The arts: general topics Books

Book SynopsisA history of the anthroposophical movement and the arts focusing on the life of Marie Steiner.

Read more less

Book SynopsisJill Enfield's Guide to Photographic Alternative Processes, 2nd edition, is packed with stunning imagery, how-to recipes, techniques and historical information for emulating the ethereal, dream-like feel of alternative processing.This fully updated edition covers alternative processing from its historical roots through to digital manipulation and contemporary techniques and how to combine them. It features several new techniques alongside new approaches to older techniques, including hand painting on silver gelatin prints, ceramics and photography, cyanotypes, wet plate collodion, digital prints and many more. Enfield showcases the different styles and methods of contemporary artists together with suggestions for vegan and vegetarian friendly alternative processing, transforming 2D images to 3D installations, and how to apply darkroom techniques to digital captures.Professionals, students and hobbyists will discover how to bring new life and imagination to theirTrade Review"Jill Enfield has a way of writing about alternative processes that meets the needs of both seasoned printers and photographers who are new to these printing methods. Her book has been a constant guide for my own alternative process research and an important resource for my students." Chris Nail, Photographic Educator "Jill Enfield continues to excel as an author specializing in Alternative Photographic Processes. This guide serves fabulously as an educator text and practitioners workbook. Ms. Enfield covers historical and contemporary techniques assisting photographic artists, a must read for all levels of expertise."Glenn Grafelman, Fine Artist and Educator"This book is for beginners. This book is for experts. This book is for me. Even though, at this time, I haven’t taken the time to work with alternative processes, since the 1970s, after taking a look at this new release (and update) from Jill Enfield, I am ready to borrow a friend’s 5x7, and go out in the field and try my hand (again!)."Tim Anderson, Publisher Shadow & Light MagazineTable of ContentsDedicationAcknowledgementsIntroduction: History of Photography – A brief timelineChapter 1 – SafetyChapter 2 – MaterialsChapter 3 – THE DIGITAL NEGATIVE PROCESS: AND OTHER APPROACHES TO MAKING AND PRINTING NEGATIVESChapter 4 – FUGITIVE (Impermanent) AND NOT-SO-FUGITIVE PRINTINGANTHOTYPES, PHOTOSYNTHESIS, AND LUMEN PRINTSChapter 5 - CYANOTYPES: OLD AND NEW APPROACHES: PLUS THE CUPROTYPE (Copper) PROCESSChapter 6 – SALTED AND ALBUMEN PRINTSChapter 7 – VAN DYKE BROWN, KALLITYPE AND ARGYROTYPE PRINTSChapter 8 – TRADITIONAL PLATINUM AND PALLADIUM PRINTS, THE MALDE – WARE TECHNIQUE and THE ZIATYPEChapter 9 – WET PLATE COLLODION Chapter 10 – LIQUID EMULSION PRINTS and DRY PLATE TINTYPESChapter 11 – GUM PRINTINGChapter 12 - TRANSFERS and DECALS Chapter 13 - HAND PAINTING PHOTOGRAPHS: SILVER PRINTS, NON-SILVER AND INKJET PRINTS Chapter 14 - MULTIPLE PRINTING AND OTHER TECHNIQUESChapter 15 - CERAMICS AND PHOTOGRAPHYSources, websites and PodcastsBibliographyConversion TableList of ArtistsIndex

Read more less

Book SynopsisIf It's Purple, Someone's Gonna Die is a must-read book for all film students, film professionals, and others interested in filmmaking. This enlightening book guides filmmakers toward making the right color selections for their films, and helps movie buffs understand why they feel the way they do while watching movies that incorporate certain colors. Guided by her twenty-five years of research on the effects of color on behavior, Bellantoni has grouped more than 60 films under the spheres of influence of six major colors, each of which triggers very specific emotional states. For example, the author explains that films with a dominant red influence have themes and characters that are powerful, lusty, defiant, anxious, angry, or romantic and discusses specific films as examples. She explores each film, describing how, why, and where a color influences emotions, both in the characters on screen and in the audience. Each color section begins with an illustrated Home Page that includes examples, anecdotes, and tips for using or avoiding that particular color.Conversations with the author's colleagues - including award-winning production designers Henry Bumstead (Unforgiven) and Wynn Thomas (Malcolm X) and renowned cinematographers Roger Deakins (The Shawshank Redemption) and Edward Lachman (Far From Heaven) - reveal how color is often used to communicate what is not said. Bellantoni uses her research and experience to demonstrate how powerful color can be and to increase readers awareness of the colors around us and how they make us feel, act, and react. Learn how your choice of color can influence an audience's moods, attitudes, reactions, and interpretations of your movie's plot. See your favorite films in a new light as the author points out important uses of color, both instinctive and intentional. Learn how to make good color choices, in your film and in your world. Trade Review"Patti Bellantoni's If Its Purple, Someones Gonna Die has given us a highly entertaining exploration of the world of color and its impact on our emotions. Told through a careful analysis of motion pictures that have used color to enhance or define their characters or dramatic needs, we are given a lively and insightful view of our reactions to the film experience.Leading us gently but firmly through places we may have taken for granted, we find revelations that can be of real help to readers who use color to shape emotional responses to concepts, as well as physical environments. We can never again take theworld of color for granted." --Robert Boyle, four-time Oscar-nominated Production Designer (North by Northwest, The Birds, The Thomas Crown Affair, Fiddler on the Roof)"A wonderful idea and very impressive! Patti's book shows the importance of color in developing both character and story." --Henry Bumstead, two-time Oscar-winning Production Designer (To Kill a Mockingbird, The Sting, Unforgiven, Mystic River)"We see color--Patti Bellantoni feels color. She is passionate about how we (the audience) are affected by the use of color as an emotion in film. This book pulls me back into my favorite films and helps me look at them in a new way. The book is a first of its kind and a great asset for our students on the impact of cinematography and production design." --Judy Irola, ASC, Head of Cinematography,USC School of Cinema-Television"Bellantoni's evidence is confident and her examples are authoritative. Like Robert McKee's Story Seminars, hers is a breakthrough concept." --Sam L. Grogg, Ph.D, Dean, AFI Conservatory"There comes a point, as Bellantoni spins example after example, where it all suddenly clicks. The use of color in motion pictures is not just a happy coincidence, but a conscious artistic choice that wafts with concrete meaning through all of the film's language. Unconscious and primitive in many respects, conscious and sophisticated in many more, the use and choice of color in motion pictures depends on the filmmakers instinct and intellect, the pillars of all great art. No one can ever look at moving pictures the same way after steeping themselves in this excellent book of discovery."--Sam L. Grogg, Ph.D, Dean, AFI Conservatory"Color remains one of the filmmaker's greatest assets and opportunities. With the new arsenal of digital tools available, the range of options for color has grown dramatically in the last three years. For filmmakers, Patti Bellantoni's new book is a great resource for what is now possible."--Robert Hoffman, Vice President, Marketing, Technicolor Entertainment Services"Patti Bellantoni has opened our eyes to the power of color in our lives. Her book is an invaluable resource not only for film professionals but also for artists, writers, designers, psychologists, educators, healers, and all who seek a deeper understanding of visual experience." --Judith Searle, Author, The Literary Enneagram: Characters from the Inside Out"A fascinating exploration of how color affects our emotional perception of the world. Although Patti primarily discusses the impact of color in film, her book is an indispensable resource for all visual artists." --Ralph Funicello,Tony Award nominated Set Designer,Don Powell Chair in Set Design, San Diego State University"Patti does a wonderful job of dissecting color and its presence in film. She makes us aware of the visual path in our brain and how a film touches us. This is a critical concept as we contemplate the digital medium in film making!" --Beverly Wood Holt, Exec. VP Technical Services & Client Services, Deluxe Laboratories."This is a crossover book with a broad appeal and a longer life. It's not only about movies. It's about how people feel when they watch movies." Barnes & Noble manager, Los Angeles"In this book we are really watching movies through designer's eyes and what a refreshing examination it makes...Anyone with creative input into filmmaking will find this book a very useful guide in creating moods and emotions for an audience...This is the movie equivalent of having colour and its effect explained by Monet, it is that fresh and original...Anyone who works on a film set in any capacity will have their money's worth out of this movie colour guide for years to come." - www.ukfilmfinance.com "Patti Bellantoni's If It's Purple, Someones Gonna Die has given us a highly entertaining exploration of the world of color and its impact on our emotions. Told through a careful analysis of motion pictures that have used color to enhance or define their characters or dramatic needs, we are given a lively and insightful view of our reactions to the film experience. Leading us gently but firmly through places we may have taken for granted, we find revelations that can be of real help to readers who use color to shape emotional responses to concepts, as well as physical environments. We can never again take the world of color for granted." - Robert Boyle, four-time Oscar-nominated Production Designer (North by Northwest, The Birds, The Thomas Crown Affair, Fiddler on the Roof)"A wonderful idea and very impressive! Patti's book shows the importance of color in developing both character and story." - Henry Bumstead, two-time Oscar-winning Production Designer (To Kill a Mockingbird, The Sting, Unforgiven, Mystic River)"We see color - Patti Bellantoni feels color. She is passionate about how we (the audience) are affected by the use of color as an emotion in film. This book pulls me back into my favorite films and helps me look at them in a new way. The book is a first of its kind and a great asset for our students on the impact of cinematography and production design." - Judy Irola, ASC, Head of Cinematography, USC School of Cinema-Television"Bellantoni's evidence is confident and her examples are authoritative. Like Robert McKee's Story Seminars, hers is a breakthrough concept." - Sam L. Grogg, Ph.D, Dean, AFI Conservatory"There comes a point, as Bellantoni spins example after example, where it all suddenly clicks. The use of color in motion pictures is not just a happy coincidence, but a conscious artistic choice that wafts with concrete meaning through all of the film's language. Unconscious and primitive in many respects, conscious and sophisticated in many more, the use and choice of color in motion pictures depends on the filmmakers instinct and intellect, the pillars of all great art. No one can ever look at moving pictures the same way after steeping themselves in this excellent book of discovery."- Sam L. Grogg, Ph.D, Dean, AFI Conservatory"Color remains one of the filmmaker's greatest assets and opportunities. With the new arsenal of digital tools available, the range of options for color has grown dramatically in the last three years. For filmmakers, Patti Bellantoni's new book is a great resource for what is now possible."- Robert Hoffman, Vice President, Marketing, Technicolor Entertainment Services"Patti Bellantoni has opened our eyes to the power of color in our lives. Her book is an invaluable resource not only for film professionals but also for artists, writers, designers, psychologists, educators, healers, and all who seek a deeper understanding of visual experience." - Judith Searle, Author, The Literary Enneagram: Characters from the Inside Out"A fascinating exploration of how color affects our emotional perception of the world. Although Patti primarily discusses the impact of color in film, her book is an indispensable resource for all visual artists." - Ralph Funicello, Tony Award-nominated Set Designer, Don Powell Chair in Set Design, San Diego State University"Patti does a wonderful job of dissecting color and its presence in film. She makes us aware of the visual path in our brain and how a film touches us. This is a critical concept as we contemplate the digital medium in film making!" - Beverly Wood Holt, Exec. VP of Technical Services & Client Services, Deluxe Laboratories."This is a crossover book with a broad appeal and a longer life. It's not only about movies. It's about how people feel when they watch movies." - Barnes & Noble store manager, Los AngelesTable of ContentsPart I: RED: The Caffeinated ColorChapter 1: Powerful, Lusty, and DefiantChapter 2: Anxious, Angry, and RomanticPart II: YELLOW: The Contrary ColorChapter 3: Exuberant, Obsessive, and DaringChapter 4: Innocent, Cautionary, and IdyllicPart III: BLUE: The Detached ColorChapter 5: Powerless, Cerebral, and WarmChapter 6: Melancholy, Cold, and PassivePart IV: ORANGE: The Sweet and Sour ColorChapter 7: Warm, Naive, and RomanticChapter 8: Exotic, Toxic, and Natural EarthPart V: GREEN: The Split Personality ColorChapter 9: Healthy, Ambivalent, and Vital10: Poisonous, Ominous, and CorruptPart VI: PURPLE: The Beyond-the-Body ColorChapter 11: Asexual, Illusory, and FantasticChapter 12: Mystical, Ominous, and Ethereal

