History of art Books
Peabody Museum of Archaeology & Ethnology,U.S. Cotzumalhuapa
Book Synopsis
£53.51
Yale University Press Art of Japan
Book SynopsisAn exploration of the treasures of Japanese art at the Philadelphia Museum of Art reveals a wealth of fascinating works dating from prehistoric times to today
£38.00
Yale University Press The Shape of Time
Book SynopsisA lavishly illustrated overview of contemporary Korean art that offers new insight into the country’s tumultuous modern history and its multifaceted and vibrant art scene
£38.00
Dumbarton Oaks Research Library & Collection The Rustic Style
Book Synopsis
£30.56
Temple University Press,U.S. Memory Passages
Book SynopsisFor decades, artists and architects have struggled to relate to the Holocaust in visual form, resulting in memorials that feature a diversity of aesthetic strategies. In Memory Passages, Natasha Goldman analyzes both previously-overlooked and internationally-recognized Holocaust memorials in the United States and Germany from the postwar period to the present, drawing on many historical documents for the first time. From the perspectives of visual culture and art history, the book examines changing attitudes toward the Holocaust and the artistic choices that respond to it. The book introduces lesser-known sculptures, such as Nathan Rapoport's Monument to the Six Million Jewish Martyrs in Philadelphia, as well as internationally-acclaimed works, such as Peter Eisenman's Memorial to the Murdered Jews of Europe in Berlin. Other artists examined include Will Lammert, Richard Serra, Joel Shapiro, Gerson Fehrenbach, Margit Kahl, and Andy Goldsworthy.Archival documents and interviews with cTrade Review"[Goldman] balances the analysis of the visual form and stylistic evolution of these [Holocaust] memorials from figurative to conceptualist, with a particularly interesting in-depth analysis of the societal and political context in which they were created.... [E]xcellently researched, full of rich historic detail.... [T]his book provides great insight into the history of Holocaust memorials, as well as and perhaps most relevantly for social scientists, the relationship between collective and embodied memory and the visual form."—Visual Studies "Memory Passages is a fascinating study of Holocaust memorial art in Germany (East, West, and united Germany) and the United States. Its fascination lies, first, in the sheer range of memorials covered.... Second, Goldman’s study is fascinating because it focuses on the broader visual and textual fields of Holocaust memorials, as well as their particular aesthetics, and thus situates them within art-historical developments, the biographies of the sculptors, and the shifting political perceptions of what was deemed desirable or not desirable to write on the plaques.... [An] excellent book.”— H-Diplo
£17.99
University of Texas Press Portraying the Aztec Past
Book SynopsisDuring the period of Aztec expansion and empire (ca. 1325–1525), scribes of high social standing used a pictographic writing system to paint hundreds of manuscripts detailing myriad aspects of life, including historical, calendric, and religious information. Following the Spanish conquest, native and mestizo tlacuiloque (artist-scribes) of the sixteenth century continued to use pre-Hispanic pictorial writing systems to record information about native culture. Three of these manuscripts—Codex Boturini, Codex Azcatitlan, and Codex Aubin—document the origin and migration of the Mexica people, one of several indigenous groups often collectively referred to as “Aztec.”In Portraying the Aztec Past, Angela Herren Rajagopalan offers a thorough study of these closely linked manuscripts, articulating their narrative and formal connections and examining differences in format, style, and communicative strategies. Through analyses that focus on Trade ReviewBeyond offering insights into the authorship, contents, and intended audience of the three codices, we are made to appreciate the evolving indigenous response to outsider influences as well as the interethnic jockeying evident as they protected their prerogatives and legacies within a new colonial order. It is this broader window onto the cultural context that makes [Portraying the Aztec Past] a valuable resource for both lay readers and scholars interested in Latin American studies, including anthropologists, historians, and art historians, as well as students of manuscript and book cultures. * H-Net Reviews, Latin America *Portraying the Aztec Past is an important work about the production of history. Rajagopalan shows how the dynamics of identity, both individual and corporate, shaped that production in the context of the formation of not one but two imperial worlds and their artistic, literary, historical, and cosmological frameworks. * History: Reviews of New Books *[Portraying the Aztec Past exemplifies] the kind of rigorous scholarship that is driving the study of colonial indigenous documents toward a wider synthesis...[A] marvelous study, which should well serve as a model for much-needed comparative scholarship of Mesoamerican codices. * Colonial Latin American Review *[Portraying the Aztec Past] provides a very clear and convincing interpretation of three very closely connected pictorial manuscripts and presents an outstanding contribution to the study of indigenous pictorial manuscripts of colonial Mexico. * The Historian *Rajagopalan’s book is an excellent contribution to Mesoamerican manuscript studies and a compelling read for specialists and a more general audience alike. It is particularly notable for the focus on the materiality of the manuscripts, the artist and intended audience, and the social and political machinations that prompted their creation. * Ethnohistory *Rajagopalan has written a work full of telling examples, helping the specialist or the student with abundant information that could easily escape even the trained eye. * Latin American and Latinx Visual Culture *The value of this work, especially to historians working on the Spanish colonial Southwest, is in its understanding of the production and function of manuscripts. * SMRC Revista *[Portraying the Aztec Past] is built on extensive and well-established scholarship. [Rajagopalan] carefully examines the intertextuality or possible dependencies between the three pictorial manuscripts—each created in different moments of time—exploring when their narratives converge, how and why they diverge, as well as the ways in which their stories intersect with purely textual historical accounts. Her book also sheds light on the material aspects of these manuscripts, the identity of their Native authors, and their strategies or motivations. * Latin American Research Review *Table of Contents List of Illustrations and Tables Acknowledgments Chapter 1. Introduction: Portraying the Aztec Past Chapter 2. Codex Boturini: A Pictographic Paradigm Chapter 3. Master and Apprentice: The Multiple Artistic Hands in Codex Azcatitlan Chapter 4. Don Martín Ecatzin: Codex Azcatitlan’s Cosmic Hero Chapter 5. Traitors, Intrigue, and the Cosmic Cycle in Codex Azcatitlan Chapter 6. Codex Aubin and the Influence of Printed Books Chapter 7. Conclusion: Central Mexican Manuscript Painting in Transition Epilogue. Life after Production Appendix 1. Translation of the Nahuatl Glosses in Codex Azcatitlan Appendix 2. Translation of the Nahuatl Text in Codex Aubin Notes Bibliography Index
£21.59
Duke University Press Writing in Space 19732019
Book SynopsisWriting in Space, 1973-2019 gathers the writings of conceptual artist Lorraine O'Grady, who for over forty years has investigated the complicated relationship between text and image. A firsthand account of O'Grady's wide-ranging practice, this volume contains statements, scripts, and previously unpublished notes charting the development of her performance work and conceptual photography; her art and music criticism that appeared in the Village Voice and Artforum; critical and theoretical essays on art and culture, including her classic "Olympia's Maid"; and interviews in which O'Grady maps, expands, and complicates the intellectual terrain of her work. She examines issues ranging from black female subjectivity to diaspora and race and representation in contemporary art, exploring both their personal and their institutional implications. O'Grady's writings-introduced in this collection by critic and curator Aruna D'Souza-offer a unique window into her artistic and intellectual evolution while consistently plumbing the political possibilities of art.Trade Review“Lorraine O'Grady's work has always been driven by embodied experiences, questioning the construction of identity and what it means to be human. This extraordinary volume charts O'Grady's fascinating musings on these subjects, tracing and shedding new light on her impressive forty-year career whilst highlighting the urgency and continued relevance of her work in our current moment. O'Grady once told me, ‘Everything I do could be a book’; this publication goes some way toward meeting that possibility.” -- Hans Ulrich Obrist, Artistic Director of the Serpentine Galleries“Lorraine O'Grady is one of the foremost conceptual artists of the last century. Writing in Space, 1973-2019 is an indispensable contribution to our appreciation of the breadth and innovation of her singular practice; it asks us to think beyond rigid boundaries that prevent a nuanced consideration of the mutually transformative power of ‘text’ and ‘image.’ O'Grady's practice creates new worlds, wherein photography, criticism, literature, and history leave the reader with a renewed sense of creative possibility.” -- Thelma Golden, Director and Chief Curator of The Studio Museum in Harlem"This is the first book to offer a comprehensive overview of O’Grady’s writing. Monumental texts, canonical essays, interviews, performance transcripts, and previously unpublished material form the edited volume, affirming both the range and reach of the artist’s significant impact upon an art world that has only belatedly recognized her. . . . The book establishes O’Grady’s literary brilliance that shines through her multifaceted creative practice, as she consistently pushes the art world toward deeper thought and political consciousness." -- Alexandra M. Thomas * Hyperallergic *"Lorraine O’Grady’s importance as a performance artist has tended to overshadow her talent as a writer. Ahead of a Brooklyn Museum retrospective due next year, critic and art historian Aruna D’Souza put together a must-read volume featuring O’Grady’s shrewd musings on her own work, the intersections of Blackness and gender, and notions of visibility." -- Alex Greenberger * ARTnews *"A deeply nourishing account of her life, from the years preceding her full approach to artistry and criticism until recent times. . . . Such a collection, 46 years into O’Grady’s exceptional career, reflects how the art industry has long excluded Black women artists. It is a delicate and difficult read, and a manifestation of the many possibilities embedded in thoughtful collaboration between an artist and editor who have been longtime supporters of each other’s work." -- Tyra A. Seals * Art Papers *"This volume is more than a collection of writing by an important artist whose work and thoughts have very belatedly come to larger attention. It is an extremely eloquent analysis of the New York art world since 1973 by one of the most articulate and profound conceptual artists to address questions of race, class, diasporic identity, non-Western philosophy and aesthetics and female subjectivity." -- Andrea Kirsh * The Art Blog *"For nearly a half century, Lorraine O’Grady has produced a profound body of art and writing that reckons with and contests the logics of anti-Blackness, coloniality, and extraction that underpin cultural institutions. The texts anthologized in her new volume, Writing in Space, 1973–2019, immerse readers in O’Grady’s prescience. . . . The collection spans the four decades of O’Grady’s career with interdisciplinary writings that address questions of formal beauty in concept-driven art, interrogate where and how power operates in every part of the organization of museum space, and highlight Black