The arts: general topics Books
Peter Lang Publishing Inc Working Together
Book SynopsisPartnerships among a variety of institutions for profit, not-for-profit, and non-profit are a relatively recent organizational development. Such partnerships link businesses, government, and social agencies. The primary reason for these relationships is to achieve goals sooner and more efficiently by building on the resources and expertise of each partner. In arts education, schools, arts organizations, cultural institutions, government agencies, and universities have engaged in joint ventures to improve the teaching and learning of the arts disciplines in their schools and in their communities. These partnerships have been particularly beneficial for teachers, many of whom have limited background in the arts but are expected to teach them in their classrooms. Arts partnerships initially focused on the goals of the participating organizations; that is, to develop artistic skills, to build future audiences, and/or to encourage young people to consider an artistic career. More recentlyTrade Review«We are, indeed, fortunate that this study was completed in time to capture a revealing image of arts education at a high level of achievement and to perpetuate the legacy of an important organization.» (From the Foreword by Larry O’Farrell, Professor Emeritus, UNESCO Chair in Arts and Learning, Faculty of Education, Queen’s University)«We are, indeed, fortunate that this study was completed in time to capture a revealing image of arts education at a high level of achievement and to perpetuate the legacy of an important organization.» (From the Foreword by Larry O’Farrell, Professor Emeritus, UNESCO Chair in Arts and Learning, Faculty of Education, Queen’s University)Table of ContentsContents: Arts Partnerships in Education – Research Methodology – Partnership Issues – Arts Integration – Extrinsic Learning – Arts Appreciation – Replication – Additional Comments – Emerging Issues – Parent Perspectives – Discussion of Multiple Perspectives – Coda.
£30.07
Peter Lang Publishing Inc Working Together
Book SynopsisPartnerships among a variety of institutions for profit, not-for-profit, and non-profit are a relatively recent organizational development. Such partnerships link businesses, government, and social agencies. The primary reason for these relationships is to achieve goals sooner and more efficiently by building on the resources and expertise of each partner. In arts education, schools, arts organizations, cultural institutions, government agencies, and universities have engaged in joint ventures to improve the teaching and learning of the arts disciplines in their schools and in their communities. These partnerships have been particularly beneficial for teachers, many of whom have limited background in the arts but are expected to teach them in their classrooms. Arts partnerships initially focused on the goals of the participating organizations; that is, to develop artistic skills, to build future audiences, and/or to encourage young people to consider an artistic career. More recentlyTrade Review«We are, indeed, fortunate that this study was completed in time to capture a revealing image of arts education at a high level of achievement and to perpetuate the legacy of an important organization.» (From the Foreword by Larry O’Farrell, Professor Emeritus, UNESCO Chair in Arts and Learning, Faculty of Education, Queen’s University)«We are, indeed, fortunate that this study was completed in time to capture a revealing image of arts education at a high level of achievement and to perpetuate the legacy of an important organization.» (From the Foreword by Larry O’Farrell, Professor Emeritus, UNESCO Chair in Arts and Learning, Faculty of Education, Queen’s University)Table of ContentsContents: Arts Partnerships in Education – Research Methodology – Partnership Issues – Arts Integration – Extrinsic Learning – Arts Appreciation – Replication – Additional Comments – Emerging Issues – Parent Perspectives – Discussion of Multiple Perspectives – Coda.