Read more less

Book SynopsisAn impressive list of authors examine how abjection can be discussed in relation to a host of different subjects, including marginality and gender.Trade Review'The exploration of the implications of abjection: being abject, positioning as abject, for the visual and performing arts defines for this collection a double relevance. It adds to the study of abjection; it adds also to the analysis of a range of artistic practices.... most of the chapters will themselves become significant in their areas while the whole performs an enlivening re-engagement and expansion of abjection as a term in contemporary cultural analysis.'Griselda Pollock -- .Table of ContentsIntroduction: Approaching abjection - Rina Arya and Nicholas Chare1. Art, abjection and bare life - John Lechte2. A lesbian, feminist and Canadian perspective: queering abjection - Jayne Wark3. Manet's Abject Surrealism - Nicholas Chare4. Juan Davila's abject after-image - Rex Butler and A. D. S. Donaldson5. Animals, art, abjection - Barbara Creed and Jeanette Hoorn 6. The fragmented body as an index of abjection - Rina Arya7. Skin, body, self: the question of the abject in the work of Francis Bacon - Ernst van Alphen 8. Abjection, melancholia and ambiguity in the works of Catherine Bell - Estelle Barrett9. Corpus Delicti - Kerstin Mey10. Art is on the way: from the abject opening of underworld to the shitty ending of oblivion - Calvin Thomas11. Base materials: performing the abject object - Daniel WattIndex

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book SynopsisSalted Paper Printing: A Step-by-Step Manual Highlighting Contemporary Artists makes one of the oldest known photographic processes easy for the 21st century using simple digital negative methods. Christina Z. Andersonâs in-depth discussion begins with a history of salted paper printing, then covers the salted paper process from beginner to intermediate level, with step-by-step instructions and an illustrated troubleshooting guide. Including cameraless imagery, hand-coloring, salt in combination with gum, and printing on fabric, Salted Paper Printing contextualizes the practice within the varied alternative processes. Anderson offers richly-illustrated profiles of contemporary artists making salted paper prints, discussing their creative process and methods.Salted Paper Printing is perfect for the seasoned photographer looking to dip their toe into alternative processes, or for the photography student eager to engage with photographyâs rich history. Table of Contents1. A Brief History of Salted paper2. Talbot’s Original "Photogenic Drawing" ProcessPart 1: Salted Paper Step-by-Step3. Setting up the Salted Paper "Dimroom"4. Digital Negatives for Salted Paper5. Salted and Sensitizing the Paper6. Exposing, Processing and Toning the Salted Paper Print7. An Illustrated Guide to Troubleshooting Salted Paper8. Printing Gum Over Salted Paper9. Hand-coloring Salted Paper and other creative ideas10. Finishing, Framing, and Storing Salted PaperPart 2: Contemporary Salted Paper Artists11. Contemporary Salted Paper Artists12. Bibliography

Read more less

Book SynopsisDrawing on her extensive experience in expressive arts therapy, Daria Halprin presents a unique approach to healing through movement and art. She describes the body as the container of one's entire life experience and movement as a language that expresses and reveals our deepest struggles and creative potentials. Interweaving artistic and psychological processes, she offers a philosophy and methodology that invites the reader to consider the transformational capacity of the arts. In this essential resource for anyone interested in the integration of psychotherapy and the arts, Halprin also presents case studies and a selection of exercises that she has evolved over her career and practised at the Tamalpa Institute for over twenty-five years.Trade ReviewIn this book is an introductory guide for newcomers to the field of expressive therapy. It includes many concrete examples of Halprin's method in visual illustrations and through a variety of therapeutic excercises. One of the highlights of expressive therapy is its embrace of multiplicity fuelling an initiation into de-territorialised spaces of mind and body, where anything can happen. -- The Canadian Art Therapy Association JournalThis book marks, I believe, the period of the coming of age of expressive arts therapy in relation to our global society. It makes a significant contribution to practitioners, students and teachers in this field, and it also makes a broader contribution to what is referred to as "living artfully in a fragmented world." Anyone walking the path of growth and transformation will benefit from this embodied, arts based approach. For me, and I hope for all of us, the arrival of this book is cause for celebration! -- Jack S. WellerIt is clear from Halprin's writings that her work is not only about self-preservation, but also about preservation of this beautiful planet we depend upon to nurture our souls daily. Given the disembodied age we are entering with advanced technologies, she believes it is expressive artist's ethical obligation to reintroduce the arts back into daily living. Reading her book will indeed inspire those inclined, to hear the message and respond to the call. -- Beth Lucchi, American Dance Therapy AssociationTable of ContentsForeword (Jack Weller). Preface. Acknowledgments. Part One: Introduction. 1. Movement as Metaphor. 2. How I got Here. Part Two: Roots and Cross-Pollination. 3. Historical Context. 4. Psychology. 5. Somatic Psychology. 6. Dance. 7. Modernism, Postmodernism, and the Avant Garde. Part Three: The Practice. 8. Creativity, Art, and Therapy. 9. Maps and Methods of the Practice. 10. Body Part Metaphors. 11. Living Artfully with the Wounded Self. 12. Case Studies. Part Four: Conclusion. 13. Art as a Healing Force in the World. References. Index.

