell. Signposts of invention: artists’ signatures in Italian Renaissance art: Patricia Rubin. Locating ‘China’ in the arts of sixteenth-century Japan: Andrew M. Watsky. Georgianism and the tenements, Dublin 1908–1926: Mark Crinson. Statues in the square: hauntings at the heart of empire: Deborah Cherry. The Buddha goes global: some thoughts towards a transnational art history: Clare Harris. Rebecca Belmore and James Luna on location at Venice: the allegorical Indian redux: Charlotte Townsend-Gault. Author biographies. Index

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Book SynopsisIslamic Art and Visual Culture is a collection of primary sources in translation accompanied by clear and concise introductory essays that provide unique insights into the aesthetic and cultural history of one of the world''s major religions. Collects essential translations from sources as diverse as the Qur''an, court chronicles, technical treatises on calligraphy and painting, imperial memoirs, and foreign travel accounts Includes clear and concise introductory essays Situates each text and explains the circumstances in which it was written--the date, place, author, and political conditions Provides a vivid window into Islamic visual culture and society An indispensable tool for teachers and students of art and visual culture Trade Review"Recommended. Lower-and upper-level undergraduates; general readers." (Choice, 1 October 2011) "Much-needed and thoughtfully compiled, this anthology of primary sources will be a welcome resource for those who teach Islamic art history." (Book New, 1 August 2011) Table of ContentsIntroduction. 1 Foundations: Religious, Political, Juridical, and Administrative Documents from Early Islam and Places in Transition. 1.1 The Qur'an: On Paradise. 1.2 The Qur'an: On the Qibla. 1.3 The Hadith: On Waqf. 1.4 Ibn cAsakir: The Pact of cUmar. 2 Behavior, Gifts, Treasuries, and Collections. 2.1 Kitab al-hadaya wa al-tuhaf: A Description of Wedding Gifts. 2.2 Al-Muqaddasi: A Description of the Shiraz Library. 2.3 Kutadgu Bilig: A "Mirror for Princes"on the Qualifications of a Gatekeeper and the Etiquette for Feasts. 2.4 Kitab al-hadaya wa al-tuhaf: On the Looting of the Fatimid Treasury. 2.5 Al-Ghazali: On the Magnanimity of Kings. 2.6 Ibn Khaldun: On the Emblems of Sovereignty. 2.7 Safiye: Letter to Queen Elizabeth I. 2.8 Tavernier: On the Ottoman Mosaic Collection. 3 Art. Workshops, Guilds, and Crafts in General. 3.1 The Ikhwan al-Safa': On the Education of Craftsmen. 3.2 Clavijo: On Timurid Trade with China. 3.3 Ahmad Ibn cArabshah: On Timur's Seizure and Relocation of Artisans. 3.4 Khwandamir: On Guilds and an Extraordinary Work of Glass. 3.5 A Report from a Book Workshop. 3.6 Bernier: On Artisans in Delhi. Calligraphy and Scribes. 3.7 Ibn Qutayba: On the Education of a Scribe. 3.8 Ibn al-Nadim: On the Transmission and Authorization of Books. 3.9 Al-Ghazali: On Pens and Secretaries. 3.10 Rashid al-Din: On His Atelier Endowment. 3.11 Simi Nishapuri: A Treatise on Papers, Color, and Ink. 3.12 Mawlana Sultan-cAli: A Treatise on Writing. 3.13 Khwandamir: A Biographical Sketch of a Timurid Calligrapher. 3.14 Calligraphy Sample Sheet. 3.15 Qadi Ahmad: On the Invention of the Pen. Painting. 3.16 Sadiqi Beg: A Treatise on Painting. 3.17 Abu'l-Fazl cAllami: On Painting the Human Figure. 3.18 Jahangir: A Painting of a Flying Rodent and a Portrait Gallery. 3.19 Evliya Celebi: An Account of Manuscript Defacement. Textiles. 3.20 Al-Bayhaqi: On Tiraz-stamped Paper and Textiles. 3.21 Al-Mascudi: On the Patronage of Textiles. 3.22 An Egyptian Tiraz Inscription. 3.23 Narshakhi: On Bukhara's Cloth. 3.24 Ibn al-Balkhi: On Linen Manufacture. 3.25 A Geniza Letter Regarding Trade and Market Prices. Ceramics, Glass, Ivory, and Other Media. 3.26 Abu al-Qasim: On Ceramic Luster and Gilding. 3.27 Ibn Battuta: On Chinese Porcelain. 3.28 Mosque Lamp with Blazon. 3.29 Clavijo: On Timurid Emblems. 3.30 Clavijo: A Golden Tree. 3.31 Four Coins. 3.32 Jahangir Strikes a New Kind of Coin. Geometry, Aesthetics. 3.33 Ibn Hazm: On Vision. 3.34 Ibn al-Haytham: On Vision. 4 Space: Architecture and Urbanism. 4.1 cAbd al-Rahman III: On Architecture and Immortality. Architectural Technique. 4.2 Ibn Khaldun: On Mudbrick and Stucco. 4.3 Abu'l-Fazl cAllami: On Building Materials and Technique. 4.4 Cacfar Efendi: On Names of Colors and Marbles. Architectural Types and Elements. 4.5 Al-Bukhari: A Hadith on the First Minbar. 4.6 Ibn Khaldun: On the Adoption of the Maqsura. 4.7 Al-Maqrizi: The Dar al-imara of the Mosque of Ibn Tulun. 4.8 Badi al-Zaman al-Hamadani: A Bathhouse Visit. 4.9 Al-Wansharisi Answers a Query about Qibla. 4.10 Abu'l-Fazl: On Illumination and Candlesticks. Urbanism and Land. 4.11 Hilal al-Sabi': Estimating the Number of Bathhouses in Baghdad. 4.12 Ibn cAbdun: A Hisba Manual for Seville. 4.13 Ibn Khaldun: On the Role of the Market Supervisor. 4.14 Al-Wansharisi Answers a Query about Waqf Violation. 5 Places. Pre-Islamic. 5.1 The Qur'an: Bilqis and the Glass Floor. The Arabian Peninsula. 5.2 Nasir-i Khusraw: A Description of the Kaaba. 5.3 Ibn Jubayr: A Description of the Mosaics in the Medina Mosque. Syria, Jordan, and Environs. 5.4 Dome of the Rock Inscriptions. 5.5 Al-Yacqubi: On the Dome of the Rock as a Pilgrimage Site. 5.6 Al-Baladhuri: How the Muslim Community Obtained the Site for the Mosque of Damascus. 5.7 Ibn Shaddad: On Rusafa. 5.8 Ibn Jubayr: A Description of Aleppo's Citadel. Iraq. 5.9 Al-Baladhuri: On the Founding of Kufa. 5.10 Al-Mascudi: On the Founding of Samarra. 5.11 Kitab al-hadaya wa al-tuhaf: A Reception of Byzantine Ambassadors in Baghdad. Al-Andalus. 5.12 Ibn cIdhari: On the Mosque of Cordoba. 5.13 Signatures of Stone Masons in the Mosque of Cordoba. 5.14 cAbd al-Rahman I: Ode to a Palm Tree. 5.15 Ibn Ghalib: On the Construction of Madinat al-Zahra'. 5.16 Al-Maqqari: A Description of a Glass Pavilion in Toledo. 5.17 Navagero: On the Alhambra. The Maghreb, Africa, and Sicily. 5.18 Ziza Palace Inscriptions. 5.19 Ibn Naji al-Tanukhi: The Mihrab of the Great Mosque of Kairouan. 5.20 Al-Muqaddasi: A Description of Sabra al-Mansuriyya. 5.21 Ibn Marzuq: On Merinid Madrasas and Zawiyas. 5.22 Ibn Marzuq: On Merinid Bridges and Fountains. 5.23 cAbd Salam Shabeni: A Description of Timbuktu. Egypt. 5.24 Mufaddal ibn Abi al-Fada'il: On the Fatimid Processions to the Four Mosques. 5.25 Nasir-i Khusraw: A Description of the Fatimid Palace in Cairo. 5.26 Ibn Battuta: A Description of Cairo's Cemeteries. 5.27 Al-Maqrizi: On the Foundation of the Madrasa-Mausoleum of Sultan Salih Nejm al-Din Ayyub. 5.28 Baybars al-Jashankir's Waqfiyya. 5.29 Al-Maqrizi: On the Organization of the Sultan Qala'un Hospital in Cairo. 5.30 Inscription on the Facade of the Madrasa-Mausoleum of Sultan Qala'un. 5.31 Al-Maqrizi: A Description of the Madrasa al-Nasiriya's Gothic Portal. Turkey and the Ottoman Empire. 5.32 Ibn Battuta: On a Church Conversion in Bursa. 5.33 Evliya Celebi: A Description of the Ulu Cami in Bursa. 5.34 Kritovoulos: On the Ottoman Conquest and Reconstruction of Istanbul. 5.35 The Inscription on the Imperial Gate of the Topkapı Palace. 5.36 Evliya Celebi: A Description of the Topkapı Palace. 5.37 Sinan: On Building the Selimiye Mosque. 5.38 Hafiz H'useyin al-Ayvansarayi: A Description of the S'uleymaniye Mosque. 5.39 Mustafa b. Ahmed cAli: On Building with Booty. 5.40 Tavernier: A Description of the Topkapı Diwan. 5.41 Lady Mary Wortley Montagu: Harem Visits. Iran and Central Asia. 5.42 Narshakhi: On the Images on the Doors of the Bukhara Mosque. 5.43 Inscription on the Gunbad-i Qabus. 5.44 Abu cAmr al-Juzjani: A Description of the Ghurid Palace in Firuz-Kuh. 5.45 Babur: A Description of Samarkand. 5.46 Babur: On the Construction of the Bagh-i Wafa. 5.47 Clavijo: A Description of the Aq Saray near Samarkand. 5.48 Sharaf al-Din cAli Yazdi: A Description of the Dilgusha Garden. 5.49 Junabadi: A Description of Isfahan. 5.50 Iskandar Beg Munshi: A Description of the Masjid-i Shah in Isfahan. 5.51 Olearius: A Description of Uljaytu's Tomb in Sultaniyya. South Asia. 5.52 Ibn Battuta: A Description of Delhi and the Qutb Minar. 5.53 Firuz Shah: On Architectural Restoration. 5.54 The Tarikh-i Da'udi: On the Destruction of Hindu Idols. 5.55 Babur Plans a Garden in Agra. 5.56 Gulbadan Begam: On Building Projects in Agra and Dholpur. 5.57 Nizam al-Din Ahmad Haravi: On the Foundation of Fatehpur-Sikri. 5.58 cInayat Khan: On the Building of the Diwan-i Amm in the Agra Fort. 5.59 cInayat Khan: On the Construction of the Taj Mahal. 5.60 cInayat Khan: On Water Problems at the Shalimar Gardens in Lahore. 5.61 Francois Bernier: A Description of Shahjahanabad. 5.62 Thevenot: A Description of Aurangzeb’s Birthday Celebration. East Asia. 5.63 Ibn Battuta: On Caravanserais and Mosques in China. Acknowledgments. Index.