avant-garde and abstract work." -- Christina Sharpe * Art in America *"An absorbing cover-to-cover read, no surprise considering the artist’s roots in literature." -- Holland Cotter * New York Times *"The book is astonishing for O’Grady’s way with words alone. We see how she refines her own artist biographies and the framing of her process over time. Her performance scripts are so richly detailed that they read like closet dramas." -- Rahel Aima * Bookforum *"[W]onderful and inspiring. . . . The collection of O’Grady’s erudite and charged writings spans 1973 to 2019; each entry contests and reimagines structures of power." -- Lisa Le Feuvre * The Art Newspaper *Table of ContentsList of Illustrations ix Acknowledgments xiii Introduction: For Those Who Will Know / Aruna D'Souza xix 1. Statements and Performance Transcripts Two Biographical Statements (2012 and 2019) 1Cutting Out the New York Times (CONYT), 1977 (2006) 6Mlle Bourgeoise Noire 1955 (1981) 8Rivers, First Draft, 1982: Working Script, Cast List, Production Credits (1982) 11 Statement for Moira Roth re: Art Is . . ., 1983 (2007) 23Body Is the Ground of My Experience, 1991: Image Descriptions (2010) 27 Studies for a Sixteen-Diptych Installation to Be Called Flowers of Evil and Good, 1995–Present (1998) 30 2. Writing in Space Performance Statement #1: Thoughts about Myself, When Seen as a Political Performance Artist (181) 37 Performance Statement #2: Why Judson Memorial? or, Thoughts about the Spiritual Attitudes of My Work (1982) 40 Performance Statement #3: Thinking Out Loud: About Performance Art and My Place in It (1983) 43Nefertiti/Devonia Evangeline (1977) 50 Interview with Cecilia Alemani: Living Symbols of New Epochs (2010) 53 Interview with Amanda Hunt on Art Is . . . (2015) 60 On Creating a Counter-confessional Poetry (2018) 64 3. Reclaiming Black Female Subjectivity Black Dreams (1982) 69 Interview with Linda Montano (1986) 77 Dada Meets Mama: Lorraine O'Grady on WAC (1992) 84 The Cave: Lorraine O'Grady on Black Women Film Directors (1992) 88 Olympia's Maid: Reclaiming Black Female Subjectivity (1992/1994) 94Mlle Bourgeoise Noire and Feminism (2007) 110 4. Hybridity, Diaspora, and Thinking Both/And On Being the Presence That Signals an Absence (1993) 115 Some Thoughts on Diaspora and Hybridity: An Unpublished Slide Lecture (1994) 119 Flannery and Other Regions (1999) 126 Responding Politicially to William Kentridge (2002) 131 Sketchy Thoughts on My Attraction to the Surrealists (2013) 136 Two Exhibits: The Diptych vs. the Triptych (1998) and Notes on the Diptych (2018) 139 Introducing: Lorraine O'Grady and Juliana Huxtable (2016) 142 5. Other Art Worlds A Day at the Races: Lorraine O'Grady on Jean-Michel Basquiat and the Black Art World (1993) 169 SWM: On Sean Landers (1994) 176 Poison Ivy (1998) 181The Black and White Show, 1982 (2009) 184 Email Q&A with Artforum Editor (2009) 198 My 1980s (2012) 203Rivers and Just Above Midtown (2013, 2015) 213 6. Retrospectives Interview with Laura Cottingham (1995) 219 Interview with Jarrett Earnest (2016) 239 The Mlle Bourgeoise Noire Project, 1980–1983 (2018) 250 Job History (from a Feminist "Retrospective") (2004) 260 First There Is a Mountain, Then There Is No Mountain, Then . . . ? (1973) 269 The Wailers and Bruce Springsteen at Max's Kansas City, July 18 1973 (1973) 278 Notes 287 Index 311 Credits
£21.59
Duke University Press Art as Information Ecology
Book SynopsisIn Art as Information Ecology, Jason A. Hoelscher offers not only an information theory of art but an aesthetic theory of information. Applying close readings of the information theories of Claude Shannon and Gilbert Simondon to 1960s American art, Hoelscher proposes that art is information in its aesthetic or indeterminate mode—information oriented less toward answers and resolvability than toward questions, irresolvability, and sustained difference. These irresolvable differences, Hoelscher demonstrates, fuel the richness of aesthetic experience by which viewers glean new information and insight from each encounter with an artwork. In this way, art constitutes information that remains in formation---a difference that makes a difference that keeps on differencing. Considering the works of Frank Stella, Robert Morris, Adrian Piper, the Drop City commune, Eva Hesse, and others, Hoelscher finds that art exists within an information ecology of complex feedback between artworkTrade Review“Masterfully intertwining aesthetics, information theory, and entropy concepts, Jason A. Hoelscher offers an insightful account of the accelerated transformations of art practices in the 1960s. Art as Information Ecology will open new pathways toward a better understanding of the complexities of periodizing contemporary art at a time when artworlds are in more intense communication with other systems. This ambitious book is bound to create ripple effects.” -- Cristina Albu, author of * Mirror Affect: Seeing Self, Observing Others in Contemporary Art *“In Art as Information Ecology, Jason A. Hoelscher digs deep, looking into contemporary artworks in very different ways than ever before: from the premise that art can be a foundation of information that is like a multilayered cake, impossible to finish. I applaud Hoelscher for his in-depth, intense, and focused look into how art is a base for information systems that carry beyond the work themselves.” -- Sharon Louden, artist, educator advocate for artists, and editor of the Living and Sustaining a Creative Life series of books“If the task of humanists presently is to make bridges with STEM, [Art as Information Ecology] is a worthwhile effort in that direction. . . . For too long scholars have theorized about Western art in terms of the evolution from the static and remote icon; Hoelscher proposes to create a discourse that places art in the midst of contemporary intellectualism and to acknowledge how context, ever-changing, partly constitutes the work of art. Recommended.” -- P. Emison * Choice *Table of ContentsAcknowledgments ix Introduction. Art is Fuzzy Information 1 1. Art and Differential Objecthood 17 2. Aesthetic Entropy Machines 51 3. Butterfly Effects in Information Space 84 4. Information Efflorescence and the Aesthetic Singularity 119 5. Aesthetic Amplification and Adjacent Possibility 150 6. Complex Unities and Complex Boundaries 186 Conclusion. Information Entanglement and the Post-Evental Artworld 220 Notes 235 Bibliography 253 Index 267
£19.79
Duke University Press Black Gathering
Book SynopsisIn Black Gathering Sarah Jane Cervenak engages with Black artists and writers who create alternative spaces for Black people to gather free from interruption or regulation. Drawing together Black feminist theory, critical theories of ecology and ecoaesthetics, and Black aesthetics, Cervenak shows how novelists, poets, and visual artists such as Gayl Jones, Toni Morrison, Clementine Hunter, Samiya Bashir, and Leonardo Drew advance an ecological imagination that unsettles Western philosophical ideas of the earth as given to humans. In their aestheticization and conceptualization of gathering, these artists investigate the relationships among art, the environment, home, and forms of Black togetherness. Cervenak argues that by offering a formal and conceptual praxis of gathering, Black artists imagine liberation and alternative ways of being in the world that exist beyond those Enlightenment philosophies that presume Black people and earth as given to enclosure and ownership.Trade Review“Extending her rich study of philosophical praxis and the racial politics of wandering, Sarah Jane Cervenak explores daily practices and real-life social happenings as frames for navigating the discourses of death, subjection, and, most vitally, life. Surely this is a gathering; surely this is a beautiful work in Black aesthetics.” -- Kevin Quashie, author of * Black Aliveness, or A Poetics of Being *“Foregrounding fugitive existence in the reading of key literary texts and artworks, Black Gathering offers a powerful account of how Blackness (as it signals the without of modern representation) releases humans and nonhumans from their modern aesthetic enclosure (as subject and object of uncommitted contemplation) and juridic-economic misfortune (as subject and object of expropriation and extraction).” -- Denise Ferreira da Silva, author of * Toward a Global Idea of Race *“[Black Gathering], laid out in a captivating manner, moves from engagement with the concept of an earthly home and expands into works which explore the cosmos as well as parallel worlds. . . . This book will be of interest to advanced scholars studying the theory of African American artistic contributions.” -- Laura Christine Haynes * ARLIS/NA *“One of the key strengths of the book is its own ‘gathering’: that is, Cervenak takes up artists and works that either have been understudied or are not typically considered in the same context. . . . [Black Gathering] rewards readers interested in Black women’s (literary and visual) art, questions of form, and Black abstraction.” -- Evie Shockley * ISLE *“Black Gathering’s utopianism bespeaks an investment, inherited from performance studies, in what artworks are as well as what they do. Cervenak approaches Black ecologies not from the perspective of animality but from that of property. . . . Art, for Cervenak, generates a commons of sorts: it holds space for Black life, unenclosed.” -- Jean-Thomas Tremblay * GLQ *Table of ContentsAcknowledgments Introduction: Another Beginning Part I. Gathering's Art 1. "For a While at Least": Toni Morrison, Nikki Wallschlaeger, and the Ecoaesthetic Shapes of Home 2. The Art of the Matter: Samiya Bashir and Gabrielle Ralambo-Rajerison's Cosmopoetics Part II. The Art of Gathering 3. Arrangements Against the Sentence: Gayl Jones's Early Literature 4. "A Project From Outside": Leonardo Drew's Sculpture Conclusion: Clementine Hunter's Unscalable Field Notes References Index
£18.89
Duke University Press Dont Look Away
Book SynopsisBrianne Cohen considers the role of contemporary art in developing a public commitment to ending structural violence in Europe.Table of ContentsAcknowledgments ix Introduction 1 1. Preventing Violence in European Public Spheres 33 2. Harun Farocki, Civil Imagination, and Securitarian Publics 60 3. Thomas Hirschhorn, Imagined Communities, and Counterpublics 95 4. Henry VIII's Wives, Populism, and Preventive Publics 130 Conclusion 170 Notes 183 Bibliography 213 Index 227
£18.89
Duke University Press FUTUREPRESENT