Read more less

Book Synopsis"Comics and Sequential Art is a masterwork, the distillation of Will Eisner's genius to a clear and potent elixir."—Michael Chabon, Pulitzer Prize-winning author of The Amazing Adventures of Kavalier & Clay.Trade Review"Indispensable technique from the mind of the master cartoonist who developed them." -- Jeff Smith, creator of Bone

Read more less

Book SynopsisFusing digital humanities with media studies and graphic design history, Graphesis offers a critical language for analysis of graphical knowledge and argues for studying visuality from a humanistic perspective, exploring how graphic languages can serve fields where qualitative judgments take priority over quantitative statements of fact.Trade ReviewThe pages of Graphesis teem with color reproductions of 5,000 years’ worth of various modes of visually rendered knowledge—showing how they have emerged and developed over time, growing familiar but also defining or reinforcing ways to apprehend information… I suspect Graphesis may prove to be an important book. -- Scott McLemee * Inside Higher Ed *Graphesis is a significant contribution to the field, every bit as important as Drucker’s The Visible Word. Indeed, the world has changed, and information design has shifted significantly with it. In this text, Drucker should be applauded for taking a broad view of her subject, tackling little-studied imagery as well as visual systems of thinking. -- Elizabeth Guffey, Professor of Art and Design History, Purchase College, State University of New YorkGraphesis is a sophisticated critique of some of the foundational assumptions of HCI (human–computer interaction), interaction design, and information visualization. Drucker makes a compelling case for the value of humanistic inquiry into subjects that have traditionally belonged solely to computer experts and social scientists. -- Maria Engberg, Assistant Professor of Media Technology, Malmö University, and Jay David Bolter, Professor of Digital Media, Georgia Institute of Technology

Read more less

Book Synopsis

Read more less

Book SynopsisTrade Review“Not since Jean Renoir’s biography, ‘Renoir, My Father,’ have we been granted such a personal, impassioned and engaging familial portrait of an artist. Combining memoir, biography, art treatise, criticism and psychology, Mr. Rothko addresses myriad aspects of his father’s life and work, and especially people’s misinterpretations. This book is as important for its insights into Mark Rothko as it is for its fervent argument that an artist’s art comes first and must speak for itself.”—Lance Esplund, Wall Street Journal (Holiday Gift Book selection)“The book is a fluid, intriguing reference piece and effortlessly points out where interpretations of the art world get it wrong.” —Scene Point Black

Read more less

Book SynopsisTrade Review"This comprehensive survey should be required reading for contemporary art and African American history connoisseurs alike." * Publishers Weekly *"If Basquiat’s ultimate fate in the annals of art history remains unknown, it is Saggese’s Reader to which the future will turn for guidance as she expertly maps out the historical territory." * Rain Taxi Review of Books *Table of ContentsAcknowledgments Introduction JEAN-MICHEL BASQUIAT IN HIS OWN WORDS Interview by Marc H. Miller, 1982 Interview by Henry Geldzahler, 1982 Interview by Lisa Licitra Ponti, 1983 Interview by Geoff Dunlop and Sandy Nairne, 1985 Interview by Becky Johnston and Tamra Davis, 1985 Interview by Démosthènes Davvetas, 1985–1988 Interview by Isabelle Graw, 1986 BASQUIAT'S LANGUAGE Texts by Jean-Michel Basquiat CONTEMPORARY CRITICISM AND COMMENTARY The Radiant Child Rene Ricard, 1981 Schnabel and Basquiat: Explosions and Chaos Hunter Drohojowska, 1982 Jean-Michel Basquiat Jeffrey Deitch, 1982 Jean-Michel Basquiat at Annina Nosei Lisa Liebmann, 1982 Jean-Michel Basquiat at Fun Gallery Susan Hapgood, 1983 Black Picasso and the Lie Detector Diego Cortez, 1983 New Kid on the (Auction) Block Ellen Lubell, 1984 Jean-Michel Basquiat Kate Linker, 1984 Jean-Michel Basquiat at Boone/Werner Nicolas A. Moufarrege, 1984 New Art, New Money: The Marketing of an American Artist Cathleen McGuigan, 1985 Activating Heaven: The Incantatory Art of Jean-Michel Basquiat Robert Farris Thompson, 1985 Art: Basquiat, Warhol Vivien Raynor, 1985 Andy Warhol/Jean-Michel Basquiat Robert Mahoney, 1985 Andy Warhol/Jean-Michel Basquiat Ronald Jones, 1986 Jean-Michel Basquiat Barry Schwabsky, 1986 KNOWING BASQUIAT Interviews by Jordana Moore Saggese Michael Holman, 2007 Suzanne Mallouk, 2008 Bruno Bischofberger, 2010 Robert Farris Thompson, 2011 Dieter Buchhart, 2019 Erika Belle, 2019 Diego Cortez, 2019 THE AFTERLIFE OF JEAN-MICHEL BASQUIAT Jean Basquiat, 27, an Artist of Words and Angular Images Constance L. Hays, 1988 Jean-Michel Basquiat, 1960–1988 Hilton Als, 1988 Martyr without a Cause Peter Schjeldahl, 1988 Remembering Basquiat Keith Haring, 1988 Requiem for a Featherweight: The Sad Story of an Artist's Success Robert Hughes, 1988 New York: More Post-Modern Than Primitive Gregory Galligan, 1988 Saint Jean-Michel Frederick Ted Castle, 1989 Nobody Loves a Genius Child: Jean-Michel Basquiat, Lonesome Flyboy in the '80s Art Boom Buttermilk Greg Tate, 1989 Welcome to the Terrordome: Jean-Michel Basquiat and the "Dark" Side of Hybridity Dick Hebdige, 1992 Royal Slumming: Jean-Michel Basquiat Here Below Thomas McEvilley, 1992 Altars of Sacrifice: Re-membering Basquiat bell hooks, 1993 A Day at the Races: Lorraine O’Grady on Basquiat and the Black Art World Lorraine O’Grady, 1993 Tip-Tapping on a Tightrope Franklin Sirmans, 1994 Famous and Dandy like B. 'n' Andy: Race, Pop, and Basquiat José Esteban Muñoz, 1996 Lost in Translation: Jean-Michel in the (Re)Mix Kellie Jones, 2005 Basquiat's Poetics Christopher Stackhouse, 2015 Chronology List of Illustration Credits Index

Read more less

Book SynopsisAn unprecedented visual exploration of the intertwined histories of art and science, of the old world and the newTrade Review‘fascinating, sensitively written book’ — Barbara Kiser, Nature’s books and arts blog A View From the Bridge Daniela Bleichmar”s Visual Voyages is the 2018 ALICE AWARD winner, given by the Furthermore grants in publishing, a program of the J. M. Kaplan Fund Honorable mention received for the 2019 ALAA-Arvey Foundation Exhibition Catalogue Award

Read more less

Book SynopsisIn Capture One Pro 10: Mastering RAW Development, Image Processing, and Asset Management, photographer Sascha Erni teaches readers everything they need to know in order to quickly get up and running with Capture One Pro.Historically, Capture One Pro software has been regarded primarily as an amazing RAW file converter for high-end cameras. With its newest release, Capture One Pro 10 goes well beyond its storied RAW conversions to become one of the most powerful image-processing applications on the market, addressing the imaging workflow from capture to print. Version 10 has also been optimized to support many of the most popular cameras being used today.With an abundance of new features and the promise of producing vastly superior images, photographers of all skill levels are giving Capture One Pro a try. Of course, along with expanded functionality and improved performance, the software has become a challenge to learn efficiently on one’s own. Users need a helping hand in order to get up to speed and make sure they are taking full advantage of this powerful software.In Capture One Pro 10: Mastering RAW Development, Image Processing, and Asset Management, photographer Sascha Erni teaches readers everything they need to know in order to quickly get up and running with Capture One Pro. He also dives deeply into its extensive feature list to allow users to fully explore the capabilities of the software.Whether you’re moving to Capture One Pro from Aperture or Lightroom, or just beginning to learn image-editing with Capture One Pro 10, this book will teach you how to get amazing results while avoiding frustration and wasted time along the way.Topics include:• RAW conversion• Asset management• Converting to black-and-white• Eliminating lens errors• Tethered shooting/live view• Film grain simulation• Working with layers• HDR imaging• Much, much more

Read more less

Book SynopsisA highly entertaining read for anyone with even a passing interest in art and art history. This myth-busting book takes you on a great ride through the lives of starving (and not so starving) artists, unusual exhibitions and painting blunders throughout history. In the intriguing, outrageous and often provoking world of the visual arts, nothing is quite as it seems. From the world’s first intance of photobombing in 1843 to the Damien Hirst spot painting that landed on Mars, the destruction of Vincent van Gogh’s Sunflowers during World War II and the £3,500 sheet of paper crumpled into a ball, Everything You Know About Art is Wrong will confound your assumptions about the world of art – and perhaps even the place of art in the world.