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Book SynopsisIslamic Art and Visual Culture is a collection of primary sources in translation accompanied by clear and concise introductory essays that provide unique insights into the aesthetic and cultural history of one of the world''s major religions. Collects essential translations from sources as diverse as the Qur''an, court chronicles, technical treatises on calligraphy and painting, imperial memoirs, and foreign travel accounts Includes clear and concise introductory essays Situates each text and explains the circumstances in which it was written--the date, place, author, and political conditions Provides a vivid window into Islamic visual culture and society An indispensable tool for teachers and students of art and visual culture Trade Review"Recommended. Lower-and upper-level undergraduates; general readers." (Choice, 1 October 2011) Table of ContentsIntroduction 1 1 Foundations: Religious, Political, Juridical, and Administrative Documents from Early Islam and Places in Transition 6 2 Behavior, Gifts, Treasuries, and Collections 11 3 Art 23 Workshops, Guilds, and Crafts in General 23 Calligraphy and Scribes 31 Painting 50 Textiles 57 Ceramics, Glass, Ivory, and Other Media 66 Geometry, Aesthetics 74 4 Space: Architecture and Urbanism 78 Architectural Technique 79 Architectural Types and Elements 84 Urbanism and Land 91 5 Places 96 Pre-Islamic 96 Syria, Jordan, and Environs 99 Iraq 105 Al-Andalus 112 The Maghreb, Africa, and Sicily 119 Egypt 125 Turkey and the Ottoman Empire 135 Iran and Central Asia 149 South Asia 162 East Asia 175 Acknowledgments 177 Index 183

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Book SynopsisIn a series of newly commissioned essays by both established and emerging scholars, Globalization and Contemporary Art probes the effects of internationalist culture and politics on art across a variety of media.Trade Review"Though most essays address the junction between globalization and contemporary art, some deal with 20th- and late 19th-century art. Ambitous and wide in scope, this invaluable study should be read by students of art and visual culture. Summing Up: Highly recommended. Upper-level undergraduates and above." (Choice, 1 November 2011)Table of ContentsList of Illustrations. Notes on Contributors. Introduction: Globalization and Contemporary Art: A Convergence of Peoples and Ideas (Jonathan Harris). Part 1: Institutions. Introduction. 1 Real Time and Real Time at The Israel Museum, Jerusalem (Vivianne Barsky). 2 Peddling Time When Standing Still: Art Remains in Lebanon and the Globalization That Was (Walid Sadek). 3 Homogeneity or Individuation? A Long View of the Critical Paradox of Contemporary Art in a Stateless Nation (Peter Lord). 4 Museums in the Colonial Horizon of Modernity: Fred Wilson's Mining the Museum (1992) (Walter Mignolo). 5 Africus Johannesburg Biennale 1995: Butisi Tart? (Natasha Becker). Part 2: Formations. Introduction. 6 Post-Crisis: Scenes of Cultural Change in Buenos Aires (Andrea Giunta). 7 Evolution within the Revolution: The Afro-Cuban Cultural Movement and Cuban Art Collectives, 1975 to 2000 (Zoya Kocur). 8 Ka Muhe'e, He i'a Hololua: Kanaka Maoli Art and the Challenge of the Global Market (Herman Pi’ikea Clark). 9 Aboriginal Cosmopolitans: A Prehistory of Western Desert Painting (Ian McLean). 10 Working to Learn Together: Failure as Tactic (Judith Rodenbeck). Part 3: Means and Forces of Production. Introduction. 11 The Two Economies of World Art (Malcolm Bull). 12 The Spectacle and Its Others: Labor, Conflict, and Art in the Age of Global Capital (Angela Dimitrakaki). 13 Cultural Mercantilism: Modernism's Means of Production: The Gutai Group as Case Study (Ming Tiampo). 14 Audiovisionaries of the Network Planet (Sean Cubitt). Part 4: Identifications. Introduction. 15 Contemporary Asian Art and the West (David Clarke). 16 World Pictures: Globalization and Visual Culture (W. J. T. Mitchell). 17 Leaves of Grass and Real Allegory: A Case Study of International Rebellion (Albert Boime). 18 Collaboration in Art and Society: A Global Pursuit of Democratic Dialogue (Nikos Papastergiadis). Part 5: Forms. Introduction. 19 Globalization Questions and Contemporary Art's Answers: Art in Palestine (Khaled Hourani). 20 Political Islam and the Time of Contemporary Art (Amna Malik). 21 Displaced Models: Techniques and Tactics of Reproduction across the Genres and Institutions of Western Art from Duchamp to Doujak (Lewis Johnson0. 22 White Man Got No Dreaming: Indigenous Art, Apartheid and the Emergence of "Global Style" Painting in Australia (Jeanette Hoorn). 23 The Discourse of (L)imitation: A Case Study with Hole-Digging in 1960s Japan (Reiko Tomii). Part 6: Reproduction. Introduction. 24 Art and Postcolonial Society (Rasheed Araeen). 25 Why Art History is Global (James Elkins). 26 The Agency of the Historian in the Construction of National Identity in Colombian Architecture (Felipe Hernández). 27 Aboriginal Art and Australian Modernism: An Althusserian Critique (Darren Jorgensen). 28 Gesturing No(w)here (Nermin Saybasili). Part 7: Organization. Introduction. 29 The Emergence of Powerhouse Dealers in Contemporary Art (Derrick Chong). 30 The Art Market in Transition, the Global Economic Crisis, and the Rise of Asia (Iain Robertson). 31 Global Contemporary? The Global Horizon of Art Events (Charlotte Bydler). 32 "Institutionalized Globalization," Contemporary Art, and the Corporate Gulag in Chile (David Craven). 33 Culture, Neoliberal Development, and the Future of Progressive Politics in Southeastern Europe (Zhivka Valiavicharska). Select Bibliography. Illustration Credits. Index.