Book SynopsisBuilding on five years of national organizing by Arts in a Changing America, an artist-led initiative that challenges structural racism in the art world, FUTURE/PRESENT includes a range of poetry, essays and criticism, visual and performance art, artist manifestos, interviews, and reflections on community practice.Trade Review“FUTURE/PRESENT is an essential testament to the crucial work that artists, thinkers, and organizers are doing to work toward a more equitable future.” -- Darren Walker, President of the Ford Foundation“FUTURE/PRESENT so elegantly proposes a clear solution to a complex issue: to resist the monoculture we must work from many interconnected creative centers. The myriad voices in this book express exciting ripples of change in the arts and beautifully insist on culture’s vital role in progress. May we all take the call.” -- Thelma Golden, Director and Chief Curator, The Studio Museum in Harlem“FUTURE/PRESENT maps and captures how art, dance, and creative practice exist in our daily lives and act as mechanisms for anticolonial and antiracist practice. By lifting up the voices of artists and outlining the methods that can produce more inclusive spaces in the art world, this important book demonstrates how art is a constant source of strength for communities.” -- Mishuana Goeman, author of * Settler Aesthetics: Visualizing the Spectacle of Originary Moments in The New World *Table of ContentsIntroduction / Roberta Uno 1 The Call / Jeff Chang 17 vestibular mantra (or radical virtuosities for a brave new dance) / taisha paggett 29 Part 1. Cultural Presence: Placekeeping and Belonging Introduction / Daniela Alvarez 35 Aqui Estoy / Jose Ramirez 40 Beauty, Justice, and the Ritual of Performance / Patricia Berne & Nomy Lamm 42 An Accumulation of Things That Refuse to Be Discarded / Kiyan Williams 52 Counting Coup on the Compartmentalization of Indigenous-Made Rap Music / Talon Bazille Ducheneaux 54 Cultural Resiliency in the Face of Crisis: Learning from New Orleans / Carol Bebelle and Carol Zou 63 Collectively Directing the Current / Halima Afi Cassells 68 The New Eagle Creek Saloon / Sadie Barnette 74 Notes from Technotopia 3.0: On the “Creative City” Gone Wrong—An Antigentrification Philosophical Tantrum, 2012–2016 / Guillermo Gómez-Peña 76 “Building Temples for Tomorrow”: Cultural Workers as Construction Crews / Alesia Montgomery 87 Invasive Species / Aaron McIntosh 94 Sunny and 150 Years of Placekeeping in Little Tokyo / Scott Oshima 96 Local Fruit Still Life / Daniel Andres Alcazar 102 Stage One: Establishing Community / Garrett McQueen 104 Red 40 / Jazmín Urrea 108 More Noes from the Performance Essay Los Giros De La Siguinte/the turns of the Next / Devin Kenny 110 Part 2. Dismantling Borders, Building Bridges: Migration and Diasporas Introduction / Sarah Sophia Yanni 123 Mano Poderosa / Rosalie López 128 A Cosmos of Dis/Joints / Vinhay Keo 130 Cross-Border Citizens / Teddy Cruz and Fonna Foreman 136 Indian Alley, Where Art Is Healing / Pamela J. Peters 146 Vessels: A Conversation / Chanice Holmes, Mykia Jovan, Rebecca Mwase, and Mahalia Abéo Tibbs 151 Fence / Belise Nishimwe 158 A Touch of Otherness / Hayv Kahraman 160 Harmattan Haze / Njikeka Akunyili Crosby 166 Who Is the #EmergingUS? / Jose Antonio Vargas 168 Justice and Equity: We’re Coming for It All / Christine Her 171 building bricks for communal healing / Silvi Naçi 176 We Never Needed Documents to Thrive / Yosimar Reyes 178 prop•er / Kassandra L. Khalil 182 Alongside: On Chinese Students in the United States and the Fight for Black Lives / Evelyn Hang Yin 185 Love Spirals: Notes on Brown Feelings / J Molina-Garcia 191 Part 3. Creating a World without Prisons: Culture and the Carceral State Introduction / Kassandra L. Khalil 205 To Create in Prison / Spel 211 A Measure of Joy / Samara Gaev and Jarvis Jay Masters 214 There Is No Abolition or Liberation without Disability Justice / Lydia X. Z. Brown 224 HOGAR / Aydinaneth Ortiz 230 I Remember / Mark Menjívar 232 Coming Home / Dustina Gill 237 Singing Our Way to Abolition / Mary Hooks 241 Standing in the Gap: Music as First Responder / Duane Robert Garcia and Vijay Gupta 245 Locked in a Dark Calm / Tameca Cole 250 As Crazy as the World Is, I Do Believe / Kondani Fidel with images by Devin Allen 252 Jumpsuit Projects / Sherrill Roland 260 The Bonds of Aloha: Connecting to Culture Can Free Us / Hinaleimoana Kwai Kong Wong-Kula 262 The Nail That Sticks Out / Tani Ikeda 268 Art Is a Trojan Horse: Reclaiming Our Narratives / Faith Bartley, Courtney Bowles, and Mark Strandquist 272 Try/Step/Trip (Excerpt) / Dahlak Brathwaite 281 The Evanesced Series (2016–) / Kenyatta A. C. Hinkle 290 Part 4. Embodied Cartographies: Renegotiating Relationships with Land Introduction / Elizabeth M. Webb 295 Kiksuya / Michael Two Bulls 300 American Doesn’t Exist / Lyla June 302 Between the Real and the Imagined: A Conversation with Lyla June and Tanaya Winder / Lyla June and Tanaya Winder 304 Sopa de Ostión / Ruben Ulises Rodriguez Montoya 310 Island Earth: Water, Wayfinding, and the Currents That Connect Us / Nāʻāleu Anthony and Haunani Kane 312 ACCESS DENIED: Creating New Spatial Understandings / Jaklin Romine 321 Essential Economy / Jia Lok Pratt 326 Earth Mama II / Favianna Rodriguez 332 We Are Proud of This Land / Carlton Turner 334 Mauka House / Kapena Alapaʻi 340 Withholding an Image: Disciplinary Disobedience and Reciprocity in the Field / Ashley Hunt 343 Thinking through Fragments: Speculative Archives, Contested Histories, and a Tale of the Palestine Archaeological Museum / Dareen Hussein 354 Secrets That the Wind Carries Away / Morel Doucet 359 Ohiŋniyaŋ ded wati kte: This Place Will Always Be Home / Angela Two Stars 364 Ballers / Mel D. Cole 368 Part 5. Living Our Legacy: Ancestral Knowledge as Radical Futurity Introduction / Kapena Alapaʻi 373 These Roots Run Deep / Dyani White Hawk 378 The Future Is Ancient / Allison Akootchook Warden 380 Being in Oneness: Conversations with Nobuko Miyamoto, Kamau Ayubbi, and Asiya Ayubbi / Nobuko Miyamoto, Asiya Amatullah Ayubbi, and Imam Kamau Ayubbi 384 1619 / Douglas Kearney 396 Encircling the Circle: Blood Memory and Making the Village—a Conversation between Cleo Parker Robinson and Malik Robinson / Cleo Parker Robinson and Malik Robinson 400 Culture and Tradition: A Monument to Our Resilience / Ofelia Esparza 408 Español / Yanina Chicas 410 Apsáalooke Feminist #4 / Wendy Red Star 412 Mother’s Words and Grandmother’s Thoughts: Living the Right Way (a Conversation) / Maribel Alvarez and Ofelia Zepeda 414 The AIM Song / Elisa Harkins 421 Gullah/Geechee Sea Island Reflections of Futurity / Queen Quet Marquetta L. Goodwine 426 For Paradise / Elizabeth M. Webb 430 What Is the New Basket That We’re Going to Weave? / Lori Lea Pourier 436 I ka wā ma mua, i ka wā ma hope: Ōiwi Orientations toward a Radical Futurity / Jamaica Heolimeleikalani Osorio and Jonathan Kay Kamakawiwoʻole Osorio 442 The Art of Peer Pressure: Black Fire UVA! / Kevin Jerome Everson and Claudrena N. Harold 450 Part 6. Currents Beyond: Artists Shifting Paradigms of Inequity Introduction / Genevieve Fowler 461 Bang Bang / Natalie Ball 466 The Cultural New Deal for Cultural and Racial Justice / Michele Kumi Baer, Jeff Chang, María López De León, Tara Dorabji, Kassandra L. Khalil, Lori Pourier, Favianna Rodriguez, Nayantara Sen, Carlton Turner, Roberta Uno, and Elizabeth M. Webb 468 We Begin by Listening / Jeanette Lee 475 EMERGENYC: An Artistic Home for Emerging Artists / Marlène Ramírez-Cancio 482 Listening through Dance / Antoine Hunter 491 Scenes and Takes / Carrie Mae Weems 495 Feminist Coalition and Queer Movements across Time: A Conversation between Alok Vaid-Menon and Urvashi Vaid / Alok Vaid-Menon and Urvashi Vaid 504 What Would Upski Think? / Devin Kenny 516 all organizing is science fiction / adrienne maree brown 519 Rebirth Garments / Sky Cubacub 522 A Call to Action / Eleanor Savage 524 SOVEREIGN / X 538 Flexing Hope Is a Practice / Ananya Chatterjea 540 Azadi / Arshia Fatima Haq 546 Afterword / Daniela Alvarez and Elizabeth M. Webb 549 emergence / Sarah Sophia Yanni 551 Acknowledgments 553
£23.74
University Press of Mississippi Do You Remember
Book SynopsisTaces the humble beginning of Maurice White, his development as a musician, and his formation of Earth, Wind & Fire. Earth, Wind & Fire stood apart from other soul bands with their philosophical lyrics and extravagant visual art, much of which is studied in the book, including album covers, concerts, and music videos.
£18.86
Cornell University Press Byzantine Media Subjects
Book SynopsisByzantine Media Subjects invites readers into a world replete with imagesicons, frescoes, and mosaics filling places of worship, politics, and community. Glenn Peers asks readers to think themselves into a world where representation reigned and humans followed, and indeed were formed. Interrogating the fundamental role of representation in the making of the Byzantine human, Peers argues that Byzantine culture was (already) posthuman. The Byzantine experience reveals the extent to which media like icons, manuscripts, music, animals, and mirrors fundamentally determine humans. In the Byzantine world, representation as such was deeply persuasive, even coercive; it had the power to affect human relationships, produce conflict, and form self-perception. Media studies has made its subject the modern world, but this book argues for media having made historical subjects. Here, it is shown that media long ago also made Byzantine humans, defining them, molding them
£23.39
University of Minnesota Press A Capsule Aesthetic: Feminist Materialisms in New
Book SynopsisHow new media art informed by feminism yields important and original insights about interacting with technologies In A Capsule Aesthetic, Kate Mondloch examines how new media installation art intervenes in the fields of technoscience and new materialism, showing how three diverse artists—Pipilotti Rist, Patricia Piccinini, and Mariko Mori—contribute to the urgent conversation about everyday technology and the ways it constructs our bodies. A Capsule Aesthetic establishes the unique insights that feminist theory offers to new media art and new materialisms, offering a fuller picture of human–nonhuman relations. In-depth readings of works by Rist, Piccinini, and Mori explore such questions as the role of the contemporary art museum in our experience of media art, how the human is conceived of by biotechnologies, and how installation art can complicate and enrich contemporary science’s understanding of the brain. With vivid, firsthand descriptions of the artworks, Mondloch takes the reader inside immersive installation pieces, showing how they allow us to inhabit challenging theoretical concepts and nonanthropomorphic perspectives. Striving to think beyond the anthropocentric and fully consider the material world, A Capsule Aesthetic brings new approaches to questions surrounding our technology-saturated culture and its proliferation of human-to-nonhuman interfaces.Trade Review"Mondloch shows that new media art installations and theories of feminist materialism inform one another in ways of interest to artists, art historians, and new media and feminist scholars."—CHOICE"Mondloch’s approach couples aesthetics and ethics through activist prose that is unafraid to embrace populism or pleasure, or to revisit theoretical and historical misreadings of the past (and present). This book does not attempt to explain anything. Rather, it practices, and invites us to practice, conceptual-material engagements with art, and thus sensation, perception, and action. Such practice, the author convincingly argues over the entirety of her manuscript, is intrinsically feminist."—Theory & Event"Mondloch shows that new media art installations and theories of feminist materialism inform one another in ways of interest to artists, art historians, and new media and feminist scholars."—CHOICE"Mondloch’s approach couples aesthetics and ethics through activist prose that is unafraid to embrace populism or pleasure, or to revisit theoretical and historical misreadings of the past (and present). This book does not attempt to explain anything. Rather, it practices, and invites us to practice, conceptual-material engagements with art, and thus sensation, perception, and action. Such practice, the author convincingly argues over the entirety of her manuscript, is intrinsically feminist."—Theory & Event"Mondloch outlines the importance of feminist new materialisms as a means to critique the realms of new media art and technoscience, and positions Rist, Piccinini, and Mori as vital contributors to all these discourses."—ARLIS/NA"The fields of art, science, and technology are increasingly porous to each other, and Kate Mondloch insightfully explores the artistic interfaces where such exchanges occur."—Women’s Art JournalTable of ContentsContents1. Eye Desire: New Media Art and New Materialisms after Feminism2. Thinking through Feminism: The Critical Legacy of 1970s and 1980s Feminist Media Art and Theory3. Critical Proximity: Pipilotti Rist’s Exhibited Interfaces and the Contemporary Art Museum4. Unbecoming Human: Patricia Piccinini’s Bioart and Postanthropocentric Posthumanism5. Mind over Matter: Mariko Mori, Art History, and the Neuroscientific TurnConclusionAcknowledgmentsNotesIndex
£20.69
University of Minnesota Press Documents of Doubt: The Photographic Conditions
