The arts: general topics Books

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Book SynopsisFeaturing rock art reproductions made by the great German ethnologist Leo Frobenius on his visits to South Africa and Zimbabwe in the 1930s, this collection offers a fascinating look into the past. This account depicts these beautiful museum pieces while also considering the issue of copying and its implications of understanding the original.

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Book SynopsisThis book analyzes Web page design from a visual communication perspective. Visual communication is an emerging field which draws on numerous disciplines concerned with the creation, perception, and interpretation of visual messages. The transdisciplinary nature of the field allows us to see the sites examined from new visual vantage points metaphorical, cultural, and rhetorical; cognitive, perceptive, and evaluative. With an introduction and eight essays by visual communication scholars, the book also includes an insightful interview with Hillman Curtis, one of the foremost Web page designers in the world.Trade Review«As we move from a world of text and conversation to one of screens and imagery, our ability to communicate visually will determine not just our success in this new terrain, but our ability to orient, understand, and make meaning. These essays provide the foundations for navigating the visual landscape, as well as the principles through which to create it.» (Douglas Rushkoff, Author,‘ Program or Be Programmed’) «This innovative collection of analyses builds a badly needed bridge between solid visual communication research about legacy media and emerging scholarship about Web-based media.» (Julianne Newton, Professor of Visual Communication in the School of Journalism and Communication at the University of Oregon; Co-author of ‘Visual Communication: Integrating Media, Art, and Science’) «In the twenty-first century, visualization is the next big thing, and it is transforming how we understand everything – from storytelling, to bodies, to science, to information itself. The principles of visual communication too are in a constant state of flux as they try to catch up with these evolving information spaces all around us. This timely book explores the origins and history of the field, crystallizes the current moment in visual design and Web aesthetics, and gives would-be architects sound principles upon which to build their own structures.» (Carolyn Guertin, Assistant Professor of Digital Media and Director of the eCreate Lab at the University of Texas at Arlington; Faculty member at Transart Institute in Berlin)«As we move from a world of text and conversation to one of screens and imagery, our ability to communicate visually will determine not just our success in this new terrain, but our ability to orient, understand, and make meaning. These essays provide the foundations for navigating the visual landscape, as well as the principles through which to create it.» (Douglas Rushkoff, Author,‘ Program or Be Programmed’) «This innovative collection of analyses builds a badly needed bridge between solid visual communication research about legacy media and emerging scholarship about Web-based media.» (Julianne Newton, Professor of Visual Communication in the School of Journalism and Communication at the University of Oregon; Co-author of ‘Visual Communication: Integrating Media, Art, and Science’) «In the twenty-first century, visualization is the next big thing, and it is transforming how we understand everything – from storytelling, to bodies, to science, to information itself. The principles of visual communication too are in a constant state of flux as they try to catch up with these evolving information spaces all around us. This timely book explores the origins and history of the field, crystallizes the current moment in visual design and Web aesthetics, and gives would-be architects sound principles upon which to build their own structures.» (Carolyn Guertin, Assistant Professor of Digital Media and Director of the eCreate Lab at the University of Texas at Arlington; Faculty member at Transart Institute in Berlin)Table of ContentsContents: Sheree Josephson/Susan B. Barnes/Mark Lipton: Introduction – Sally Gill: From Page to Screen and Beyond: The Evolution of Web Metaphors and Their Impact on Communication Design – Susanna Paasonen: Something New, Something Old, Something Borrowed: Web Pages and Visual Culture – Valerie V. Peterson: An Elemental Approach to Web Site Visuals – Craig Baehr: Thinking Visually: Heuristics for Web Site Analysis and Design – Sheree Josephson: Using Eye Tracking to See How Viewers Process Visual Information in Cyberspace – Roxanne O’Connell: Web Site Usability: Tips, Techniques, and Methods – Ulla Bunz/Juliann Cortese: How Do Users Evaluate Web Sites? – Susan B. Barnes: Visual Evaluation of the World Wide Web – Amanda Carlson/Sheree Josephson: Epilogue: An Interview with Hillman Curtis.