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Book SynopsisIn a series of newly commissioned essays by both established and emerging scholars, Globalization and Contemporary Art probes the effects of internationalist culture and politics on art across a variety of media.Trade Review"Summing Up: Highly recommended. Upper-level undergraduates and above." (Choice, 1 November 2011)Table of ContentsList of Illustrations. Notes on Contributors. Introduction: Globalization and Contemporary Art: A Convergence of Peoples and Ideas (Jonathan Harris). Part 1: Institutions. Introduction. 1 Real Time and Real Time at The Israel Museum, Jerusalem (Vivianne Barsky). 2 Peddling Time When Standing Still: Art Remains in Lebanon and the Globalization That Was (Walid Sadek). 3 Homogeneity or Individuation? A Long View of the Critical Paradox of Contemporary Art in a Stateless Nation (Peter Lord). 4 Museums in the Colonial Horizon of Modernity: Fred Wilson's Mining the Museum (1992) (Walter Mignolo). 5 Africus Johannesburg Biennale 1995: Butisi Tart? (Natasha Becker). Part 2: Formations. Introduction. 6 Post-Crisis: Scenes of Cultural Change in Buenos Aires (Andrea Giunta). 7 Evolution within the Revolution: The Afro-Cuban Cultural Movement and Cuban Art Collectives, 1975 to 2000 (Zoya Kocur). 8 Ka Muhe'e, He i'a Hololua: Kanaka Maoli Art and the Challenge of the Global Market (Herman Pi’ikea Clark). 9 Aboriginal Cosmopolitans: A Prehistory of Western Desert Painting (Ian McLean). 10 Working to Learn Together: Failure as Tactic (Judith Rodenbeck). Part 3: Means and Forces of Production. Introduction. 11 The Two Economies of World Art (Malcolm Bull). 12 The Spectacle and Its Others: Labor, Conflict, and Art in the Age of Global Capital (Angela Dimitrakaki). 13 Cultural Mercantilism: Modernism's Means of Production: The Gutai Group as Case Study (Ming Tiampo). 14 Audiovisionaries of the Network Planet (Sean Cubitt). Part 4: Identifications. Introduction. 15 Contemporary Asian Art and the West (David Clarke). 16 World Pictures: Globalization and Visual Culture (W. J. T. Mitchell). 17 Leaves of Grass and Real Allegory: A Case Study of International Rebellion (Albert Boime). 18 Collaboration in Art and Society: A Global Pursuit of Democratic Dialogue (Nikos Papastergiadis). Part 5: Forms. Introduction. 19 Globalization Questions and Contemporary Art's Answers: Art in Palestine (Khaled Hourani). 20 Political Islam and the Time of Contemporary Art (Amna Malik). 21 Displaced Models: Techniques and Tactics of Reproduction across the Genres and Institutions of Western Art from Duchamp to Doujak (Lewis Johnson0. 22 White Man Got No Dreaming: Indigenous Art, Apartheid and the Emergence of "Global Style" Painting in Australia (Jeanette Hoorn). 23 The Discourse of (L)imitation: A Case Study with Hole-Digging in 1960s Japan (Reiko Tomii). Part 6: Reproduction. Introduction. 24 Art and Postcolonial Society (Rasheed Araeen). 25 Why Art History is Global (James Elkins). 26 The Agency of the Historian in the Construction of National Identity in Colombian Architecture (Felipe Hernández). 27 Aboriginal Art and Australian Modernism: An Althusserian Critique (Darren Jorgensen). 28 Gesturing No(w)here (Nermin Saybasili). Part 7: Organization. Introduction. 29 The Emergence of Powerhouse Dealers in Contemporary Art (Derrick Chong). 30 The Art Market in Transition, the Global Economic Crisis, and the Rise of Asia (Iain Robertson). 31 Global Contemporary? The Global Horizon of Art Events (Charlotte Bydler). 32 "Institutionalized Globalization," Contemporary Art, and the Corporate Gulag in Chile (David Craven). 33 Culture, Neoliberal Development, and the Future of Progressive Politics in Southeastern Europe (Zhivka Valiavicharska). Select Bibliography. Illustration Credits. Index.

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Book SynopsisOffering the most systematic review to date of the Barnes Foundation, an intellectual genealogy and analysis of The New Negro anthology, and studies of a wide range of hitherto ignored anthologies and archives, Braddock convincingly shows how artistic and literary collections helped define the modernist movement in the United States.Trade ReviewA book that's going to rewrite what we think about art objects, poems, property, museums, anthologies-and race and modernity and on and on... So comprehensive is it that it will be impossible to ignore. -- Tim Morton Ecology Without Nature The final chapter on the institutionalization of modernism in archival collections and rare book libraries is particularly illuminating for the history of librarianship... The breadth of his scholarship, evidenced by the seventy pages dedicated to the index and bibliography, makes this title a critical addition to libraries supporting modern art collections and modern art history programs. Art Libraries Society of North America Acute and important... a wide-ranging study based on the unexpected but revealing parallels between the selection of work for poetry anthologies and the acquisition of art for collections during the modernist era. -- Barry Schwabsky The Nation Braddock's book stands as a towering achievement... Essential. Choice Collecting as a Modernist Practice not only explains how art is consumed, but it also analyzes how art circulates, not freely, but according to choices made by people who enjoy either power, influence, or fortune. The author not only tells how things happened, but he also links decisions with consequences... Historians of ideas, sociologists of art and culture, and advanced students in cultural studies will surely benefit from this elegant, well-written book. -- Yves Laberge Journal of American Culture Braddock... neatly outline[s] the path of the modernist collection from provisional institution to mainstream culture to large institution in a cogent manner that may cause present-day museum professionals and collectors to consider the potential life cycle of their collecting and display practices. -- Kara York Journal of Curatorial Studies Collecting as Modernist Practice, Jeremy Braddock's closely reasoned and well written examination of modernist collecting practices, demonstrates how attempts to define and regulate culture often reveal underlying structures of political and economic power... -- John Scheckter Ecloga Jeremy Braddock's Collecting as Modernist Practice makes a very productive expansion of the archival turn in modernist studies... Braddock's work on Albert Barnes and the Barnes Foundation is sure to elicit attention and further development in modernist studies. The Year's Work in English StudiesTable of ContentsAcknowledgmentsIntroduction: Collections Mediation Modernist1. After ImagismeThe Lyric Year and the Crisis in Cultural ValuationThe Anthology as WeaponThe Others FormationReprisal Anthologies2. The Domestication of Modernism: The PhillipsMemorial Gallery in the 1920sPictorial PublicitySubconscious Stimulation, a Professional Public SphereProblems in Collecting PicturesAkhenaten, Patron of Modernism3. The Barnes Foundation, Institution of the New PsychologiesAgainst DilettantismA System for the New SpiritCollection and InstitutionThe Art of Memory in the Age of the Unconscious4. The New Negro in the Field of CollectionsSage Homme NoirPrecursor AnthologiesCoterie, Movement, RaceThe Heritage of The New NegroDownstairs from the Harlem Museum5. Modernism's Archives: Afterlives of the Modernist CollectionTwo TerminiTwo ConsecrationsTwo ArchivesNotesBibliographyIndex

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Book SynopsisRigorous archival research, careful readings, and long chronologies of genre define this magisterial work, making it an invaluable resource for scholars of American studies, American poetry, and literary history.Trade ReviewWide-ranging... Through close readings of major and minor writers, and their friends and critics, Phillips argues that the term 'epic' was increasingly applied over many genres and mixes of genres as a subjective signifier of value... Highly recommended. Choice Phillips's Epic in American Culture is an essential polemic for the new direction of epic-centered studies. -- Gregory E. Rutledge Journal of American History A thought-provoking and significant contribution to our understanding of early-American literary culture. -- Kreg Abshire Journal of American Culture Phillips persuasively and eloquently recovers works that have been paid little or no scholarly attention in order to redress an imbalance in American studies, as is the case elsewhere, towards the canon. The Year's Work in English StudiesTable of ContentsAcknowledgmentsIntroduction: Epic TravelsPrologue: Reading Epic1. Diffusions of Epic Form in Early America2. Constitutional Epic3. Epic on Canvas4. Transcendentalism and the "New" Epic Traditions5. Tracking Epic through The Leatherstocking Tales6. Lydia Sigourney and the Indian Epic's Work of Mourning7. Longfellow's Pantheon8. Melville's Epic CareerEpilogue: Invisible EpicNotesBibliographyIndex

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Book SynopsisGoing beyond merely explaining how the artists in these genres achieved their peculiar effects, he presents challenging new analyses of telling craft details which help students and scholars come to know more fully this bold age of aesthetic extremism.Trade ReviewScholarly and impressive... Such a thorough consideration of the interconnectedness of modernism illuminates how truly revolutionary this artistic movement was. ChoiceTable of ContentsList of IllustrationsIntroduction. Modernist TransvaluationI. Two Originary Texts1. Baudelaire and Symbolism2. Nietzsche and the DionysiacII. Isms3. Impressionism4. Expressionism5. Futurism6. Cubism7. Abstractionism8. Primitivism9. Imagism10. Neoclassicism11. Dadaism12. Surrealism13. Aestheticism14. Corporealism15. Totalizing Art16. Communism, Fascism, and Later ModernismEpilogue. The End of Modernism?Notes

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Book SynopsisOriginally published in 1995. In The Beautiful, Novel, and Strange, Ronald Paulson fills a lacuna in studies of aesthetics at its point of origin in England in the 1700s. He shows how aesthetics took off not only from British empiricism but also from such forms of religious heterodoxy as deism. The third earl of Shaftesbury, the founder of aesthetics, replaced the Christian God of rewards and punishments with beautyworship of God, with a taste for a work of art. William Hogarth, reacting against Shaftesbury's disinterestedness, replaced his Platonic abstractions with an aesthetics centered on the human body, gendered female, and based on an epistemology of curiosity, pursuit, and seduction. Paulson shows Hogarth creating, first in practice and then in theory, a middle area between the Beautiful and the Sublime by adapting Joseph Addison's category (in the Spectator) of the Novel, Uncommon, and Strange. Paulson retrieves an aesthetics that had strong support during the eighteenth centTrade ReviewThis is a remarkable and important book, one that scholars will be learning from for a long time and that critics and theorists of the arts will want to ponder for its interventions into the basic questions of aesthetics, ideology, and the relation of artistic theory and practice. It will certainly spark a much-needed debate in the complacent circles of British art history, one that will fruitfully cut across the familiar battle lines between 'left' and 'right,' 'theorists' and 'historians,' 'scholars' and 'critics.'.—W. J. T. Mitchell, Editor, Critical InquiryTable of ContentsPrefaceChapter 1. Aesthetics and Deism Chapter 2. Shaftesburian Disinterestedness Chapter 3. Addison's Aesthetics of the Novel Chapter 4. The Conversation Piece: Politeness and Subversion Chapter 5. The "Great Creation": Fielding Chapter 6. Aesthetics and Erotics: Cleland, Fielding, and Sterne Chapter 7. The Strange, Trivial, and Infantile: Books for Children Chapter 8. From Novel co Strange to "Sublime" Chapter 9. From Novel to Picturesque Chapter 10. The Novelizing of Hogarth Illustrations NotesAckowledgmentsIndex