Book SynopsisA major reassessment of photography’s pivotal role in 1960s conceptual artWhy do we continue to look to photographs for evidence despite our awareness of photography’s potential for duplicity? Documents of Doubt critically reassesses the truth claims surrounding photographs by looking at how conceptual artists creatively undermined them. Studying the unique relationship between photography and conceptual art practices in the United States during the social and political instability of the late 1960s, Heather Diack offers vital new perspectives on our “post-truth” world and the importance of suspending easy conclusions in contemporary art.Considering the work of four leading conceptual artists of the 1960s and ’70s, Diack looks at photographs as documents of doubt, pushing the form beyond commonly assumed limits. Through in-depth and thorough reevaluations of early work by noted artists Mel Bochner, Bruce Nauman, Douglas Huebler, and John Baldessari, Diack advances the powerful thesis that photography provided a means of moving away from the object and toward performative effects, playing a crucial role in the development of conceptual art as a medium of doubt and contingency.Discussing how unexpected and contradictory meanings can exist in the guise of ordinary pictures, Documents of Doubt offers evocative and original ideas on truth’s connection to photography in the United States during the late 1960s and how conceptual art from that period anticipated our current era of “alternative facts” in contemporary politics and culture.Trade Review"Pushing against the long-ingrained ‘dematerialization’ thesis, Heather Diack's Documents of Doubt forces readers to engage with conceptual art in all of its material and political specificity. She brilliantly situates Bochner, Nauman, Huebler, and Baldessari at an intersection where art, the politics of protest, and mass media photography overlap. Her patient and lively readings of what initially seem to be affectless artworks reveal deep social and artistic concerns hiding in plain sight. Diack’s rigorous and open-eyed brand of art history is a welcome and necessary addition to the scholarship on conceptual art."—John J. Curley, author of A Conspiracy of Images: Andy Warhol, Gerhard Richter, and the Art of the Cold War"Heather Diack’s new book links the ‘post-truth’ scenario of contemporary politics to the ‘credibility gap’ that emerged in the 1960s, a recognition of the space of doubt between representation and the real."—Art HistoryTable of ContentsContentsList of IllustrationsIntroduction: Burning with Contingency1. Material Witness: Mel Bochner Takes Photographic Measures2. Pressing the Point: Bruce Nauman Performs with and against the Frame3. Everyone Who Is Anyone: Douglas Huebler and the Social Capacity of Photography4. This is Not to Be Looked At: John Baldessari and Photography’s Insistent VisualityEpilogue: Credibility GapAcknowledgmentsNotesIndex
£23.39
University of Minnesota Press Arte Programmata: Freedom, Control, and the
Book SynopsisTracing the evolution of the Italian avant-garde’s pioneering experiments with art and technology and their subversion of freedom and control In postwar Italy, a group of visionary artists used emergent computer technologies as both tools of artistic production and a means to reconceptualize the dynamic interrelation between individual freedom and collectivity. Working contrary to assumptions that the rigid, structural nature of programming limits subjectivity, this book traces the multifaceted practices of these groundbreaking artists and their conviction that technology could provide the conditions for a liberated social life.Situating their developments within the context of the Cold War and the ensuing crisis among the Italian left, Arte Programmata describes how Italy’s distinctive political climate fueled the group’s engagement with computers, cybernetics, and information theory. Creating a broad range of immersive environments, kinetic sculptures, domestic home goods, and other multimedia art and design works, artists such as Bruno Munari, Enzo Mari, and others looked to the conceptual frameworks provided by this new technology to envision a way out of the ideological impasses of the age.Showcasing the ingenuity of Italy’s earliest computer-based art, this study highlights its distinguishing characteristics while also exploring concurrent developments across the globe. Centered on the relationships between art, technology, and politics, Arte Programmata considers an important antecedent to the digital age. Trade Review "Lindsay Caplan’s Arte Programmata offers a compelling account of a group of lesser-known artists affiliated with the Italian Arte Programmata movement, whose experimental art and design practices, emerging in the nascent years of computerization, pointedly (and presciently) engaged with political questions around freedom and control, individuality and collectivity. Beautifully written, sharply analytic, and free of jargon, Caplan’s incisive study should find a place on the bookshelves of anyone interested in the roots and impacts of technological change."—Janet Kraynak, author of Contemporary Art and the Digitization of Everyday Life "Arte Programmata forces us to reconsider ossified ideas about the relationship between politics and aesthetics by asking us to think seriously about what we mean when we reflexively invoke concepts such as resistance, subversion, and negation to understand radical art and design practices. In doing so, Lindsay Caplan disrupts the categories and boundaries circumscribing art history’s presumed objects and methods. Here, art, design, theory, and politics comingle in new ways that allow us to see the continuing relevance of a particular strand of Italian art and design while also inspiring readers to reconsider their own assumptions about the many forms freedom might take in both our intellectual work and our lives."—Larry D. Busbea, author of The Responsive Environment: Design, Aesthetics, and the Human in the 1970s "Arte Programmata is simultaneously revolutionary and pragmatic."—Jan Baetens, Leonardo Reviews "This book is a rich and sophisticated narrative of the unfolding of Arte Programmata during the decade of the 1960s."—Ian Verstegen, Leonardo Reviews "Arte Programmata provides a nuanced, incisive window into the ways in which artists grappled with arrival of computing technology in postwar Italy. "—Critical Inquiry "Well-written and relatively jargon-free, Arte Programmata is a welcome addition to the growing literature on the intersection of art and technology (and artists and engineers)."—Technology and Culture "A carefully reconstructed history, focusing on the political dimension and context in which the left, Eco’s ‘open work,’ and early computer art flourished in the same spaces."—Neural
£25.19
University of Minnesota Press Modelwork: The Material Culture of Making and
Book SynopsisHow making models allows us to recall what was and to discover what still might be Whether looking inward to the intricacies of human anatomy or outward to the furthest recesses of the universe, expanding the boundaries of human inquiry depends to a surprisingly large degree on the making of models. In this wide-ranging volume, scholars from diverse fields examine the interrelationships between a model’s material foundations and the otherwise invisible things it gestures toward, underscoring the pivotal role of models in understanding and shaping the world around us. Whether in the form of reproductions, interpretive processes, or constitutive tools, models may bridge the gap between the tangible and the abstract.By focusing on the material aspects of models, including the digital ones that would seem to displace their analogue forebears, these insightful essays ground modeling as a tactile and emphatically humanistic endeavor. With contributions from scholars in the history of science and technology, visual studies, musicology, literary studies, and material culture, this book demonstrates that models serve as invaluable tools across every field of cultural development, both historically and in the present day.Modelwork is unique in calling attention to modeling’s duality, a dynamic exchange between imagination and matter. This singular publication shows us how models shape our ability to ascertain the surrounding world and to find new ways to transform it. Contributors: Hilary Bryon, Virginia Tech; Johanna Drucker, UCLA; Seher Erdoğan Ford, Temple U; Peter Galison, Harvard U; Lisa Gitelman, New York U; Reed Gochberg, Harvard U; Catherine Newman Howe, Williams College; Christopher J. Lukasik, Purdue U; Martin Scherzinger, New York U; Juliet S. Sperling, U of Washington; Annabel Jane Wharton, Duke U.Table of ContentsContentsIntroduction: ModelworkMartin Brückner and Sandy IsenstadtPart I. Knowing1. Defining ModelsAnnabel Jane Wharton2. Material Models of Immaterial ThingsPeter GalisonPart II. Sensing3. William Farish’s Devices and Drawings: Models for Envisioning Immaterial and Material RealmsHilary Bryon4. “The Instructed Eye”: What Eighteenth- and Nineteenth-Century Drawing Books Tell Us about Vision and How We SeeChristopher J. Lukasik5. Algorithmic Audition: Modeling Musical PerceptionMartin ScherzingerPart III. Making6. The Useful Arts of Nineteenth-Century Patent ModelsReed Gochberg7. Bodies Made of Numbers, Numbers Made of BodiesCatherine Newman Howe8. Hypermodels: Architectural Production in Virtual SpacesSeher Erdoğan FordPart IV. Doing9. Modeling Maneuvers: Anatomical Illustration and the Practice of TouchJuliet S. Sperling10. Models and Manufactures: The Shoe as CommodityLisa Gitelman11. Modeling InterpretationJohanna DruckerAfterword: On the Humility of ModelsSarah WassermanAcknowledgmentsContributorsIndex
£23.39
Metropolitan Museum of Art Cubism and the Trompe l'Oeil Tradition
Book SynopsisA pioneering study of how Picasso, Braque, and Gris engaged with the pictorial tradition of illusion and deception in their influential Cubist works The age-old tradition of pictorial illusionism, known as trompe l’oeil (“deceive the eye”), employs visual tricks that confound the viewer’s perception of reality and fiction, truth and falsehood. This radically new take on Cubism shows how Pablo Picasso, Georges Braque, and Juan Gris both parodied and paid homage to classic trompe l’oeil themes and motifs with wit and invention. More than one hundred illustrated works juxtapose Cubist paintings, drawings, and collages with related compositions by the old masters. Essays based on new research explore connections between the Cubists and the trompe l’oeil specialists of earlier centuries and their games of creative one-upmanship. The informed and engaging texts trace the changing status of trompe l’oeil over the centuries, reveal Braque’s training in artisanal trompe l’oeil techniques as an integral part of his Cubist practice, examine the materials used in Gris’s collages, and discuss the previously unstudied trompe l’oeil iconography within Cubist still lifes—including newspapers, word puns, pictures-within-pictures, imitation wood grain, and tools of the trade.Published by The Metropolitan Museum of Art/Distributed by Yale University PressExhibition Schedule:The Metropolitan Museum of Art, New York (October 20, 2022–January 22, 2023)
£38.00
Metropolitan Museum of Art Hidden Faces
Book Synopsis
£38.00
Getty Trust Publications Antiquities in Motion - From Excavation Sites to
Book SynopsisBarbara Furlotti presents a dynamic interpretation of the early modern market for antiquities, relying on the innovative notion of archaeological finds as mobile items. She reconstructs the journey of ancient objects from digging sites to venues where they were sold, such as Roman marketplaces and antiquarians' storage spaces; to sculptors' workshops, where they were restored; and to Italian and other European collections, where they arrived after complicated and costly travel over land and sea. She shifts the attention away from collectors to the elusive peasants with shovels, dealers and middlemen, and restorers who unearthed, cleaned up and repaired or remade objects, recuperating the role these actors played in Rome's socioeconomic structure. Furlotti also examines the changes in economic value, meaning, and appearance that antiquities underwent as they moved from person to person during their journey and as they reached the locations in which they were displayed. Drawing on vast unpublished archival material, she offers answers to novel questions: How were antiquities excavated? How and where did peasants, merchants, and agents trade them? How was a price agreed upon between sellers and buyers? How were laws about the ownership of ancient finds made, followed, and evaded?