Read more less

Book SynopsisA unique seventeenth-century account of painting as it was practiced, taught, and discussed during a period of extraordinary artistic and intellectual ferment in the Netherlands. The only comprehensive work on painting written by a Dutch artist in the later seventeenth century, Samuel van Hoogstraten's Inleyding tot de hooge schoole der schilderkonst, anders de zichtbaere werelt (Introduction to the Academy of Painting; or, The Visible World, 1678) has long served as a source of valuable insights on a range of topics, from firsthand reports of training in Rembrandt's studio to contemporary engagements with perspective, optics, experimental philosophy, the economics of art, and more. Van Hoogstraten's magnum opus--here available in an English print edition for the first time--brings textual sources into dialogue with the author's own experience garnered during a multifaceted career. Presenting novel twists on traditional topics, he makes a distinctive case for the status of painting as a universal discipline basic to all the liberal arts. Van Hoogstraten's arguments for the authority of what painters know about nature and art speak to contemporary notions of expertise and to the unsettled relations between theory and practice, making this book a valuable document of the intertwined histories of art and knowledge in the seventeenth century.Trade Review“Superbly edited and translated, Introduction to the Academy of Painting reveals anew the variety and scope of Samuel van Hoogstraten’s great treatise on Dutch art, showing how it harnesses multiple genres of text to the task of affirming the epistemic authority of painting as an instrument of perception, judgment, and thought. Brusati and Jacobs allow us to see that Van Hoogstraten, even while deeply responsive to the circumstances his time and place, was yet sui generis: eschewing mere erudition, he placed a premium on artisanal expertise, gave voice to the inextricable connection between verisimilar description and optical deception, and argued that pictorial excellence results above all from the mutual attunement of the painter’s discriminating mind, attentive eye, and practiced hand.”;—Walter S. Melion, Asa Griggs Candler Professor of Art History, Emory University; Foreign Member, KNAW, Royal Netherlands Academy of Arts and Sciences;;“This meticulous new translation of Samuel van Hoogstraten enables modern readers to encounter, finally and fully, the richly diverse content of that cosmopolitan, learned, and sophisticated practicing artist, as he attempts to provide both theory and practice for visual art as the worthy sister of the nine muses. Celeste Brusati's enlightening introductory commentary is another important contribution to art history's literature from the Dutch Golden Age. As with her monograph on Van Hoogstraten, Artifice and Illusion (1995), Brusati provides a springboard into Van Hoogstraten's dialogue about art, poised between Academy and Visible World.”—Larry Silver, University of Pennsylvania, Farquhar Professor of Art History, emeritus, and co-editor of Canons and Values (2019)

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book SynopsisIllustrated essays that broaden our understanding of modernism by centering Black artists and experiences, with a contribution featuring the work of Venice Biennale Golden Lion winner Simone Leigh

Read more less

Book SynopsisIlluminates how new modes of artistic production in colonial India shaped the British state’s nationalisation of the East India Company, transforming the relationship between nation and empire This pioneering book explores how art shaped the nationalisation of the East India Company between the loss of its primary monopoly in 1813 and its ultimate liquidation in 1858. Challenging the idea that parliament drove political reform, it argues instead that the Company’s political legitimacy was destabilised by novel modes of artistic production in colonial India. New artistic forms and practices—the result of new technologies like lithography and steam navigation, middle-class print formats like the periodical, the scrapbook and the literary annual, as well as the prevalence of amateur sketching among Company employees—reconfigured the colonial regime’s racial boundaries and techniques of governance. They flourished within transimperial networks, integrating middle-class societies with new political convictions and moral disciplines, and thereby eroding the aristocratic corporate cultures that had previously structured colonial authority in India. Unmaking the East India Company contributes to a reassessment of British art as a global, corporate and intrinsically imperial phenomenon—highlighting the role of overlooked media, artistic styles and print formats in crafting those distinctions of power and identity that defined ‘Britishness’ across the world. Distributed for the Paul Mellon Centre for Studies in British ArtTrade Review“[A] pioneering book. . . . Tom Young has risen to the challenge brilliantly. The book is lavishly illustrated and extremely well produced. . . . Every facet of this book is admirable.”—Charles Greig, Chowkidar“Unmaking the East India Company is theoretically engaged but eminently readable and beautifully illustrated.”—John Mcaleer, H Soz Kult

Read more less

Book Synopsis

Read more less

Book SynopsisThe Filmmaker's Guide to Visual Effects offers a practical, detailed guide to visual effects for non-VFX specialists working in film and television. In contemporary filmmaking and television production, visual effects are used extensively in a wide variety of genres and formats to contribute to visual storytelling, help deal with production limitations, and reduce budget costs. Yet, for many directors, producers, editors, and cinematographers, visual effects remain an often misunderstood aspect of media production. In this book, award-winning VFX supervisor and instructor Eran Dinur introduces readers to visual effects from the filmmaker's perspective, providing a comprehensive guide to conceiving, designing, budgeting, planning, shooting, and reviewing VFX, from pre-production through post-production. The book will help readers: Learn what it takes for editors, cinematographers, directors, producers, gaffers, and other filmmakers to work more effectivTable of ContentsIntroduction Part 1: VFX Fundamentals 1. Core Concepts 2. VFX as a Filmmaking Tool 3. From 2D to 3D 4. Separation Part 2: The Inside Look 5. The VFX Workflow 6. Workflow Case Studies Part 3: VFX in Production 7. Pre-production 8. On Set 9. Post-production 10. Realtime Rendering and Virtual Production 11. The Future Index