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Book SynopsisA century of American history reflected in the iconic private eye. Steadfast in fighting crime, but operating outside the police forceand sometimes even the lawis the private detective. Driven by his own moral code, he is a shadowy figure in a trench coat standing on a street corner, his face most likely obscured by a tilted fedora, a lit cigarette dangling from his hand. The hard-boiled detective is known by his dark past, private pain, and powers of deduction. He only asks questionsnever answers them. In his stories he is both the main character and the narrator. America has had a love affair with the hard-boiled detective since the 1920s, when Prohibition called into question who really stood on the right and wrong side of the law. And nowhere did this hero shine more than in crime fiction. In Detectives in the Shadows, literary and cultural critic Susanna Lee tracks the evolution of this truly American character typefrom Race Williams to Philip Marlowe and from Mike Hammer to JTrade ReviewOne can say many things about crime fiction, and throughout this thoughtful, well-crafted piece of literary history, Lee succeeds in telling the story straight.—Library JournalFor detective fiction fans, this will prove an entertaining and informative trip through American history alongside their favorite gumshoes.—Publisher's WeeklyA revealing critique of a pop culture icon and required reading for mystery buffs.—Julie Hale, BookPageTable of ContentsAcknowledgmentsIntroduction. A Silhouette Chapter One. Arriving on the Scene Chapter Two. A Moral Compass Chapter Three. A Rugged Individual Chapter Four. A Lone Wolf Chapter Five. A Person of Honor Appendix: Selected Authors' Fictional WorksNotesBibliographyIndex

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Book SynopsisBaltimore seen through the eyes of John Waters, Anne Tyler, Charles S. Dutton, Barry Levinson, David Simonand also ordinary citizens. The city of Baltimore features prominently in an extraordinary number of films, television shows, novels, plays, poems, and songs. Whether it's the small-town eccentricity of Charm City (think duckpin bowling and marble-stooped row houses) or the gang violence of Bodymore, Murdaland, Baltimore has figured prominently in popular culture about cities since the 1950s. In Come and Be Shocked, Mary Rizzo examines the cultural history and racial politics of these contrasting images of the city. From the 1950s, a period of urban crisis and urban renewal, to the early twenty-first century, Rizzo looks at how artists created powerful images of Baltimore. How, Rizzo asks, do the imaginary cities created by artists affect the real cities that we live in? How does public policy (intentionally or not) shape the kinds of cultural representations that artists create?Trade ReviewIn Mary Rizzo's latest book, she puts Baltimore in context, historically and culturally, through the lens of the arts, from film to literature to music dating back to the 1950s and up to present day. Through her research and synthesis, we learn how the arts shaped Baltimore's identity . . . As Rizzo weaves together narratives of a city long divided by race, she, too, helps to paint a picture of what Baltimore's identity was, what it is, and what it's becoming.—Lauren LaRocca, Baltimore MagazineCulture and cultural narratives might not literally pour concrete or stack bricks. But, as Rizzo shows in her cultural history—narratives do matter to the cities we live in.—Public BooksTable of ContentsList of IllustrationsAcknowledgmentsIntroduction. Cities as NarrativesPart I. Renewal and ResistanceChapter 1. The City of Anger: Blockbusting and Cultural Representations of White InnocenceChapter 2. From Blight to Filth: John Waters in the Age of Urban RenewalChapter 3. "The Most Authentic Microphone of Black Folks Talking Ever Devised": Chicory and the Poetry of Human Renewal Chapter 4. Hollywood East: William Donald Schaefer Animates Neoliberal Baltimore Part II. Good Mo(u)rning, BaltimoreChapter 5. Accidental Tourists: Alienated Whiteness amid Renaissance Chapter 6. A People's History of West Baltimore: Roc, The Wire, and Baltimore on TV Chapter 7. Welcome to Baltimore, Hon!: Race, Gender, and Urban Branding at the End of the CenturyEpilogue NotesIndex

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Book SynopsisOn the historic 50th Anniversary, this reissued edition looks at the contemporary meanings and influences of images of the JFK assassination by filmmakers, photographers, and artistsTrade Review Praise for the First Edition:"This history of the representation of the JFK assassination makes a terrific contribution to film studies and indeed to cultural studies generally. Moving with wit and erudition across political history, avant-garde film, serigraphy, journalism, and mass-market film, Simon transcends the banalities of the high culture/low culture binary to produce a study of exemplary range and insight." —David E. James, School of Cinema-Television, University of Southern CaliforniaTable of ContentsPreface to the New Paperback Edition Acknowledgments Introduction: The Assassination Debates Part One Chapter 1 The Zapruder Film Chapter 2 The Body Chapter 3 Images of Oswald Part Two Chapter 4 The Warhol Silkscreens Chapter 5 The Pop Camp Chapter 6 Bruce Conner Chapter 7 Assassination Video Part Three Chapter 8 Executive Action Chapter 9 The Parallax View/Winter Kills/Blow Out Chapter 10 JFK Epilogue Notes Index

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Book SynopsisThis seventh volume in the beautiful Strokes of Genius series celebrates creative drawing with more than 140 diverse pieces by today's best artists in charcoal, pencil, pastel, colored pencil, scratchboard, pen+ink and more. Drawing is an essential skill that all artists use no matter what their primary medium 100+ of the best artists showcased from 1000s of entrant Oversized book has coffee-table appeal and is great for collectors Inspiring captions let readers uncover the secret processes of contemporary masters.

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Book SynopsisA Short History of the Ancient World begins with the Bronze Age and ends with the collapse of the Roman Empire. Rather than restricting his analysis to the Greek and Roman experience, Rauh introduces students to ancient Africa, Israel, Egypt, Iran, China, and the Indian subcontinent.Table of ContentsPreface: The Approach to Classical World Civilizations Introduction: From Human Prehistory to the Ancient World Part I. Emerging Civilizations: The Bronze Age 1. The Near East in the Early and Middle Bronze Age (3300-1600 BC) 2. Ancient Egypt (3100-1069 BC) 3. Aegean Civilizations and Their Impact on Neighboring Peoples (2000-1100 BC) Part II. Civilizations in Flux: The Classical/Early Iron Age 4. Iron Age Near Eastern Civilizations (1000-300 BC) 5. Ancient Israel (the United and Divided Kingdoms) (1850-539 BC) 6. Ancient Civilizations in the Indian Subcontinent (Southern Asia) (2600 BC-500 AD) 7. Classical Greek Civilization (1000-27 BC) 8. Ancient Chinese Civilization (2000 BC-200 AD) Part III: The Roman Era and Wider Societal Collapse 10. Roman Imperialism and the Formation of Empire (275-27 BC) 11. The Pax Romana and the Sustained Trajectory of the Roman Empire (27 BC-565 AD) Conclusion: The Ancient World System, Natural Adaptive Cycles, and Patterns of Societal Collapse

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Book SynopsisA Short History of the Ancient World begins with the Bronze Age and ends with the collapse of the Roman Empire. Rather than restricting his analysis to the Greek and Roman experience, Rauh introduces students to ancient Africa, Israel, Egypt, Iran, China, and the Indian subcontinent.Table of ContentsPreface: The Approach to Classical World Civilizations Introduction: From Human Prehistory to the Ancient World Part I. Emerging Civilizations: The Bronze Age 1. The Near East in the Early and Middle Bronze Age (3300-1600 BC) 2. Ancient Egypt (3100-1069 BC) 3. Aegean Civilizations and Their Impact on Neighboring Peoples (2000-1100 BC) Part II. Civilizations in Flux: The Classical/Early Iron Age 4. Iron Age Near Eastern Civilizations (1000-300 BC) 5. Ancient Israel (the United and Divided Kingdoms) (1850-539 BC) 6. Ancient Civilizations in the Indian Subcontinent (Southern Asia) (2600 BC-500 AD) 7. Classical Greek Civilization (1000-27 BC) 8. Ancient Chinese Civilization (2000 BC-200 AD) Part III: The Roman Era and Wider Societal Collapse 10. Roman Imperialism and the Formation of Empire (275-27 BC) 11. The Pax Romana and the Sustained Trajectory of the Roman Empire (27 BC-565 AD) Conclusion: The Ancient World System, Natural Adaptive Cycles, and Patterns of Societal Collapse

