History of art Books
Taylor & Francis Ltd Performance Masculinity and SelfInjury
Book SynopsisThis book is an ambitious and expansive examination of the visual language of self-injury in performance art from the 1960s to the present.Inspired by the gendered nature of discussion around self-harm, the book challenges established readings of risk-taking and self-injury in global performance practice. The interdisciplinary methodology draws from art history and sociology to provide a new critical analysis of the relationship between masculinity and self-inflicted injury. Based upon interviews with a range of artists around the world, it offers an innovative understanding of the diverse meanings behind self-injury in performance, and delves into the gendered coding of self-harming bodies. Individual chapters examine the work of Ron Athey, Günter Brus, Wafaa Bilal, Franko B, André Stitt, Pyotr Pavlensky, and Yang Zhichao, offering a new perspective on the forms and functions of self-injury in performance art.The book will be of interest to scholars working in art his
£130.00
Taylor & Francis Ltd Horizontal Art History and Beyond
Book SynopsisThis book is devoted to the concept of horizontal art historya proposal of a paradigm shift formulated by the Polish art historian Piotr Piotrowski (19522015)that aims at undermining the hegemony of the discourse of art history created in the Western world. The concept of horizontal art history is one of many ideas on how to conduct nonhierarchical art historical analysis that have been developed in different geopolitical locations since at least the 1970s, parallel to the ongoing process of decolonization. This book is a critical examination of horizontal art history which provokes a discussion on the original concept of horizontal art history and possible methods to extend it. This is an edited volume written by international scholars who acknowledge the importance of the concept, share its basic assumptions and are aware both of its advantages and limitations. The book will be of interest to scholars working in art history, art historiography and postcolonial studieTable of ContentsIntroduction PART I: Practicing Horizontal Art History: Democracy 1. The Critical Museum Debate Continues 2. Horizontal Art History and the Revolutionary Double Bind 3. Horizontality without Limits: Postcolonial and Postsocialist Experience as Frameworks for Studying Art and Art History in Peripheries PART II: Practicing Horizontal Art History: Localisations 4. About the West 5. Close Other(s) in the West: Spain and Its Horizontal Histories during the Cold War 6. Russian Avant-Garde in the Optics of the Horizontal History of Art 7. Exhibition-Making as Horizontal Art History? 8. Toward Alter-Globalist History of Feminist Art PART III: Challenging Horizontal Art History and Its Internal Contradictions 9. How to Write a Global History of Central and Eastern European Art 10. Not Horizontal Enough: Horizontal Art History with Marxist Restrictions 11. Cultural Backwardness and Economic Backwardness: How Can Horizontal Art History Tackle Socioeconomic Issues? 12. Horizontal Art History: Endangered Species 13. Freedom of Expression and Freedom of Art in the Perspective of Horizontal Art History PART IV: Alternatives to Horizontal Art History 14. Allegories of Orientation 15. From Horizontal Art History to Lateral Art Studies? 16. Why Horizontal Art History Cannot Escape Computation 17. Simultaneous Avant-Gardes and Horizontal Art Histories: Avant-Gardes Outside of the Canonic Narrations
£128.25
Taylor & Francis Ltd Seizing the Light
Book SynopsisThe definitive history of photography book, Seizing the Light: A Social & Aesthetic History of Photography delivers the fascinating story of how photography as an art form came into being, and its continued development, maturity, and transformation.Covering major events, practitioners, works, and social effects of photographic practice, author Robert Hirsch provides a concise and discerning chronological account of photography, drawing on examples from across the world. This fundamental starting place shows the diversity of makers, inventors, issues, and applications, exploring the artistic, critical, and social aspects of the creative thinking process. This new edition has been fully revised and updated to include the latest advances in technology and digital photography, as well as information on contemporary photographers such as Granville Carroll, Meryl McMaster, Cindy Sherman, Penelope Umbrico, and Yang Yongliang. New topics include the rise of mobile photography Table of Contents1. Advancing Towards Photography: The Rise of the Reproduction 2. The Daguerreotype: Image and Object 3. Calotype Rising: The Arrival of Photography 4. Pictures on Glass: The Wet Plate Process 5. World News—Current Events: Picturing Tragedy 6. A New Medium of Communication 7. The Travelling Camera: Photography and Landscape 8. New Ways of Visualizing Time, Space, and Color 9. Suggesting the Subject: The Evolution of Pictorialism 10. Modernism’s Innovations 11. The New Culture of Light 12. Social Documents 13. Catching Time 14. From Halftones to Bytes 15. The Atomic Age 16. New Frontiers: Expanding Boundaries 17. Changing Realities 18. Thinking About Photography 19. The Politics of Representation 20. Photography Becomes Digital Imaging
£114.00
Taylor & Francis Art Patronage and Nepotism in Early Modern Rome
Book SynopsisDrawing on rich archival research and focusing on works by leading artists including Guido Reni and Gian Lorenzo Bernini, Karen J. Lloyd demonstrates that cardinal nephews in seventeenth-century Rome â those nephews who were raised to the cardinalate as princes of the Church â used the arts to cultivate more than splendid social status.Through politically savvy frescos and emotionally evocative displays of paintings, sculptures, and curiosities, cardinal nephews aimed to define nepotism as good Catholic rule. Their commissions took advantage of their unique position close to the pope, embedding the defense of their role into the physical fabric of authority, from the storied vaults of the Vatican Palace to the sensuous garden villas that fused business and pleasure in the Eternal City. This book uncovers how cardinal nephews crafted a seductively potent dialogue on the nature of power, fuelling the development of innovative visual forms that championed themselves as the indis
£37.99
Taylor & Francis Ltd Art History at the Crossroads of Ireland and the
Book SynopsisTaking the visual arts as its focus, this anthology explores aspects of cultural exchange between Ireland and the United States. Art historians from both sides of the Atlantic examine the work of artists, art critics and art promoters. Through a close study of selected paintings and sculptures, photography and exhibitions from the nineteenth century to the present, the depth of the relationship between the two countries, as well as its complexity, is revealed. The book is intended for all who are interested in Irish/American interconnectedness and will be of particular interest to scholars and students of art history, visual culture, history, Irish studies and American studies.Table of ContentsIntroduction, 1. Desperate and Glorious: John Mulvany’s Custer’s Last Rally, 2. ‘An American and Not an Irish statue’: Commemorating Naval Hero Commodore John Barry, 3. Some thoughts on Arthur Kingsley Porter and Françoise Henry as Transcultural Pioneers of Early Irish Medieval Art, 4. Irish Art at the Armory Show, 1913, 5. Seeing New York: Jack Butler Yeats and the American City, 6. 'This New Life of Painting': Morris Graves in Ireland, 1954–64, 7. Ireland’s ‘Strayed Angel’: George W. Russell (AE) – From Dublin to New York, 1904–1934, 8. Dorothea Lange in Ireland: Anthropology and Image, 9. Sean Scully: Painting a Global Immigrant’s Vision, 10. Transnational Solidarity: African American and Irish Intersections in Public Art Commemorating Frederick Douglass, 11. Kathy Prendergast: Transcultural Cartography, 12. Uncommon Kinships: The Generous Reciprocity of the Choctaw Nation and Ireland
£128.25
Taylor & Francis Chinese Art Objects Collecting and Interior
Book SynopsisThis book explores the relationship between collecting Chinese ceramics, interior design and display in Britain through the eyes of collectors, designers and tastemakers during the years leading to, during and following the Second World War. The Ionides Collection of European style Chinese export porcelain forms the nucleus of this study â defined by its design hybridity â offering insights into the agency of Chinese porcelain in diverse contexts, from seventeenth-century Batavia to twentieth-century Britain, raising questions about notions of Chineseness, Britishness, and identity politics across time and space. Through the biographies of the collectors, this book highlights the role of collecting Chinese art objects, particularly porcelain, in the construction of individual and group identities. Social networks linking the Ionides to agents and dealers, auctioneers, and museum specialists bring into focus the dynamics of collecting during this period, the taste of the Ionid
£37.99
Taylor & Francis Ltd Sparking Creativity
Book SynopsisBlending popular culture and design theory, framed by a decade of scholarly research, this book highlights how play and humor fuel innovation. Now, more than ever, we are in need of creative solutions to global problems, but creative skills and abilities decline over time without intervention and practice. Sparking Creativity provides empirically supported methods for embracing the often-trivialized domains of play and humor to increase our creativity. It shows that topical examples, such as Seinfeld's humor, the Apples to Apples board game, and the Adventure Time cartoon series, are more closely related to innovation than you might first think. The book is organized into five main parts, each containing short, engaging subsections and informative, playful, and colorful illustrations to demonstrate concepts. Written in a humorous and accessible style, this book is aimed toward creative-minded entrepreneurs, designers, engineers, industry leaders, parents, educators, and students. It encourages a playful approach throughout a design process to produce truly innovative solutions.Trade Review"From Amy Klobachur's use of a comb to eat her salad to the invention of the Squatty Potty, from The Little Mermaid to Ru Paul's Drag Race, from robots that poop ketchup to Green Eggs and Ham, this playful, smart and engaging book by designer Barry Kudrowitz takes us on a twisty path to surprising and unfamiliar places as it helps to explore the nature of human creativity, how we can enhance it, and what ways we can use it to improve the quality of our lives. This is the ideal book to get your juices flowing."Henry Jenkins, Civic Imagination Project, University of Southern California, USA"I once did a cartoon where a dad says to his young kid, ‘Go out at play, Norman. It’s your job.’ It’s a joke based on the idea that work and play are antithetical. Barry Kudrowitz has written a book that shows they mustn’t be if we want the creative solutions our 21st-century workplace demands. He makes a compelling case for work being more like play and vice-versa to maximize the benefits of both."Bob Mankoff, former Cartoon Editor of The New Yorker Magazine, USA"It is not easy to write a serious book about creativity and innovation that is not to be read too seriously. But Kudrowitz does just that through a prolific use of playful design, humor, inspiring quotes and rigorous research. The book is filled with Silly Ideas, Shitty Robots and Poop Ice Cream – both the title of Chapter 10 and also examples of ways in which real innovation can spring forth from ideas, products, and designs that are fun, fanciful, and surprising. Kudrowitz writes, 'Things that seem silly at first may actually be innovative in the future.' And so an academic book that makes you laugh out loud might turn out to be a transformative approach to understanding the origins of and possibilities for creativity in our lives."Steven J. Tepper, Dean, Director and Foundation Professor, Herberger Institute for Design and the Arts, USA"The beauty of humor is that it resolves tensions between opposites, aka as a pleasurable relief. In a world full of societal challenges, characterized by conflicts and polarities, we cannot underestimate the need for humor to spur innovation and creative solutions, connecting the non-obvious. Kudrowitz’s incredibly rich and entertaining book demonstrates how we can design ourselves playfully out of any crisis. Meanwhile, you learn what is so great about very old Dutch cheese and our children’s farms..."Paul Hekkert, Professor of Design, Delft University of Technology, The Netherlands"Barry Kudrowitz has conducted years of rigorous, experimental studies on fostering creativity in designers, and he makes those results come alive in a playful, engaging way in Sparking Creativity. This book is a must for anyone who wants to unlock their own creativity, or