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Book SynopsisFor self-made artist and soldier Horace Pippinwho served in the 369th all-black infantry in World War I until he was woundedwar provided a formative experience that defined much of his life and work. His ability to transform combat service into canvases of emotive power, psychological depth, and realism showed not only how he viewed the world but also his mastery as a painter. In Suffering and Sunset, Celeste-Marie Bernier painstakingly traces Pippin's life story of art as a life story of war.Illustrated with more than sixty photographs, including works in various mediumsmany in full colorthis is the first intellectual history and cultural biography of Pippin. Working from newly discovered archives and unpublished materials, Bernier provides an in-depth investigation into the artist's development of an alternative visual and textual lexicon and sheds light on his work in its aesthetic, social, and political contexts. Suffering and Sunset illustrates Pippin's status as a groundbreakinTrade Review"Celeste-Marie Bernier has written a sweeping account of the art, life, and time of Horace Pippin, one that brings unprecedented color to and a clear understanding of an under-represented American artist. The voluminous research in Suffering and Sunset takes the reader beyond the realm of art to establish a broad historical base that includes issues of race and identity in American culture. The book gives an unbiased biographical account of the artist’s everyday activities, much of which is drawn from Pippin’s war diary and his day-to-day transactions with his art dealer. Salient among Bernier’s observations about Pippin’s art and his long journey as a World War I soldier in Europe are the extraordinary experiences he endured in the pursuit of his artistry, some of which were purely racist in nature. Relying heavily on Pippin’s own personal account of his life as an artist, Bernier paints an indelible word picture of the pain, struggle, and triumph of one of the most important American artists of the twentieth century." —David C. Driskell, Distinguished University Professor of Art, Emeritus, University of Maryland, College Park“Bernier painstakingly examines Pippin’s manuscripts, paintings, and sketches to show how his meager written legacy casts revealing light on his other works…. The author analyzes Pippin’s work in exhaustive…detail, comparing the scant information of his wartime experience with the stark monotones in his paintings…. [The] in-depth analyses [are] filled with learned conjecture.” —Kirkus Reviews

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Book SynopsisHow we relate to orphaned space matters. Voids, marginalia, empty spacesfrom abandoned gas stations to polluted waterwaysare created and maintained by politics, and often go unquestioned. In Loving Orphaned Space, Mrill Ingram provides a call to action to claim and to cherish these neglected spaces and make them a source of inspiration through art and/or remuneration.Ingram advocates not only for urban greening and green planning, but also for radical caring. These efforts create awareness and understanding of ecological connectivity and environmental justice issuesfrom the expropriation of land from tribal nations, to how race and class issues contribute to creating orphaned space. Case studies feature artists, scientists, and community collaborations in Chicago, New York, and Fargo, ND, where grounded and practical work of a fundamentally feminist nature challenges us to build networks of connection and care.The work of environmental artists who venture into and transform these discoTrade Review“In a time when people need places to gather and be outside in nature, Loving Orphaned Space is an essential guide for how to activate forgotten spaces in our landscape. It strikes the perfect balance of being inspiring and practical. With lively examples and impressive research, Ingram took me by the hand and walked me through the nuances of working with orphaned spaces. If only I had this book when I started out as an eco-artist!”—Stacy Levy, artist“In this remarkable book, Mrill Ingram challenges us to think of vacant land not as abandoned but as orphaned. She takes us on tours where we meet communities and artists who have adopted orphaned land and are using community art to care for these places. Ingram’s stories have changed the way I see and think about the land around me. I now see orphaned land wherever I go, and because of this book, I know how—and why—to love and care for these places.”—Samuel Dennis Jr., Professor of Planning and Landscape Architecture and Director of the Environmental Design Lab at the University of Wisconsin–Madison"As a result of the book’s cross-categorical structure, it has a broad range of appeal, connecting ecological restoration to activism, social justice, art and environmentalism, and public engagement. It also presents a model for collaboration: bringing together artists and scientists to work with community groups. I can envision an urban planning studio project focusing on caring for orphaned space as a rich and meaningful life experience for students."—Journal of Urban Affairs"Loving Orphaned Space offers important insights into nature-society relations regarding dwelling, home and belonging, and a conceptual framework about processes of disconnection that also materialize in housing.... [T]he book is recommended to urban scholars, artists, activists, or anyone with an interest in ecological restoration, maintenance and repair studies, feminist ethics, or creative and collaborative knowledge production."—Housing Studies