£111.10
Peter Lang Publishing Inc The Criminal Humanities
Book SynopsisThis groundbreaking anthology examines the phenomenon of crime and our historical understanding and misunderstanding of the criminal mind through the lens of the humanities, unpacking foundational concepts in criminology and criminal investigative analysis through disciplines such as the visual arts, cultural studies, religious studies, and comparative literature. Edited by two key figures in this burgeoning field who are also pre-eminent experts in both forensic semiotics and literary criminology, this book breathes new life into the humanities disciplines by using them as a collective locus for the study of everything from serial homicide, sexual disorders, and police recruiting and corruption to the epistemology of criminal insanity. Using a multidisciplinary framework that traverses myriad pedagogies and invokes a number of methodologies, this anthology boasts chapters written by some of the world's key scholars working at the crossroads of crime, media, and culture as broadly deTable of ContentsContents: Michael Arntfield/Marcel Danesi: Introduction: Rise of the Criminal Humanist – James Johnston: A «notable newe Italionisme»: Providence, Plague, and the Final Words of the Criminally Condemned in The Unfortunate Traveller – Lee Mellor: Original Gangsta: Self-Conceptualization and Criminogenic Authenticity in Hip Hop Music – Yair Neuman/Yochai Cohen/James Knoll: Metonymy and Mass Murder: Diagnosing «Splitting» Through Automatic Text Analysis – Joan Swart: Psychopaths in Film: Are Portrayals Realistic and Does It Matter? – Trevor Grant: The Hammer and the Hummingbird: Spectating Crime Inside the Documentary Film – DJ Williams/John Edgar Browning: Looking Inside the Coffin: An Overview of Contemporary Human Vampirism and Its Relevance for Forensics Professionals – Sonia Halpern: A Yiddishe Cop: Jewish Identity, Police, and Prisoners in Contemporary Law Enforcement – Lee Mellor/Vivek Venkatesh/Jason Wallin/Tieja Thomas: Killing for Slender Man: The Emergence of an Electronic Gospel – Victoria Bigliardi: Crime as Curation: Understanding Crime Through the Lens of the Museum – Bethany K. Walters/Eric W. Hickey: Crime and the Canvas: Depicting Criminals and Their Punishments in the Visual Arts, from Antiquity to Present.
£65.11
Peter Lang Publishing Inc Riding on Horses Wings
Book SynopsisThe bond between humans and horses is deep. For humans, horses provide freedom. Riding on horses and horse-drawn chariots or carts has allowed humans to go farther and faster than they could on their own. Horses (now high-horsepower cars) are our wings. As a result, their images show up in our dreams and our personal and cultural stories as symbols not only of freedom, but of power, swiftness, nobility, and beauty. Equine images empower us to ride on inner journeys, explore the mysteries of the soul, and carry the human spirit forward. In bringing to life the horse tales of many cultures throughout the ages, Riding on Horses' Wings is as whimsical and magical as it is inspiring. From the white-winged Pegasus and part-human Centaurs in ancient Greek myths, Epona in ancient Celtic lore, the eight-legged Sleipnir in Nordic tales, and Kanthaka in Buddhist lore, to the many horses in Native American mythologies and today's literary and fine arts, movies, YouTube videos, and beyond, hTable of ContentsContents: Mythological Horses – Myths Nourish Imaginations – Horses in Ancient Greek and Celtic Mythologies – Horses of Norse Mythology – Mythological Horse Tales from Asia – Horse Mythologies in Monotheistic Cultures – Native American Horse Tales – Saddling Up With Horse Tales – Contemporary Horse Tales – Horsepower vs. Horse Survival.
£72.09
Peter Lang Publishing Inc Activist Art in Social Justice Pedagogy
Book SynopsisArtists have always had a role in imagining a more socially just, inclusive worldmany have devoted their lives to realizing this possibility. In a culture ever more embedded in performance and the visual, examining the role of arts in multicultural teaching for social justice is a timely focus. In Activist Art in Social Justice Pedagogy approaches to using activist art to teach a multicultural curriculum are examined and critiqued. Examples of activist artists and their strategies illustrate how study of and engagement in activist art processes glocallyconnecting local and global issuescan deepen critical literacy and commitment to social justice. This book is relevant to those (1) interested in teaching more about artist/activist social movements around the globe, (2) preparing pre-service teachers to teach for social justice, (3) concerned about learning how to engage diverse learners through the arts, (4) teaching courses related to arts-based multicultural education, critTrade Review“Engaged. Inspired. Empowered. Agentic. What we wish for our students is exactly what this visionary revised edition of Activist Art in Social Justice Pedagogy offers its readers. Regardless of what or where you teach, this timely book will invite you to visualize yourself, your work, and your classroom as a site of creativity, imagination, and social power. Indeed, this book’s wonderful portraits of well-grounded activist work with children and youth are needed now more than ever.”