Read more less

Book Synopsis

Read more less

Book SynopsisAcclaimed critic Sianne Ngai theorizes the gimmick as an aesthetic category reflecting the fundamental laws of capitalism. Gimmicks make promises of saving labor and increasing value that we distrust but also find attractive. Exploring the use of this form, Ngai shows how its aesthetic dissatisfactions reflect deeper anxieties about capitalism.Trade ReviewA culmination of Ngai’s work as a critic…Ngai makes the case that the gimmick, whose value we regularly disparage, is of tremendous critical value. The gimmick, she contends, is the capitalist form par excellence…Ngai’s study lies somewhere between critical theory and Sontag’s best work. -- Andrew Koenig * Los Angeles Review of Books *One of the most creative humanities scholars working today…Ngai sets off on another mind-blowing exploration, this time drawing a line between our own judgements of productivity, as well as considering what entertainment is worth to us. My god, it’s so good. -- Olivia Rutigliano * Literary Hub *Theory of the Gimmick is a masterpiece—a culmination of the dazzling project begun in Sianne Ngai’s Ugly Feelings and elaborated in Our Aesthetic Categories, both celebrated books that have anchored affect theory to a strong account of tone and form. It is a major advance in aesthetic theory, and Marxist theory in particular, one that could help us all get over our Frankfurt melancholy and down to the garrulous work of actually naming the dynamics that produce art and artistic judgment under capitalism. -- Christopher Nealon, author of The Matter of CapitalThe gimmick draws out our unease about capitalism’s seductions, deflating their lofty appeals with the suddenness of a punch line. It is an aesthetic category that dunks on capitalism’s too-good-to-be-true promises by dunking on itself…It is undeniable that part of what makes Ngai’s analyses of aesthetic categories so appealing—so appealing as to even appear to raise the esteem of the object under analysis—is simply her capacity to speak about them brilliantly. -- Jane Hu * Bookforum *In its extraordinary analysis of the gimmick as a compromised expression of what Walter Benjamin or Fredric Jameson have labeled the age of “late capitalism,” Ngai’s book—much like her previous book publications—is a stellar critique and rethinking of Continental aesthetic theory. …Ngai’s work will not and must not be bypassed by future theories of aesthetics and consumer capitalism, not least in American studies. -- Dustin Breitenwischer * Amerikastudien *Ngai exposes capitalism’s tricks in her mind-blowing study of the time- and labor-saving devices we call gimmicks. -- Katrina Forrester * New Statesman *Ngai tracks the gimmick through a number of guises: stage props, wigs, stainless-steel banana slicers, temp agencies, fraudulent photographs, subprime loans, technological doodads, the novel of ideas…[She] has slowly been building a reputation as one of America’s most original and penetrating cultural theorists. -- Charlie Tyson * Chronicle of Higher Education *Ngai is a keen analyst of overlooked or denigrated categories in art and life…Moves quickly from the fantastical contraptions of Rube Goldberg to the philosophical machinery in Kant or Marx that might explain their appeal…Highly original in theme and suggestive in approach. -- Brian Dillon * 4Columns *Ngai has done so much to illuminate. -- David Trotter * London Review of Books *Ngai’s penetrating and at times humorous work feels uncommonly generous at a deeply polarized moment when emotions run high and much theory and criticism has taken on an increasingly grave, moralizing tone…Explores across a remarkably broad range of works of art, film, and literature the ‘gimmick,’ a simultaneously attractive and repulsive form that links the aesthetic to the economic. -- Matthew Rana * Kunstkritikk *It is the simplicity and vernacular quality of Sianne Ngai’s central concept that elevates this book to a classic in the making. Ngai’s most important contribution to Marxist cultural and economic theory comes from her insight that—like the judgment of the beautiful for Kant—the gimmick is a subjective category, neither cognitive nor ethical, but historical through and through. The gimmick is a way to bring together the theory of the commodity with Kant’s category of judgment. Through Ngai, we are able to vernacularize Marx and to understand the most basic but enigmatic proposition: that truth and appearance are identical in the commodity. -- Timothy Bewes, author of Reification: Or, The Anxiety of Late CapitalismBooks of this ambition and accomplishment are rare! Theory of the Gimmick continues the work of Walter Benjamin, Theodor Adorno, and others in seriously putting together aesthetic theory and Marxist theories of capital. In an impossibly erudite, wide-ranging, and theoretically sophisticated argument, Ngai gives us a unique insight into the relationship between labor, time, and value in a capitalist economy. This book is a major event in American intellectual life. -- Jonathan Flatley, author of Affective Mapping: Melancholia and the Politics of ModernismThe whole book suggests that critique is an occasion for delight, as the explication of how the gimmicks Ngai finds everywhere from Henry James to a toy box reveal the inner workings of capital is accomplished with a joyful relentlessness. The book is a page turner. -- Theo Davis * American Literary History *[A] groundbreaking argument. * Choice *[Theory of the Gimmick] firstly offers an eminently usable theory of the gimmick, and secondly offers a series of masterful extensions of that theory in practically unrepeatable analyses of texts…where we witness, in addition to Ngai the theorist, Ngai the virtually peerless reader. -- Astrid Lorange * Sydney Review of Books *

Read more less

Book Synopsis

Read more less

Book SynopsisWhat is a pyxis? Who was the Amasis Painter? How did Greek vases get their distinctive black and orange colours? This volume offers definitions and descriptions of these and many other Greek vase shapes, painters and techniques encountered in museum exhibitions and publications.

Read more less

Book SynopsisTHE SUNDAY TIMES BESTSELLERWith a foreword by Diana Gabaldon. Two men. One country. And a lot of whisky.As stars of Outlander, Sam and Graham eat, sleep and breathe the Highlands on this epic road trip around their homeland. They discover that the real thing is even greater than fiction. Clanlands is the story of their journey. Armed with their trusty campervan and a sturdy friendship, these two Scotsmen are on the adventure of a lifetime to explore the majesty of Scotland. A wild ride by boat, kayak, bicycle and motorbike, they travel from coast to loch and peak to valley and delve into Scotland's history and culture, from timeless poetry to bloody warfare. With near-death experiences, many weeks in a confined space together, and a cast of unforgettable characters, Graham and Sam's friendship matures like a fine Scotch. They reflect on their acting careers in film and theatre, find a new awestruck respect for their native country and, as with any good road trip, they even find themselves. Hold onto your kilts... this is Scotland as you've never seen it before.Trade Review'A breath of fresh Scottish air in lockdown, it's one to stick in your sporran and consult when compiling your wishlist of places to escape to once restrictions are lifted.' * Scotsman Magazine *The "Outlandish" tour of Scotland with Sam Heughan and Graham McTavish is the armchair adventure we all need right now. * BBC Scotland *This book is full of anecdotes, history and hilarious interactions between the pair as they travel around Scotland in their trusty campervan. * Express *A breezy roadtrip full of banter between the chalk-and-cheese friends. * Sunday Post *For anyone who wants to know more about Scotland's past or hear the inner monologues of two fine gentlemen, this provides a warm and wicked adventure in a magical land. * Magic Radio Book Club *Their odyssey is self-deprecatingly styled as "the story of two men who know nothing". In fact, Heughan and particularly McTavish are keen students of Highland history * Scotland on Sunday *A joyously eclectic mix of historical trivia, travel diary and journey of self-discovery. * Scottish Field *The actors have a lovely dynamic, which is as enjoyable in the book as it promises to be in the upcoming TV series. * The People's Friend *Clanlands is a must for anyone who loves Scotland... a riotous, engaging and dynamic journey. * Dumfries & Galloway Life *'It all comes across as fun-loving and tongue-in-cheek and that's what raises this book above the usual Scottish history/travel books that have become so prominent.' -- Cameron McNeish * Scots Magazine *

Read more less

Book SynopsisThis stunning catalogue of 15th and 16thcentury Italian drawings from Museum Boijmans Van Beuningen will showcase highlights from this outstanding but still relatively littleknown part of the collection. It includes internationally significant sheets by Leonardo da Vinci, Michelangelo, Raphael, Pontormo, Pisanello, Giorgione and Tintoretto, as well as an important group of early Venetian drawings and a large number of workshop studies by Fra Bartolommeo.Published to accompany exhibitions at the Fondation Custodia, Paris, and The Morgan Library & Museum, New York, this volume will mark the conclusion of a five yearcataloguing project at Museum Boijmans Van Beuningen, Rotterdam, funded by the Getty Foundation. During the project all the Italian drawings were fully researched andcatalogued, many for the fi rst time. Several of these drawings have not been published in the last 70 years, if at all.The catalogue is a scholarly touchstone for this part of the collection. It includes two essays and 111 catalogue entries based on the online catalogue texts prepared by several Italian drawings specialists. They include the most wellknown drawings in Rotterdam as well as drawings that have never been published or exhibited before, such as newly attributed sheets by Pontormo, Federico Zuccaro and Aurelio Lomi.

Read more less

Book Synopsis

Read more less

Book SynopsisHistory didn't listen to women, but that never stopped them from speaking out A lot of history is made up of speeches. Speeches about big ideas, celebratory speeches, rousing speeches to inspire soldiers to fight to the death, comic speeches to help us see the funny side to life. From Jesus to Winston Churchill to Martin Luther King Jr. and even Donald Trump, we've been raised with the words of important men ringing in our ears But where are all the women? Unless you're the type of person who loves researching suffrage speeches, you are unlikely to know many soundbites from women throughout history. Outspoken: 50 Speeches by Incredible Women is going to change that. From Joan of Arc and Virginia Woolf, to Oprah Winfrey and Greta Thunberg, this is a celebration of outstanding and outspoken women everywhere.