teach others how to be more creative, using research-backed, yet accessible strategies. Barry will make you seriously creative!"Maria Yang, Associate Dean of Engineering, MIT, USA"This book provides great suggestions for using playful and humor-related experiences to enhance creative thinking and promote innovative actions. Readers from many professional fields can benefit from exploring its many ideas for fostering effective and wide-ranging actions to address contemporary issues and problems that need creative solutions."Doris Bergen, Distinguished Professor of Educational Psychology Emerita, Miami University, USATable of ContentsPART I: CREATIVITY, PLAY, and HUMOR 1. The Four Requisites of a Creative Person, Dr. Momen's Clothing Dryer, and Captain Planet 2. Divergent Thinking, Rocket Racoon, and Scribblenauts 3. Convergent Thinking, Bunny Scissors, and Sherlock Holmes 4. Verbal Creativity, Code Names, and Puns 5. Fluency, Originality, and Family Feud 6. Flexibility, Elaboration, and Scattergories 7. Inspiration, da Vinci's Notebooks, and RuPaul's Drag Race 8. Diffusing Focus, Shower Thoughts, and (a Few) Psychoactive Drugs PART II: INNOVATION, PLAY, and HUMOR 9. Three Requisites of Innovation, Utility Patents, and a Tanning Booth Toaster 10. Silly Ideas, Shitty Robots, and Poop Ice Cream 11. Flavors of Innovation, the Nonstick Frying Pan, and USB Drives 12. Radical Innovation, Whiskey-Infused Lotion, and High Fashion 13. Questioning the Status Quo, Taboo Topics, and Toilets 14. Questioning the Status Quo, Taboo Topics, and Toilet Paper 15. Hindsight, Toothbrushes, and Smart Phones 16. Science Fiction, Superheroes, and Aliens 17. The Adjacent Possible, The Simpsons’ Predictions, and Rick and Morty PART III: PLAY, CREATIVITY, and INNOVATION 18. Defining Play, Puppies, and Tom Sawyer 19. Play Taxonomies, Adult Play, and Jake the Dog 20. The Criteria for Play, Flow, and Bluey 21. Work, Montessori, and TPS Report Coversheets 22. Play–Creativity Connections, The Little Prince, and Positive Affect 23. Steve Jobs vs. Mary Poppins, Kindergarten, and Spinach Brownies 24. Adding Play Value, Overcooked, and The Holle Bolle Gijs PART IV: HUMOR, CREATIVITY, and INNOVATION 25. Two Theories (and Larrys) of Humor, Throwing Shade, and Throwing Pies 26. The Incongruity Theory of Humor, Cartoon Captions, and the Excalibur Toilet Brush 27. Remoteness of Association, Garth’s Spew Cup, and Apples to Apples 28. Metaphorical Thinking, a Finger Trap Biopsy Needle, and SCAMPER 29. Connecting Domains, the Combination Pizza Hut and Taco Bell, and TRIZ 30. The Humor of Discovery, Hidden Gorillas, and Seinfeld 31. How Comedy Makes Change, Satire, and South Park 32. Improvisation, Yes and...ÒBoom! Freeze! Michael Scarn, FBI!Ó PART V: A PLAYFUL and HUMOROUS DESIGN PROCESS 33. Thinking About Design Thinking 34. Researching Design Research 35. How Might We...Define How We Define Our Prompts 36. An Improv Warm-up Progression for Team-Based Idea Generation 37. Ideas for Idea Generation 38. Models of Testing and Testing of Models
£31.99
Taylor & Francis Ltd New Approaches to Decolonizing Fashion History
Book SynopsisNew Approaches to Decolonizing Fashion History and Period Styles: Re-Fashioning Pedagogies offers a wide array of inclusive, global, practical approaches for teaching costume and fashion history.Costume designers, technicians, and historians have spent the last several years re-evaluating how they teach costume and fashion history, acknowledging the need to refocus the discourse to include a more global perspective. This book is a collection of pedagogical methods aimed to do just that, with an emphasis on easy reference, accessible activities, and rubrics, and containing a variety of ways to restructure the course. Each chapter offers a course description, syllabus calendar, course objectives, and learning outcomes, as well as sample activities from instructors across the country who have made major changes to their coursework. Using a combination of personal narratives, examples from their work, bibliographies of helpful texts, and student responses, contributors sTable of ContentsIntroduction: New Perspectives and Taking Chances 1. Re-Fashioning Time: An Object-Based Approach to The History of Style 2. Research Methods for Fashion History and Technology 3. Conscious Fashion History 4. Fashion Forward: A History of Dress in Global Context 5. Global Dress History for Undergraduate General Education 6. Historic Costume and Decor Utilizing People- and Place-Based Curriculum 7. An Abridged Clothing History in Four Construction Techniques 8. Examining and Creating Connections in Costume History Through Cultural Intersections and Alternative Assessment Models 9. Expanding and Deconstructing the Western Fashion History Ideology 10. Fashion and Costume: Global Adornment and Attire 11. The March of History Gives Way to Flowers in a Field 12. Activities for the Classroom Project A: Worn History: Personal History Through Clothes Project B: Final Assignment: World Building Project C: Historic Tools and Techniques: An Exercise in Material Culture Observation
£31.99
Taylor & Francis Ltd NineteenthCentury Interiors
Book SynopsisThis volume of primary source materials documents the essential practical aspects of making a home, decorating it and then furnishing it. The crucial constitutive parts that make up an interior from floor to ceiling are considered here in detail. The role of advice books and articles that attempted to direct homemakers in particular directions are examined, as are the more practical how-to publications that demonstrated the processes of interior decoration. Accompanied by extensive editorial commentary, this collection will be of great interest to students and scholars of art history.Table of ContentsVolume 4. Products and ProcessesPart 1. Flooring, Carpets and Rugs1. Eliza Leslie, ‘Carpets’, in The House Book or a Manual of Domestic Economy (Philadelphia; Carey and Hart. 1840), pp. 173-802. Clarence Cook, ‘The Living Room’, in The House Beautiful, Essays on Beds, Tables, Stools and Candlesticks (New York: Scribner Armstrong, 1878), pp. 49-563. George Wagstaffe Yapp, ‘No. 9 – Carpets and Rugs’, in Art Industry, Furniture, Upholstery, and House Decoration (London: J. S. Virtue & Co., 1879), pp. 53-54. Jacob von Falke, Art in the House: Historical, Critical, and Æsthetical Studies on the Decoration and Furnishing of the Dwelling (Boston: L. Prang & Co., 1879), pp. 186-985. Robert W. Edis, ‘Floors and Floorcoverings’, in Shirley Foster Murphy, (ed.), Our Homes and How to Make them Healthy. [Papers on sanitary subjects] (London: Cassell & Co., 1883), pp. 325-326. [Anon], ‘American Parquetry’, The Decorator and Furnisher, 17, 1, October 1890, p. 57. George Leland Hunter, Home Furnishing; Facts and Figures About Furniture Carpets and Rugs, Lamps and Lighting, Fixtures, Wall Papers, Window Shades and Draperies Tapestries Etc. (New York: John Lane 1913), pp. 81-9Part 2. Walls and Wallpaper8. David Hay, ‘On the Comparative Advantages of Painting and Papering the Walls of Apartments in Dwelling-Houses’, Architectural Magazine, and Journal of Improvement in Architecture, Building, and Furnishing, and in the various Arts and Trades Connected Therewith, 2, 18, 1835, pp. 362-59. Charles Knight, The Pictorial Gallery of Arts: Useful Arts (London: Chas Knight, 1847), Vol 1. pp. 178-8210. Christopher Dresser, ‘Treatment of Walls’, in Principles of Decorative Design (London: Cassell, 1873), pp. 83-9211. [Anon], ‘Selecting Wall-Papers’, The Decorator and Furnisher 17, 2, 1890, p. 60 12. Arthur S. Jennings, Practical Paper Hanging, A Handbook on Decoration in Paper and other Materials (New York: Comstock, 1892), pp. 94-813. Louis H Gibson, Beautiful Houses; A Study in House-Building. Foreign Examples in Domestic Architecture; A Collection of American House Plans; Materials and Details for the Artistic House-Builder; the Architect (New York: T.Y. Crowell & Co. 1895), pp. 302-9Part 3. Ceilings14. John Claudius Loudon, ‘Ceilings’, in An Encyclopaedia of Cottage, Farm, and Villa Architecture and Furniture: Containing numerous designs for dwellings, each design accompanied by analytical and critical remarks (London: Longman, Rees, Orme, Brown, Green, & Longman, 1835), pp. 939-4115. Richard Brown, ‘On Decorations of Ceilings’, in Domestic Architecture: Containing a History of the Science and the Principles of Designing Public Edifices Private Dwelling-Houses Country Mansions and Suburban Villas (London: G. Virtue. 1841-2), pp. 200-316. [Anon], ‘The Decoration of Ceilings’, The Workshop 2, 7, 1869, pp. 97-10017. Guy C. Rothery, ‘Present day Practice’, in Ceilings and their Decoration: Art and Archaeology, present day practice (London: T.W. Laurie, 1911), pp. 252-64Part 4. Woodwork, Fixtures and Fittings18. Eversfield & Horne, Catalogue of the Materials and Interior Fittings of one House, Being No. 83, Great Russell Street ... which will be sold by auction ... October 5th1843, etc. (London: Hayes, 1843)19. Cutting and Delaney, Our Doors and Windows: How to Decorate Them (Buffalo NY., Cutting and Delaney 1889), pp. 14-16, 68, 84-520. [Anon], ‘Fitments: II. The Dining-Room’, The Decorator and Furnisher, 21, 3, Dec. 1892, pp. 92-421. [Anon], ‘Nos, 1 TO 3—Furniture, Fitments and Decorations of Cosy Corners, for Smoking-Rooms, &c., &c.’, The Young Ladies Journal ,1 April 1892, p. 20822. Aymer Vallance, ‘The Furnishing and Decoration of the House: Part. 2: Walls, Windows and Stairs’, Art Journal, 54, 1892, pp. 44-923. Charles H. B. Quennell, ‘Architectural Furniture’, in Lawrence Weaver, The House and its Equipment (Country Life and George Newnes: London; New York: Charles Scribner's Sons 1912), pp. 16-22Part 5. Paintwork24. William M. Higgins, ‘Common Errors in House Painting’, in The House Painter; or Decorator’s Companion: ... To which is added, a history of the art in all ages (London: Thomas Kelly 1841), pp. 38-47 25. Paul Hasluck, Practical Graining and Marbling: with numerous engravings and diagrams (London: Cassell, 1902) pp. 10-11Part 6. Plasterwork/Paper Mâché26. Charles Frederick Bielefeld, On the Use of the Improved Papier Mâcheì in Furniture, in the Interior Decoration of Buildings, And in Works of Art (London: Papier Mâché Works, no. 15, Wellington Street North, Strand, 1850), pp. 3-1127. Laurence Arthur Turner, ‘Modern British Plasterwork -I: A General Review’, The Architectural Review 23, 137, 1908, pp. 222-26 Part 7. Colour Schemes28. David R. Hay, The Laws of Harmonious Colouring, Adapted to Interior Decorations, &C: to which is now Added an Attempt to Define Æsthetical Taste (London: W.S. Orr. 1836), pp. 25-829. Michel-Eugène Chevreul, The Principles of Harmony and Contrast of Colours, and Their Applications to the Arts Including Painting, Interior Decoration, Tapestries, Carpets, Mosaics, Coloured Glazing, Paper-staining, Calico-printing, Letterpress Printing, Map-colouring, Dress, Landscape and Flower Gardening, Etc. Translated from the French by Charles Martel. Third Edition (London: Bohn 1860), pp. 228-30 30. William White, ‘Hygienic Value of Colour in the Dwelling’, in International Health Exhibition Conferences, Volume 7: The Sanitary Construction of Houses, (London: William Clowes and Sons, 1884), pp. 287-9431. Christopher H. Dresser, ‘The Decoration of Our Homes’, The Art Amateur, 12, 4, 1885, pp. 14-15, 1732. Charles H. Aide, ‘Colour in Domesticity and Dress’, Fortnightly Review, 45 269, 1889, pp. 684-92 33. Edward J. Duveen, Colour in the Home: with notes on Architecture, Sculpture, Painting, and upon Decoration and Good Taste (London: Allen. 1911), pp. 141-5834. John D. Crace, ‘The Scheme of Colour’, The Art of Colour Decoration (London: Batsford, 1912), pp. 9-13Part 8. Furniture and Furnishings 35. [Anon], ‘New and Fashionable Articles of Furniture’, The Lady's Monthly Museum, vol. VI, 1 April 1801, pp. 288-9236. [Anon], ‘New Fashionable Furniture’, La Belle Assemblée, or Bell’s Court and Fashionable Magazine Addressed Particularly to the Ladies, 1 Dec. 1806, pp. 53-4 Supplement37. [Anon], ‘Furniture Bad and Good’, All the Year Round, 8, 182, 25 May 1872, pp. 42-4 38. [Anon], ‘On Furniture’, Englishwoman’s Domestic Magazine, vol. XX, no. 133, 1 January 1876, pp.90-1 39. M. G. H., ‘How She furnished her House out of the Garret’, Harper’s Bazar, 23, April, 19, 1890, pp. 300-140. Edward Howell, ‘The Artistic Tendency in House Decoration’, Furniture Gazette, 16 March 1881, pp. 196-841. Mrs William Chance, ‘Some Notes on Old and New Furniture and on Furnishing at the Present Day’, The Artist, 31, July 1901, pp. 197-204 Part 9. Textiles and Drapery42. Thomas Webster and the late Mrs. Parkes, ‘Window Curtains’, in An Encyclopaedia of Domestic Economy… (London: Longman, Brown, Green and Longmans, 1844), pp. 220-543. [Anon], ‘Drapery Curtains and Blinds’, in How to Furnish a House and Make it a Home. The Economic Library, vol 5 (London: Groombridge & Sons, 1855), pp.118-25 44. [Anon], ‘Hints on Upholstery’, in The Economical Housewife. and Complete Practical Guide to Domestic Management (London: Ward Lock, 1880), pp. 67-7245. [Anon], ‘Mantel-Valances, Scarfs and Lambrequins’, Home Decoration. 