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Book SynopsisContested Spaces investigates space and conflict in novels, short stories, life writing, and journalism from Canada and Québec by asking how counter-narratives challenge geographies of exclusion from below.Trade Review"This excellent collection of fifteen essays by renowned scholars focuses on contested spaces and alternative or counternarratives. It invites rereading or reinterpreting of well-trodden ground and explores different voices and spaces in the discussion of the social meaning around space." -- Jane Koustas, Brock University * Journal of Contemporary Drama in English *Table of ContentsAcknowledgements Introduction: Reading Space Through Conflict ROXANNE RIMSTEAD and DOMENICO A. BENEVENTI (Université de Sherbrooke) Part I: Contested Urban Spaces Chapter 1 : Culture and Critique During Mega-Events: The 2010 Olympics and the Right to the City JEFF DERKSEN (Simon Fraser University) Chapter 2: The Ambivalence of Enclosed Spaces in Immigrant Fiction: Between Refuge and Prison AMARYLL CHANADY (Université de Montréal) Chapter 3: Montreal Marginalities: Revisiting Boulevard Saint-Laurent SHERRY SIMON (Concordia University) Chapter 4: Heterotopia and Its Discontents: Exploring Spatial, Social, and Textual Liminality in Rawi Hage’s Cockroach RITA SAKR (University of London) Chapter 5: "Laisser-aller": Homelessness and Contained Space in Kobo Abe’s The Box Man and Robert Majzels’s City of Forgetting SIMON HAREL (Université de Montréal) Part II : Counter-Narratives and Spaces of the Nation/State Chapter 6: Unruly and Unremarked: Theatrical Spectatorship from Below in Nineteenth-Century Canada ALAN FILEWOD (University of Guelph) Chapter 7: Women’s Space in Postcolonial Perspective: France Théoret’s Une belle éducation and Assia Djebar’s Nulle part dans la maison de mon père MARY JEAN GREEN (Dartmouth College) Chapter 8: For King and Country? : War and Indigenous Masculinity DEENA RYMHS (University of British Columbia) Chapter 9: Reclaiming Indigenous Space through Testimonial Life Writing: An Antane Kapesh’s Je suis une maudite Sauvagesse as Territorial Imperative NATASHA DAGENAIS (Université de Sherbrooke) Chapter 10: Norman Bethune and the Contested Spaces of Canadian Public Memory CANDIDA RIFKIND (University of Winnipeg) Part III: Culture from Below Chapter 11 : Knowing the Urban Other: Notes on the Ethics and Epistemology of Slumming in Novels and Reportage ROXANNE RIMSTEAD (Université de Sherbrooke) Chapter 12: "You Should Think about It, Think What It Means": Working Girls in Canadian Women’s Writing PATRICIA DEMERS (University of Alberta) Chapter 13: Border-Crossings and Alternative Social Spaces in Gabrielle Roy’s Bonheur d’occasion / The Tin Flute D. M. R. BENTLEY (Western University) Chapter 14: Growing Up Poor and Female in Montreal, 1930-1960: Women’s Autobiographies as Counter-Narratives PATRICIA SMART (Carleton University) Chapter 15: Tramping Across the Nation: Homeless Embodiment in Canadian Literature DOMENICO A. BENEVENTI (Université de Sherbrooke) Afterword

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Book SynopsisGarcilaso de la Vega and the Material Culture of Renaissance Europe examines the role of cultural objects in the lyric poetry of Garcilaso de la Vega, the premier poet of sixteenth-century Spain. As a pioneer of the “new poetry” of Renaissance Europe, aligned with the court, empire, and modernity, Garcilaso was fully attuned to the collection and circulation of luxury artefacts and other worldly goods. In his poems, a variety of objects, including tapestries, paintings, statues, urns, mirrors, and relics participate in lyric acts of discovery and self-revelation, reveal memory as contingent and unstable, expose knowledge of the self as deceptive, and show how history intersects with the ideology of empire.Mary E. Barnard’s study argues persuasively that the material culture of early sixteenth-century Europe embedded within Garcilaso’s poems offers a key to understanding the interplay between objects and texts that make those works such vibrantTrade Review'Barnard's studies of Garcilaso's Naples period are excellent approaches to his politics and his representations of emotional states... Barnard's book is worthy of careful attention of anyone interested in Renaissance verse.' -- Eric Clifford Graf Renaissance Quarterly vol 69:01:2016 'A vibrant, truly scholarly study that deserves pride of place in any collection (library or personal)... Essential.' -- K.M Sibbald Choice Magazine vol 52:12:2015Table of ContentsAcknowledgements Note on Editions and Translations List of Illustrations Introduction: Engaging the Material Chapter 1: Weaving, Writing, and the Art of Gift-Giving Tapestry Culture The Poem as Fabric: Weavers and Writers Chapter 2: Empire, Memory, and History An Archive in Cloth Unearthing Carthage Chapter 3: Objects of Dubious Persuasion The Lyre and the Viol(a) The Shell Boat A Marble Statue Chapter 4: The Mirror and the Urn At the Fountain of Narcissus The Urn's Tale Chapter 5: Eros at Material Sites Weaver Nymphs in Crystal Palaces Daphne's Scenographic Body Mapping the Humoral Interior Tablet of the Soul Chapter 6: Staging Objects in Pastoral Falling in Love with a Statue Mourning Becomes Material Conclusion Notes Works Cited Index

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Book SynopsisEnlightening Encounters traces the impact of photography on Italian literature from the medium’s invention in 1839 to the present day. Investigating the ways in which Italian literature has responded to photographic practice and aesthetics, the contributors use a wide range of theoretical perspectives to examine a variety of canonical and non-canonical authors and a broad selection of literary genres, including fiction, autobiography, photo-texts, and migration literature. The first collection in English to focus on photography’s reciprocal relationship to Italian literature, Enlightening Encounters represents an important resource for a number of fields, including Italian studies, literary studies, visual studies, and cultural studies.Trade Review'A groundbreaking exploration of the impact of photography on Italian literary texts, published from mid-19th century onward... Essential.' -- C. De. Santi Choice Magazine vol 53:01:2015Table of ContentsPhoto-Literary Encounters in Italy (Giorgia Alu and Nancy Pedri) Part One: The Lure of Photography 1. Spectres of Photography: Photography, Literature, and the Social Sciences in Fin-de-Siecle Italy (Maria Grazia Lolla) 2. Authoring Images: Italo Calvino, Gianni Celati, and Photography as Literary Art (Pasquale Verdicchio) 3. Fossati's and Messori's Vision of Landscape in Viaggio in un paesaggio terrestre (Marina Spunta) Part Two: Photography Structuring Narrative 4. The Fiction of Photography: Vittorio Imbriani's Merope IV - Sogni e fantasie di Quattr'Asterischi (1867) (Sarah A. Carey) 5. Narrated Photographs and the Collapse of Time and Space in Erri De Luca's Non ora, non qui (Nancy Pedri) Part Three: Narrated Photographs and Photographs Narrating 6. Photo-Poems: Visual Impact Strategies and Photo-Story in the Work of Mario Giacomelli and Luigi Crocenzi (Marco Andreani) 7. What the Writer Saw (and the Camera Didn't): Antonio Tabucchi's Notturno indiano and Daniele Del Giudice's Lo stadio di Wimbledon (Donata Panizza) 8. Photographs Illustrating and Photographs Telling: Exercises in Reading Lalla Romano and Elio Vittorini (Epifanio Ajello) Part Four: Through the Lens 9. Narrative Scopophilia as Seen through the Lens of a Photographic Camera: Intersemiotic Translation and Voyeurism in L'uomo che guarda (1985) (Mariarita Martino) 10. Photography into the Limelight: Andrea De Carlo's Treno di panna (Sarah Patricia Hill) 11. Looking through Coloured Shards: Words and Images in Ornela Vorpsi's Works (Giorgia Alu) Writing with Light: Concluding Remarks (Giorgia Alu And Nancy Pedri)