Read more less

Book Synopsis

Read more less

Book SynopsisOffers commentary and an illustrated history of the representations of people of African descent ranging from the ancient images of Pharaohs created by unknown hands to the works of the great European masters such as Bosch, Rembrandt, Rubens, and Hogarth to stunning creations by contemporary black artists.Trade ReviewA fascinating story of the changing image of Africa's people in Western art. The images are simply extraordinary and the scholarship inspiring. Anyone who cares about Western art or about Africa and her diaspora ought to know these magnificent volumes. -- Kwame Anthony AppiahReview of the previous editions: One concludes from these pioneering volumes that artistic representations were historical "events" that eventually helped to shape a mentality that justified the enslavement of millions of Africans as well as later attempts to Christianize and liberate their descendants. -- David Brion Davis * New York Review of Books *In addition to being an indispensable guide to the evolving meanings of racial difference, these dazzling volumes filled with extraordinary images and rich arguments contribute to an alternative history of the Western world. An invaluable gift for both specialists and general readers. -- Paul Gilroy, author of The Black Atlantic: Modernity and Double ConsciousnessOne of the most thorough collections depicting the African-American in works of art...The books build on the research and photo project started by art patron Dominique de Menil in the 1960s, which grew out of a frustration with segregation. The collection was then transferred and continued to grow at the W.E.B. Du Bois Institute at Harvard University. De Menil's original volumes have been updated by David Bindman and Henry Louis Gates Jr. and now include more detailed descriptions and provide a larger context of the artwork that spans more than 5,000 years, including the Roman Empire to present-day pieces, filling in tremendous gaps in de Menil's collection, according to some art historians. The images, printed in full-color on high-quality pages, are available for the masses to see and understand how African-Americans not only fit into the various societies of the Western world, but how those relationships evolved throughout the ages. * Kirkus Reviews *The volumes so far are a treasury of paintings and sculptures of people down the ages, taking in many strands of ritual, classicism, artlessness and humanity. -- William Feaver * Spectator *A sumptuous new edition with much additional material and copious color pictures....The books are a wonderful resource: a glitteringly decorated window into the Du Bois Institute's unrivalled archive of relevant images. The accompanying essays, which are models of erudition, are inescapable reading for anyone interested in the subject. -- Felipe Fernández-Armesto * The Art Newspaper *The joy of this series lies in the illustration and discussion of imagery found not only in paintings and woodcuts, but also in mosaics, illuminated manuscripts, and murals. -- K. Mason * Choice *Monumental and groundbreaking volumes...[with] beautifully reproduced and thought-provoking images…A vast array of different "Images of the Black" appear in these volumes, from statues of black saints such as St. Maurice or St. Benedict the Moor, to portraits of notable African ambassadors and kings, poets and musicians, or drawings of literary characters such as Shakespeare's Othello, Aphra Behn's Oroonoko, or Yarico from George Colman's Inkle and Yarico...Africans have been painted and sculpted by some of the most eminent artists in the Western tradition, including Titian, Tiepolo, Rubens, Rembrandt,Van Dyck, Reynolds, Hogarth, Watteau and Gainsborough. More importantly, they have not been caricatured, but sensitively portrayed by these masters, their humanity captured on canvas for all to see...In placing such a vast variety of different images together, both positive and negative, these volumes show that the "Image of the Black" was not at all homogenous but rather reflected the wide range of the Western response to the "other."...Seen through the prism of "Western Art," these "Images of the Black" often tell us more about the Europeans and their agendas than the Africans they portray. Nonetheless, the cumulative effect of the images is to demonstrate a continuous black presence in the Western imagination and experience…This series will pose new questions to scholars of art, history and literature and provoke us all to reconsider the role of "the Black" in Western civilization. -- Miranda Kaufmann * Times Literary Supplement *

Read more less

Book SynopsisLarry Shiner challenges our conventional understanding of art and asks us to reconsider its history entirely, arguing that the category of fine art is a modern invention.

Read more less

Book Synopsis

Read more less

Book SynopsisGame Feel exposes feel as a hidden language in game design that no one has fully articulated yet. The language could be compared to the building blocks of music (time signatures, chord progressions, verse) - no matter the instruments, style or time period - these building blocks come into play. Feel and sensation are similar building blocks where game design is concerned. They create the meta-sensation of involvement with a game. The understanding of how game designers create feel, and affect feel are only partially understood by most in the field and tends to be overlooked as a method or course of study, yet a game's feel is central to a game's success. This book brings the subject of feel to light by consolidating existing theories into a cohesive book. The book covers topics like the role of sound, ancillary indicators, the importance of metaphor, how people perceive things, and a brief history of feel in games.The associated web site contains a playset wiTable of ContentsINTRODUCTION PART 1: Deconstruction1. Why Feel, Why Now?This chapter focuses on the impetus behind the book, asking the reader to recall the sensation of controlling a virtual avatar and talking about why feel is so important (and why it is often overlooked.)2. The Grand Scheme of Game DesignThis chapter assigns feel a place in the larger realm of game design, defining its scope and boundaries, talking about how it fits into creating the Ultimate Game Experience of life-enriching flow and empowerment. Using diagrams and research derived from Maslow's Pyramid of Wants and Will Wright's concept of Granularity, feel is identified as one of the atomic units of game construction, one of the most basic building blocks of interactivity. 3. Games that don't Feature Virtual Sensation There are some types of digital games - Civilization, Solitaire, the Sims, and so on - that don't focus on feel or utilize it as one of their core elements, separating them from what will be discussed in the book. An interesting aside is that we are indeed experiencing virtual sensation whenever we use a mouse but that it is so intuitive and familiar that there's really no rational motion translation or skill to build. This brings up an interesting point: much of the pleasure of controlling something purely visual is in the challenge of mastering it, in the obfuscation. In fact, we're wired to receive pleasure for remapping our neural pathways to gain skill and mastery in this way, and it's one of the reasons that overcoming challenges (playing games) is so pleasureable. 4. What is Feel?How do players experience feel? It seems to be mostly subconscious, though there are some artifacts that will be of use to us. Citations here of various forum scrapings and interviews with players looking for feel des

Read more less

Book SynopsisPractices of Looking, Third Edition, bridges visual, communication, media, and cultural studies to investigate how images and the activity of looking carry meaning within and between different arenas in everyday life. The third edition has been updated to represent the contemporary visual cultural landscape and includes topics like the increasingly rapid global circulation of media, the rise of design and DIY cultures, digital media art and activism, and challenges to photojournalism and news media. Challenging yet accessible, Practices of Looking, Third Edition, is ideal for courses across a range of disciplines.Trade ReviewThe greatest strength of Practices of Looking is its thorough treatment of the conceptual and material landscape of postmodern visual culture, and this definitely distinguishes it from similar textbooks I've seen. * Kent N. Lowery, Texas Tech University *Practices of Looking, Third Edition, is a great and valuable textbook for teaching a broad range of critical and theoretical approaches in modern and contemporary visual practices. * Whitney Huber, Columbia College Chicago *Practices of Looking's ambitions are unparalleled and it's clear that the writers are deeply engaged with the social, psychological and economic consequences of the ways in which images influence how we see ourselves and the world around us. * Jawad Ali, Art Institute of California, Hollywood *The greatest strength of Practices of Looking, Third Edition, is its relentless drive to instill critical awareness in students. This book contributes greatly to promoting the type of visual literacy that is needed in society both now and in the foreseeable future. * William H. Lawson, California State University, East Bay *This is that rarest of textbooks * clear enough for undergraduates and challenging enough to use with graduate students. It is simply the best introduction to the most important issues in thinking about the visual from an interdisciplinary perspective.Michael Coventry, Georgetown University *Table of ContentsAcknowledgementsIntroduction1. Images, Power, and Politics Representation Vision and Visuality The Myth of Photographic Truth Myth, Connotation, and the Meaning of Images Semiotics and Signs Images and Ideology Image Icons2. Viewers Make Meaning Producers' Intended Meanings Aesthetics and Taste Value, Collecting, and Institutional Critique Reading Images as Ideological Subjects Viewing Strategies Appropriation and Re-Appropriation3. Modernity: Spectatorship, the Gaze, and Power Modernity Modernism The Concept of the Modern Subject Spectatorship and the Gaze Power and the Surveillance Gaze The Other Gender and the Gaze Gaming and the Gaze4. Realism and Perspective: From Renaissance Painting to Digital Media Perspective Perspective and the Body The Camera Obscura Challenges to Perspective Perspective in Digital Media5. Visual Technologies, Reproduction, and the Copy Visualization and Technology Visual Technologies The Reproduced Image and the Copy Walter Benjamin and Mechanical Reproduction The Politics of Reproducibility Ownership and Copyright Reproduction and the Digital Image 3D Reproduction and Simulation6. Media in Everyday Life The Media, Singular and Plural Everyday Life Mass Culture and Mass Media Critiques of Mass Culture Media Infrastructures Media as Nation and Public Sphere Democracy and Citizen Journalism Global Media Events7. Brand Culture: The Images and Spaces of Consumption The Rise of Brands as Image, Symbol, and Icon The Spaces of Modern Consumerism Brands in Consumer Society Social Awareness and the Selling of Humanitarianism Social Media, Consumer Data, and the Changing Spaces of Consumption DIY Culture and the Share Economy, and New Entrepreneurism8. Postmodernism: Irony, Parody, and Pastiche Postmodernity/Postmodernism Simulation and the Politics of Postmodernity Reflexivity and Distanced Knowing Jaded Knowing and Irony Remix and Parody Pastiche Postmodern Space, Architecture, and Design9. Scientific Looking, Looking at Science Opening Up the Body to the Empirical Medical Gaze Medicine as Spectacle: The Anatomical and Surgical Theater Evidence, Classification, and Identification Bodily Interiors and Biomedical Personhood The Genetic and Digital Body Visualizing Pharmaceuticals and Science Activism10. The Global Flow of Visual Culture The History of Global Image Reproduction Concepts of Globalization The World Image Global Television The Global Flow of Film Social Movements, Indigenous Media, and Visual Activism The Global Museum and Contests of Culture Refugees and Borders Glossary Credits Index