£45.00
Getty Trust Publications Art and Curiosity Cabinets of the Late
Book SynopsisFor the first time, the pioneering book that launched the study of art and curiosity cabinets is available in English. Julius von Schlosser's Die Kunst- und Wunderkammern der Spatrenaissance (Art and Curiosity Cabinets of the Late Renaissance) is a seminal work in the history of art and collecting. Originally published in German in 1908, it was the first study to interpret sixteenth- and seventeenth-century cabinets of wonder as precursors to the modern museum, situating them within a history of collecting going back to Greco-Roman antiquity. In its comparative approach and broad geographical scope, Schlosser's book introduced an interdisciplinary and global perspective to the study of art and material culture, laying the foundation for museum studies and the history of collections. Schlosser was an Austrian professor, curator, museum director, and leading figure of the Vienna School of art history whose work has not achieved the prominence of his contemporaries until now. This eloquent and informed translation is preceded by Thomas DaCosta Kaufmann's substantial introduction. Tracing Schlosser's biography and intellectual formation in Vienna at the turn of the twentieth century, it contextualizes his work among that of his contemporaries, offering a wealth of insights along the way.Trade Review“This first English translation of Julius von Schlosser’s classic study of the Kunstkammer (1908) is a cause for celebration by anyone interested in the history of collections. Directly or indirectly, his book inspired a legion of studies on early modern art and curiosity cabinets, a subject that continues to captivate our imagination and has shaped the appearance of some museum displays. Thomas DaCosta Kaufmann’s penetrating introduction examines Schlosser, his intellectual contributions as a curator and teacher, his place within Viennese art history around 1900, and his subsequent reputation.”—Jeffrey Chipps Smith, Kay Forsten Chair in European Art, University of Texas, Austin ;;“Schlosser’s book is a classic of art history: still a standard text for all students of the first great age of collecting, but one which, previously unavailable in English, had remained unfamiliar to a wider audience. This translation, whose virtuosity matches that of Schlosser’s original writing, is here combined with a superb appreciation by Kaufmann of the author's life and works. Schlosser used the extraordinary world of the “cabinet of curiosities” to explore not only how and why museums came into being, as repositories of universal learning and global outreach, but also the gestation of distinctly modern notions of “art” and “nature” and of the “artificial” over against the “natural,” concepts that coexisted in multifarious ways in the minds of the collectors he describes.”—R.J.W. Evans, Regius Professor of History emeritus, University of Oxford;;;“This fascinating publication not only illuminates the history of art history through Schlosser's pioneering study from the early twentieth century, but also offers new insight into important dimensions of the culture of turn-of-the-century Vienna in which Schlosser participated as an art historian. Schlosser's study of art collections and curiosity cabinets allows us to understand better the complex cultural relation between late Habsburg art and museum culture and the early modern Habsburg period that is so fundamental for his analysis, especially concerning the collections of Emperor Rudolf II in Prague. Finally, the whole publication is framed by the exceptionally interesting introduction of the very distinguished Princeton art historian Thomas DaCosta Kaufmann, who is well known for his studies of art and culture in the early modern Habsburg monarchy. This book will be of great interest to scholars of art history specializing in art collecting and collections, cabinets of wonders or curiosities, and Habsburg culture."—Larry Wolff, Professor of History, New York University and author of The Singing Turk: Ottoman Power and Operatic Emotions on the European Stage from the Siege of Vienna to the Age of Napoleon;;“It was an excellent idea to make Schlosser’s classic work—which everyone interested in collections and museums should read—available in English. The translation is enriched by an introduction by Thomas DaCosta Kaufmann that situates Schlosser in his milieu, Vienna circa 1900, and brings him back to life.”—Peter Burke, Professor Emeritus of Cultural History, University of Cambridge;;“A half century or so of recent scholarship has brought the extraordinary collections of art amassed by fifteenth- and sixteenth-century noble courts to public view and imagination, with the result that chambers of wonders and curiosity cabinets are nearly household concepts. All such scholarship looks back to, and cites, Julius von Schlosser’s Die Kunst- und Wunderkammern der Spätrenaissance of 1908. Until now, however, the author of this precocious work has remained little known in English. This authoritative and thoughtful English translation by Jonathan Blower with an introduction on Schlosser’s place in the history of art by the polymathic doyen of art history, Thomas DaCosta Kaufmann, itself forms a milestone in the still-burgeoning scholarly literature on Kunstkammer collections.”—Pamela H. Smith, Seth Low Professor of History, and Director, Center for Science and Society, Columbia University
£49.50
Getty Trust Publications Living Matter: The Preservation of Biological
Book SynopsisEggshells, flowers, onion peels, sponge cake, dried bread, breast milk-these are just a few of the biological materials that some contemporary artists have used to make art. But how can works made from such perishable ingredients be preserved? And what ethical and conceptual dilemmas might be posed by doing so? Because they are prone to rapid decay, even complete disappearance, biological materials used in art pose a range of unique conservation challenges. This groundbreaking book probes the moral and practical challenges associated with displaying, collecting, and preserving these unique works of art. Theoretical considerations are complemented by a range of specific case studies, thereby affording a comprehensive and richly detailed overview of current thinking and practices on this topic. With contributions by conservators, scholars, curators, and artists, Living Matter is the first publication to address broadly these provocative issues, exploring the role of biological materials in the creative process and presenting a wide variety of possible approaches to their preservation. The free online edition of this publication is available at getty.edu /publications/living matter/ and includes videos and zoomable illustrations. Also available are free PDF, EPUB, and Kindle/MOBI downloads of the book.Trade Review“The world of conservation is finally considering the vitality of artworks that can act as quasi agents of their own. The proceedings of this important symposium on the conservation of biological materials in art illuminates, through a wide range of case studies, how traditional approaches both to art and to conservation fail to adequately address the new materiality of post-anthropocentrism.”-- Marina Pugliese, Professor, Art History and Visual Culture Department, California College of the Arts (CCA)
£54.00
Getty Trust Publications Purity is a Myth - The Materiality of Concrete
Book SynopsisPresenting new scholarship, this publication is an innovative technical study of the Concrete art movement in Argentina, Brazil, and Uruguay from the 1940s to the 1960s.;; Purity Is a Myth presents new scholarship on Concrete art in Argentina, Brazil, and Uruguay from the 1940s to the 1960s. Originally coined by the Dutch artist Theo van Doesburg in 1930, the term concrete denotes abstract painting with no reference to external reality. Van Doesburg argued that there was nothing more real than a line, color, or plane. Artists such as Willys de Castro, Lygia Clark, Waldemar Cordeiro, Hermelindo Fiaminghi, Judith Lauand, Raúl Lozza, Tomás Maldonado, Hélio Oiticica, and Rhod Rothfuss would reinvent this concept in postwar Latin America.;; Drawing on research conducted by Getty and international partners, the essays in this volume address a variety of topics, including the general history, emergence, and reception of Concrete art; processes and color; scientific analysis of works; illustrated chronologies of the paint industry in Brazil and Argentina; and Concrete design on paper. An innovative technical study of the Concrete art movement in Latin America, this volume will be indispensable to scholars, practitioners, and students of Latin American art.Table of ContentsAcknowledgements Introduction Zanna Gilbert, Pia Gottschaller, Tom Learner, and Andrew Perchuk The Myth of Purity: New Material Histories of Concrete Art 1. New perspectives on the emergence of Concrete art from Argentina and Brazil Niko Vicario (Amherst College) Material Relations: Torres-Garcia and Concrete Art from Argentina Maria Amalia Garcia (Conicet) Rhod Rothfuss y el marco recortado. Sintesis de tradiciones de la cultura rioplatense Heloisa Espada (Instituto Moreira Salles) Waldemar Cordeiro e o Grupo Forma: a via romana da arte concreta paulista 2. Generative Processes in Concrete Art Irene Small (Princeton University) Cut, Fuse, Fissure: Planarity circa 1954 Aliza Edelman (Independent Scholar) Judith Lauand's Sketchbooks and the Visualization of Concrete Form in 1954 Pia Gottschaller (Courtauld Institute), Tom Learner (GCI) and Joy Mazurek (GCI) Hermelindo Fiaminghi's Quadrature of the Circle between 1954 and 1959: From Concrete Enamel to Giotto's Tempera 3. Concretizing Color Idurre Alonso (GRI), PG (Courtauld Institute), C. C. Marsh (GRI), Andrew Perchuk (GRI), Lynn Lee (GCI) Energy, Legibility, Purity: Color in Argentine Concrete Art Mari Carmen Ramirez and Corina E. Rogge (Museum of Fine Arts Houston) Looking to the Past to Paint the Future: Innovative Anachronisms in the work of Alfredo Volpi and Helio Oiticica Luiz Camillo Osorio (PUC-RJ) The Adventure of Color in Brazilian Art: Aluisio Carvao, Helio Oiticica and Roberto Burle-Marx 4. Concrete Art on Paper Isabel Plante (Universidad de San Martin) Printing Invention: Art-work, Project or Device Zanna Gilbert (GRI) Kissers and Biters: The Matter of Language and Design in the work of Willys de Castro and Hermelindo Fiaminghi 5. Analyzing Concrete Art: Technical Overviews Luiz Souza, Yacy-Ara Froner, Alessandra Rosadeo, Maria Alice Sanna castello Blanco, Giula Giovani (LACICOR: Universidade Federal de Minas Gerais) Experimentation & Materiality: Constructing the Brazilian Artwork, 1950s-1960s Pino Monkes (Museo de Arte Moderno de Buenos Aires) Arte Concreto Argentino - Primera Decada: Entre la tradicion material y formal y la innovacion Fernando Marte (TAREA, Universidad de San Martin) Estudios tecnicos en el Arte Concreto del Rio de La Plata 6. The Reception of Concrete Art in Museums and Academia Aleca Le Blanc (University of California, Riverside) A History of the Field 7. Chronologies Florencia Castella and Sofia Frigerio (TAREA, Universidad de San Martin) Paint Production in Argentina, 1940-1960 Joao Henrique Ribeiro Barbosa (LACICOR: Universidade Federal de Minas Gerais) Paint Production in Brazil, 1940s-1960s
£58.50
Getty Trust Publications Antiquarians of Nineteenth-Century Japan - The