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Book SynopsisShedding fresh light on modern art beyond the West, this text introduces readers to artists, art movements, debates and theoretical positions of the modern era that continue to shape contemporary art worldwide. Area histories of modern art are repositioned and interconnected towards a global art historiography. Provides a much-needed corrective to the Eurocentric historiography of modern art, offering a more worldly and expanded view than any existing modern art survey Brings together a selection of major essays and historical documents from a wide range of sources Section introductions, critical essays, and documents provide the relevant contextual and historiographical material, link the selections together, and guide the reader through the key theoretical positions and debates Offers a useful tool for students and scholars with little or no prior knowledge of non-Western modernisms Includes many contrasting voices in its doTable of ContentsList of Figures viii Acknowledgments xi General Introduction: The Location of Modern Art 1 Elaine O’Brien Part I African Modern Art 15 Introduction: African Modern Art: An Ongoing Project 17 Everlyn Nicodemus 1 Modern African Art 26 Chika Okeke 2 From Country to City: The Development of an Urban Art 39 Steven Sack 3 Nomfanekiso Who Paints at Night: The Art of Gladys Mgudlandlu 45 Elza Miles 4 Negritude, Pan-Africanism, and Postcolonial African Identity: African Portrait Photography 49 Okwui Enwezor and Octavio Zaya 5 A Critical Presence: Drum Magazine in Context 58 Okwui Enwezor 6 Art of the African Diaspora 63 Michael D. Harris 7 Chorale: Man, Society, and Technology: An Experiment in Rural Egypt 73 Hassan Fathy 8 Oral Tradition and the Aesthetics of Black African Cinema 79 Nwachukwu Frank Ukadike 9 On National Culture 87 Frantz Fanon 10 Discourse on Colonialism 89 Aimé Césaire 11 Natural Synthesis 91 Uche Okeke 12 A Historic Confrontation between Jean Rouch and Ousmane Sembène in 1965: “You Look at Us as if We Were Insects” 94 Jean Rouch and Ousmane Sembène Part II Asian Modern Art: India, Japan, China 99 Introduction: Asian Modern Art: A Case of Alternative, Parallel, and Intersecting Modernisms 101 Melissa Chiu and Benjamin Genocchio 13 Multiculturalism/Multimodernism 106 Jim Supangkat 14 Negotiating Modernities: Encounters with Cubism in Asian Art 120 Ahmad Mashadi Section 1 India 129 15 When Was Modernism in Indian Art? 129 Geeta Kapur 16 The Formalist Prelude 138 Partha Mitter 17 E. B. Havell and Rabindranath Tagore: Nationalism, Modernity and Art 150 Osman Jamal 18 Art and Tradition 160 Rabindranath Tagore Section 2 Japan 165 19 Western Style Painting in Japan: Mimesis, Individualism, and Japanese Nationhood 165 Gennifer Weisenfeld 20 Artistic Subjectivity in the Taishō and Early Shōwa Avant-Garde 181 John Clark 21 The Age of Modernism: From Visualization to Socialization 193 Joe Takeba 22 The Architectural Profession in Japan, 1850–1930 209 Jonathan M. Reynolds 23 Dangen wa Dadaisuto 228 Takahashi Shinkichi Section 3 China 231 24 Sketch Conceptualism as Modernist Contingency 231 Eugene Y. Wang 25 Post-Impressionists in Pre-War Shanghai: The Juelanshe (Storm Society) and the Fate of Modernism in Republican China 254 Ralph Croizier 26 Films and Shanghai 272 Zheng Dongtian 27 The Storm Society Manifesto (October 1932) 279 Ni Yide, Pang Xunqin , et al. Part III Latin American Modern Art 281 Introduction: Modernism in Latin America: Strategic Vanguards 283 Mary K. Coffey and Roberto Tejada 28 Our America and the West 292 Roberto Fernández Retamar 29 Strategies of Modernity in Latin America 302 Andrea Giunta 30 Revolution as Ritual: Diego Rivera’s National Palace Mural 315 Leonard Folgarait 31 Africa in the Art of Latin America 330 Gerardo Mosquera 32 Vital Structures: The Constructive Nexus in South America 339 Mari Carmen Ramírez 33 Landscape: Errant Modernist Aesthetics in Brazil 353 Esther Gabara 34 The Spirit of Brasília: Modernity as Experiment and Risk 362 James Holston 35 Carmen Miranda, Grande Otelo, and the Chanchada , 1929–1949 375 Robert Stam 36 To Roosevelt 387 Rubén Darío 37 Essays on Latin American Art 391 Joaquín Torres-García 38 The Cosmic Race 402 José Vasconcelos 39 Cannibalist Manifesto 413 Oswald de Andrade 40 Brasília 424 Clarice Lispector Credits and Sources 429 Index 434

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Book SynopsisShedding fresh light on modern art beyond the West, this text introduces readers to artists, art movements, debates and theoretical positions of the modern era that continue to shape contemporary art worldwide. Area histories of modern art are repositioned and interconnected towards a global art historiography. Provides a much-needed corrective to the Eurocentric historiography of modern art, offering a more worldly and expanded view than any existing modern art survey Brings together a selection of major essays and historical documents from a wide range of sources Section introductions, critical essays, and documents provide the relevant contextual and historiographical material, link the selections together, and guide the reader through the key theoretical positions and debates Offers a useful tool for students and scholars with little or no prior knowledge of non-Western modernisms Includes many contrasting voices in its doTable of ContentsList of Figures viii Acknowledgments xi General Introduction: The Location of Modern Art 1 Elaine O’Brien Part I African Modern Art 15 Introduction: African Modern Art: An Ongoing Project 17 Everlyn Nicodemus 1 Modern African Art 26 Chika Okeke 2 From Country to City: The Development of an Urban Art 39 Steven Sack 3 Nomfanekiso Who Paints at Night: The Art of Gladys Mgudlandlu 45 Elza Miles 4 Negritude, Pan-Africanism, and Postcolonial African Identity: African Portrait Photography 49 Okwui Enwezor and Octavio Zaya 5 A Critical Presence: Drum Magazine in Context 58 Okwui Enwezor 6 Art of the African Diaspora 63 Michael D. Harris 7 Chorale: Man, Society, and Technology: An Experiment in Rural Egypt 73 Hassan Fathy 8 Oral Tradition and the Aesthetics of Black African Cinema 79 Nwachukwu Frank Ukadike 9 On National Culture 87 Frantz Fanon 10 Discourse on Colonialism 89 Aimé Césaire 11 Natural Synthesis 91 Uche Okeke 12 A Historic Confrontation between Jean Rouch and Ousmane Sembène in 1965: “You Look at Us as if We Were Insects” 94 Jean Rouch and Ousmane Sembène Part II Asian Modern Art: India, Japan, China 99 Introduction: Asian Modern Art: A Case of Alternative, Parallel, and Intersecting Modernisms 101 Melissa Chiu and Benjamin Genocchio 13 Multiculturalism/Multimodernism 106 Jim Supangkat 14 Negotiating Modernities: Encounters with Cubism in Asian Art 120 Ahmad Mashadi Section 1 India 129 15 When Was Modernism in Indian Art? 129 Geeta Kapur 16 The Formalist Prelude 138 Partha Mitter 17 E. B. Havell and Rabindranath Tagore: Nationalism, Modernity and Art 150 Osman Jamal 18 Art and Tradition 160 Rabindranath Tagore Section 2 Japan 165 19 Western Style Painting in Japan: Mimesis, Individualism, and Japanese Nationhood 165 Gennifer Weisenfeld 20 Artistic Subjectivity in the Taishô and Early Shôwa Avant-Garde 181 John Clark 21 The Age of Modernism: From Visualization to Socialization 193 Joe Takeba 22 The Architectural Profession in Japan, 1850–1930 209 Jonathan M. Reynolds 23 Dangen wa Dadaisuto 228 Takahashi Shinkichi Section 3 China 231 24 Sketch Conceptualism as Modernist Contingency 231 Eugene Y. Wang 25 Post-Impressionists in Pre-War Shanghai: The Juelanshe (Storm Society) and the Fate of Modernism in Republican China 254 Ralph Croizier 26 Films and Shanghai 272 Zheng Dongtian 27 The Storm Society Manifesto (October 1932) 279 Ni Yide, Pang Xunqin , et al. Part III Latin American Modern Art 281 Introduction: Modernism in Latin America: Strategic Vanguards 283 Mary K. Coffey and Roberto Tejada 28 Our America and the West 292 Roberto Fernández Retamar 29 Strategies of Modernity in Latin America 302 Andrea Giunta 30 Revolution as Ritual: Diego Rivera’s National Palace Mural 315 Leonard Folgarait 31 Africa in the Art of Latin America 330 Gerardo Mosquera 32 Vital Structures: The Constructive Nexus in South America 339 Mari Carmen Ramírez 33 Landscape: Errant Modernist Aesthetics in Brazil 353 Esther Gabara 34 The Spirit of Brasília: Modernity as Experiment and Risk 362 James Holston 35 Carmen Miranda, Grande Otelo, and the Chanchada , 1929–1949 375 Robert Stam 36 To Roosevelt 387 Rubén Darío 37 Essays on Latin American Art 391 Joaquín Torres-García 38 The Cosmic Race 402 José Vasconcelos 39 Cannibalist Manifesto 413 Oswald de Andrade 40 Brasília 424 Clarice Lispector Credits and Sources 429 Index 434

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Book SynopsisWestern Art and the Wider World explores the evolving relationship between the Western canon of art as it has developed since the Renaissance and the art and culture of those in the Islamic world, the Far East, Australasia, Africa and the Americas.Trade Review"Western Art and the Wider World is certainly a timely myth-buster in terms of current anxieties and panics about the demise of the West’s supposed cultural and economic place at the centre of things. Wood traces a long history of admiration and indebtedness to the East – in terms of knowledge, art, commerce and governance. He also asserts that the history of western ‘cultural dominance’ has been relatively short – less than 200 years in his reckoning. Western Art and the Wider World tells stories of exchange, parity and mutual curiosity between the West and rest." (The Visual Artists’ News Sheet, 1 March 2014) "A cautious, open-minded attempt to write about the history of Western Art form the Renaissance through the early and late modernist era, as it encountered, and was encountered by, the rest of the world." (Art Review, 1 March 2014)Table of ContentsList of Illustrations viii Acknowledgments x Introduction 1 1 Renaissance and Old World 12 2 Enlightenment and New World 52 3 Modernism and Modern World 100 4 Avant-Garde, Contemporary, and Globalized World 185 5 “World Art History” and “Contemporary Art” 253 Index 292