Read more less

Book SynopsisLavishly illustrated with over 175 black-and-white and color images that range from high to popular culture and from Ancient Greece to contemporary America, Christopher Reed''s arresting book reveals the deep linkages between art and homosexuality as we understand those terms. This is the first book to fully explore the interdependence between the identity of the artist and the homosexual. It offers a bold, globe-spanning narrative that draws on artwork from all the important periods in the Western tradition, including classical, Renaissance, and contemporary, with special focus on the modern period. It was in the nineteenth century that the identities of the avant-garde artist and the homosexual took shape, and almost as quickly overlapped. The figures involved--Ingres, Courbet, Wilde, Whitman--are among that era''s most iconic artists. The development of twentieth-century art--exemplified in the work of figures like Gertrude Stein, Jasper Johns, David Hockney, and David Wojnarowicz--this book argues is simply not understandable apart from the concurrent development of ideas about sexual identity. This highly readable volume challenges the ideas of many prominent art critics and punctures the platitudes surrounding discussions of both art and sexuality. The book discusses what it means to be an insider and outsider, how sexuality came to define one''s fundamental humanity, and what people risk (and gain) in rejecting economic and social conformity. Reed shows that many of the core ideas that define modern thought more generally are nearly indecipherable without an understanding of this pairing. The debates that have surrounded artists and homosexuals in effect capture the dramatic history of the evolution of the modern mind.Trade ReviewIt's not the first book on the subject, but 'Art and Homosexuality: A History of Ideas' is certainly among the best. * Los Angeles Times Culture Monster blog *Table of Contents1. VARIETIES OF 'HOMOSEXUALITY'; VARIETIES OF 'ART'. INITIATORY HOMOSEXUALITY: THE 'SAMBIA' OF NEW GUINEA & ANCIENT GREECE AND ROME. GENDER-TRANSCENDENT HOMOSEXUALITY: POLYNESIA & NORTH AMERICA. PERFORMATIVE HOMOSEXUALITY: TOKUGAWA JAPAN ; 2. BEFORE MODERNITY. EARLY CHRISTIAN AND MEDIEVAL EUROPE. THE RENAISSANCE. 17TH- AND 18TH-CENTURY EUROPE ; 3. INVENTING THE MODERN: ART AND SEXUAL IDENTITY IN THE LATE- NINETEENTH CENTURY. IMAGERY AT MID-CENTURY. INVENTING THE AVANT-GARDE. ARTISTS AT MID-CENTURY. THE MODERN ARTIST AS HOMOSEXUAL. AESTHETES AND ART JOURNALS ; 4. SECRETS AND SUBCULTURES, 1900-1940. ECHOES OF AESTHETICISM. AVANT-GARDE CONTINGENTS. SEXUALITY AND RACE. STRATEGIES OF CODING: ABSTRACTION AND SYMBOLS. THE LIMITS OF THE AVANT-GARDE. THE AVANT-GARDE AND THE OPEN SECRET. THE OPEN SECRET AND MASS CULTURE ; 5. THE SHORT TRIUMPH OF THE MODERN: 1940-1965. EXPRESSION AND REPRESSION IN POST-WAR ART. POPULAR IMAGERY, POP ART, AND THE ORIGINS OF POSTMODERNISM. CAMP AND CRITICISM ; 6. THE AVANT-GARDE AND ACTIVISM: 1965-1982. ART VS. POLITICS. FEMINISTS, LESBIANS, AND FEMALE SENSIBILITY. IDENTITY AND SENSIBILITY ; 7. THE AIDS DECADE: 1982-1992. AIDS AND THE AVANT-GARDE. AIDS, ACTIVISM, AND VISUAL CULTURE. HOMOPHOBIA AND VISUAL CULTURE ; 8. QUEER AND BEYOND. QUEER. FRAGMENTATION FROM WITHIN. PRESSURE FROM WITHOUT. WORKING THROUGH DIFFERENCE: THE BLACK MALE NUDE

Read more less

Book SynopsisTrade Review"In publishing, there is a difference between making a splash and actually making waves. Brown's work has done both. He opens his lens this time to a wide array of aesthetic and cultural objects from indigenous ethnographic sculpture to the kitsch memorabilia of 9/11. Along the way, there are readings devoted to material objects in canonical literature and more popular contemporary writing. Holding all this together in the force field of Brown's lucid prose are his steadily surprising insights into 'things other' than meet the eye in such object matter. This new book, too, will be not only applauded but also widely consulted."--Garrett Stewart, author of Bookwork: Medium to Object to Concept to Art "Audacious and profound, Brown rereads the great theorists and philosophers of modernism to create new categories--redemptive reification, misuse value, the meta-object--to explore a counter-history of the elusive 'other thing.' The art and literature of American and European modernist culture, he brilliantly argues, yield up the incandescence of the other thing once it can be emancipated from the teleology of commodity and war."--Isobel Armstrong, Birkbeck, University of London "For decades now, Brown has been thinking and writing about "thing theory," as he has called it. But in Other Things, he attempts to make clear the connections between his work and the recent surge of critical work involving things, objects, and matter....Brown makes what is likely the most sophisticated and strongest case for literary and historical study within a new materialist framework by suggesting that thingness can best be explained 'in the cultural field, ' rather than through, say, metaphysics."--Los Angeles Review of Books "In Brown's supple mind, things are alive. Their theoretical twists and turns and stubborn materiality are not opposites, but interwoven dynamics--material objects in a field of thingness. For more than a decade, Brown has explored the various meanings and operations of things in, and as, literature and the visual arts. His grasp of the subject, control of interpretation, and willingness to take intellectual risks make this book a necessary read for anyone interested in the things that provoke our intellectual curiosity."--James Cuno, The J. Paul Getty Trust "Compelling. . . . The test of Brown's book--which it surpasses and sustains--is that, like the paper clip or rubber band you almost certainly aren't holding as you read this, Other Things will stick in your mind anyway."--Modernism/modernity "Brown is a pre-eminent scholar of the material world. . . . Other Things is rigorously conceptual but it is also good company, an enlightening contribution to our understanding of material culture across the twentieth and twenty-first centuries."--Times Literary Supplement