Book Synopsis"Originally published in Japanese, Antiquarians of Nineteenth-Century Japan looks at the approach toward object-based research across the late Tokugawa and early Meiji periods, which were typically kept separate, and elucidates the intellectual continuities between these eras. Focusing on the top-down effects of the professionalizing of academia in the political landscape of Meiji Japan, which had advanced by attacking earlier modes of scholarship by antiquarians, Suzuki shows how those outside the government responded, retracted, or challenged new public rules and values. He explores the changing process of evaluating objects from the past in tandem with the attitudes and practices of antiquarians during the period of Japan's rapid modernization. He shows their roots in the intellectual sphere of the late Tokugawa period while also detailing how they adapted to the new era. Suzuki also demonstrates that Japan's antiquarians had much in common with those from Europe and the United States. Art historian Maki Fukuoka provides an introduction to the English translation that highlights the significance of Suzuki's methodological and intellectual analyses and shows how his ideas will appeal to specialists and nonspecialists alike. "Trade Review"What a boon to now have available in English, in an expert translation, this study by Suzuki Hiroyuki, one of the most insightful art historians anywhere in the world. The ostensible subject is antiquarianism, but Suzuki makes clear that during the fast-paced metabolism of Japan in the 1870s, the terms "art" and "antique" are multiple and under constant revision. Situating them at the conjunction of East Asian modes of knowing, traditional modes of assembly, changing display practices, new reprographic technologies, and the professionalization of knowledge, Antiquarians of Nineteenth-Century Japan peers just under the surface of a more common narrative about the rise of art history in Japan. In doing so, it offers a thoughtful, richly detailed perspective on what art was before Art, on the eve of Nation."-Yukio Lippit, Jeffrey T. Chambers and Andrea Okamura Professor of History of Art and Architecture, Harvard University ; "At once descriptive and self-reflective, the book offers a compelling revisionist account of art history in modern Japan via the lives of objects, their collectors, and the bureaucracy of beauty."--Parul Dave-Mukherji, School of Arts and Aesthetics, Jawaharlal Nehru University; “Antiquarians of Nineteenth-Century Japan provides precisely the piece of modern Japanese art and cultural history that had been missing from the English-language corpus. Applying a Foucauldian framework to the generation of Japanese scholars who had been active prior to the Meiji Restoration, Suzuki reveals their profound contributions to, as well as their thought-provoking differences from, the modern, professionalized fields of art history and archaeology. The lucid translation by Maki Fukuoka will ensure that this book reaches a broad audience of scholars and students from art history, anthropology, the history of science, comparative global studies of knowledge formation, and beyond. In the company of Stephen Bann's The Clothing of Clio and Dipesh Chakrabarty's The Calling of History, Suzuki's work adds an important voice to the conversation on eighteenth- and nineteenth-century modes of knowing and writing about things past.” —Chelsea Foxwell, Associate Professor of Art History, East Asian Languages and Civilizations, University of Chicago
£45.00
Getty Trust Publications Henry Van de Velde: Selected Essays, 1889-1914
Book SynopsisThe first English collection of writings by Henry van de Velde, one of the most influential designers and theorists of the twentieth century. Belgian artist, architect, designer, and theorist Henry van de Velde (1863-1957) was a highly original and influential figure in Europe beginning in the 1890s. A founding member of the Art Nouveau and Jugendstil movements, he also directed the Grand-Ducal Saxon School of Arts and Crafts in Weimar, Germany, which eventually became the Bauhaus under Walter Gropius. This selection of twenty-six essays, translated from French and German, includes van de Velde's writings on William Morris and the English Arts and Crafts movement, Neo-Impressionist painting, and relationships between ornament, line, and abstraction in German aesthetics. The texts trace the evolution of van de Velde's thoughts during his most productive period as a theorist in the artistic debates in France, Germany, Belgium, and the Netherlands. Katherine M. Kuenzli expertly guides readers to see how van de Velde's writings reconcile themes of aesthetics and function, and expression and reason, throughout the artistic periods and regions represented by these texts. With introductory discussions of each essay and full annotations, this is an essential volume for a broad range of scholars and students of the history of fine and applied arts and ideas.Trade Review"A key figure of late nineteenth- and twentieth-century architecture and design, Henry van de Velde's seminal role and thought has yet to emerge fully from under the shadow, notably, of those who continued his work in Weimar with the creation of the Bauhaus. This volume is a triumph of textual sleuthing, providing a generous selection of van de Velde's writings that allows scholars and students alike to witness the many facets of this cosmopolitan designer's interaction with turn-of-the-century reform movements in Belgium, Germany, and France. A figure long reduced to a small set of designs in survey books is here revealed in all his complexity and even contradictions."-Barry Bergdoll, Meyer Schapiro Professor of Art History, Columbia University; "Writing and speaking fueled the modernist persona and the international career of designer Henry van de Velde. This volume, an essential companion to the existing literature, makes a case for why-and how-he emerged as one of the most significant, and difficult, figures of the twentieth century."- Amy F. Ogata, Professor of Art History, University of Southern California
£45.00
Getty Trust Publications East Asian Aesthetics and the Space of Painting
Book SynopsisThis volume offers the first critical account of how European imports of East Asian textiles, porcelain, and lacquers, along with newly published descriptions of the Chinese garden, inspired a revolution in the role of painting in early modern Europe. With particular focus on French interiors, Isabelle Tillerot reveals how a European enthusiasm for East Asian culture and a demand for novelty transformed the dynamic between painting and decor. Models of space, landscape, and horizon, as shown in Chinese and Japanese objects and their ornamentation, disrupted prevailing design concepts in Europe. With paintings no longer functioning as pictorial windows, they began to be viewed as discrete images displayed on a wall—and with that, their status changed from decorative device to autonomous work of art. This study presents a detailed history of this transformation, revealing how an aesthetic free from the constraints of symmetry and geometrized order upended paradigms of display, enabling European painting to come into its own.Table of ContentsForeword - Mark Ledbury Introduction The Places of Painting Decor and Time The Trajectory of the Arabesque The Orient of Decoration The Oriental Idea of Taste Another Way of Representing the World Conclusion: Oriental Caprice or Making an Island of the Picture
£54.00
Getty Trust Publications Miracles and Machines: A Sixteenth-Century
Book SynopsisThis volume tells the singular story of an uncanny object at the cusp of art and science: a 450-year-old automaton known as “the monk.” The walking, gesticulating figure of a friar, in the collection of the Smithsonian Institution’s National Museum of American History, is among the earliest extant ancestors of the self-propelled robot. According to lore from the court of Philip II of Spain, the monk represents a portrait of Diego de Alcalá, a humble Franciscan lay brother whose holy corpse was said to be agent to the miraculous cure of Spain’s crown prince as he lay dying in 1562. In tracking the origins of the monk and its legend, the authors visited archives, libraries, and museums across the United States and Europe, probing the paradox of a mechanical object performing an apparently spiritual act. They identified seven kindred automata from the same period, which, they argue, form a paradigmatic class of walking “prime movers,” unprecedented in their combination of visual and functional realism. While most of the literature on automata focuses on the Enlightenment, this enthralling narrative journeys back to the late Renaissance, when clockwork machinery was entirely new, foretelling the evolution of artificial life to come.
£38.00
University Press of Florida Intersections: Art and Islamic Cosmopolitanism
Book SynopsisThis richly illustrated volume highlights the history of Islamic cosmopolitanism as documented through works of art from the eighth century to the present; from the Mediterranean, North Africa, South Asia, and the United States; and including painting, architecture, textiles, calligraphy, photography, and animation. These essays examine Muslim artists, patrons, and collectors' engagement with global influences, as well as artistic exchange between Muslim and non-Muslim societies.Drawing on Kwame Anthony Appiah's view of cosmopolitanism as respect for the differences among people and acknowledgment of a shared community across those differences, leading scholars offer case studies of art objects that illustrate such dynamics in the Islamic cultural sphere. In doing so, they bring Islamic art history into dialogue with Western European medieval art, Byzantine art, African art, global modern art, and American art and architecture. This timely volume demonstrates the importance of cultivating coexistence, becoming citizens of the world, and recognizing the possibilities of cultural intersections. It offers historical examples of such intersections, for which works of art provide a visual testament.Table of Contents Acknowledgments Introduction: Islamicate Art and Inter-faith Intersections Melia Belli Bose 1. An Inscribed Jug from Raqqa: Scripture and the Expression of Identity Marcus Milwright 2. Intersecting Sicily William Tronzo 3. A Crossroads of Travel: Cairo's Historic Qarafa Cemetery Aliaa El Sandouby 4. Setting the Elite Table across the Byzantine-Seljug Divide Alicia Walker 5. Ink, Blood, and Body: Transmission and Ritual Purity in the Early Modern Western Mediterranean Manuela Ceballos 6. The Story of Plato Making Music and a Multifaceted Mughal Organ Mika Natif 7. Woven Together: Textiles and Trans-Saharan Exchange Michelle Huntington Craig 8. Cosmopolitan Interiors: Syrian 'ajami Rooms and an American Reinterpretation at Frederic Church's Olana Elizabeth McCauley-Lewis 9. Articulations of the Illustrated Manuscript: Shahzia Sikander's Disruption As Rapture Vivek Gupta Chapter 10: Bridging Identity: Language, World Making, and Iranian-American Publics in the Work of Siah Armajani Elizabeth Rauh List of Contributors Index
£52.00
Harvard University Press The Liu Kuosung Reader
Book Synopsis
£35.66
Boydell & Brewer Ltd The Tournaments at Le Hem and Chauvency:
Book SynopsisFirst translation of two vivid accounts of French thirteenth-century tournaments, rich in detail and an impassioned defence of tournaments and their importance. The Romance of Le Hem and The Tournament at Chauvency are eyewitness accounts of the famous tournaments held in 1278 at Le Hem on the banks of the Somme in north-eastern France, and in 1285 at Chauvency in Lorraine. Written within weeks of the events they describe, they record in vivid detail not only the jousts and the mêlées but also the entertainments and dramatic interludes which preceded, followed and embellished these festivals of martial sport. As Sarrasin makes clear, theatre as well as jousting, and jousting in the context of enacted stories, were central to what took place at Le Hem, involving elaborate role-play by participants as figures from Arthurian romance. And few medieval accounts of events have such thrilling immediacy as Jacques Bretel's record of Chauvency. He sat in a prime place, on the fourth step of the stand, and the reader sees and hears the action as if sitting at his shoulder - and eavesdrops on conversations, too. He gives remarkable insights into the surprising role played by song, and into how the whole event was perceived and understood. These intriguing works are invaluable source material for scholars not only of medieval chivalry and tournaments but also of festivities and performance.Trade ReviewA handy and appealing introduction to medieval chivalry heraldry, and performance which should enjoy a wide audience. * BULLETIN CODICOLOGIQUE *Table of ContentsIntroduction The Romance of Le Hem The Tournament at Chauvency Editions, Manuscripts and Further Reading Sarrasin, The Romance of Le Hem Jaques Bretel, The Tournament at Chauvency
£23.75
Reaktion Books French Suite: A Book of Essays
Book SynopsisFrench Suite examines a range of important French painters and two writers, Baudelaire and Flaubert, from the brothers Le Nain in the mid-seventeenth century to Manet, Degas, Corot, Daubigny and the Impressionists in the later nineteenth century. A principal theme of the essays is a fundamental concern of Fried's throughout his career: the relation between painting and beholder. Fried's typically vivid and strongly argued essays offer many new readings and unexpected insights, transforming our understanding of both familiar and lesser-known French artistic and literary works.
£999.99
Reaktion Books Contemporary Korean Art
Book SynopsisPresents new and thematic interpretations of contemporary Korean art.
£33.25
Liverpool University Press Drawing Bodies in Action
a huge range and FREE tracked UK delivery on ALL orders.