1, 3, New York, 6 February 1886, pp. 29-30 46. Lewis F. Day, ‘Upholstery in Decoration’, The Decorator and Furnisher, 20, 4, 1892, pp.134-6Part 10. Fireplaces and Mantelpieces47. Frederick Edwards, Our Domestic Fireplaces (London: Robert Hardwicke. 1865), pp. 63-648. [Anon], ‘The Modern Mantelpiece. A New and Artistic Feature in Home Decoration’, The Decorator and Furnisher, 29, 3, 1896, pp. 74-549. Guy C. Rothery, Chimneypieces and Ingle Nooks, Their Design and Ornamentation (London: T. Werner Laurie. 1912). pp. 139-49Part 11. Lighting 50. John Obadiah Newell Rutter, Advantages of Gas in Private Houses (London: Virtue, 1836), pp. 50-751. Robert Hammond, The Electric Light in our Homes (London: Frederick Warne. 1884), pp. 98-10952. Mrs J. E. H. Gordon, ‘The Library’, in Decorative Electricity (London: Sampson Low, Marston, Searle, & Rivington, 1891), pp. 63-7353. Victor Zingler, ‘Illumination of Rooms’, in Lawrence Weaver, The House and its Equipment (Country Life and George Newnes: London; New York: Charles Scribner's Sons, 1912), pp. 116-18Part 12. Plumbing, Sanitation and Water Supply 54. Benjamin W. Richardson, M. D., ‘Health at Home, Part I’, Appleton’s Journal: A Magazine of General Literature 8, 4, April 1880, pp. 313-1955. Robert. W. Edis, ‘On Sanitation in Decoration’, Transactions of the Brighton Health Congress, 1881, (London: E. Marlborough and Co.,1881), pp. 318-2856. Benjamin W. Richardson, ‘Health in the Home’, in Shirley Forster Murphy and Robert Brudenell Carter, Our Homes and How to Make them Healthy (London: Cassell,1883), pp. 27-32Part 13. Ventilation and Heating57. Charles Sylvester, The Philosophy of Domestic Economy (London: Longman, Hurst, Rees, Orme and Brown, 1819), pp. 1-1158. Ernest Henry Jacob, ‘The Ventilation of Houses’, Notes on the Ventilation and Warming of Houses, Churches, Schools, (London: SPCK, 1894), pp.70-7Part 14. Home Management59 Stephen R. Fiske, English Photographs (London: Tinsley Brothers. 1869), pp. 192-860. Anna Leach, ‘Science in the Model Kitchen’, in Marion Harland, Home Making, (Boston: Hall and Locke Company, 1911), pp. 176-8761. Christine Frederick, ‘The New Housekeeping’, Ladies Home Journal 29, 9 September 1912, p. 12+62. R. Randal Phillips, ‘Housework on a System’, in The Servantless House, (London: Country Life Ltd., 1920), pp. 150-6Part 15. Pets and Animals (Live and stuffed)63 Dante G. Rossetti, and W. M. Rossetti, Dante Gabriel Rossetti: His Family-letters, (London: Ellis and Elvey, 1895), pp. 252-564. William G. Fitzgerald, ‘Animal Furniture’, The Strand Magazine, 12, 1896, pp. 273-80 Part 16. DIY and Home Crafts65. Constance C. Harrison, ‘Decoration of the Mantel-Shelf’, in Woman’s Handiwork in Modern Homes (New York: Charles Scribner’s Sons, 1881), pp. 169-75 66. Almon. C. Varney, Our Homes and their Adornments: How to build, finish, furnish & adorn a home ... designed to make happy homes for happy people, (Detroit: J.C. Chilton Pub. Co. 1885), pp. 266-7167. Florence Caddy, ‘How to Furnish a Drawing Room for 18 Guineas’, Girl’s Own Paper, 1891, pp. 228-31BibliographyIndex
£115.00
Taylor & Francis Ltd Global Byzantium
Book SynopsisGlobal Byzantium is, in part, a recasting and expansion of the old Byzantium and its neighbours' theme with, however, a methodological twist away from the resolutely political and toward the cultural and economic. A second thing that Global Byzantium as a concept explicitly endorses is comparative methodology. Global Byzantium needs also to address three further issues: cultural capital, the importance of the local, and the empire's strategic geographical location. Cultural capital: in past decades it was fashionable to define Byzantium as culturally superior to western Christian Europe, and Byzantine influence was a key concept, especially in art historical circles. This concept has been increasingly criticised, and what we now see emerging is a comparative methodology that relies on the concept of competitive sharing', not blind copying but rather competitive appropriation. The importance of the local is equally critical. We need to talk more about what the Byzantines sTrade Review‘This collection of expert papers [is] a worthy effort to put Byzantium back on the world stage, showing how it played a highly significant role in terms of connectivity well beyond the margins of the Mediterranean … the book overall stands as an important contribution to future directions in which Byzantine studies might usefully develop’ - Medieval Archaeology, 67/2, 2023.Table of ContentsIntroduction: The Future of Global Byzantium / Seen from across the Sea: India in the Byzantine Worldview / Byzantium beyond Byzantium: What about Greek(s) in Eighth-Century Italy? / Silk in the Byzantine World: Technology and Transmission / Composing World History at the Margins of Empire: Armenian and Byzantine Traditions in Comparative Perspective / Global Byzantium: Whirlwind Romance or Fundamental Paradigm Shift? / Global Art or Local Art? The Mosaic Panels of Justinian and Theodora in S Vitale, Ravenna / Movement and Mobility: Cotton and the Visibility of Trade Networks Across the Saharan Desert / Maniera Greca and Renaissance Europe: More than Meets the Eye / Magical Signs in Christian Byzantium, Judaism and Islam: A Global Language / How global was the Mediterranean in the Early Middle Ages? A view from the Western edge / Hegemony, Counterpower and Global History: Medieval New Rome and Caucasia in a Critical Perspective / What is "Byzantine"? Gender, Ethnicity and the Construction of Identities on Byzantium’s Literary Frontiers / The Helladic Paradigm in a Global Perspective / Secluded Place or Global Magnet? The Monastery of Saint Catherine in the Sinai and its Manuscript Collection / Early Byzantine Art in China: A Test Case for Global Byzantium / Centre or Periphery? Constantinople and the Eurasian Trading System at the End of Antiquity / Transferring Skills and Techniques across the Mediterranean: Some Preliminary Remarks on Stucco in Italy and Byzantium / Import, Export: The Global Impact of Byzantine Marriage Alliances during the Tenth Century / Conclusion: Post-Colonial Reflections and the Challenge of Global Byzantium
£37.99
Taylor & Francis Where is Art
Book SynopsisFeaturing chapters by a diverse range of leading international artists and theorists, this book suggests that contemporary art is increasingly characterized by the problem of where and when it is situated. While much advanced artistic speculation of the twentieth-century was aligned with the question âœwhat is art?,â a key question for many artists and thinkers in the twenty-first century has become âœwhere is art?â Contributors explore the challenge of meaningfully identifying and evaluating works located across multiple versions and locations in space and time. In doing so, they also seek to find appropriate language and criteria for evaluating forms of art that often straddle other realms of knowledge and activity. The book will be of interest to scholars working in art history, contemporary art, art criticism, and philosophy of art.
£37.99
Taylor & Francis Contemporary Art Systems and the Aesthetics of
Book SynopsisUsing five case studies of contemporary art, this book uses ideas of systems and dispersion to understand identity and experience in late capitalism.This book considers five artists who exemplify contemporary art practice: Seth Price; Liam Gillick; Martin Creed; Hito Steyerl; and Theaster Gates. Given the diversity of materials used in art today, once-traditional artistic mediums and practices have become obsolete in describing what artists do today. Francis Halsall argues that, in the face of this obsolescence, the ideas of system and dispersion become very useful in understanding contemporary art. That is, practitioners now can be seen to be using whatever systems of distribution and display are available to them as their creative mediums. The two central arguments are first that any understanding of what art is will always be underwritten by a related view of what a human being is; and second that these both have a particular character in late capitalism or, as is named here, the Age of Dispersion.The book will be of interest to scholars and students working in art history, contemporary art, studio art, and theories of systems and networks.
£19.99
Taylor & Francis Ltd The Making of Mexican Modernist Architecture
Book SynopsisThis book presents the making of Mexican Modernist architecture through five power structures academic, social status, economic/political, gender, and postcolonial and by interviews and analysis of 13 key Mexican architects. These include Luis Barragán, José Villagrán García, Juan O'Gorman, Pedro Ramírez Vázquez, Agustín Hernández, Abraham Zabludovsky, Carlos Mijares, Ricardo Legorreta, Juan José Díaz Infante, Enrique Norten, Alberto Kalach, Javier Sordo Madaleno and Clara de Buen.Although the five power structures framed what was built, the testimony of these Mexican architects helps us to recognize and discover subtleties and nuances. Their views thereby shed light on what contributed to making Mexican Modernist architecture so distinctive globally. Even if these architects were not always aware of the power structures, their projects nonetheless supported discrimination, marginalization and subjugation. In that sense the book also reveals the extent to which these power Table of Contents1. Mexican Architecture as an Academic Discipline. Academic Discourse. Architectural Schools. Architectural Practice. The Role of Architectural Guilds and Associations. Architecture as a System of Meaning. Written Architecture. Architectural Classification Systems. Architectural Treatises. Photographed Architecture. Architects and their Authorship. The First Generation (1900–14). The Second Generation (1915–29). The Third Generation (1930–44). The Fourth Generation (1945–60). 2. Mexican Architecture and Economic and Political Power. Architecture and Power. Main Power Groups in Mexico. Twentieth-Century Mexican Economic Models. Influence of Economic Models on Twentieth-Century Mexican Architecture. Power in Twentieth-Century Architectural Modernism in Mexico. Hospitals. Museums. Hotels. Transportation Buildings. Banks. State Buildings. Private and Public Office Buildings. Public and Private Schools. Religious Architecture. 3. Mexican Architecture as Economic Status in a System of Consumption. Mexican Architecture and Consumption. Mexican Architecture as a Sign within the Consumption Cycle. The Image of Mexican Architects. Mexican Architects and their Social Status. Mexican Architects and their Social Image. Spatial and Social Marginalization in Mexico City. 4. Mexican Architecture and Gender. Mexican Architecture as a Gendered Discipline. Architecture an Artefact of Gender Differentiation. Women´s Place in Mexican Architecture. Men´s Place in Mexican Architecture. 5. Mexican Architecture and Postcolonialism. Mexico's Postcolonial Identity. Mimicry and Dissimulation. Hybridity and Simulation. Emotional Architecture or Magical Realism. 6. Epilogue
£33.99
Taylor & Francis Raymond Jonson and the Spiritual in Modernist and
Book SynopsisThis is the most thorough and detailed monograph on the artwork of Raymond Jonson. He is one of many artists of the first half of the twentieth-century who demonstrate the richness and diversity of an under-appreciated period in the history of American art. Visualizing the spiritual was one of the fundamental goals of early abstract painting in the years before and during World War I. Artists turned to alternative spirituality, the occult, and mysticism, believing that the pure use of line, shape, color, light and texture could convey spiritual insight. Jonson was steadfastly dedicated to this goal for most of his career and he always believed that modernist and abstract styles were the most effective and compelling means of achieving it.Table of ContentsContentsAcknowledgmentsList of IllustrationsIntroduction: Raymond Jonson and Twentieth Century American Art: Reconsidering the Canonical in American Art History and the Spiritual in American Modernist PaintingChapter One: "Art Is as Broad as Space": Jonson’s Early Years in the West and ChicagoChapter Two: "The Land of Sunshine and Color and Tragedy": New Mexico and Jonson’s Landscape Paintings and CompositionsChapter Three: "These Are the Second Attack on the Abstract": the Thematic, Conceptual Series Paintings of 1929-1936Chapter Four: "A More Intense Participation in the Life of the Spirit": Jonson’s First Totally Abstract Paintings, His Theories of Art and the Transcendental Painting GroupChapter Five: "Fast Arriving and Spontaneous Combustions of Color–space–line and Design": Absolute Painting, 1938-1950Chapter Six: "Causing the Surface to Come to Life": Jonson’s Late Career, 1950-1978ReferencesIndex
£39.99
Taylor & Francis Ltd The Routledge Companion to Irish Art
Book SynopsisThis companion contains new and innovative writing on Irish art and its history, from c. 1800 to the present day.