—Christine Sleeter, Professor Emerita, California State University, Monterey Bay“We should tremble with outrage at how arts education is being stolen from the most marginalized students. This is especially true in today’s era of de-conscientization, when the radical counter-normative possibilities of the arts grow increasingly vital. Activist Art in Social Justice Pedagogy is one antidote: a collective and subversive call from artists, educators, and activists to recenter the arts in the lives of youth and an invaluable collection of on-the-ground illustrations of student-centric activist art in motion. Read this book and join the revolution.”—Paul Gorski, Associate Professor of Integrative Studies, New Century College, George Mason UniversityTable of ContentsList of Illustrations – Acknowledgments – Cynthia Clabough: Note on the Cover Art: "The Night the Artist Became Activist" – Barbara Beyerbach: Introduction – Barbara Beyerbach: Social Justice Education Through the Arts – Tania Ramalho and Leah Russell – Learning About the Farmworkers and the Landless Rural Workers Movements Through the Arts – Leah Russell: Art and Change in the AfroReggae Cultural Group – Jacquelyn S. Kibbey: Media Literacy and Social Justice in a Visual World – Mary Harrell: Enlivening the Curriculum Through Imagination – Dennis Parsons: Photography and Social Justice: Preservice Teachers and the Ocularized, Urban Other – Jane Winslow: Creating Student Activists Through Community Participatory Documentaries – Jennifer Kagan/Chris Capella: Art Class at the Onondaga Nation School: A Practice of the Good Mind – Lisa Roberts Seppi: Indigenous Activism: Art, Identity, and the Politics of the Quincentenary – Carrie Nordlund/Peg Speirs/Marilyn Stewart/Judy Chicago: Activist Art and Pedagogy: The Dinner Party Curriculum Project – Lisa K. Langlois: Acting Up In and Out of Class: Student Social Justice Activism in the Tertiary General Education, Fine Arts, and Performing Arts Curriculum – Patricia E. Clark/Ulises A. Mejias/Peter Cavana/Daniel Herson/Sharon M. Strong: Interactive Social Media and the Art of Telling Stories: Strategies for Social Justice Through Osw3go.net 2010: Racism on Campus – Barbara Stout: In the Grey: Finding Beauty Without Labels – Suzanne Bellamy: The Art of Growing Food – Arnon A.m. de Andrade/Tania Ramalho (Translator): Complexity, Communication, Education, and the Making of Art – Ritu Radhakrishnan: It Starts With an Idea: Integrating Arts into the Classroom – Anneke McEvoy/Peter Cardone/Elias Williams: Sharing Our True Identity: Taking Environmental Portraits to Subvert Existing Community Narratives – Cynthia Clabough/Todd Behrendt/Elizabeth Brownell/Christi Harrington/Sharon Kane/Lacey McKinney/Kelly Roe: A Collective Endeavor—The Creatively Exploring Place, Self, and Collective Identity Project – Barbara Beyerbach/Tania Ramalho: Activist Art in Social Justice Pedagogy – About the Authors.
£41.76
Peter Lang Publishing Inc All About Almodovars Men
Book SynopsisPedro Almodóvar is an internationally acclaimed Spanish director. The national and international fascination over Almodóvar's cinema lies in his ability to reflect the problems of contemporary society, his lucidity in combining the urban and the rural, his ability to express the frustrations of modern man, as well as his freshness and spontaneity. Although the vast majority of studies on this Spanish director have focused on women and the gay world, his films are crowded with many types and archetypes of heterosexual men. This groundbreaking edited volume studies the men in the cinema of Almodóvar from a broad yet comprehensive and complementary perspective. Each chapter of All About Almodóvar's Men methodically dissects these male characterstheir misery and their greatness, their frustrations and their desiresoffering a kaleidoscopic view of man that goes beyond the narrow framework in which many studies have locked the rich cinema of Almodóvar.Table of ContentsJuan Rey: The Multifaceted Man in the Cinema of Almódovar – Salomé Sola-Morales: The Villanous Man: Evil as the Incarnation of Masculinity – Mónica Barrientos-Bueno: The Seductive Man: The Long Shadow of Don Juan – Luis Alfonso Guadarrama Rico/Jannet Valero Vilchis: The Tormented Man: Crisis of Male Hegemonic Imperatives – Lorena López-Font/Carlos Fanjul-Peyró/Cristina González-Oñate: Queer Masculinities: Evolution of Homosexual, Transsexual, and Queer Characters – Víctor Hernández-Santaolalla/Javier Lozano Delmar: The (Anti)Caring Man: Exploring Care and Protection in Masculinity Roles – Antonio Molina Flores: The Invisible Man: Nothing About My Father – Manuel Garrido-Lora: The Violent Man: Aggressiveness as a Masculine Quality – Alberto Hermida/Sergio Cobo-Durán: The Son: From Corporeal Representation to the Indelible Memory – Adrián Huici Módenes: The Liquid Man: Between the Old and the Postmodern – Lucía Caro-Castaño/David Selva-Ruiz – The Satyr Man: (Hetero)Sexual Male Activity – Francisco Javier Gómez-Pérez/José Patricio Pérez-Rufí: The Castrated Man: Between Physical and Mental Disability – María del Mar Ramírez Alvarado: The National Man: The Iberian Macho – Juan J. Vargas-Iglesias: The Absent Man: Male Void as Dramatic Causality – Juan J. Vargas-Iglesias: The Cinema of Almodóvar as a Rhizome – Almodóvar’s Filmography – Notes on Contributors.