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Book SynopsisHow we relate to orphaned space matters. Voids, marginalia, empty spacesfrom abandoned gas stations to polluted waterwaysare created and maintained by politics, and often go unquestioned. In Loving Orphaned Space, Mrill Ingram provides a call to action to claim and to cherish these neglected spaces and make them a source of inspiration through art and/or remuneration.Ingram advocates not only for urban greening and green planning, but also for radical caring. These efforts create awareness and understanding of ecological connectivity and environmental justice issuesfrom the expropriation of land from tribal nations, to how race and class issues contribute to creating orphaned space. Case studies feature artists, scientists, and community collaborations in Chicago, New York, and Fargo, ND, where grounded and practical work of a fundamentally feminist nature challenges us to build networks of connection and care.The work of environmental artists who venture into and transform these discoTrade Review“In a time when people need places to gather and be outside in nature, Loving Orphaned Space is an essential guide for how to activate forgotten spaces in our landscape. It strikes the perfect balance of being inspiring and practical. With lively examples and impressive research, Ingram took me by the hand and walked me through the nuances of working with orphaned spaces. If only I had this book when I started out as an eco-artist!”—Stacy Levy, artist“In this remarkable book, Mrill Ingram challenges us to think of vacant land not as abandoned but as orphaned. She takes us on tours where we meet communities and artists who have adopted orphaned land and are using community art to care for these places. Ingram’s stories have changed the way I see and think about the land around me. I now see orphaned land wherever I go, and because of this book, I know how—and why—to love and care for these places.”—Samuel Dennis Jr., Professor of Planning and Landscape Architecture and Director of the Environmental Design Lab at the University of Wisconsin–Madison"As a result of the book’s cross-categorical structure, it has a broad range of appeal, connecting ecological restoration to activism, social justice, art and environmentalism, and public engagement. It also presents a model for collaboration: bringing together artists and scientists to work with community groups. I can envision an urban planning studio project focusing on caring for orphaned space as a rich and meaningful life experience for students."—Journal of Urban Affairs"Loving Orphaned Space offers important insights into nature-society relations regarding dwelling, home and belonging, and a conceptual framework about processes of disconnection that also materialize in housing.... [T]he book is recommended to urban scholars, artists, activists, or anyone with an interest in ecological restoration, maintenance and repair studies, feminist ethics, or creative and collaborative knowledge production."—Housing Studies

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Book SynopsisFrom one of America's most accomplished artists and a pioneer of figurative realism, this unprecedented collection celebrates a body of work spanning six prolific decades.

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Book SynopsisA successful art career at your fingertips!Do you want to establish or expand a career for yourself in fine art, illustration, or design? Artist's Market 2018 is the must-have reference guide you need.

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Trade Review'The book is a profound work of research in which Pigrum systematically leads the reader through the covert and overt stages of the creative process, looking deep into its philosophical, psychological, cultural, and circumstantial aspects. [...] Teaching Creativity is a scholarly, reflective book that is rich, intense, condensed, and at the same time seems to be written with a remarkably free hand and spirit.' - Studies in Gestalt Therapy, 2009Table of ContentsIntroduction; 1. The Sign Modes; 2. The Operational Modes; 3. The Modes of Place; 4. But Can We Teach It.