£204.25
Taylor & Francis ArtsBased Interventions and Social Change in
Book Synopsis
£40.84
Taylor & Francis Ltd A Dictionary of the AvantGardes
Book SynopsisTwenty-five years after the publication of A Dictionary of the Avant-Gardes, the distinguished critic and arts historian Richard Kostelanetz returns to his favorite subject for a third edition. Rewriting earlier entries, adding hundreds of new ones, Kostelanetz provides intelligence and information unavailable anywhere else, no less in print than online, about a wealth of subjects and individuals. Focused upon what is truly innovative and excellent, he ranges widely with insight and surprise, including appreciations of artistic athletes such as Muhammad Ali, Johan Cruyff, and the Harlem Globetrotters and such collective creations as Las Vegas and his native New York City. Continuing the traditions of cheeky high-style Dictionarysts, honoring Samuel Johnson and Nicolas Slonimsky (both with individual entries), Kostelanetz offers a reference book to be enjoyed not only in bits and chunks, but continuously as one of the dozen books someone would take if they planned to be strandTrade Review"Bringing together a wealth of information on esthetic innovation, [A Dictionary of the Avant-Gardes] will make avant-garde art more accessible to everyone."-"Booklist "Dictionaries are not usually written for cover-to-cover reading; this one is. It is filled with fascinating people and images."-Mark Laiosa, WBAI-FM "Demonstrate[s] a unique subjectivity and distinctive flair without sacrificing quality...."-"Library Journal "A one-of-a-kind source. Nothing approaches the subject with such admirable verve."-"Wilson Library Bulletin Table of ContentsPrefaceIntroductionThe DictionaryBiographical Notes
£39.99
Taylor & Francis Ltd Art and Architecture of Migration and
Book SynopsisThis book brings together essays by established and emerging scholars that discuss Pakistan, Turkey, and their diasporas in Europe. Together, the contributions show the scope of diverse artistic media, including architecture, painting, postcards, film, music, and literature, that has responded to the partitions of the twentieth century and the Muslim diasporas in Europe.Turkey and Pakistan have been subject to two of the largest compulsory population transfers of the twentieth century. They have also been the sites for large magnitudes of emigration during the second half of the twentieth century, creating influential diasporas in European cities such as London and Berlin. Discrimination has been both the cause and result of migration: while internal problems compelled citizens to emigrate from their countries, blatant discriminatory and ideological constructs shaped their experiences in their countries of arrival. Read together, the Partition emerges from the essays iTable of ContentsIntroduction: Migration and Discrimination Part 1: Two Partitions 1. Partitions and an Anti-Xenophobic Architectural Historiography 2. Living on Another Displacement’s Ruins: Adana’s Döşeme Neighborhood in Turkey 3. September 6–7, 1955–ongoing: Discrimination, Dispossession, and Practices of Memory and Survival 4. Homogenizing the Border: Kars after the Pogrom of 1955 5. 1960s Tax Law and Non-Muslim Exodus from Istanbul: Turkification of the City 6. Art and the 1947 Partition of South Asia 7. Partition Migration and Urbicide in Bapsi Sidhwa’s Ice-Candy Man 8. "He never said that you leave for ever": South Asian Partition and Film Migration to Pakistan 9.The Perpetual Mohajirs: Leon Henrard’s Report on Pakistan’s Future 10. Partition Thinking and the East African Gaze toward Pakistan Part 2: Two Diasporas 11. Kreuzberg and an Anti-Discriminatory Architectural Historiography 12. Exile, Postcards, and a Return to Cold War Berlin 13. Migrants and Muses: Güney Dal’s First Novel Attracts Little Attention When Published in German Translation 14. Berlin as an Urban Synecdoche for Immigration 15. Conceiving Solidarity Across Borders 16. Be/longing Berlin: Remembering Futures in Migration 17. Pakistani Diaspora Artists in the UK 18. Rasheed Araeen: An Aesthetics of Resistance 19. The Cinema of Hanif Kureshi: My Beautiful Laundrette (1985) 20. Fun^Da^Mental’s "Jihad Rap"
£128.25
Taylor & Francis Ltd Music Books and Theatre in EighteenthCentury
Book SynopsisThis book establishes the cultural background to the productions of Milton's Comus that were staged in the 1740s by Baptist Noel, 4th Earl of Gainsborough, at Exton Hall, his country seat in the East Midlands of England. The author reveals that Handel's visit in 1745 occurred in a richer and fuller context of cultural interests among the Noel family. Most of the music at Exton was selected from existing works by Handel, but the four movements of the finale were new, written by the composer specifically for the occasion. The study is based on receipted bills and other documents in an archival collection of Noel family papers that provide evidence of the Earl's purchase of books and music and of the musical and theatrical activities undertaken on his Exton estate. The author discusses the Earl's interests in music, books and theatre, indicating a belief in performance as a valuable and enjoyable experience and as a vehicle for the education of the yoTable of ContentsIntroduction 1. The 4th Earl of Gainsborough 2. Evidence from the Archives 3. Gainsborough’s Legacy Appendix I: Subscriptions and Dedications Appendix II: Documents on Music, Books and Theatre
£49.99
Taylor & Francis The Art Experience
Book SynopsisThe Art Experience: An Introduction to Philosophy and the Arts takes readers on an engaging and accessible journey that explores a series of fundamental questions about the nature of art and aesthetic value. The bookâs 12 chapters explore three questions: What makes something a work of art? How should we experience art to get the most out of it? Once we understand art, how should we evaluate whether it is good or bad? Philosophical theory is illustrated with concrete examples: the paintings of Frida Kahlo, the music of Johann Sebastian Bach, the masks of the Nso people, and many others. Classic questions are balanced with cutting-edge challenges, such as Linda Nochlinâs work on the exclusion of women from the artistic canon.The Art Experience presupposes no prior knowledge of philosophy or art, and it will be of interest to any reader seeking an accessible and engaging introduction to this field. Along the way, readers lear
£32.29
Taylor & Francis Ltd The Art of Entertainment
Book SynopsisIn this book, theatre historian Jason Price looks at the relationships and exchanges that took place between high and low cultural forms in Britain from 1880 to 1940, focusing on the ways in which figures from popular entertainments, such as music hall serio-comics, clowns, and circus acrobats, came to feature in modern works of art.Readers with an interest in art, theatre, and the history of modern Britain will find Price's approach, which sees major works of art used to illuminate the histories of once-famous entertainers and the wider social, political, and cultural landscape of this period, accessible and engaging. The book will bring to life for readers some of the most vivid works of modern British art and reveal how individuals historically overlooked due to their gender, sexuality, or race played a significant role in the shaping of British culture during this period of monumental social change.
£35.99
Taylor & Francis Liberalism Nationalism and Design Reform in the
Book SynopsisLiberalism, Nationalism and Design Reform in the Habsburg Empire is a study of museums of design and applied arts in Austria-Hungary from 1864 to 1914. The Museum for Art and Industry (now the Museum of Applied Arts) as well as its design school occupies a prominent place in the study. The book also gives equal attention to museums of design and applied arts in cities elsewhere in the Empire, such as Budapest Prague, Cracow, Brno and Zagreb. The book is shaped by two broad concerns: the role of liberalism as a political, cultural and economic ideology motivating the museumsïâï foundation, and their engagement with the politics of imperial, national and regional identity of the late Habsburg Empire. This book will be of interest for scholars of art history, museum studies, design history, and European history.