£76.73
Peter Lang Publishing Inc Critical Digital Making in Art Education
Book SynopsisThis book integrates the three fields critical theory, digital art making, and pedagogy, drawing from scholarship and practices of new media, social practice and community-based arts interventions, and arts education pedagogy. With a collection of essays from an international group of authors, we guide readers through steps artists and art educators use to explore digital media, using new media art making to enable voices and interrupt power structures. The three sections of formation, co-construction, and intervention through critical digital practice, provide a survey of current research in new media art pedagogy and social practice. The first section explores interaction techniques, sound technology, 3D printing, pedagogy as sociomaterial, and data visualization as forms of critical digital media. The second section demonstrates examples of social media as means to engage communities and digital art making to critically investigate citizenship, local and international issues, andTable of ContentsAaron D Knochel/Christine Liao/Ryan M Patton : An Introduction to Critical Digital Making – Mary Callahan (MC) Baumstark/Theresa Slater: Toward a Practice of Digital-Handicraft – Lena T H Berglin/Kajsa G Eriksson: Experimental Material-Digital Art Education by Vague Research Studios – Marc Fritzsche: Critical Perspectives on 3D Printing in Art Education – Sean Justice: Designing the Social Interface: More than Social, More than Material – Karen Keifer-Boyd: Interactive Visualizations of Relationships that Matter – Susan Whiteland: Digital Intergenerational (DIG) Art Club – Yen-Ju Lin: Critical Dialogue and the Re/making of Pedagogic Assemblage: Teaching with Social Media and Feminist Online Pedagogy – Kristi Oliver: Contemporary Photographic Practice as a Critical Pathway Toward Visual Literacy – Flávia Bastos/James Rees: Who Is American Today? Promoting Critical Digital Citizenship with High School Students – Cassie Lynn Smith: Critical Pedagogy in the Borderlands: Employing Digital Archives to Support a Local to Global Social Justice Curriculum – Emiel Heijnen/Melissa Bremmer/Michiel Koelink/Talita Groenendijk: Arts Laboratories and Science Studios: How ArtsSciences Can Innovate Arts Education – Jennifer L. Motter: Social Media as Sites for Feminist Activism: Facilitating Critical Digital Meaning-Making – Rebecka A.Black/Chelsea Shannon: Critical Digital Making and Public Pedagogy: Student- Institution Collaboration through Exhibition Making on Google Arts and Culture – Susan Maly/ Hana Marvanová: Digital Media in Art Workshops for Refugees – Danny Jauregui: Counter-Mapping as Artistic Strategy – Brandon Bauer: Landscapes of Absence.