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Book SynopsisSalomé Voegelin is Professor of Sound at the London College of Communication, UAL. An artist and writer, she is also the author of Sonic Possible Worlds: Hearing the Continuum of Sound (Bloomsbury, 2014) and The Political Possibility of Sound: Fragments of Listening (Bloomsbury, 2018).Trade ReviewThe examples under discussion range from by-now canonical soundworks...to recent works by a clutch of lesser known artists...Voegelin's critical style is so singular that she avoids cliche in the treatment of all these artists, prising them out of a conversation about music and into a challenging treatise on the art of listening. * The Wire *The book's arguments are complex and developed with rigour, making a perceptive contribution to an emerging debate. In its favour, the work consistently forces the listener off-track to think critically about just what it is that makes listening so powerful and so elusive. * Will Montgomery, The Wire, August 2010 *Reviewed in the London Review of Books 23 September (UK) * London Review of Books *Listening to Noise and Silence will be of interest to a great many people following breakthrough trends within art and philosophy. * Art Monthly *Salome Voegelin has written an excellent book about sound art, escaping cliché and easy categorizations. She establishes a proper aesthetics and philosophy of sound, with a compelling phenomenological account of noise and silence. * Neural *In Voegelin's evocative image, noise holds the listener hostage to his or her own listening... Listening to Noise and Silence contains many moments that sound artists and others will find insightful. * Avant Music News *There cannot be a concluding remark to encompass Listening to Noise and Silence. You might not even completely ‘understand’ it if you refuse to ‘feel’ it and ‘know’ it or if you aim at making ends meet evenly. It will question you, it will confuse you, it will exhilarate you. It will prompt you to reinvent it over and over: in listening, in writing. * Journal of Sonic Studies *Table of ContentsAcknowledgements; Introduction; Part one Listening; Part two Noise; Part three Silence; Part four Time and Space; Part five Now; Bibliography; List of Works; Notes; Index.

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Book SynopsisWhen compared to terrorism, drugs and violent crimes that occupy the news today art is not considered as important. But, as it turns out, art and cultural crime is currently ranked as the third-largest criminal enterprise in the world. What exactly is art crime? Why does art matter? And what is law enforcement doing to prevent this crime today? Due to the misleading portrayal of art crime in the entertainment industry people have the flawed belief that art and cultural crime doesn't damage anyone in a direct way. And the truth of the matter is that this crime results in the loss of billions of dollars annually. Art and cultural crime is not simply focused on museums or private displays, the loss of art directly affects our cultural identity and history. Napoleon moved from one region to the next collecting art and sending as much as possible back to France. The Nazis looted cultural property from every territory they occupied. And there have been various cases of ISIL and ISIS destroyiTrade ReviewThough it first brings to mind cinematic heists and Hollywood glamour, art crime is in fact a serious international problem, involving organized crime and even terrorism. Books like this one go a long way to introducing the real facts about this phenomenon, and delve deep into the dark side of the art world. -- Noah Charney, Phd, professor specializing in art crime and founder of ARCA (Association for Research into Crimes against Art)Stealing History: A Deeper Understanding to Art and Cultural Crimes is an excellent read. This book is concise and yet rich with material covering an under-addressed area of criminal justice studies—crimes relating to art and culture. Consequently, the book fills an important void in the literature. The book is well-written and well-sourced and would make an excellent primary or supplemental text in any number of criminology and law enforcement courses. -- Jeff Bumgarner, Department Head and Professor of Criminal Justice and Political Science, North Dakota State UniversityTable of ContentsIntroduction 1: Medias Portrayal of Art Crime 2: Why Does Art Matter? 3: What is Art Crime? 4: History of Art, and Art Related Crimes 5: Cultural Differences Between United States and Europe, and How it Affects Art Crime 6: Looting of Art and Archaeological Sites 7: Economic Impact of Art and Art Related Crimes 8: Museums: Our Identity and Culture 9: Police Demands, Scrutiny, Education, And The Future 10: Ways in Which Law Enforcement Can Focus on Art Crimes 11: Security & Policing in Art Crime Throughout the World 12: Growth of Art Crime, and Art Crime Prevention Bibliography