£38.99
Taylor & Francis Ltd Reenvisioning the Contemporary Art Canon
Book SynopsisRe-envisioning the Contemporary Art Canon: Perspectives in a Global World seeks to dissect and interrogate the nature of the present-day art field, which has experienced dramatic shifts in the past 50 years.In discussions of the canon of art history, the notion of inclusiveness', both at the level of rhetoric and as a desired practice is on the rise and gradually replacing talk of exclusion', which dominated critiques of the canon up until two decades ago. The art field has dramatically, if insufficiently, changed in the half-century since the first protests and critiques of the exclusion of others' from the art canon. With increased globalization and shifting geopolitics, the art field is expanding beyond its Euro-American focus, as is particularly evident in the large-scale international biennales now held all over the globe. Are canons and counter-canons still relevant? Can they be re-envisioned rather than merely revised? Following an introduction thaTrade Review"The best essays in this collection are well aware of the complex entanglements and disentanglements that lie behind the canonizing process, and many readers will want to read them for that reason."- Jan Gorak, University of Denver, USARe-envisioning the Contemporary Art Canon is a timely, necessary volume, one that asks—across lucid and jargon-free case studies and equally dynamic round-table discussions—whither the place of the art historical canon in a contemporary art world. Answers diverge, and for the better. Taken together the texts model a pluriversal discourse that may well become a standard of its own.Suzanne Hudson, Associate Professor of Art History and Fine Arts, University of Southern California, USARe-envisioning the Contemporary Art Canon is an intellectually astute intervention into the growing literature on contemporary art, its validation and significance within the history of art. Through a series of fascinating essays and well-written introductory sections, this book sets out the premises for a critical account of how contemporary art canons get created in a range of institutional and discursive contexts globally.Jonathan Harris, Professor in Global Art and Design Studies, Birmingham City University, UKRe-envisioning the Contemporary Art Canon is a wonderful contribution that examines art historical canons and the political, social, and ethical forces that shape and reshape them. In examining canons in myriad contexts, this text pressures us to rethink how we understand and categorize art and the artworld in our globalized present. Steven Nelson, University of California, Los Angeles, USAThe concept of the canon is a persistent one; even when considered obsolete, it continues to operate covertly in collecting, exhibition and scholarly practices. This volume brings the concept out into the open for a full and intensive discussion of its problematics and possibilities. At a time when geopolitical, gender and postcolonial perspectives are generating more inclusive methods in curating and art history, Re-envisioning the Contemporary Art Canon provides a compelling argument to not only critique the canon but to strategically reconceive it for the twenty-first century.Jim Drobnick and Jennifer Fisher, Editors, Journal of Curatorial StudiesTable of ContentsIntroduction Re-envisioning the Canon: Are Pluriversal Canons Possible? Ruth E. Iskin Part I: ArtistsIntroductionChapter 1Claude Cahun and Marcel Moore: Casualties of a Backfiring Canon?Tirza True LatimerChapter 2Jean-Michel Basquiat and the American Art CanonJordana Moore SaggeseChapter 3Sheila Hicks and the Consecration of Fiber ArtElissa AutherChapter 4The Elephant in the Church: Ai Weiwei, the Media Circus and the Global CanonWenny TeoChapter 5El Anatsui’s Abstractions: Transformations, Analogies and the New GlobalElizabeth HarneyPart II: Mediums/MediaIntroductionChapter 6The Apotheosis of Video ArtWilliam KaizenChapter 7Performance Art: Part of the Canon?Jennie KleinChapter 8Street Art: Critique, Commodification, CanonizationPaula J. BirnbaumChapter 9New Media Art and Canonization: A Round-Robin ConversationSarah Cook with Karin de WildPart III: Exhibitions, Museums, MarketsIntroductionChapter 10On the Canon of Exhibition HistoryFelix VogelChapter 11Canonizing Hitler’s "Degenerate Art" in Three American Exhibitions, 1939‒1942Jennifer McComasChapter 12Museum RelationsMartha BuskirkChapter 13The Commodification of the Contemporary Artist and High-Profile Solo Exhibition: The Case of Takashi MurakamiRonit MilanoChapter 14Troubling Canons: Curating and Exhibiting Women’s and Feminist Art, A Roundtable DiscussionHelena ReckittChapter 15The Contemporary Art Canon and the Market, A Roundtable DiscussionJonathan T. D. Neil
£36.99
Taylor & Francis Ltd Aesthetics
Book SynopsisAesthetics: A Reader in Philosophy of the Arts, fourth edition, contains a selection of ninety-six readings organized by individual art forms as well as a final section of readings in philosophical aesthetics that cover multiple art forms. Sections include topics that are familiar to students such as painting, photography and movies, architecture, music, literature, and performance, as well as contemporary subjects such as mass art, popular arts, the aesthetics of the everyday, and the natural environment. Essays are drawn from both the analytic and continental traditions, and multiple others that bridge this divide between these traditions. Throughout, readings are brief, accessible for undergraduates, and conceptually focused, allowing instructors many different syllabi possibilities using only this single volume. Key Additions to the Fourth EditionThe fourth edition is expanded to include a total of ninety-six essays with niTrade Review"This 4th Edition offers broad coverage of many fascinating contemporary topics while also including some of the key works in the history of aesthetics. This text demonstrates the vibrancy of aesthetics today without losing sight of its past."--Christopher Bartel, Appalachian State University"I’ve long considered Aesthetics: A Reader in Philosophy of the Arts to be the best collection for undergraduate philosophy of art classes because of the breadth of its readings, and because of its excellent coverage of recent debates in the arts. The fourth edition builds on these strengths, expanding its coverage of contemporary topics."--Joshua Shaw, Penn State Erie, The Behrend College"The editors have have imaginatively selected essays both canonical and offbeat from diverse traditions. This anthology would be engaging and accessible to undergraduates of all levels and majors, as it shows the importance of Aesthetics to everyday life, as well as to philosophy and culture. It is an outstanding new contribution to the pedagogical literature in the field."--Carol S. Gould, Florida Atlantic UniversityTable of ContentsTable of contents Acknowledgements for the 4th EditionGeneral IntroductionPart 1: Painting Against ImitationPlatoThe Limits of LikenessErnst Gombrich Reality RemadeNelson Goodman The "Perfect" FakeNelson GoodmanArtistic CrimesDenis DuttonForm in Modern PaintingClive BellA Formal AnalysisEdmund Burke Feldman Intentional Visual InterestMichael Baxandall Works of Art and Mere Real ThingsArthur C. Danto The Origin of the Work of ArtMartin HeideggerWhy Are There No Great Women Artists? Linda Nochlin Painting and EthicsA. W. EatonArt and CorruptionDavid Alfaro SiqueirosPart II: Photography and Moving Pictures The Work of Art in the Age of Mechanical ReproductionWalter Benjamin Transparent PicturesKendall L. WaltonWhy Photography Does Not Represent ArtisticallyRoger Scruton The Hubble Photographs as Aesthetic ObjectsFlo LeibowitzArchitectural Photography: The "Urban Photogénie" of ArchitainmentJennifer BurrisHow Beauty MattersPeg Brand WeiserAllegory of the CavePlato Towards an Ontology of the Moving ImageNoël CarrollMoving PicturesArthur C. DantoWoman as Image, Man as Bearer of the LookLaura Mulvey Beauty and Evil: The Case of Leni RiefenstahlMary Devereaux The Last King of Scotland: The Ethics of Race on FilmPaul C. TaylorPart III: Architecture The Problem of ArchitectureRoger Scruton Home is Where the Heart Is: Taking Architecture PersonallyEdward Winters Ornament and Crime: TattoosAdolf Loos Towards an ArchitectureLe CorbusierArchitecture as Decorated ShelterRobert Venturi and Denise Scott BrownA Discussion of Architecture (with Christopher Norris)Jacque Derrida How to Experience ArchitectureJenefer RobinsonSpectacular vs. Deferential Art Museums in the Twenty-First Century Larry Shiner Architectural GhostsJeanette BicknellDigital Architecture and the New EleganceHina JamellePart IV: MusicOn the Concept of MusicJerrold Levinson Ontology of MusicBen Caplan and Carl Matheson Making Tracks: The Ontology of Rock MusicAndrew KaniaIs Live Music Dead?Lee B. BrownThe Expression of Emotion in MusicStephen Davies Representation in MusicRoger ScrutonSound and SemblancePeter Kivy African MusicJohn Miller ChernoffJazz and LanguageRobert KrautA Topography of Musical ImprovisationPhilip AlpersonFakin’ It: Is There Authenticity in Commercial Music? Theodore Gracyk Can White People Sing the Blues? Joel Rudinow Social Consciousness in Dancehall ReggaeAnita M. Waters Part V: Literature What is Literature? Terry EagletonThe Poetic Expression of Emotion R. G. Collingwood The Paradox of ExpressionGarry L. HagbergThe Intention of the AuthorMonroe C. Beardsley What is an Author? Michel Foucault Criticism as RetrievalRichard Wollheim Beneath InterpretationRichard Shusterman The Art of WritingLu ChiHow to Eat a Chinese PoemRichard W. Bodman Imagination and Make-BelieveGregory CurriePart VI: PerformanceIonPlatoOn TragedyAristotleThe Birth of TragedyFriedrich NietzscheWhat Is Going On in a Dance? Monroe C. Beardsley Working and Dancing: A Reponse to Monroe Beardsley's "What is Going On in a Dance?"Noël Carroll and Sally BanesAppreciating Dance: The View from the AudienceAili Bresnahan Literature as a Performing ArtJ. O. UrmsonThe Artwork as PerformanceDavid Davies Why (Not) Philosophy of Stand-up Comedy?Sheila Lintott Ventriloquism and ArtDavid GoldblattMagic: The Art of the ImpossibleJason Leddington Part VII: Mass Art Defining Mass ArtNoël CarrollPlato and the Mass MediaAlexander Nehamas Adorno’s Case Against Popular MusicLee B. Brown In Defense of Popular ArtsRichard Shusterman Television and AestheticsUmberto EcoRelating Comics, Cartoons, and AnimationHenry John Pratt Videogames, Interactivity and ArtGrant TavinorIs It Only a Game? The Ethics of Video Game PlayStephanie Patridge Part VIII: Nature and Everyday Aesthetics Aesthetic Appreciation of the Natural EnvironmentAllen CarlsonEveryday AestheticsYuriko Saito Kitsch Robert SolomonThe Aesthetics of JunkyardsThomas Leddy Nonsense in Public Places: Songs of Black Vocal Rhythm and Blues or Doo-WopDavid GoldblattStreet ArtSondra BacharachJokesTed Cohen Racist Humor Luvell Anderson A Sensible Antiporn Feminism A. W. EatonFalling in Lust: Sexiness, Feminism, and PornographyHans MaesPart IX: Art in General Of the Standard of TasteDavid HumeThe SublimeEdmund Burke Judgments about the BeautifulImmanuel KantThe Philosophy of Fine ArtG. W. F. HegelAesthetic ConceptsFrank Sibley Categories of ArtKendall L. Walton The Role of Theory in AestheticsMorris Weitz Art and Natural SelectionDenis Dutton Feminism in ContextPeg Brand Weiser Contributors
£142.50
Taylor & Francis Ltd Scale in Contemporary Sculpture
Book SynopsisThe first book to devote serious attention to questions of scale in contemporary sculpture, this study considers the phenomenon within the interlinked cultural and socio-historical framework of the legacies of postmodern theory and the growth of global capitalism. In particular, the book traces the impact of postmodern theory on concepts of measurement and exaggeration, and analyses the relationship between this philosophy and the sculptural trend that has developed since the early 1990s. Rachel Wells examines the arresting international trend of sculpture exploring scale, including American precedents from the 1970s and 1980s and work by the ''Young British Artists''. Noting that the emergence of this sculptural trend coincides with the end of the Cold War, Wells suggests a similarity between the quantitative ratio of scale and the growth of global capitalism that has replaced the former status quo of qualitatively opposed systems. This study also claims the allegorical nature of scaTrade ReviewWinner, Henry Moore Foundation Grant '... sustained attention is lent to the appearance, properties and rhetorical modes of sculpture, and to the open question of its particular relationship to contemporary reality.' Burlington Magazine'This first work by Rachel Wells offers a contribution to thinking about recent developments in sculpture which is as unexpected as it is remarkable. This analysis undertakes a critique of postmodernist theories and their effect on the perception of sculptural practices, which, since the end of the 1980s, explore the concept of scale by means of enlargement, miniaturisation or the life-size. Through a selection of artists - from Claes Oldenberg to Do-Ho-Suh, via the Young British Artists, Ron Mueck, Mark Wallinger, Elizabeth Wright and Michael Landy - Rachel Wells outlines the genesis of a sculptural tendency which, because it is imbued with the preoccupations underlined by postmodern theory, has been considered as the expression of a denial of all certainty and of the stable value which would make possible the interpretation of the real..." Sandra Delacourt, Critique d’art Table of ContentsContents: Preface; Introduction: defining scale: Enlargement and miniaturisation; The life size; Photography, sculpture and scale; Conclusion; Bibliography; Index.
£47.49
Taylor & Francis Ltd Blacks and Blackness in European Art of the Long Nineteenth Century
Compelling and troubling, colorful and dark, black figures served as the quintessential image of difference in nineteenth-century European art; the essays in this volume further the investigation of constructions of blackness during this period. This collection marks a phase in the scholarship on images of blacks that moves beyond undifferentiated binaries like 'negative' and 'positive' that fail to reveal complexities, contradictions, and ambiguities. Essays that cover the late eighteenth through the early twentieth century explore the visuality of blackness in anti-slavery imagery, black women in Orientalist art, race and beauty in fin-de-siècle photography, the French brand of blackface minstrelsy, and a set of little-known images of an African model by Edvard Munch. In spite of the difficulty of resurrecting black lives in nineteenth-century Europe, one essay chronicles the rare instance of an American artist of color in mid-nineteenth-century Europe. With analyses of works rangin
£39.99
Taylor & Francis Turner as Draughtsman
Book SynopsisTurner as Draughtsman looks at the artist's practice of drawing in various media (pen, pencil and chalk as well as watercolour and oil paint), an aspect of Turner's work which has hitherto received very little attention. Andrew Wilton shows that, while Turner's art has always been celebrated for its atmospheric breadth and freedom of handling, he based his working procedures throughout his career on the discipline of drawing in outline, which was an essential element in the grand strategy by which he achieved his formidable results. An important section of the book is devoted to the vexed question of Turner's drawing of the human figure, and the crucial role played by the figure both in his conception of landscape and in his ambitious attempts to master all the genres of fashionable contemporary art.Trade Review'This book is a masterpiece. If nothing else this exceptional book lifts Turner out of the straight-jackets imposed hitherto by sundry art historians, critics and other experts, to a level free of myth and other posthumous shades. Here is the man himself, an incorrigible genius, forever experimenting, forever at work'.' www.artnewsletter.com 'This is a highly original study, resting on an intimate knowledge of the visual materials, which Wilton often characterizes with great vividness and verve ... his style is free of academic jargon ... The theme of this book is thoroughly worthwhile and its material is rich and up-to-date.' John Gage, University of Cambridge, UK ’...47 good black-and-white illustrations...Wilton writes with the erudition and knowledge of an experienced observer who is adept at casting a critical eye on both traditional and recent scholarship. At the same time, his skill at explaining the nuances of Turner’s genius should give this book a wide appeal. Extensive endnotes and full bibliography...Recommended.’ Choice ’... an important contribution to our overall understanding of Turner's work... nuanced and perceptive study...’ Victorian StudiesTable of ContentsContents: Introduction: could Turner draw?; Turner's history of drawing; The rudiments of draughtsmanship; Early influences; A mature shorthand; Line and colour; Drawing and painting; Turner's humanity; Conclusion; Bibliography; Index.