£31.68
Peter Lang Publishing Inc Critical Digital Making in Art Education
Book SynopsisThis book integrates the three fields critical theory, digital art making, and pedagogy, drawing from scholarship and practices of new media, social practice and community-based arts interventions, and arts education pedagogy. With a collection of essays from an international group of authors, we guide readers through steps artists and art educators use to explore digital media, using new media art making to enable voices and interrupt power structures. The three sections of formation, co-construction, and intervention through critical digital practice, provide a survey of current research in new media art pedagogy and social practice. The first section explores interaction techniques, sound technology, 3D printing, pedagogy as sociomaterial, and data visualization as forms of critical digital media. The second section demonstrates examples of social media as means to engage communities and digital art making to critically investigate citizenship, local and international issues, andTable of ContentsAaron D Knochel/Christine Liao/Ryan M Patton : An Introduction to Critical Digital Making – Mary Callahan (MC) Baumstark/Theresa Slater: Toward a Practice of Digital-Handicraft – Lena T H Berglin/Kajsa G Eriksson: Experimental Material-Digital Art Education by Vague Research Studios – Marc Fritzsche: Critical Perspectives on 3D Printing in Art Education – Sean Justice: Designing the Social Interface: More than Social, More than Material – Karen Keifer-Boyd: Interactive Visualizations of Relationships that Matter – Susan Whiteland: Digital Intergenerational (DIG) Art Club – Yen-Ju Lin: Critical Dialogue and the Re/making of Pedagogic Assemblage: Teaching with Social Media and Feminist Online Pedagogy – Kristi Oliver: Contemporary Photographic Practice as a Critical Pathway Toward Visual Literacy – Flávia Bastos/James Rees: Who Is American Today? Promoting Critical Digital Citizenship with High School Students – Cassie Lynn Smith: Critical Pedagogy in the Borderlands: Employing Digital Archives to Support a Local to Global Social Justice Curriculum – Emiel Heijnen/Melissa Bremmer/Michiel Koelink/Talita Groenendijk: Arts Laboratories and Science Studios: How ArtsSciences Can Innovate Arts Education – Jennifer L. Motter: Social Media as Sites for Feminist Activism: Facilitating Critical Digital Meaning-Making – Rebecka A.Black/Chelsea Shannon: Critical Digital Making and Public Pedagogy: Student- Institution Collaboration through Exhibition Making on Google Arts and Culture – Susan Maly/ Hana Marvanová: Digital Media in Art Workshops for Refugees – Danny Jauregui: Counter-Mapping as Artistic Strategy – Brandon Bauer: Landscapes of Absence.
£83.16
Peter Lang Publishing Inc Andre Malraux et lart
Book SynopsisCette étude présente une explication systématique des éléments clés de la théorie de l'art d'André Malraux. Se basant sur des œuvres telles que Les Voix du silence, Le Surnaturel, L'Irréel et L'Intemporel, elle aborde des sujets cruciaux comme la nature de la création artistique, la psychologie de notre réaction à l'art, la naissance de la notion d' art et sa transformation après Manet, la naissance et la mort de l'idée de beauté, la question cruellement négligée de la relation entre l'art et le passage du temps, l'émergence de notre premier monde de l'art universel , le rôle contemporain du musée d'art et du Musée Imaginaire, et la question épineuse du lien entre l'art et l'histoire. Contrairement aux critiques négatives parfois émises contre la pensée de Malraux, l'étude soutient qu'il nous offre une théorie de l'art mûrement réfléchie, entièrement cohérente et très éclairante. De surcroît, et malgré des allégations occasionnelles que l
£59.31
AuthorHouse The First British Book of Henna Art
£16.99
AuthorHouse Tattoo Coloring Book VOLUME 1
£25.49
Createspace Independent Publishing Platform Wire Wrapping The Basics And Beyond
£20.90
Lulu.com Nude Posing Guide
£15.50
Lulu.com Tea With My Monster Poetry Art
Book Synopsis
£14.38
£19.99
£16.71
State University Press of New York (SUNY) Anarchism and Art
Book Synopsis
£22.30
State University of New York Press MerleauPonty at the Gallery Questioning Art
Book SynopsisA study of the significance of the visual arts in Merleau-Ponty''s aesthetics in relation to the work of five artists not known or discussed by him.Merleau-Ponty''s phenomenological ontology engages deeply with visual art, and this aspect of his work remains significant not only to philosophers, but also to artists, art theorists, and critics. Until recently, scholarly attention has been focused on the artists he himself was inspired by and wrote about, chiefly Cézanne, Klee, Matisse, and Rodin. Merleau-Ponty at the Gallery expands and shifts the focus to address a range of artists (Giorgio Morandi, Kiki Smith, Cy Twombly, Joan Mitchell, and Ellsworth Kelly) whose work came to prominence in the second half of the twentieth century and thus primarily after the philosopher''s death. Véronique M. Fóti does not confine her analyses to Merleau-Ponty''s texts (which now importantly include his late lecture courses), but also engages directly with the art. Of particular concern to her is the art''s ethical bearing, especially as related to animal and vegetal life. The book''s concluding chapter addresses the still-widespread rejection of beauty as an aesthetic value.