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Book SynopsisThis innovative new history examines in-depth how the growing popularity of large-scale international survey exhibitions, or ''biennials'', has influenced global contemporary art since the 1950s. Provides a comprehensive global history of biennialization from the rise of the European star-curator in the 1970s to the emergence of mega-exhibitions in Asia in the 1990s Introduces a global array of case studies to illustrate the trajectory of biennials and their growing influence on artistic expression, from the Biennale de la Méditerranée in Alexandria, Egypt in 1955, the second Havana Biennial of 1986, New York's Whitney Biennial in 1993, and the 2002 Documenta11 in Kassel, to the Gwangju Biennale of 2014 Explores the evolving curatorial approaches to biennials, including analysis of the roles of sponsors, philanthropists and biennial directors and their re-shaping of the contemporary art scene Uses the history of biennials as a meanTrade Review"Biennials, Triennials and Documenta is an excellent introduction to the history of the globalization of biennials or biennalization. Green and Gardner cover all major biennial-type events and their constellations that emerged on the five continents: Documenta, Manifesta, Tirana, and Venice Biennales, among others, in Europe; in South America, the São Paulo Bienal and Bienal de La Habana; the Johannesburg Biennale in Africa; the Biennale of Sydney and Asia-Pacific Triennial, among others, in Australia; and Gwangju, Shanghai, and Istanbul Biennials in Asia." - H-Net: Humanities and Social Science Reviews Online, July 2019 Table of ContentsPreface vii Introduction 3 Part 1 The SecondWave 1 1972: The Rise of the Star-Curator 19 2 1979: Cultural Translation, Cultural Exclusion, and the Second Wave 49 3 1986: The South and the Edges of the Global 81 Part 2 The Politics of Legitimacy 4 1989: Asian Biennialization 111 5 1997: Biennials, Migration, and Itinerancy 145 Part 3 Hegemony or a New Canon 6 2002: Cosmopolitanism 183 7 2003: Delegating Authority 209 8 2014: Global Art Circuits 241 9 Conclusion 272 Index 279

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Book SynopsisUpdated and reorganized to offer the best collection of state-of-the-art readings on the role of critical theory in contemporary art, this second edition of Theory in Contemporary Art since 1985 brings together scholarly essays, artists' statements, and art reproductions to capture the vibrancy and dissonance that define today's art scene. Incorporates new and updated topics that have become central to art theory and practice over the past decade New and updated chapters cover such topics as: international biennials, historicizing of the term contemporary art, aesthetics, art and politics, feminism and pornography, ecology and art, the Middle East and conflict studies, Eastern European art and politics, gender and war, and technology Features a thematic reconfiguration of sections and new introductions to make readings userfriendly Extensively illustrated throughout with an expanded color-plate section New contributionsTable of ContentsText, Figure, and Plate Credits viii How To Use this Book xvi Notes on Contributors xix Introduction 1 Part I The Field of Contemporary Art 7 1 The Intellectual Field: A World Apart (1990) 13 Pierre Bourdieu 2 When Form Has Become Attitude – And Beyond (1994) 21 Thierry de Duve 3 One Place After Another: Notes on Site Specificity (1997) 34 Miwon Kwon 4 Biennials without Borders? (2009) 56 Chin-Tao Wu 5 Periodising Contemporary Art (2009) 64 Alexander Alberro 6 Contemporary Art and the Politics of Aesthetics (2009) 72 Jacques Rancière Part II Practices and Models/Rethinking Form and Medium 87 7 A Note on Gerhard Richter’s October 18, 1977 (1989) 94 Benjamin H. D. Buchloh 8 Notes on Surface: Toward a Genealogy of Flatness (2000) 102 David Joselit 9 Informe without Conclusion (1996) 118 Rosalind Krauss 10 Video Projection: The Space Between Screens 131 Liz Kotz 11 How to Provide an Artistic Service: An Introduction (1994) 146 Andrea Fraser 12 Conversation Pieces: The Role of Dialogue in Socially-Engaged Art (2003) 153 Grant Kester 13 Antagonism and Relational Aesthetics (2004) 166 Claire Bishop Part III Culture/Identities/Political Agency 195 14 The War on Culture (1990) 203 Carole S. Vance 15 AIDS: Cultural Analysis/Cultural Activism (2002) 211 Douglas Crimp 16 Architecture of the Evicted (1990) 220 Rosalyn Deutsche 17 Gender is Burning: Questions of Appropriation and Subversion (1993) 235 Judith Butler 18 Looking for Trouble (1993) 252 Kobena Mercer 19 The Mythology of Difference: Vulgar Identity Politics at the Whitney Biennial (1993) 263 Charles A. Wright, Jr 20 Haunted TV (1992) 280 Avital Ronell 21 The Architecture of Porn: Museum, Urban Detritus, and Cinematic Stag-rooms (2012) 289 Beatriz Preciado 22 Cultural Workers as Organic Intellectuals (2008) 299 Chantal Mouffe Part IV Postcolonial Critiques 309 23 The Marco Polo Syndrome: Some Problems around Art and Eurocentrism (1993) 314 Gerardo Mosquera 24 In the “Heart of Darkness” (1993) 322 Olu Oguibe 25 The Syncretic Turn: Cross-Cultural Practices in the Age of Multiculturalism (1996) 329 Jean Fisher 26 Authenticity, Reflexivity, and Spectacle: Or, the Rise of New Asia is not the End of the World (2004) 338 Lee Weng Choy 27 All-Owning Spectatorship (1991) 354 Trinh T. Minh-Ha 28 Ruins, Fragmentation, and the Chinese Modern/Postmodern (1998) 371 Wu Hung Part V Art Subjects/Historical Subjects 381 29 Re-politicizing Art, Theory, Representation and New Media Technology (2008) 388 Marina Gržinić 30 Miming the Master: Boy-Things, Bad Girls, and Femmes Vitales (1996) 395 Mary Kelly 31 Zones of Indistinction: Giorgio Agamben’s ‘Bare Life’ and the Politics of Aesthetics (2009) 416 Anthony Downey 32 The Database (2001) 435 Lev Manovich 33 For the Love of Abstraction (2008) 455 Blake Stimson 34 The Politics of Sustainability: Art and Ecology (2009) 466 T. J. Demos Appendix: Letters and Responses Contingent Factors: A Response to Claire Bishop’s “Antagonism and Relational Aesthetics” 486 Liam Gillick Index 498

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Book SynopsisAn engaging account of today's contemporary art world that features original articles by leading international art historians, critics, curators, and artists, introducing varied perspectives on the most important debates and discussions happening around the world. Features a collection of all-new essays, organized around fourteen specific themes, chosen to reflect the latest debates in contemporary art since 1989 Each topic is prefaced by an introduction on current discussions in the field and investigated by three essays, each shedding light on the subject in new and contrasting ways Topics include: globalization, formalism, technology, participation, agency, biennials, activism, fundamentalism, judgment, markets, art schools, and scholarship International in scope, bringing together over forty of the most important voices in the field, including Sofía Hernández Chong Cuy, David Joselit, Michelle Kuo, Raqs Media Collective, and Jan VerwoertTrade Review“Interesting and pertinent topics [covered] are the globalization of the art world, the expansion of biennial and art fairs as venues, the use of technology as a medium, the theme of social activism, and the relevant education of the studio artist … The essays are consistently well written and include copious notes … Recommended.” Choice (1 August 2013) Table of ContentsContributors ix INTRODUCTION 1 Alexander Dumbadze and Suzanne Hudson 1 THE CONTEMPORARY AND GLOBALIZATION 5 Worlds Apart: Contemporary Art, Globalization, and the Rise of Biennials 7 Tim Griffin “Our” Contemporaneity? 17 Terry Smith The Historicity of the Contemporary is Now! 28 Jean-Philippe Antoine 2 ART AFTER MODERNISM AND POSTMODERNISM 37 Elite Art in an Age of Populism 39 Julian Stallabrass “Of Adversity we Live!” 50 Monica Amor Making it Work: Artists and Contemporary Art in China 60 Pauline J. Yao 3 FORMALISM 70 Form Struggles 72 Jan Verwoert Formalism Redefined 84 Anne Ellegood The World in Plain View: Form in the Service of the Global 95 Joan Kee 4 MEDIUM SPECIFICITY 105 The (Re)Animation of Medium Specificity in Contemporary Art 107 Sabeth Buchmann Medium Aspecificity/Autopoietic Form 117 Irene V. Small Specificity 126 Richard Shiff 5 ART AND TECHNOLOGY 137 Test Sites: Fabrication 139 Michelle Kuo Inhabiting the Technosphere: Art and Technology Beyond Technical Invention 149 Ina Blom Conceptual Art 2.0 159 David Joselit 6 BIENNIALS 169 In Defense of Biennials 171 Massimiliano Gioni Curating in Heterogeneous Worlds 178 Geeta Kapur Biennial Culture and the Aesthetics of Experience 192 Caroline A. Jones 7 PARTICIPATION 202 Participation 204 Liam Gillick and Maria Lind The Ripple Effect: “Participation” as an Expanded Field 214 Johanna Burton Publicity and Complicity in Contemporary Art 224 Sofía Hernández Chong Cuy 8 ACTIVISM 232 Activism 234 Andrea Giunta Knit Dissent 245 Julia Bryan-Wilson Light from a Distant Star: A Meditation on Art, Agency, and Politics 254 Raqs Media Collective 9 AGENCY 265 Participation in Art: 10 Theses 267 Juliane Rebentisch Fusions of Powers: Four Models of Agency in the Field of Contemporary Art, Ranked Unapologetically in Order of Preference 277 Tirdad Zolghadr Life Full of Holes: Contemporary Art and Bare Life 287 T. J. Demos 10 THE RISE OF FUNDAMENTALISM 298 Monotheism à la Mode 300 Sven Lütticken Freedom’s Just Another Word 311 Terri Weissman On the Frontline: The Politics of Terrorism in Contemporary Pakistani Art 322 Atteqa Ali 11 JUDGMENT 331 Judgment’s Troubled Objects 333 João Ribas A Producer’s Journal, or Judgment A Go-Go 346 Frank Smigiel After Criticism 357 Lane Relyea 12 MARKETS 367 Globalization and Commercialization of the Art Market 369 Olav Velthuis Three Perspectives on the Market 379 Mihai Pop, Sylvia Kouvali, and Andrea Rosen Untitled 388 Ayreen Anastas and Rene Gabri 13 ART SCHOOLS AND THE ACADEMY 406 Lifelong Learning 408 Katy Siegel Art without Institutions 420 Anton Vidokle Will the Academy Become a Monster? 429 Pi Li 14 SCHOLARSHIP 436 Our Literal Speed 438 Our Literal Speed Globalization, Art History, and the Specter of Difference 447 Chika Okeke-Agulu The Academic Condition of Contemporary Art 457 Carrie Lambert-Beatty Index 467