£31.34
Taylor & Francis Ltd Max Liebermann
Book SynopsisMax Liebermann: Modern Art and Modern Germany is the first English-language examination of this German impressionist painter whose long life and career spanned nine decades. Through a close reading of key paintings and by a discussion of his many cultural networks across Germany and throughout Europe, this study by Marion Deshmukh illuminates Liebermann's importance as a pioneer of German modernism. Critics and admirers alike saw his art as representing aesthetic European modernism at its best. His subjects included dispassionate depictions of the rural Dutch countryside, his colorful garden at the Wannsee, and his many portraits of Germany's cultural, political, and military elites. Liebermann was the largest collector of French Impressionism in Germany - and his cosmopolitan outlook and his art created strong antipathies towards both by political and cultural conservatives throughout his life.Trade Review"Marion Deshmukh has deftly interwoven a comprehensive study of Liebermann’s life, art, and critical reception within a context of the cultural and political history of Wilhelmine and Weimar Germany. Deshmukh has used Liebermann’s "bourgeois modernism" to reassess the unique and conflicted nature of modernism in Germany. Her book is now the definitive English-language source of information on the painter and will no doubt remain so for years to come." - Marsha Morton, Pratt Institute, USA "At long last, a monograph in English on Max Liebermann, one of Germany’s most important cultural figures of the modern era. Meticulously researched, this study is especially welcome for the way in which it weaves together and illuminates Liebermann’s life, art and times in ways that enormously enrich our understanding of how culture intersected with politics in a period of fraught and conflicting ideologies." - Maria Makela, California College of the Arts, USA"The first biography of Liebermann (1847-1935) in English, this densely written, exhaustuvely researched book is far more than a life of critically important modern German Artist. In writing about Liebermann, Deshmukh (emer., history, George Mason Univ.) looks at critical issue of German history during the first half of the 20th century... Summing Up: High recommended." - J.T. Paoletti, Wesleyan University, CHOICE Reviews "This study succeeds in providing a useful survey of many of the existing approaches to Liebermann's work from within the German literature, including the relevance of his interest in Holland, and his position as an advocate for international Modernism in Germany. At the same time, Deshmukh provides fresh perspectives on some of these interpretations, for example in her exploration of Liebermann's art-world networks and the politicisation of his art. The result is a book of considerable value, for both English-speaking scholars of Liebermann and those less familiar with the artist's work." - Lucy Watling, The Burlington MagazineTable of ContentsTable of Contents to come.
£45.59
Taylor & Francis Ltd A Dictionary of the AvantGardes
Book SynopsisTwenty-five years after the publication of A Dictionary of the Avant-Gardes, the distinguished critic and arts historian Richard Kostelanetz returns to his favorite subject for a third edition. Rewriting earlier entries, adding hundreds of new ones, Kostelanetz provides intelligence and information unavailable anywhere else, no less in print than online, about a wealth of subjects and individuals. Focused upon what is truly innovative and excellent, he ranges widely with insight and surprise, including appreciations of artistic athletes such as Muhammad Ali, Johan Cruyff, and the Harlem Globetrotters and such collective creations as Las Vegas and his native New York City. Continuing the traditions of cheeky high-style Dictionarysts, honoring Samuel Johnson and Nicolas Slonimsky (both with individual entries), Kostelanetz offers a reference book to be enjoyed not only in bits and chunks, but continuously as one of the dozen books someone would take if they planned to be strandTrade Review"Bringing together a wealth of information on esthetic innovation, [A Dictionary of the Avant-Gardes] will make avant-garde art more accessible to everyone."-"Booklist "Dictionaries are not usually written for cover-to-cover reading; this one is. It is filled with fascinating people and images."-Mark Laiosa, WBAI-FM "Demonstrate[s] a unique subjectivity and distinctive flair without sacrificing quality...."-"Library Journal "A one-of-a-kind source. Nothing approaches the subject with such admirable verve."-"Wilson Library Bulletin Table of ContentsPrefaceIntroductionThe DictionaryBiographical Notes
£204.25
Taylor & Francis Ltd A Concise Dictionary of the AvantGardes
Book SynopsisFor a concise edition of his legendary arts dictionary of information and opinion, the distinguished critic and arts historian Richard Kostelanetz selects entries from the 2018 third edition. Typically he provides intelligence unavailable anywhere else, no less in print than online, about a wealth of subjects and individuals. Focused upon what is truly innovative and excellent, Kostelanetz also ranges widely with insight and surprise, including appreciations of artistic athletes such as Muhammad Ali and the Harlem Globetrotters and such collective creations as Las Vegas and his native New York City. Continuing the traditions of cheeky high-style Dictionarysts, honoring Ambrose Bierce and Samuel Johnson (both with individual entries), Kostelanetz offers a reference book to be enjoyed, not only in bits and chunks but continuously as one of the ten books someone would take if he or she planned to be stranded on a desert isle.Table of ContentsForeword Preface Introduction The Dictionary Biographical Notes
£36.99
Taylor & Francis Ltd The Danish AvantGarde and World War II
Book SynopsisThis is the first book to focus on Helhesten (The Hell-Horse), an avant-garde artistsâ collective active during the Nazi occupation of Denmark and one of the few tangible connections between radical European art groups from the 1920s to the 1960s. The Danesâ deliberately unskilled painterly abstraction, embrace of the tradition of dansk folkelighed (the popular) and its iterations of egalitarianism and consensus reform, called for the political relevance of art and interrogated the ideologies underlying culture itself. The groupâs cultural activism presents an alternative trajectory of continuity, which challenges the customary view of World War II as a moment of artistic rupture.Trade Review"This work complicates histories of resistance activity under National Socialist occupation both in Denmark and in general through its nuanced reading of the ideology, publishing activities, and exhibition practices of the artists’ collective Helhesten. Dr. Greaves illuminates the group’s brilliant and strategic uses of Danish history, symbolism, and values, as well as the cultural aesthetics of the Nazi occupiers, in their cultural work between 1941 and 1945."--Patricia G. Berman, Wellesley CollegeTable of ContentsIntroduction; 1 Dansk Modernisme Reconsidered; 2 "What about Culture?" Interwar Politics, Art Criticism, and Experimental Art; 3 Helhesten and the War; 4 The New Realism; 5 Spring Is Here: 13 Artists in a Tent; Conclusion: Thank You for Being with Us
£128.25
Taylor & Francis Ltd Collage in TwentiethCentury Art Literature and
Book SynopsisEmphasizing the diversity of twentieth-century collage practices, Rona Cran''s book explores the role that it played in the work of Joseph Cornell, William Burroughs, Frank O''Hara, and Bob Dylan. For all four, collage was an important creative catalyst, employed cathartically, aggressively, and experimentally. Collage''s catalytic effect, Cran argues, enabled each to overcome a potentially destabilizing crisis in representation. Cornell, convinced that he was an artist and yet hampered by his inability to draw or paint, used collage to gain access to the art world and to show what he was capable of given the right medium. Burroughs'' formal problems with linear composition were turned to his advantage by collage, which enabled him to move beyond narrative and chronological requirement. O''Hara used collage to navigate an effective path between plastic art and literature, and to choose the facets of each which best suited his compositional style. Bob Dylan''s self-conscious applicationTrade Review"Rona Cran’s study of this highly experimental technique - particularly its evolution in late modernism and early postmodernism - is rendered in clear and provocative language. Her book unfolds as artistically as a collage, the discovery apparent in the telling." - Timothy Gray, CUNY - College of Staten Island"a thoughtful set of related essays on an American quartet – collagist and box-maker extraordinaire Joseph Cornell, novelist William Burroughs, poet Frank O’Hara, and finally Bob Dylan, the ongoing question as to whether the latter is best described as poet, musician, multi-media, or sui generis artist being one that Rona Cran answers more convincingly than most." - Geoff Ward, Cambridge Quarterly"Cran, in effect, uses her impressionistic interpretation of selected artworks as a way of curating an exhibition-like concept in book form." -Kevin J. Hunt, Journal of American Studies"Rona Cran’s study of this highly experimental technique - particularly its evolution in late modernism and early postmodernism - is rendered in clear and provocative language. Her book unfolds as artistically as a collage, the discovery apparent in the telling." - Timothy Gray, CUNY - College of Staten Island"a thoughtful set of related essays on an American quartet – collagist and box-maker extraordinaire Joseph Cornell, novelist William Burroughs, poet Frank O’Hara, and finally Bob Dylan, the ongoing question as to whether the latter is best described as poet, musician, multi-media, or sui generis artist being one that Rona Cran answers more convincingly than most." - Geoff Ward, Cambridge Quarterly"Cran, in effect, uses her impressionistic interpretation of selected artworks as a way of curating an exhibition-like concept in book form." -Kevin J. Hunt, Journal of American Studies"Rona Cran’s Collage in Twentieth-Century Art, Literature, and Culture: Joseph Cornell, William Burroughs, Frank O’Hara, and Bob Dylan' revitalizes the concept of collage by considering its role in capturing lived experience and its ability to integrate various mediums into one embodied encounter [...] Through its interdisciplinary approach to collage, Collage in Twentieth-Century Art, Literature, and Culture appeals to a wide array of scholarly audiences and might have some attraction even for a general readership. Employing principles of visual art in textual analyses of prose and poetry, both literary and musical, the project leans in the direction of literary studies. However, the inclusion of popular culture movements including Dylan’s folk music and Burroughs’s connection to the Beat movement might lend itself to popular audiences who have a keen interest in countercultural movements." - Sarah Nolan, Rocky Mountain Review of Language and LiteratureTable of ContentsChapter Introduction: Catalysing Encounters; Chapter 1 Habitat New York: Joseph Cornell’s ‘imaginative universe’; Chapter 2 ‘Confusion hath fuck his masterpiece’: Re-reading William Burroughs, from Junky to Nova Express; Chapter 3 ‘Donc le poète est vraiment voleur du feu’: Frank O’Hara and the Poetics of Love and Theft; Chapter 4 Bob Dylan and Collage: ‘A deliberate cultural jumble’;
£39.99
Taylor & Francis Ltd Emotions in Indian ThoughtSystems
Book SynopsisA stimulating account of the wide range of approaches towards conceptualising emotions in classical Indian philosophicalreligious traditions, such as those of the Upanishads, Vaishnava Tantrism, Bhakti movement, Jainism, Buddhism, Yoga, Shaivism, and aesthetics, this volume analyses the definition and validity of emotions in the construction of identity and self-discovery. Trade Review'The contributions by Rafaele Torella, Bettina Sharada Bäumer and Aleksandra Wenta are uniformly rewarding, combining exacting philological rigour with sophisticated interpretations.'Sonam Kachru, University of VirginiaTable of ContentsPreface. Emotions in Indian Thought-Systems: An Introduction Purushottama Bilimoria and Aleksandra Wenta Part 1: Tantrism 1. Passions and Emotions in the Indian Philosophical-Religious Traditions Raffaele Torella 2. Intensity of Emotions: A Way to Liberation in the Advaita Śaiva Āgamas and their Exegetes Bettina Sharada Bäumer 3. Between Fear and Heroism: The Tantric Path to Liberation Aleksandra Wenta Part 2: The Bhakti Movement 4. Principal Emotions Contributing to the Supreme Love of Śiva: A Study of Early Śaiva Hymnal Corpus T. Ganesan 5. Love Never Tasted Quite Like This Before: Śṛṅgāra-rasa in the Light of Two Texts from a Sahajiyā Vaiṣṇava Notebook Neal Delmonico and Aditi Nath Sarkar Part 3: Buddhism, Pātañjala Yoga and Śaiva Siddhānta 6. The Buddhist Psychology of Emotions Varun Kumar Tripathi 7. Between Impetus, Fear, and Disgust: ‘Desire for Emancipation’ (Saṃvega) from Early Buddhism to Pātañjala Yoga and Śaiva Siddhānta Andrea Acri Part 4: Aesthetics 8. Moha Kāla: Aporia of Emotion in Indian Reflective Traditions Venkat D. Rao 9. Aesthetics of Despair Sharad Deshpande
£123.50
Taylor & Francis Rival Sisters Art and Music at the Birth of
Book SynopsisIntroducing the concept of music and painting as 'rival sisters' during the nineteenth century, this interdisciplinary collection explores the productive exchange-from rivalry to inspiration to collaboration-between the two media in the age of Romanticism and Modernism. The volume traces the relationship between art and music, from the opposing claims for superiority of the early nineteenth century, to the emergence of the concept of synesthesia around 1900. This collection puts forward a more complex history of the relationship between art and music than has been described in earlier works, including an intermixing of models and distinctions between approaches to them. Individual essays from art history, musicology, and literature examine the growing influence of art upon music, and vice versa, in the works of Berlioz, Courbet, Manet, Fantin-Latour, Rodin, Debussy, and the Pre-Raphaelites, among other artists.Trade Review'An elegant collection of essays written with breadth and insight on the intersections of music and painting in modernism.' Lydia Goehr, Columbia University, USA At once historically grounded and theoretically sophisticated, this book offers new approaches to modernism's paradigmatic "rival sisters". Juliet Bellow, American University, USA and author of Modernism on StageTable of ContentsContents: Musical paintings and colorful sounds: the imagery and rhetoric of musicality in the Romantic Age, James H. Rubin and Olivia Mattis. Part I Origins: Opsis Melos Lexis: before and around the total work of art, Simon Shaw-Miller; Caspar David Friedrich and music: a ’divine kingdom of hearing’?, Julie Ramos. Part II Dialogues: Berlioz, Delacroix, and La Mort d’Ophélie, Peter Bloom; Music as magic architecture: immersive environments in Baudelaire and Whistler, Suzanne M. Singletary. Part III Realism and Music: Gustave Courbet and music: soundscapes and the total work of art, James H. Rubin; Music as muse: Thomas Eakins's realist agenda in Elizabeth at the Piano, Debra Hanson; ’One art eating the other’ in Émile Zola’s L’Oeuvre, Michelle Foa. Part IV Musicality in Paint: Manet, Liszt and The Old Musician, Campbell Ewing; Strums the word: Manet’s Spanish Singer, Therese Dolan; The musical imagination of Henri Fantin-Latour, Anne Leonard. Part V Grand Schemes and Other Bases: Schwind’s ’Symphony’: Beethoven, Biedermeier, and the cruelty of romance, Cordula Grewe; Burne-Jones’s Le Chant d’amour and the condition of music, Tim Barringer. Part VI Fin de Siècle: Rodin’s Beethoven, Olivia Mattis; Grafting a dream: Henri Bergson, Claude Debussy and Henri Matisse, Charlotte de Mille. Art/Music, Music/Art - a bibliography, Olivia mattis; Index.