Read more less

Book SynopsisTrade Review"There is no doubt that Saletnik has given us a new view on Albers that is an important contribution to scholarship on a figure who had a profound impact on the direction of post-Second World War western art. This extends to an enhanced understanding of several of his pupils too, most notably Hesse and Serra, all delivered in a clear and elegant style that is eminently readable." * History of Education *"For anyone interested in Josef Albers’s teaching and creative practice, there is much to be learned from Saletnik’s Josef Albers, Late Modernism, and Pedagogic Form. . . . Saletnik digs deep to reveal the historical and cultural roots from which Albers’s singular pedagogy developed." * Journal of Design History *“This is an important book, backing up imaginative leaps between the various parts of Albers’s practice—typography, photography and painting—with meticulous and tightly focused research. It adds to existing writing on Albers’s teaching by considering both its forelife in the history of German pedagogy and its afterlife in late modernist art.” * Burlington Magazine *“Saletnik’s Josef Albers, Late Modernism, and Pedagogic Form is a brilliant, boldly original work of art-historical scholarship. He examines in rich detail the formation of Josef Albers’s pedagogy in Wilhelmine Germany, how it shaped his legendary teaching at Yale, and—this is the bold part—how his pedagogical exercises decisively shaped habits of mind and hand in the work of Yale alumni Eva Hesse and Richard Serra, two artists whose artistic practice seems far removed from Albers’s own. The book is an exemplary demonstration of the insights to be gained from exhaustive archival and historical research and close, thoughtful looking.” -- Charles W. Haxthausen, Robert Sterling Clark Professor of Art History, Emeritus, Williams College“This very important study offers a new understanding of the significant impact that Josef Albers’s artistic and pedagogical commitments had on key figures of the ‘postminimalist’ generation of American artists, such as Eva Hesse and Richard Serra. Most importantly, perhaps, its wide-ranging analysis radically questions the rigid distinctions commonly made between the closures of a modernist commitment to form and the experimental ethos of process-orientated art.” -- Alex Potts, Max Loehr Collegiate Professor Emeritus, University of MichiganTable of ContentsIntroduction: “Bye, bye, Bauhaus” A Linear Constructions 1 From Object to Process: On Albers’s Pedagogic Forms Learning by Doing Progressive Education Educating Albers Pedagogic Form B Photography 2 Fold/Manifold: On Eva Hesse and Albers Lightweight and Weighted Down Folding and Unfolding C Painting 3 Color Aid: On Richard Serra and Albers Working Methods Disciplined Disorientation Epilogue: Playtime Acknowledgments Notes Selected Bibliography Image Credits Index

Read more less

Book Synopsis

Read more less

Book SynopsisFilm Into Video, Second Edition offers comprehensive, practical information on the complex process of converting motion picture film into video. All of the tools of the trade are explained in clear, simple language, as are the operational, business, and creative sides of film to video transfer. This easy-to use guide provides the reader with the necessary foundation to approach any technological advances in this fast-paced field.Additions to the second edition include: information on the Philips Spirit Data Cine and the new Sony FVS-1000; a new section on the latest in flying spot telecines, including Cintel''s C-Reality and Ursa Electrum; an examination of recent changes in color correction computers with da Vinci''s 2K and Pandora''s Mega-Def systems, and in respect to Philips Spirit DataCine and Cintel''s C-Reality, a discussion relating to the area of data transfer and how this has changed the telecine industry.Trade Review"This book contains a wealth of information...The book covers everything from how film is made, what a video signal looks like and the inner workings of high-end film-to-video transfer equipment in an entertaining and educational way." - Don Smith, Videomaker"If you work with film-to-video transfer equipment, are interested in film-to-video transfer or just enjoy learning about the history and current technology of film and video equipment, you will definitely enjoy Film into Video, Second Edition." - Don Smith, VideomakerPraise for the previous edition:"An excellent reference book detailing all aspects of how the professional would go about transferring film to video, costing such a job, the time scales involved and the creative sides to post-production." - Amateur Film & Video Maker (IAC)Table of ContentsA brief overview and history; Film technology; Video technology; Film into video; Telecine devices; Video recorder formats; Sound formats; Sound transfer devices and applications; Supporting devices; Planning for film to video transfers; Video facilities and costs; The telecine environment; Methods and Techniques; Four sample scenarios; Appendices; Glossary.

Read more less

Book SynopsisThe art. The craft. The business. Animation Writing and Development takes students and animation professionals alike through the process of creating original characters, developing a television series, feature, or multimedia project, and writing professional premises, outlines and scripts. It covers the process of developing presentation bibles and pitching original projects as well as ideas for episodes of shows already on the air. Animation Writing and Development includes chapters on animation history, on child development (writing for kids), and on storyboarding. It gives advice on marketing and finding work in the industry. It provides exercises for students as well as checklists for professionals polishing their craft. This is a guide to becoming a good writer as well as a successful one.Trade Review*"Jean Ann Wright's new book is a well written, straightforward and practical approach to writing for animated features and television. With an eye on giving the writer an overview of the animation process as well as solid advice on preparing successful projects for the big and small screen, Jean's book will prove invaluable to those trying to break into the business as well as those who already have a track record." -- Frank Gladstone, Head of Artistic Development/DreamWorks Animation*"Jean Ann Wright has managed to create a nearly indispensable book for writers of all media, not just animation. Animation Writing and Development not only demonstrates how to brainstorm gags and create memorable characters, it also analyzes the thinking of the audience whether they're pre-schoolers or teenaged video game addicts. This book asks questions that will lead you to fresh perspectives on your work and more sales."-Tad Stones, Animation Producer and Writer, Warner Brother and Universal Cartoon Studios*"What could be better than a mentor who really cares? Jean Ann Wright more than qualifies as a topnotch writing mentor for animation, one who cares about her readers and their potential careers. With that foundation in mind, I say, take this great book and run with it.er.better still.write with it!"- Rita Street, longtime Publisher/Editorial Director, Animation Magazine "The real value of this tome lies in its concise technical approach, offering newcomers various route-maps through the storytelling maze." - Imagine magazine"Even if you have never thought about writing for animation this is a fascinating book, and for anyone yearning to write for this medium it is indispensable...So is it possible to learn how to write? After reading this book I would say definitely yes - it will certainly make you want to try...There is lots of sensible advice for anyone wanting to embark on a career as a writer for animation. It will not be easy but this reasonably priced and enjoyable book could be your key to getting started." - Animatoon magazineTable of Contents1. Introduction to Animation2. Animation History3. Getting Ideas4. Child Development5. Developing Characters6. Animation Development and the Bible7. The Premise8. General Animation Structure and Sub Plots9. The Outline10. Storyboard for Writers11. The Scene12. Gags and Comedy Writing13. Dialogue14. The Script15. The Feature16. Genres and Other Media17. Editing and Rewriting18. Marketing19. The Pitch20. Agents, Networking and Finding Work21. Children's Media

Read more less

Book SynopsisLearn from TRUE GAME LEGENDS: Warren Spector - Founder of Origin Games, Ron Burke - Founder of GamingTrend, and Bob Sabiston of Flat Black Films...as they share their secrets on applying age-old cinematic film techniques to the greatest games of our time.Table of ContentsPart 1 Game Industry Primer; Chapter 1 The Production Process; Chapter 2 Understanding Preproduction; Chapter 3 Production in the Game Industry; Chapter 4 Postproduction; Part 2 Incorporating Cinematic Skills; Chapter 5 Writer; Chapter 6 Storyboard and Concept Art; Chapter 7 Cinematography for Games; Chapter 8 Producer; Chapter 9 Casting; Chapter 10 Directing; Chapter 11 Sound Design; Part 3 Creating Your Own Cinematic Project; Chapter 12 Getting Started; Chapter 13 The Game Business; Chapter 14 Legal Issues;

Read more less

Book SynopsisHow artists in twentieth-century Germany adapted the idea of the medical or legal case as an artistic strategy to push to the fore sexualities, scandals, and crimes that were otherwise concealed.In early twentieth-century Germany, the artistic avant-garde borrowed procedures from the medical and juridical realms to expose and debate matters that society preferred remain hidden and unspoken. Frederic J. Schwartz explores how the evocation or creation of a “case” provided artists with a means to engage themes that ranged from blasphemy to Lustmord, or sexual murder. Shedding light on the case as a cultural form, Schwartz shows its profound effect on artists and the ways it dovetailed with methods used by these figures to exploit fundamental changes taking place across the mass media of their time. As Schwartz shows, the case was a common denominator that connected seemingly disparate works. George Grosz and Rudolf Schlichter drew on it for t

Read more less

Book SynopsisThe first reader in critical plant studies, exploring a rapidly growing multidisciplinary field—the intersection of philosophy with plant science and the visual arts.In recent years, philosophy and art have testified to how anthropocentrism has culturally impoverished our world, leading to the wide destruction of habitats and ecosystems. In this book, Giovanni Aloi and Michael Marder show that the field of critical plant studies can make an important contribution, offering a slew of possibilities for scientific research, local traditions, Indigenous knowledge, history, geography, anthropology, philosophy, and aesthetics to intersect, inform one another, and lead interdisciplinary and transcultural dialogues. Vegetal Entwinements in Philosophy and Art considers such topics as the presence of plants in the history of philosophy, the shifting status of plants in various traditions, what it means to make art with growing life-forms, and

Read more less