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Book SynopsisSuburbs can be incubators of creativity: innovative and complex, but all too often underappreciated. In Creative Margins, Alison L. Bain documents the unique role of Canadian artists and cultural workers in suburban place-formation and dismantles mischaracterizations of suburbs as cultural wastelands.Creative Margins interweaves stories of the challenges and opportunities presented by the creation of culture in suburbs, focusing on Etobicoke and Mississauga outside Toronto, and Surrey and North Vancouver outside Vancouver. The book investigates whether the creative process unfolds differently for suburban and urban cultural workers, as well as how this process is affected by the presence or absence of cultural infrastructure and planning initiatives.Bain shows how suburban culture can enhance a city-region’s vitality and sustainability. This book firmly debunks the myth of culture as a solely urban phenomenon and demonstrates the Trade Review'This logically organized book, written in accessible style, is rich in fact and anecdote, making it engaging reading for varied audiences.' -- Ginny Ratsoy BC Studies spring 2017 # 193Table of ContentsList of illustrations Acknowledgements Chapter 1 Introduction: creating from the margins Chapter 2 The geography of somewhere: the suburbs Chapter 3 (Un)usual suburbanites? Explorations and interventions at the cultural frontier Chapter 4 Why (not) here? Valuing the intermediate landscape Chapter 5 Suburban cultural infrastructure planning formulas: from district to multiplex Chapter 6 The creative art of place complexity in suburbia Chapter 7 Networked geographies of suburban cultural workers Chapter 8 Conclusion: culture from the outside in Appendix 1 Notes References

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Book SynopsisA Concise Companion to Realism offers an accessible introduction to realism as it has evolved since the 19th century. Though focused on literature and literary theory, the significance of technology and the visual arts is also addressed.Table of ContentsList of Illustrations ix Notes on Contributors x Foreword by Rachel Bowlby xiv Acknowledgments xxii Introduction: Reclaiming Realism 1 Matthew Beaumont 1 Literary Realism Reconsidered: "The world in its length and breadth" 13 George Levine 2 Realist Synthesis in the Nineteenth Century Novel: "The unity which lies in the selection of our keenest consciousness" 23 Simon Dentith 3 Space, Mobility, and the Novel: "The spirit of place is a great reality" 50 Josephine McDonagh 4 Fictions of the Real: "All truth with malice in it" 68 Terry Eagleton 5 Naturalism: "Dirt and horror pure and simple" 86 Sally Ledger 6 Realism before and after Photography: "The fantastical form of a relation among things" 102 Nancy Armstrong 7 The Realist Aesthetic in Painting: "Serious and committed, ironic and brutal, sincere and full of poetry" 121 Andrew Hemingway 8 Interrupted Dialogues of Realism and Modernism: "The fact of new forms of life, already born and active" 143 Esther Leslie 9 Socialist Realism: "To depict reality in its revolutionary development" 160 Brandon Taylor 10 Realism, Modernism, and Photography: "At last, at last the mask has been torn away" 176 John Roberts 11 Cinematic Realism: "A recreation of the world in its own image" 195 Laura Marcus 12 The Current of Critical Irrealism: "A moonlit enchanted night" 211 Michael Lowy 13 Psychoanalysis and the Lacanian Real: "Strange shapes of the unwrapped primal world" 225 Slavoj Zizek 14 Feminist Theory and the Return of the Real: "What we really want most out of realism…" 242 Helen Small 15 Realism and Anti-Realism in Contemporary Philosophy: "What's truth got to do with it?" 259 Christopher Norris Afterword: A note on literary realism 279 Fredric Jameson Index 290