£128.25
Taylor & Francis Ltd Blacks and Blackness in European Art of the Long
Book SynopsisCompelling and troubling, colorful and dark, black figures served as the quintessential image of difference in nineteenth-century European art; the essays in this volume further the investigation of constructions of blackness during this period. This collection marks a phase in the scholarship on images of blacks that moves beyond undifferentiated binaries like 'negative' and 'positive' that fail to reveal complexities, contradictions, and ambiguities. Essays that cover the late eighteenth through the early twentieth century explore the visuality of blackness in anti-slavery imagery, black women in Orientalist art, race and beauty in fin-de-siècle photography, the French brand of blackface minstrelsy, and a set of little-known images of an African model by Edvard Munch. In spite of the difficulty of resurrecting black lives in nineteenth-century Europe, one essay chronicles the rare instance of an American artist of color in mid-nineteenth-century Europe. With analyses of works ranginTrade Review’This excellent volume exemplifies the increasing sophistication of scholarship around issues of the representation of race, particularly in the nineteenth century. High art, popular art and popular performance involving Africans are analysed with due regard to the complexities of European racial attitudes in an age of commercialism and empire.’ David Bindman, Hutchins Center at Harvard University, USA and author of Ape to Apollo: Aesthetics and the Idea of Race in the Eighteenth Century ’It is exciting to see scholars continue to probe the question of how visual arts of the West reflect the reactions to the experiences of Africans in the diaspora. The manner in which Europeans viewed and represented blacks in art is tied to the larger questions of power, cultural and political domination and exchange, along with an ever evolving influential aesthetics of difference. This well written volume of enlightening essays is a major contribution to the literature on race and representation as it broadens our understanding of the extent to which the dynamics of race has colored the history of art in Europe in many ways. Even though this volume focuses on European art, there are important contributions to the history of art relating to African Americans who created art in Europe in the nineteenth century. The discussions of slavery, Orientalism, photography and modernism in this book bring fresh perspectives to the subject of blackness in Europe. This volume is a must read for all who wish to advance their knowledge of a much neglected subject in American and European art history.’ David C. Driskell, Distinguished University Professor of Art Emeritus, University of Maryland, College Park, USA'Blacks and Blackness in European Art of the Long Nineteenth Century assembles studies on a wide range of subjects that, taken together, reveal not just the relevance of images of “blacks” and “blackness” to studies of the nineteenth century, but constitute a compelling argument for how integral an awareness of the issues raised by those images should be to any account of the art of the period.' CAA ReviewsTable of ContentsContents: Introduction: figuring blackness in Europe, Adrienne L. Childs and Susan H. Libby; The color of Frenchness: racial identity and visuality in French anti-slavery imagery, 1788-94, Susan H. Libby; US and THEM: Camper’s odious ligne faciale and Géricault’s beseeching black, Albert Alhadeff; ’A mulatto sculptor from New Orleans’: Eugène Warburg in Europe, 1853-59, Paul H.D. Kaplan; Ira Aldridge as Othello in James Northcote’s Manchester portrait, Earnestine Jenkins; Exceeding blackness: African women in the art of Jean-Léon Gérôme, Adrienne L. Childs; Visualizing racial antics in late 19th-century France, James Smalls; Staging ethnicity: Edvard Munch’s images of Sultan Abdul Karim, Allison W. Chang; Race and beauty in black and white: Robert Demachy and the aestheticization of blackness in pictorialist photography, Wendy A. Grossman; Selected bibliography; Index.
£128.25
Taylor & Francis Ltd The Art and Politics of Asger Jorn
Book SynopsisA leading figure of the postwar avant-garde, Danish artist Asger Jorn has long been recognized for his founding contributions to the Cobra and Situationist International movements - yet art historical scholarship on Jorn has been sparse, particularly in English. This study corrects that imbalance, offering a synthetic account of the essential phases of this prolific artist's career. It addresses his works in various media alongside his extensive writings and his collaborations with various artists'' groups from the 1940s through the mid-1960s. Situating Jorn''s work in an international, post-Second World War context, Karen Kurczynski reframes our understanding of the 1950s, away from the Abstract-Expressionist focus on individual expression, toward a more open-ended conception of art as a public engagement with contemporary culture and politics. Kurczynski engages with issues of interest to twenty-first-century artists and scholars, highlighting Jorn''s proposition that the sensory adTrade Review'... provides a detailed analysis of Jorn's theory and his negotiation of the fractured landscape of the post-war avant-garde.' The Art NewspaperTable of ContentsContents: Introductory reflections: Jorn’s kitsch-avant-garde; Spontaneous myths; Communal expressions; Material visions; Jubilant critiques; Authentic ironies; Conclusion: new legacies; Bibliography; Index.
£118.75
Taylor & Francis Ltd Frederic Leighton
Book SynopsisKeren Rosa Hammerschlag''s Frederic Leighton: Death, Mortality, Resurrection offers a timely reexamination of the art of the late Victorian period''s most institutionally powerful artist, Frederic Lord Leighton (1830-1896). As President of the Royal Academy from 1878 to 1896, Leighton was committed to the pursuit of beauty in art through the depiction of classical subjects, executed according to an academic working-method. But as this book reveals, Leighton''s art and discourse were beset by the realisation that academic art would likely die with him. Rather than achieving classical perfection, Hammerschlag argues, Leighton''s figures hover in transitional states between realism and idealism, flesh and marble, life and death, as gothic distortions of the classical ideal. The author undertakes close readings of key paintings, sculptures, frescos and drawings in Leighton''s oeuvre, and situates them in the context of contemporaneous debates about death and resurrection in theology, archaTrade Review'This book offers a compelling and highly original interpretation of Frederic Leighton's art by arguing for a gothic impulse in the work of this quintessential exponent of Victorian classicism. In her nuanced account, revealing the body as a site of deep ambivalence in Leighton's work, Hammerschlag connects his preoccupation with themes of death, resurrection and revivification to contemporaneous social anxieties about modernity. Deftly interweaving social and cultural history, this book demonstrates why Leighton mattered in his own time and how he continues to do so in ours. Smart, timely and engagingly written, this book is essential reading for those interested in British art, cultural histories of the nineteenth-century and contemporary aesthetic debates.' Mary Roberts, University of Sydney, Australia 'Keren Hammerschlag's enterprising and sympathetic new interpretation of the work of Frederic Leighton reveals the full complexity and resonance of many compositions that have been little discussed. By drawing attention to the ever-present themes of death and mortality, and by placing those concerns in the wider context of Victorian culture, she reveals a hitherto overlooked and significant aspect of his oeuvre. Leighton's religious paintings, too, finally receive the attention they deserve.' Tim Barringer, Yale University, USATable of ContentsTable of Contents to come.
£128.25
Taylor & Francis Ltd Consuming Surrealism in American Culture
Book SynopsisConsuming Surrealism in American Culture: Dissident Modernism argues that Surrealism worked as a powerful agitator to disrupt dominant ideas of modern art in the United States. Unlike standard accounts that focus on Surrealism in the U.S. during the 1940s as a point of departure for the ascendance of the New York School, this study contends that Surrealism has been integral to the development of American visual culture over the course of the twentieth century. Through analysis of Surrealism in both the museum and the marketplace, Sandra Zalman tackles Surrealismâs multi-faceted circulation as both elite and popular. Zalman shows how the American encounter with Surrealism was shaped by Alfred Barr, William Rubin and Rosalind Krauss as these influential curators mobilized Surrealism to compose, to concretize, or to unseat narratives of modern art in the 1930s, 1960s and 1980s - alongside Surrealismâs intersection with advertising, Magic Realism, Pop, and the rise of contemporary photograTrade ReviewWinner of 2016 SECAC Award for Excellence in Scholarly Research and Publication'Zalman brilliantly explicates Salvador Dalí’s enactment of a kind of primal scene of American modernism, which alone makes the book essential reading. As she recounts, this was realized in his super-spectacle at the 1939 World’s Fair, and, more generally, in the amorous mutual embrace between Dalí and the U.S. advertising and film industries. It is this latter relationship that damned and marginalized him in 20th-century art history. One lesson of Zalman’s book is that despite the deep shame that this period of Dalí’s art prompted in the New York art world, it made it impossible for American critics to continue to deny modern art's eager participation in the booming wealth of American commerce.' Claudia Mesch, Arizona State University, USA 'Embracing Surrealism’s "pluralist and hybrid nature", Sandra Zalman offers a well-argued and wittily revisionist history of Surrealism and its legacy in the United States, astutely parsing the intersection of art and commerce which characterized America’s embrace of European modernism’s most expansive movement. Zalman’s study ranges from Alfred Barr’s 1936 Fantastic Art, Dada, Surrealism at New York’s Museum of Modern Art to the immersive environment created by John Baldessari for Magritte and Contemporary Art at the Los Angeles County Museum of Art in 2006. Both authoritative and immediately engaging, Zalman brings a scholar’s eye to the hidden persuaders of advertising copy and exhibition design, as well as to landmark works of art and critical texts that defined the ascendency of American art in the post-war era.' Alison de Lima Greene, The Museum of Fine Arts, Houston, USA 'Sandra Zalman has produced the most deeply and imaginatively researched account of the profound ways in which European Surrealism altered not just American art but the wider culture as well. Fluently written and full of riveting details, hers is now the definitive study of this vital, long-running phenomenon.' Thomas Crow, Institute of Fine Arts, New York University, USA 'Sandra Zalman's lucid analysis of the reception of Surrealism in America should be required reading for anyone interested in the movement. By showing how Surrealism's engagement with mass culture was deployed and re-deployed as a critical tool for understanding contemporary art, she offers a fresh look at the collapsing distinctions between modernism and commerce in the closing decades of the twentieth century.' Theresa Papanikolas, Curator of European and American Art, Honolulu Museum of Art, and author of Anarchism and the Advent of Paris Dada: Art and Criticism, 1914-1924Table of ContentsTable of Contents to come.