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Book SynopsisGreek Sculpture presents a chronological overview of the plastic and glyptic art forms in the ancient Greek world from the emergence of life-sized marble statuary at the end of the seventh century BC to the appropriation of Greek sculptural traditions by Rome in the first two centuries AD.Table of ContentsList of Illustrations ix Preface xxv 1 Beginnings and Before: Greek Sculpture in the Iron Age (circa 1000–600) 1 2 The Search for Order: Sculptural Schemata and Regional Styles (circa 600–550) 23 3 Free-Standing Sculpture in the Later Sixth Century: Style and Panhellenism (circa 550–500) 46 4 Sixth-Century Architectural Sculpture 68 5 The Change to Classical: Democratic Athens and the Persian Conflict (circa 500–460) 89 6 The Temple of Zeus at Olympia: Panhellenism and the Early Classical (circa 470–450) 112 7 Classical Moment I: The Parthenon, Pericles, and the Power of Persuasion (circa 450–430) 135 8 Classical Moment II: Sculptors and Statuary in the Mid]Fifth Century 160 9 Unfinished Business: Pericles’ Programs and the Archidamian War (circa 430–420) 183 10 An Attic Tragedy: The Fall of Athens and the Transition to Late Classical (circa 420–390) 203 11 Idealism and Individuality I: Late Classical Architectural Sculpture (circa 390–330) 226 12 Idealism and Individuality II: Late Classical Statuary and Relief Sculpture (circa 390–330) 247 13 Sculpture in Hellenistic Greece I: The Rise of Macedon and the Kingdoms of the Diadochs (circa 330–200) 270 14 Sculpture in Hellenistic Greece II: Greek Styles and Roman Taste (circa 200–50) 293 Glossary 317 References 322 Further Reading 323 Timeline: History 331 Timeline: Architectural Sculpture 334 Timeline: Freestanding Sculpture 336 Timeline: Literature/Philosophy 340 Index 342

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Book SynopsisAn illustrated cultural history of the apparel worn by American Catholics, Sally Dwyer-McNulty's Common Threads reveals the transnational origins and homegrown significance of clothing in developing identity, unity, and a sense of respectability for a major religious group that had long struggled for its footing in a Protestant-dominated society often openly hostile to Catholics.Trade ReviewContributes not just to U.S. Catholic history but also to the cultural history of clothing more broadly"". - Journal of American History""Dwyer-McNulty traces how religious dress evolved in America"". - Boston Globe""[Dwyer-McNulty] has broken open a wealth of significance behind a highly visible aspect of the lived experience of U.S. Catholics"". - American Historical Review""A compelling analysis of how the members of a subculture within American society have utilized appearance to negotiate their status"". - Journal of American Culture""Catholic and American cultural studies at its best"". - Magistra: Journal of Women's Spirituality In History""Recommended. All levels/libraries"". - Choice

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Book SynopsisAnalysing portrayals of African Americans and Russian serfs in paintings, adverts, fiction, poetry, and ephemera housed in American and Russian archives, Amanda Brickell Bellows argues that these depictions shaped collective memory of slavery and serfdom, affected the development of national consciousness, and influenced public opinion.Trade ReviewGiven that Russian serfdom and US chattel slavery were very different . . . [Bellows] does not compare the two labor systems, but rather compares how freed Russian serfs and freed African Americans were perceived and represented in the two countries. She examines literature, paintings and illustrations, advertising, and popular periodicals in both countries to uncover and evaluate the contexts in which those cultural productions emerged and the messages they contained.--CHOICE ‘[A] strength of the book is the author’s depth of knowledge based on extensive research in both countries. This is no small achievement, as anyone who has attempted comparative or transnational research can testify.’ – Russian Review 'A new and welcome contribution to the growing field of Russo-American comparative history … [and] a great example of thought-provoking and engaging comparative history.’ – H-Net Russia

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Book SynopsisLays out a range of theories, terms, and concepts and shows how they work together to centre materiality in the study of religion. Integrating carefully curated visual evidence, Morgan applies these ideas and methods to case studies across a variety of religious traditions, modeling step-by-step analysis and emphasizing historical context.

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Book SynopsisOne of the most important monuments of Imperial Rome and at the same time one of the most poorly understood, the Column of Marcus Aurelius has long stood in the shadow of the Column of Trajan. In this volume, Martin Beckmann makes a thorough study of the form, content, and meaning of this infrequently studied monument.

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Book SynopsisDeveloping the idea of ‘Black aesthetic time’ - a multipronged theoretical concept that analyses the ways race and time collide in the process of cultural production - Daphne Lamothe assesses Black fiction, poetry, and visual and musical texts.

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Book SynopsisDeveloping the idea of ‘Black aesthetic time’ - a multipronged theoretical concept that analyses the ways race and time collide in the process of cultural production - Daphne Lamothe assesses Black fiction, poetry, and visual and musical texts.

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Book SynopsisAn in-depth examination of the use of the car, the driver, and the road in a variety of forms of creative expression, ranging from works by Robert Rauschenberg and Martha Rosler to those of Dan Graham, John Cage, and Dennis Hopper.Table of Contents Preface Acknowledgments Introduction Chapter 1. Conceptual Car Art: Rethinking Conceptualism through Technology Chapter 2. Mobile Perception and the Automotive Prosthetic: Photoconceptualism, the Car, and Urban Space Chapter 3. The Nows of the Automotive Prosthetic: Moving Images, Time, and the Car Chapter 4. Communication Space: Automotive Urbanism in Dan Graham's Work Chapter 5. Hummer: The Cultural Militarism of Art Based on the SUV Chapter 6. Richard Prince: The Fetish and Automotive Maleficium Conclusion: The "Freedom" of Automotive Existence Notes Bibliography Index

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Book SynopsisThrough close readings of the painted images in a major sixteenth-century illustrated manuscript, this book demonstrates the critical role that images played in ethnic identity formation and politics in colonial Mexico.The Relación de Michoacán (1539–1541) is one of the earliest surviving illustrated manuscripts from colonial Mexico. Commissioned by the Spanish viceroy Antonio de Mendoza, the Relación was produced by a Franciscan friar together with indigenous noble informants and anonymous native artists who created its forty-four illustrations. To this day, the Relación remains the primary source for studying the pre-Columbian practices and history of the people known as Tarascans or P’urhépecha. However, much remains to be said about how the Relación’s colonial setting shaped its final form.By looking at the Relación in its colonial context, this study revealTable of ContentsAcknowledgmentsIntroduction1. The Making and the Makers of the Relación de Michoacán2. Unfaithful Lovers and Malicious Sorcerers: Justice, Punishment, and the Body3. Making and Emending Landscape in the Petamuti’s Speech4. Creating Chichimec-Uanacaze Ethnic Identity5. Mimicry and Identity and the Tree of Jesse6. Memories of an Ethnographic FuneralConclusionNotesBibliographyIndex

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