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Book SynopsisA Companion to Renaissance and Baroque Art provides a diverse, fresh collection of accessible, comprehensive essays addressing key issues for European art produced between 1300 and 1700, a period that might be termed the beginning of modern history.Trade Review“The comprehensive collection of essays addresses major aspects of European visual arts produced in 1300-1700. This book offers developments in the sphere of theory and criticism with the changing tastes, attitudes, and goals among patrons and artists.” (NeoPopRealism Journal, 1 August 2013) "Provides a fuller context for students to understand the confluence of ideas related to art production and allows students an opportunity to examine several examples of methodological principles behind art historical research ... Summing Up: Recommended. Lower-level undergraduates through graduate students." (Choice, 1 September 2013)Table of ContentsContributors viii Preface xv Acknowledgments xvii Introduction 1 Babette Bohn and James M. Saslow Part 1 The Context: Social-Historical Factors in Artistic Production 21 1 A Taxonomy of Art Patronage in Renaissance Italy 23 Sheryl E. Reiss 2 Judaism and the Arts in Early Modern Europe: Jewish and Christian Encounters 44 Shelley Perlove 3 Religion, Politics, and Art in Late Medieval and Renaissance Italy 65 Julia I. Miller 4 Europe’s Global Vision 85 Larry Silver 5 Italian Art and the North: Exchanges, Critical Reception, and Identity, 1400–1700 106 Amy Golahny 6 The Desiring Eye: Gender, Sexuality, and the Visual Arts 127 James M. Saslow Part 2 The Artist: Creative Process and Social Status 149 7 The Artist as Genius 151 William E. Wallace 8 Drawing in Renaissance Italy 168 Mary Vaccaro 9 Self-Portraiture 1400–1700 189 H. Perry Chapman 10 Recasting the Role of the Italian Sculptor: Sculptors, Patrons, Materials, and Principles for the New Early Modern Age 210 Elinor M. Richter 11 From Oxymoron to Virile Paintbrush: Women Artists in Early Modern Europe 229 Babette Bohn Part 3 The Object: Art as Material Culture 251 12 The Birth of Mass Media: Printmaking in Early Modern Europe 253 Alison G. Stewart 13 The Material Culture of Family Life in Italy and Beyond 275 Jacqueline Marie Musacchio 14 Tapestry: Luxurious Art, Collaborative Industry 295 Koenraad Brosens 15 The New Sciences and the Visual Arts 316 Eileen Reeves 16 Seeing Through Renaissance and Baroque Paintings: Case Studies 336 Claire Barry Part 4 The Message: Subjects and Meanings 359 17 Iconography in Renaissance and Baroque Art 361 Mark Zucker 18 Renaissance Landscapes: Discovering the World and Human Nature 381 Lawrence O. Goedde 19 The Nude Figure in Renaissance Art 402 Thomas Martin 20 Genre Painting in Seventeenth-Century Europe 422 Wayne Franits 21 The Meaning of the European Painted Portrait, 1400–1650 442 Joanna Woods-Marsden 22 All the World’s a Stage: The Theater Conceit in Early Modern Italy 463 Inge Jackson Reist 23 Intensity and Orthodoxy in Iberian and Hispanic Art of the Tridentine Era, 1550–1700 484 Marcus B. Burke Part 5 The Viewer, the Critic, and the Historian: Reception and Interpretation as Cultural Discourse 505 24 Historians of Northern European Art: From Johann Neudörfer and Karel van Mander to the Rembrandt Research Project 507 Jeffrey Chipps Smith 25 Artistic Biography in Italy: Vasari to Malvasia 525 David Cast 26 With a Critical Eye: Painting and Theory in France, 1600–43 The Case of Simon Vouet and Nicolas Poussin 541 Joseph C. Forte 27 The Italian Piazza: From Gothic Footnote to Baroque Theater 561 Niall Atkinson 28 Building in Theory and Practice: Writing about Architecture in the Renaissance 582 Carolyn Yerkes Index 602