£128.25
Taylor & Francis Ltd Panoramas 17871900
Book SynopsisThe panorama is primarily a visual medium, but a variety of print matter mediated its viewing; adverts, reviews, handbills and a descriptive programme accompanied by an annotated key to the canvas. The short accounts, programs, reviews, articles and lectures collected here are the primary historical sources left to us.
£617.50
Taylor & Francis Ltd Meyerhold Speaks/Meyerhold Rehearse
Book SynopsisRussian theatre director, Vsevolod Meyerhold, has been called the Picasso of modern theatre. A ceaseless experimenter with new forms and techniques and the leader of an aesthetic revolution, he left no body of theoretical writings. What takes their place are the reminiscences and confessions made in conversations with pupils and friends, some of which were recorded by Aleksandr Gladkov during his years of close association with Meyerhold. This book aims to capture the essence of Meyerhold's personality and temperament as revealed in the director's own informal comments about his rich, varied experiences. His notes, made at rehersals, present Meyerhold in action.Table of ContentsWith Meyerhold, Meyerhold speaks: About myself, On the Art of the Actor, on the Art of the Director, On Pushkin, Gogol, Lermontov, Dostoevsky; On Tolstoy, Chekhov, Blok and Mayakovsky; On Stanislasky; On Lensky, Komissarzhevskaya, Duse, Moissi and Others; On Opera and Cahliapin; On Self-retsriction, Improvisation, Rhythm, Associations; On Miscellaneous Subjects. Myerhold rehearses.
£35.99
Pallas Publications Architecture and Elite Culture in the United Provinces, England and Ireland, 1500-1700
Book SynopsisThis study aims to elucidate concepts of castle in the Netherlands, England and Ireland in both past en present times. The first part of the book examines current, respectively, academic, national and personal appropriations of 'castle'; the second part moves into the past, juxtaposing elite culture and the spatial organisation of 16th and 17th century domestic architecture.Table of ContentsContents - 6 Ch.1: Introduction - 12 Part I: Castles in the Present - 18 Ch.2: Academic Appropriations of 'Castle' - 20 Ch.3: National Appropriations of 'Castle' - 40 Ch.4: Personal Appropriations of 'Castle' - 70 Part II: Castles in the Past - 92 Ch.5: Friendship: the Castle and the Other - 94 Ch.6: Privacy: the Castle and the Individual - 122 Ch.7: God in the House: the Castle and the Otherworld - 148 Ch.8: Conclusion - 166 Addendum - 172 References - 178 Illustrations - 198
£42.70
Cambridge University Press A Dictionary of Alchemical Imagery
Book SynopsisThis 1999 Dictionary documents alchemical symbolism from the early centuries AD to the late-twentieth century, for use by historians of literary culture, philosophy, science and the visual arts, and readers interested in alchemy and hermeticism. Emphasising literary and intellectual references in the Western tradition written in or translated into English, the Dictionary focuses most closely on works current in the sixteenth and seventeenth centuries when alchemy captivated the minds of figures such as Sir Walter Raleigh and Isaac Newton. Each entry includes a definition of the symbol, giving the literal (physical) and figurative (spiritual) meanings, an example of the symbol used in alchemical writing, and a quotation from a literary source. Drawing from the holdings of the Ferguson Collection at the University of Glasgow, the Dictionary offers a representative selection of fifty visual images (graphic woodcuts, copperplate engravings, hand-painted emblems), some of which have not beeTrade Review'Lyndy Abraham's erudite but highly readable dictionary … would be of great interest, even excitement, to historians, literary sleuths or artists, or to any general reader, who welcomes an insight into humankind's pursuit of power over nature or into its wrestling with metaphysical issues.' Veronica Sen, Canberra Times'… a valuable and much needed research tool … I highly recommend this text for anyone, from the beginning scholar to the experienced scholar, working on the relationship between alchemy, culture, and literature.' Eugene R. Cunnar, Cauda Pavonis'With its lavish illustrations and intertextual references, this volume certainly fills a niche.' Donald R. Dickson, Endeavour'Beautifully produced and a credit to both Cambridge University Press and to its indefatigable author.” Australian Book ReviewTable of ContentsList of figures; Acknowledgements; Abbreviations; Introduction; A dictionary of alchemical imagery; Bibliography; Index of alchemical and literary authors.
£33.74
Cambridge University Press Mosaics of the Greek and Roman World
Book SynopsisThis book provides a comprehensive account of mosaics in the ancient world from the early pebble mosaics of Greece to the pavements of Christian churches in the East. Separate chapters in Part I cover the principal regions of the Roman Empire in turn, in order to bring out the distinctive characteristics of their mosaic workshops. Questions of technique and production, of the role of mosaics in architecture, and of their social functions and implications are treated in Part II. The book discusses both well-known works and recent finds, and balances consideration of exceptional masterpieces against standard workshop production. Two main lines of approach are followed throughout: first, the role of mosaics as a significant art form, which over an unbroken span illuminates the evolution of pictorial style better than any comparable surviving medium; and secondly, their character as works of artisan production closely linked to their architectural context.Trade Review'This book is a masterpiece of visual, historical, technical and social analysis.' Peter Jones, The Sunday Telegraph' … this is an exceptionally thorough analysis that will surely establish itself as the starting point for the study of mosaics for scholar and general reader alike.' The Art Newspaper'There has been a need for a reliable, up-to-date general book on ancient mosaics … The lack of proper synthesis has prevented mosaics from receiving the attention they deserve and it is to be hoped that this excellent book will succeed in making a neglected art form more accessible to a wider audience, whether of academics, students, or general readers.' Journal of Roman Studies' … prints no less than 318 pictures of mosaics that make fascinating viewing and are worth the cost of the book.' Archaeological DiggingsTable of ContentsIntroduction; Part I. Historical and Regional Development: 1. Origins and pebble mosaics; 2. The invention of tessellated mosaics: Hellenistic mosaics in the east; 3. Hellenistic mosaics in Italy; 4. Mosaics in Italy: Republican and Imperial; 5. The north-western provinces; 6. Britain; 7. The North African provinces; 8. Sicily under the Empire: Piazza Armerina; 9. The Iberian peninsula; 10. Syria and the east; 11. Palestine and Transjordan; 12. Greece: the Imperial period; 13. Asia Minor, Cyprus, Constantinople; 14. Wall and vault mosaics; 15. Opus sectile; Part II. Technique and Production: 16. Craftsmen and workshops; 17. Techniques and procedures; 18. The repertory; 19. Architectural context and function; 20. The patrons; Conclusions; Maps; Glossary of ornamental patterns; General glossary.
£43.19
Cambridge University Press Symbols of Jesus
a huge range and FREE tracked UK delivery on ALL orders.
£39.89
Cambridge University Press Sanctuaries and the Sacred in the Ancient Greek World
Book SynopsisThis 2005 book explores the variety of ancient Greek sanctuaries - their settings, spaces, shapes, and structures - and the rituals associated with them, such as festivals and processions, sacrifice and libation, dining and drinking, prayer and offering, dance, initiation, consultation, and purification.Trade Review'Intended for students and general readers, this is a masterly survey of a big subject. There is a fascinating glimpse of the seventeenth-century Turkish traveller Evliya Chelebi, author of a 10-volume study of the Ottoman empire, who 'has much in common with our old friend Pausanias': the Parthenon was for him a multicultural monument. Appropriately expressing its emphasis on what shrines looked like, the book is lavishly illustrated with black-and-white photographs, drawings, maps and plans; a useful glossary is included. The paperback is markedly good value.' The Anglo-Hellenic ReviewTable of Contents1. Introduction; 2. Setting the stage; 3. Growth and variety; 4. The siting of sanctuaries; 5. Architecture for the Gods: sacred building; 6. Activities and experiences I; 7. Activities and experiences II: offerings; 8. Sanctuary histories: Olympia; 9. Sanctuary histories: Delphi; 10. Sanctuary histories: Samos; 11. Sanctuary histories: Poseidonia; 12. Sanctuary histories: the Acropolis at Athens; 13. Greece, Rome and Byzantium; 14. The aftermath.
£36.09
Cambridge University Press The Pantheon
Book SynopsisThe Pantheon is one of the most important architectural monuments of all time. Thought to have been built by Emperor Hadrian in approximately AD 125 on the site of an earlier, Agrippan-era monument, it brilliantly displays the spatial pyrotechnics emblematic of Roman architecture and engineering. The Pantheon gives an up-to-date account of recent research on the best preserved building in the corpus of ancient Roman architecture from the time of its construction to the twenty-first century. Each chapter addresses a specific fundamental issue or period pertaining to the building; together, the essays in this volume shed light on all aspects of the Pantheon''s creation, and establish the importance of the history of the building to an understanding of its ancient fabric and heritage, its present state, and its special role in the survival and evolution of ancient architecture in modern Rome.Trade Review'The contributors provide a valuable synthesis of recent research on the Pantheon, the paradigm of Roman architectural and engineering prowess. They also identify new and productive directions for subsequent research on the ancient edifice and on its extended legacy.' John Pinto, Princeton University, New Jersey'For two thousand years, the Pantheon has stood watch in the center of Rome, a marvel of engineering and an unfailingly mysterious symbol. Both the marvel and the mystery shine forth from this definitive book, with its impeccable scholarship, new ideas, and long international perspective.' Ingrid Rowland, University of Notre Dame, Indiana'Focused on the Pantheon, arguably the most iconic building of western architecture, this magisterial volume brings together a distinguished group of international scholars who tell a gripping story. New answers to unsolved questions of who built it and why, how, and when succeed each other and connect to lively accounts of the fascination it held for countless generations from the early Middle Ages to modern times.' Alina Payne, Harvard University, MassachusettsTable of Contents1. Introduction Tod A. Marder and Mark Wilson Jones; 2. Agrippa's Pantheon and its origin Eugenio La Rocca; 3. Dating the Pantheon Lise M. Hetland; 4. The conception and construction of drum and dome Giangiacomo Martines; 5. Sources and parallels for the design and construction of the Pantheon Gene Waddell; 6. The Pantheon builders: estimating manpower for construction Janet DeLaine; 7. Building on adversity: the Pantheon and problems with its construction Mark Wilson Jones; 8. The Pantheon in the middle ages Erik Thunø; 9. Impressions of the Pantheon in the Renaissance Arnold Nesselrath; 10. The Pantheon in the seventeenth century Tod A. Marder; 11. Neo-classical remodelling and reconception 1700–1820 Susanna Pasquali; 12. A nineteenth-century monument for the state Robin B. Williams; 13. The Pantheon in the modern age Richard Etlin.
£29.44
Cambridge University Press Recycled Culture in Contemporary Art and Film
a huge range and FREE tracked UK delivery on ALL orders.
£31.34
Cambridge University Press Literature Art and the Pursuit of Decay in TwentiethCentury France
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£36.09