£22.30
State University of New York Press MerleauPonty at the Gallery Questioning Art
Book SynopsisA study of the significance of the visual arts in Merleau-Ponty''s aesthetics in relation to the work of five artists not known or discussed by him.Merleau-Ponty''s phenomenological ontology engages deeply with visual art, and this aspect of his work remains significant not only to philosophers, but also to artists, art theorists, and critics. Until recently, scholarly attention has been focused on the artists he himself was inspired by and wrote about, chiefly Cézanne, Klee, Matisse, and Rodin. Merleau-Ponty at the Gallery expands and shifts the focus to address a range of artists (Giorgio Morandi, Kiki Smith, Cy Twombly, Joan Mitchell, and Ellsworth Kelly) whose work came to prominence in the second half of the twentieth century and thus primarily after the philosopher''s death. Véronique M. Fóti does not confine her analyses to Merleau-Ponty''s texts (which now importantly include his late lecture courses), but also engages directly with the art. Of particular concern to her is the art''s ethical bearing, especially as related to animal and vegetal life. The book''s concluding chapter addresses the still-widespread rejection of beauty as an aesthetic value.
£65.04
State University of New York Press AvantGardes in Crisis
Book SynopsisCharts underexamined genealogies of minoritarian aesthetic responses to the multiple crises of the long 1970s.Avant-Gardes in Crisis claims that the avant-gardes of the late twentieth and early twenty-first centuries are in crisis, in that artmaking both responds to political, economic, and social crises and reveals a crisis of confidence regarding resistance''s very possibility. Specifically, this collection casts contemporary avant-gardes as a reaction to a crisis in the reproduction of life that accelerated in the 1970s-a crisis that encompasses living-wage rarity, deadly epidemics, and other aspects of an uneven management of vitality indexed by race, citizenship, gender, sexual orientation, class, and disability. The contributors collectively argue that a minoritarian concept of the avant-garde, one attuned to uneven patterns of resource depletion and infrastructural failure (broadly conceived), clarifies the interplay between art and politics as it has played out, for instance, in discussions of art''s autonomy or institutionality. Writ large, this book seeks to restore the historical and political context for the debates on the avant-garde that have raged since the 1970s.
£65.04
State University of New York Press AvantGardes in Crisis
Book SynopsisCharts underexamined genealogies of minoritarian aesthetic responses to the multiple crises of the long 1970s.Avant-Gardes in Crisis claims that the avant-gardes of the late twentieth and early twenty-first centuries are in crisis, in that artmaking both responds to political, economic, and social crises and reveals a crisis of confidence regarding resistance''s very possibility. Specifically, this collection casts contemporary avant-gardes as a reaction to a crisis in the reproduction of life that accelerated in the 1970s-a crisis that encompasses living-wage rarity, deadly epidemics, and other aspects of an uneven management of vitality indexed by race, citizenship, gender, sexual orientation, class, and disability. The contributors collectively argue that a minoritarian concept of the avant-garde, one attuned to uneven patterns of resource depletion and infrastructural failure (broadly conceived), clarifies the interplay between art and politics as it has played out, for instance, in discussions of art''s autonomy or institutionality. Writ large, this book seeks to restore the historical and political context for the debates on the avant-garde that have raged since the 1970s.
£22.96
State University of New York Press The Tyranny of Common Sense
Book SynopsisElucidates how neoliberalism rules all areas of life and operates as a form of common sense, taking Mexico as a case study.As one of the first countries to implement a neoliberal state apparatus, Mexico serves as a prime example of the effects of neoliberal structural economic reform on our sensibility. Irgmard Emmelhainz argues that, in addition to functioning as a form of politico-economic organization, neoliberalism creates particular ways of seeing and inhabiting the world. It reconfigures common sense, justifying destruction and dispossession in the name of development and promising to solve economic precarity with self-help and permanent education. Pragmatism reigns, yet in always aiming to maximize individual benefit and profit, such common sense fuels a culture of violence and erodes the distinction between life and death. Moreover, since 2018, with the election of a new Mexican president, neoliberalism has undergone what Emmelhainz calls "post-neoliberal conversion," intensifying extractavism and ushering in a novel form of moral, political, and intellectual hegemony rooted in class tensions and populism. Integrating theory with history and lived reality with art, film, and literary criticism, The Tyranny of Common Sense will appeal to academics and readers interested in the effects of neoliberalism and, now, post-neoliberalism in Mexico from a broader, global perspective. Originally published in Spanish in 2016 as La tiranía del sentido común: La reconversión neoliberal de México, the English edition has been thoroughly revised and expanded to encompass a critical vision of the current regime.