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Book SynopsisTheatricality in Early Modern Art and Architecture offers the first systematic investigation of exchanges between the arts, architecture and the theatre. The authors present many new instances of the interaction between the arts, providing a theoretical and historiographical context for these interactions.Table of ContentsNotes on Contributors. 1. The Visual Arts and the Theatre in Early Modern Europe (Caroline Van Eck and Stijn Bussels). 2. 8216;Theatricality’ in Tapestries and Mystery Plays and its Afterlife in Painting (Laura Weigert). 3. Making the Most of Theatre and Painting: The Power of Tableaux Vivants in Joyous Entries from the Southern Netherlands (1458–1635) (Stijn Bussels). 4. Parrhasios and the Stage Curtain: Theatre, Metapainting and the Idea of Representation in the Seventeenth Century (Emmanuelle Hénin). 5. In Front of the Work of Art: The Question of Pictorial Theatricality in Italian Art, 1400–1700 (Marc Bayard). 6. Staging Bianca Capello: Painting and Theatricality in Sixteenth-Century Venice (Elsje van Kessel). 7. The Performing Venue: The Visual Play of Italian Courtly Theatres in the Sixteenth Century (Lex Hermans). 8. Dancing Statues and the Myth of Venice: Ancient Sculpture on the Opera Stage (Wendy Heller). 9. How to Become a Picture: Theatricality as Strategy in Seventeenth-Century Dutch Portraits (Hanneke Grootenboer). 10. Staging Ruins: Paestum and Theatricality (Sigrid de Jong). 11. Oprar sempre come in teatro: The Rome of Alexander VII as the Theatre of Papal Self-Representation (Maarten Delbeke). 12. Ut pictura hortus/ut theatrum hortus: Theatricality and French Picturesque Garden Theory (1771–95) (Bram Van Oostveldt). 13. ‘What do I See?’ The Order of Looking in Lessing's Emilia Galotti (Kati Röttger). Index.

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Book SynopsisFor the first time, a set of distinguished American and British art historians consider the complex history of Anglo-American relations from the colonial period through to the 1960s Features a transatlantic group of scholars considering the impact of this relationship on the history of art in both nations Offers a set of new approaches, and much new material relating to the history of British and American art Situates the history of British and American art in the context of recent scholarship, offering a new reading of this key artistic interaction Trade Review“Summing Up: Recommended. Lower-division undergraduates through researchers/faculty.” (Choice, 1 May 2013)Table of Contents6 Notes on Contributors 8 Chapter 1 Anglo-American: Artistic Exchange between Britain and the USA David Peters Corbett and Sarah Monks 30 Chapter 2 The Wolfe Man: Benjamin West’s Anglo-American Accent Sarah Monks 52 Chapter 3 Failure to Deliver: Watson and the Shark and the Boston Tea Party Jennifer L. Roberts 74 Chapter 4 Picturesque Nostalgia as Ironic Dislocation: Joshua Shaw’s Disruptive Visions of the Old New World Kenneth Haltman 92 Chapter 5 Details of Absence: Frederic Church and the Landscape of Post-Emancipation Jamaica Jennifer Raab 110 Chapter 6 Troubled Abstraction: Whiteness in Charles Dana Gibson and George Du Maurier Jennifer A. Greenhill 132 Chapter 7 ‘In seen and unseen places’: The Henry G. Marquand House and Collections in England and America Melody Barnett Deusner 152 Chapter 8 Camden Town and Ashcan: Difference, Similarity and the ‘Anglo-American’ in the Work of Walter Sickert and John Sloan David Peters Corbett 174 Chapter 9 Losing Sight: War, Authority, and Blindness in British and American Visual Cultures, 1914-22 David M. Lubin 196 Chapter 10 The Madness of Art: Georgia O’Keeffe and Virginia Woolf Alexander Nemerov 216 Chapter 11 ‘Strange Encounters’: Claes Oldenburg’s ‘Proposed Colossal Monuments’ for New York and London Jo Applin 236 Chapter 12 David Hockney: A Taste for Los Angeles Cécile Whiting 253 Index