£75.00
Boydell & Brewer Ltd The Eucharist in Romanesque France: Iconography
Book SynopsisAn overview of the theologies of the eucharist leads on to a detailed exploration of the Berengarian debates of the eleventh century and the complex of eucharistic ideas subsequently developed. During the Romanesque period in France, and accelerated by a growing introspection and consciousness of self-identity, a penitential focus was given to eucharistic piety. Population increase and prosperity brought greater tithe income to the Church, allowing new discipline and religious regulation in respect of the sacraments. The aim of this book is to bring together aspects of the multi-faceted penitential-eucharistic devotion, as revealed in theological writings and Mass commentaries, in Gregorian reform, in heretical circles both clerical and popular and in works of art, so that the reader can contemplate, through a wider juxtaposition than that usually practicable in more detailed specialised scholarship, something of the mood of the period. Just as the new scholastic writings impressed by their innovative creativity, the best late eleventh- and twelfth-century art was astonishingly vital andthe comparison of art and textual works is central to the volume. Dr Elizabeth Saxon has recently retired from the staff of the Open University.Trade ReviewA fascinating and convincing argument for the influence of theology on religious art in Romanesque France. [...] A thoughtful and important contribution to the understanding of a crucial period in the history of western Christianity. * JOURNAL OF ECCLESIASTICAL HISTORY *[A] well-produced volume. [...] Provides an excellent and clear discussion of the theological elements connected with and making up Eucharistic devotion during the period. * JOURNAL OF THE BRITISH ARCHAEOLOGICAL ASSOCIATION *Table of ContentsThe Theological Context - Elizabeth Saxon Sacrifice, Offering and Atonement - Elizabeth Saxon The Penitential-Eucharistic Focus - Elizabeth Saxon The Penitential-Eucharistic Context of the Reform Movements - Elizabeth Saxon Mass Commentaries - Elizabeth Saxon The Image of the Hand-held Host - Elizabeth Saxon The Continuity of Offering in the History of Salvation - Elizabeth Saxon For the Love of Christ - Elizabeth Saxon Response to the Heresies of the Eucharist - Elizabeth Saxon
£80.75
Boydell & Brewer Ltd Ramón Gómez de la Serna: New Perspectives
Book SynopsisA celebrity in his own day, who gave lectures dressed as Napoleon or seated on the back of an elephant, Ramón Gómez de la Serna is the most representative writer of the interwar Spanish avant-garde. This book explores Gómez de la Serna's art and his quest to break down the barriers between literature and life, addressing two elements - already present in his work - of radical relevance in today's cultural debates: the relation of humans to the material world and the reduction of all experience to a singular individuality. Bringing Gómez de la Serna to an Anglophone audience, it reveals him to be the embodiment of a new kind of art on both sides of the Atlantic.Table of ContentsIntroduction - Ricardo Fernández Romero 1. Ramón, the Artist and His Brand - Ricardo Fernández Romero 2. Ramón as Art-Collector and Visual Artist: Slum of Oddities - Eduardo Alaminos López 3. Ramón and Photography. 'The Dead Thing' - Humberto Huergo Cardoso 4. Ramón and Theater: Staging Reform in El drama del palacio deshabitado (1909)" - Nicolás Fernández-Medina 5. Ramón and the New Materialism: The Ecstasy of Objects - Juli Highfill 6. Ramón and Cervantes - Alan Hoyle Gómez de la Serna's Life, a Chronology A Guide to Gómez de la Serna´s Literary Works
£71.25
Paul Holberton Publishing Ltd Antoine Caron: Drawing for Catherine De Medici
Book SynopsisThis catalogue accompanies an exhibition at The Courtauld Gallery, which is the first dedicated to the graphic oeuvre of Antoine Caron (1521–1599). Bringing together a core group of drawings centred around the figures and deeds of the French Royal family, the Valois, this display highlights the role played by Catherine de’ Medici (1519–1589). Featuring the Valois series, a set of drawings here reunited for the first time, the display showcases the way in which the powerful and influential Catherine promoted the success of her regency and future of her progeny by delivering a series of lavish courtly events that were meant to enhance the power and diplomacy of her family. The drawings represent jousts, tournaments, festivals and a mock naval battle, events that occurred at the French court during the reigns of Catherine’s sons Charles IX and Henri III. Preparatory designs for a group of tapestries, these visual documents relate to actual events that were organised by the court, some of which took place at the French castles of Anet, Palace of Fontainebleau, Bayonne and at the Tuileries Gardens in Paris. Minutely designed, they thus allow a reconstruction of the visual testimony of those events, as they were documented in written contemporary sources.
£14.85
Paul Holberton Publishing Ltd The Splendor of Germany: Eighteenth-Century
Book SynopsisThe Crocker Art Museum has one of the finest and earliest German drawings collections in the United States. Featuring artists such as Johann Wolfgang Baumgartner, Anton Raphael Mengs and Johann Heinrich Wilhelm Tischbein, The Splendor of Germany examines the major developments in German draughtsmanship over the course of the eighteenth century. Published to coincide with the collection’s 150th anniversary. In the 21st century, the collecting and study of 18th-century German drawings has become a major focus for American museums. One of the finest collections of them, however, has been in California for 150 years. The superb drawings at the Crocker Art Museum, from a Baroque altarpiece design by Johann Georg Bergmüller to a Neoclassical mythology by Johann Heinrich Wilhelm Tischbein, provide a panorama of German draughtsmen and draughtsmanship throughout the century. Many of the drawings are remarkable for their modernity. A self-portrait by Johann Gottlieb Prestel bypasses convention to achieve a direct, unmediated likeness. Well-placed slashes with brush and black ink define the features below his peruke outlined in black chalk. Other drawings encapsulate specific developments and styles, such as Johann Wolfgang Baumgartner’s Lazarus and the Rich Man, which shows the florid dynamism of the Augsburg Rococo. A full range of eighteenth-century German artists are represented here, from the satirizing moralists Johann Elias Ridinger and Daniel Chodowiecki to the Classicist and friend of the art theorist Johann Joachim Winkelmann, Anton Raphael Mengs. Landscape artists are especially well represented, such as the key figure Johann Georg Wille, printmaker to the French king Louis XV, and generations of artists he taught and influenced all the way to the early Romantic landscapists. The exhibition and catalogue gather together a variety of dynamic and sensitive portraits, charming scenes of daily life, and often humorous moralizing subjects, as well as narratives, both religious and mythological, from the late Baroque to Neoclassicism. In the realm of landscape, the depth of the collection allows the exhibition to trace schools and influences—in addition to Wille’s mentioned above—even in families such as that of Prestel, whose wife and daughter were both landscapists. It also allows it to demonstrate the great variety of works by single artists such as Christoph Nathe, represented by four landscapes in four different genres including a splendid scene near Görlitz. Some artists, in fact, work in several genres as in the case of Johann Christian Klengel, whose works include the scene of a family by candlelight, a farmstead landscape, and a sketchbook that he carried through the countryside to record picturesque views. This is a rare opportunity for the public and for drawings enthusiasts. Two-thirds of the drawings in the exhibition have not been shown before; most of the exceptions have not been seen since 1989. Because of the drawings’ 150-year history of limited exposure, the state of preservation of the collection is exceptional, as is the condition of the new acquisitions included in the exhibition.
£38.00
ERIS I Declare A Permanent State of Happiness, Second
Book Synopsis
£35.70
Paul Mellon Centre for Studies in British Art The Late Works of J. M. W. Turner: The Artist and
Book SynopsisAn exploration of Turner’s final, vital years, including new readings of some of his most significant paintings The paintings and drawings Joseph Mallord William Turner (1775–1851) produced from 1835 to his death are seen by many as his most audacious and compelling work, a highly personal final vision that ranks with the late styles of the greatest artists. In this study, Sam Smiles shows how a richer account of Turner’s achievement can be presented once his historical circumstances are given proper attention. He discusses the style and subject matter of Turner’s later oil paintings and watercolours, his commercial dealings and his relations with patrons; he examines the artist’s critical reception and scrutinises accounts of his physical and mental health to see what can be reliably said about this last phase of creative endeavour. Emerging from this study is an artist who used his final years to consolidate the principles that had motivated him throughout his career.Distributed for the Paul Mellon Centre for Studies in British ArtTrade Review“[A] scholarly and impeccably detailed examination of Turner’s art and its critical reception . . . presenting a rich, absorbing account of his later career. [Sam Smiles] challenges the hackneyed image of Turner in his last two decades. . . . In its place he builds a complex picture of a man who, despite his gradually declining health and the diminishing output of his very last years, retained a keen interest in the world around him, in the marketing of his art and in his posthumous reputation.”—Barry Venning, Turner Society News“Smiles’s magnificent study can only deepen our understanding of an artist who continues to reveal himself in unexpected ways.”—Stephen Bann
£33.25
Paul Holberton Publishing Ltd Luigi Pericle: a Rediscovery
Book SynopsisThis important book presents the work of the fascinating and singular artist Luigi Pericle (1916–2001). Pericle was a painter, illustrator and scholar, as well as a leading figure in the story of art in the second half of the twentieth century.The artist initially found fame as an illustrator, gaining widespread renown in the 1950s as the inventor of the character Max the Marmot. But his intense, enigmatic and multi-layered paintings increasingly drew the attention of the art world, with works that reflect his personal, metaphysical take on post-war abstraction exhibited at numerous venues in Britain during the 1960s. Pericle then abruptly retreatedfrom the art system, and for the rest of his life continued to paint, write and to study esoteric philosophy in the secluded house he shared with his wife Orsolina on Monte Verit in the Ticino region of Switzerland. The artist’s work was dramatically rediscovered in 2016 when the contents of his former residence were revealed. The process of restoring, cataloguing and researching his vast oeuvre is ongoing, and is overseen by Ascona’s Archivio Luigi Pericle, with which the exhibition has been organised.This beautifully illustrated publication, which accompanies an exhibition at the Estorick Collection, London, includes a full catalogue of the works, as well as essays by noted scholars.