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Book SynopsisWhat drives a musician to write extraordinary songs? How do writers create their worlds? How does an actor achieve greatness? For over thirty years of The South Bank Show, Melvyn Bragg has interviewed many of the greatest cultural icons of our age. These interviews offer revelatory insights into the lives and work of writers, actors, artists and musicians. In The South Bank Show: Final Cut he has revisited some of these artists and used the interviews as the basis for fuller portraits. The range of artists is remarkable and this book is true to The South Bank Show''s ethos of seeking out the highest quality whatever the art form. Melvyn Bragg''s unique perspective makes this book indispensable for anyone interested in the work and lives of some of the best artists of our time.Trade ReviewI think we owe more to Melvyn Bragg than to any, other single person when it comes to promoting arts and culture, and increasing our pleasure in them, it's always been pleasurable. * P D James *The programme remains without rival and a long time ago it rightly became an important contribution to the vibrancy of the country's culture. * HRH Prince of Wales *No television show in the last half century has done more for the arts than The South Bank Show. * Andrew Lloyd Webber *The beauty of The South Bank Show in its heyday was its eclectic mix of subjects: from the high priests and priestesses of modern art, the Francis Bacons and Germaine Greers, to popular entertainers such as Billy Connolly, Dolly Parton and Dusty Springfield. * Telegraph *These 25 vignettes offer intriguing comments on the film-making process and present valuable new insights into their subjects. Most have the shape and phrasing of short stories and his meetings with the gravest maestros read like mini-epics. Bragg's book is a thesaurus of delights... * Spectator *A lucid, supple and valuable analyst of many artistic genres and their varying different potential. Together his essays offer some intriguing generalisations about the making and methods of artists. * Economist *

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Book SynopsisPreface.- Acknowledgements.- List of Figures.- List of Tables.- Introduction.- CG Basics.- Observation Skills.- Measurements.- Modeling 1: Polygons.- Resolution.- Optimization.- Validation.- Texture Coordinates (UVs).- Shaders and Texturing.- Rendering.- Animation.- Modeling 2: NURBS.- Modeling 3: Advanced.- Industry Standards.- Appendix.- Glossary.- Index.Trade ReviewFrom the reviews of the second edition:“This book presents basic CG topics in a novel, skill-related way that better reflects real-world, entertainment-related industry expectations and standards. … this attractive full-color book is an excellent resource for study topics and curricula. I recommend it to professionals in the entertainment industry … and to any other readers interested in state-of-the-art innovations and improvements and new modeling technologies as applied to artistic design.” (Athanasios D. Styliadis, Computing Reviews, November, 2013)Table of ContentsPreface.- Acknowledgements.- List of Figures.- List of Tables.- Introduction.- CG Basics.- Observation Skills.- Measurements.- Modeling 1: Polygons.- Resolution.- Optimization.- Validation.- Texture Coordinates (UVs).- Shaders and Texturing.- Rendering.- Animation.- Modeling 2: NURBS.- Modeling 3: Advanced.- Industry Standards.- Appendix.- Glossary.- Index.

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Book SynopsisWhat do the best youth arts programs look like, and how can young people develop through them? This groundbreaking book highlights the conditions needed for youth arts work to be successful, using six international, best practice case studies.Table of ContentsPart I 1: Introduction 2: Current and future trends in Youth Arts Programs 3: Knowing Young People Part II 4: Researching the Arts Award in Youth Work Settings 5: Youth Arts Practices 6: Youth Arts Pedagogies Part III 7: Accommodating Common Culture 8: Celebrating Cultural Democracy 9: Cultivating Cultural Citizenship 10: Enabling Youth Arts Programs to Flourish

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