£38.00
Modern Art Press Artists Making Landscapes in Post-war Britain
Book SynopsisAn unconventional and illuminating new history of British landscape art in the post-war period In this trailblazing study, Margaret Garlake complicates traditional histories of British landscape art in the post-war period. Drawing together work from painters and photographers—many of them women—Garlake expands the conventional view of the genre to include both rural and urban subjects. In doing so, she brilliantly places the work within the context of physical changes wrought by postwar society, as the British countryside reverted to civilian use, cities were built, and artists adjusted to the landscape as a site of both tradition and modernity. Carefully researched and subtly argued, this book will deepen our understanding of a fascinating period in British art history.Distributed for Modern Art PressTable of ContentsForeword Introduction Ch. 1 Landscape Painting in Post-war Culture Ch. 2 Landscape in the Post-war Art World Ch. 3 Engaging with Landscape: Phenomenology, Place and Space Ch. 4 Reshaping Rural Britain Ch. 5 Cities Reimagined Ch. 6 Landscapes for People Ch. 7 Places of the Mind Bibliography Index
£42.75
Modern Art Press Nineteenth-century French Paintings in the
Book SynopsisA fully illustrated, comprehensive, and scholarly catalogue of the paintings in the Ashmolean Museum’s collection by French artists born between 1775 and 1875 The only complete catalogue of French paintings of the period in the Ashmolean Museum, this comprehensive and scholarly study explores their rich collection of nineteenth-century French art. Continuing a convention set by earlier Ashmolean catalogues that mirrors the concept of the long nineteenth century, the book defines nineteenth-century French artists as those born between 1775 and 1875. Stretching into the twentieth century, it covers a fascinating range of paintings including works by Louis-Léopold Boilly, Camille, Lucien, and Félix Pissarro, Henri Fantin-Latour, Édouard Manet, Pierre-Auguste Renoir, Paul Cézanne, Claude Monet, and Henri Matisse. The catalogue was compiled by the late distinguished art historian Jon Whiteley. In each entry, Whiteley draws upon his encyclopaedic knowledge of French art and the Ashmolean holdings. Provenance, literature, and exhibition history are recorded as well as extensive technical notes and information on frames. The entries on each work are accompanied by new, high-quality photography and comparative images, resulting in a complete and thorough documentation of this important part of the Ashmolean collection of Western art, providing an informative contribution to existing scholarship. Distributed for Modern Art Press
£112.50
Zone Books Amerasia
Book Synopsis
£29.75
Rutgers University Press Bollywood’s New Woman: Liberalization,
Book SynopsisBollywood’s New Woman examines Bollywood’s construction and presentation of the Indian Woman since the 1990s. The groundbreaking collection illuminates the contexts and contours of this contemporary figure that has been identified in sociological and historical discourses as the “New Woman.” On the one hand, this figure is a variant of the fin de siècle phenomenon of the “New Woman” in the United Kingdom and the United States. In the Indian context, the New Woman is a distinct articulation resulting from the nation’s tryst with neoliberal reform, consolidation of the middle class, and the ascendency of aggressive Hindu Right politics. Trade Review"Essays in this exciting and welcome collection show us how India’s economic liberalization ushers in new figurations of women. Tracking Bollywood’s New Woman across revised filmic tropes, unconventional screen bodies, emergent technological formats and cosmopolitan geographies, they reveal gender’s starring role in the unfolding story of India’s neoliberalism and cinema." -- Priya Jaikumar * author of Where Histories Reside: India as Filmed Space *"A sumptuous and well-rounded volume of essays by leading experts on Indian cinema. This book is recommended for all scholars and students for an in-depth understanding of the gender dynamics in post-globalization Bollywood." -- Rini Bhattacharya Mehta * author of Unruly Cinema: History, Politics, and Bollywood *"Insightful and wide-ranging, Bollywood’s New Woman brings together some of the most exciting new scholarship in South Asian film and cultural studies. The figure of the ‘New Woman’ has emerged as the site on which many of India’s current desires and anxieties come to be rehearsed and executed. This anthology is essential reading for anyone interested in gender, politics, and popular culture in contemporary India and beyond." -- Meheli Sen * author of Haunting Bollywood: Gender, Genre and the Supernatural in Hindi Commercial Cinema *"A timely and valuable collection, Bollywood’s New Woman offers a critical assessment of nearly three decades of post-economic liberalization India through a focus on the changes and consistencies, in female characters and stars in Hindi cinema. The close readings situate films in diverse industrial formations—big-budget, small films, multiplex, hatke—that shape the many manifestations of these ‘new’ women. And, the perceptive readings anchored in genres, star texts, and new media skillfully show how these ‘new’ women navigate, question, and/or embrace the tradition/modern dyad in neoliberal and Hindu nationalist India." -- Monika Mehta * author of Censorship and Sexuality in Bombay Cinema *"There is an emerging gap in classical narrative or textual analysis which marked the early blossoming of film studies in India. Anwer and Arora’s edited volume on Bollywood’s New Woman addresses precisely this gap by taking the attention back to the text to comment on gender, history and society. This collection of articles, spread across fourteen chapters and four sections attempts to reconfigure screened womanhood from the post-liberalization era." * Studies in South Asian Film and Media *"These authors deconstruct the tools that filmmakers use and how the characters themselves strategize to assert identity and individuality. Localized, globalized, and contextualized within the larger Indian landscape and yet focusing on the intersections of place, class, caste, and age, the book offers an overview of the New Bollywood Woman." -- Uma Vangal * Quarterly Review of Film and Video *Table of ContentsContents Introduction Part I Family and Nation 1. Koel Banerjee and Jigna Desai, “Mompreneur in the Multiplex: Entrepreneurial Technologies of the “New Woman” Subject in the Age of Neoliberal Globalization” 2. Sangita Gopal, “Lethal Acts: Bollywood’s new woman and the Nirbhaya Effect” 3. Baidurya Chakrabarti, “Beyond the Couple Form: The Space of the New Woman in Yash Raj Films” 4. Aparajita De, “Mera Saaya: Shadows of the Woman in Bollywood’s Cultural Imagination” Part II Body Matters 5. Gohar Siddiqui, “New Womanhood and #LipstickRebellion: Feminist Consciousness in Lipstick Under My Burkha” 6. Debadatta Chakraborty, “Queering Bollywood: Sexuality of the disabled Body – A Case Study” 7. Ajay Gehlawat, “Plus-size Femininity: The Multiple Figurations of Bhumi Pednekar” 8. Puja Sen, “The Many Bodies of Vidya Balan: The Dirty Picture, Kahaani, and Tumhari Sulu” Part III Geographies of the New Woman 9. Anjali Ram, “Out of India: Educating the New Woman in Queen, EnglishVinglish, and Badrinath ki Dulhaniya” 10. Prathim-Maya Dora-Laskey, “Learning to Love The(ir) World: Using Feminist Spaces and Cosmopolitan Impulses against the Heteropatriarchy in Queen and English Vinglish” 11. Namrata Rele Sathe, “Single in the City: The Female Flâneur in Queen” 12. Madhavi Biswas, ”Dedh Ishqiyaand Ishqiya “Glocal Women: Gender, Genre, and Performance in Abhishek Chaubey’s Part IV New Media and the New Woman 13. Kuhu Tanvir, “All Broken Up and Dancing: Looking at Katrina Kaif in eight GIFs” 14. Tanushree Ghosh, “Reshaping ‘Bollywood’: Dissident New Media Femininities and Hindi Cinema” Acknowledgments Notes on Contributors Index
£107.20
Getty Trust Publications Transpacific Engagements: Trade, Translation, and
Book SynopsisThis wide-ranging collection of scholarly essays explores the hybrid cultures, intellectual clashes, and dynamic exchanges of the transpacific region in the age of imperialism. Between the sixteenth and nineteenth centuries, competing European empires vied for commercial and political control of oceanic routes between Asia and the Americas. Transpacific Engagements addresses the resulting cultural and artistic exchanges with an emphasis on the Spanish and American enterprises in the Asia-Pacific region. This volume explores artistic expressions of imperial aspirations and imaginaries in the Philippines, Spain, Japan, and Hawaii; the transformations of texts, images, and culinary practices as they moved from one cultural context to another; and the movement of objects and people across the transpacific, with particular attention to the Manila Galleon trade that flourished from 1565 to 1815. Featuring contributions by art historians, anthropologists, historians, and cultural studies scholars, Transpacific Engagements gathers groundbreaking investigations of objects and histories to illustrate the role of East, South, and Southeast Asian polities and dynasties in these multilateral exchanges. Published by the Ayala Foundation, Inc. in association with the Getty Research Institute and Kunsthistorisches Institut in Florenz (Max-Planck-Institut).
£38.00
Aarhus University Press Wonders A Literary History of the Deep Sea
Book SynopsisIn the mid19th century, intrepid explorers began to shine a light on the darkness of the deep. The mystique of what lay beneath the surface of the vast oceans inspired awe in aquarium enthusiasts, Decadent artists, and authors, including Jules Verne and Hans Christian Andersen. Ever since, books, films and visual arts have invited us to contemplate the sea as both the wellspring of all life and a resolutely alien world. Wonders A Literary History of the Deep Sea recalls the era of undersea telegraph cables and the heyday of the aquarium. It presents mermaids, octopuses and jellyfish and explores some of the many works of art that conceptualise undersea marvels or dream of vanishing ecstatically into the depths, into this other element. It is the story of how we imagine life was formed underwater and on our planet. It is about the historical basis for our modern perception of the sea and a call to action before the fantastic creatures with whom we have only just begun
£30.00
Pindar Press Studies in Early Christian and Medieval Irish Art
Book SynopsisOver the past fifty years, Françoise Henry has been the leading authority on the history of early Irish art. A pupil of Henri Focillon, she united two traditions of scholarship, one French and one Irish, and her understanding of the European context within which the art of early Christian Ireland developed has had a profound influence on subsequent research. These three volumes bring together the articles that Dr. Henry published on Irish art and its European links. The second volume deals with Irish manuscript illumination. Since a number of the articles reprinted here were published in collaboration with Geneviève Marsh-Micheli, this volume, as Françoise Henry wished, is published as a joint work, and includes an independent article by Mrs. Marsh-Micheli on the Irish manuscripts of St. Gall and Reichenau. The manuscripts dealt with here cover the entire span of Christian Celtic art in Ireland, from the earliest works of the seventh and eighth centuries to the later manuscripts of the period between the Norman Conquest and the final collapse of Gaelic civilisation in Ireland in the late sixteenth century. There are joint studies of Irish manuscripts in Continental and English collections, and a valuable review by Françoise Henry of the facsimile edition of the Book of Lindisfarne. Volume II contents include: Preface; Henri Focillon (by F. H. and G. M.-M.); Les débuts de la miniature irlandaise (F. H.); The Lindisfarne Cospels (a review by F. H.); Les manuscrits de St. Gall et de Reichenau (G. M.-M.); An Irish manuscript in the British Museum (F. H.); Remarks on the decoration of three Irish Psalters (F. H .); A century of Irish illumination (F. H. and G. M.-M.); The decoration of Irish manuscripts from the Norman Conquest to the end of the sixteenth century (F. H. and G. M.-M.); Index.Table of ContentsPreface Henri Focillon (by F. H. and G. M.-M.) Les débuts de la miniature irlandaise (F. H.) The Lindisfarne Cospels (a review by F. H.) Les manuscrits de St. Gall et de Reichenau (G. M.-M.) An Irish manuscript in the British Museum (F. H.) Remarks on the decoration of three Irish Psalters (F. H .) A century of Irish illumination (F. H. and G. M.-M.) The decoration of Irish manuscripts from the Norman Conquest to the end of the sixteenth century (F. H. and G. M.-M.) Index
£57.00
Archaeopress Carving Interactions: Rock Art in the Nomadic
Book SynopsisThe Safaitic rock art of the North Arabian basalt desert is a unique and understudied material, one of the few surviving traces of the elusive herding societies that inhabited this region in antiquity. Yet little is known about this rock art and its role in the desert societies. Why did these peoples make carvings in the desert and what was the significance of this cultural practice? What can the rock art tell us about the relationship between the nomads and their desert landscape? This book investigates these questions through a comprehensive study of over 4500 petroglyphs from the Jebel Qurma region of the Black Desert in north-eastern Jordan. It explores the content of the rock art, how it was produced and consumed by its makers and audience, and its relationship with the landscape. This is the first-ever systematic study of the Safaitic petroglyphs from the Black Desert and it is unique for the study of Arabian rock art. It demonstrates the value of a material approach to rock art and the unique insights that rock art can provide into the relationship between nomadic herders and the wild and domestic landscape.Table of ContentsChapter 1 Introduction Chapter 2 The Jebel Qurma landscape Chapter 3 Investigating content, production, and consumption Chapter 4 Desert images Chapter 5 Traces of production and consumption Chapter 6 Places of production and consumption Chapter 7 Images and interactions Bibliography Appendix A Terms and definitions Appendix B Sigla and references for Safaitic inscriptions Appendix C Identification manual for Safaitic rock art Appendix D List of sites with Safaitic carvings
£63.17