£65.04
State University of New York Press The Tyranny of Common Sense
Book SynopsisElucidates how neoliberalism rules all areas of life and operates as a form of common sense, taking Mexico as a case study.As one of the first countries to implement a neoliberal state apparatus, Mexico serves as a prime example of the effects of neoliberal structural economic reform on our sensibility. Irgmard Emmelhainz argues that, in addition to functioning as a form of politico-economic organization, neoliberalism creates particular ways of seeing and inhabiting the world. It reconfigures common sense, justifying destruction and dispossession in the name of development and promising to solve economic precarity with self-help and permanent education. Pragmatism reigns, yet in always aiming to maximize individual benefit and profit, such common sense fuels a culture of violence and erodes the distinction between life and death. Moreover, since 2018, with the election of a new Mexican president, neoliberalism has undergone what Emmelhainz calls "post-neoliberal conversion," intensifying extractavism and ushering in a novel form of moral, political, and intellectual hegemony rooted in class tensions and populism. Integrating theory with history and lived reality with art, film, and literary criticism, The Tyranny of Common Sense will appeal to academics and readers interested in the effects of neoliberalism and, now, post-neoliberalism in Mexico from a broader, global perspective. Originally published in Spanish in 2016 as La tiranía del sentido común: La reconversión neoliberal de México, the English edition has been thoroughly revised and expanded to encompass a critical vision of the current regime.
£24.27
AuthorHouse Things Better Than BOOBS
£18.49
AuthorHouse Things Better Than BOOBS
£10.86
AuthorHouse The Orange Bowl
£39.95
Simon & Schuster Da Vincis Ghost Genius Obsession and How Leonardo
Book Synopsis
£17.10
Taylor & Francis Inc Methods in Product Design
Book SynopsisAs industries adopt consumer-focused product development strategies, they should offer broader product ranges in shorter design times and the processes that can manufacture in arbitrary lot sizes. In addition, they would need to apply state-of-the-art methods and tools to easily conduct early product design and development trade-off analysis among competing objectives. Methods in Product Design: New Strategies in Reengineering supplies insights into the methods and techniques that enable implementing a consumer-focused product design philosophy by integrating design and development capabilities with intelligent computer-based systems. The book defines customer focused design and discusses ways to assess changing demands and sources, and delves into what is needed to successfully manufacture goods in a demanding market. It reviews proven methods for assessing customer need. Then, after showing how changing needs impact the reengineering of products, it explains how chanTable of ContentsSustainable Design. Cellular Manufacturing Systems. An Overview of Computer-Aided Design. Selection of Parameters for CAD-VR Data Translation. A Semi-Integration System of CAD and Inspection Planning of Standard Manufactured Features. Tumor Geometrical Deformation Modeling. Product Variety and Manufacturing Complexity. A Simulation-Based Methodology for Manufacturing Complexity Analysis. Optimizing Supply Chain Network Design. Shutdown Maintenance Scope of Work Assessment Model (SWAM): Model for Reducing Shutdown Maintenance Costs and the Loss of Production at Continuous Process Industries. Machine Failure Time Detection through Product Defects.
£94.99
Temple University Press,U.S. Suffering and Sunset
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
£17.99
Temple University Press,U.S. Loving Orphaned Space
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
£69.70
Temple University Press,U.S. Loving Orphaned Space
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
£17.99
F&W Publications Inc Daniel E. Greene Studios and Subways
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.
£33.75
F&W Publications Inc Artists Market 2018
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.
£22.49
Bloomsbury Publishing (UK) Teaching Creativity
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.
£37.99
Continuum Publishing Corporation Listening to Noise and Silence Towards A
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.
£27.54
Rowman & Littlefield The Triumph of Modernism
Book SynopsisTrade ReviewBracing art criticism. . . . In his enlightening, stimulating, and uncompromising essays, Kramer accords art the serious and critical attention it deserves. -- Donna Seaman * Booklist *Delicious jeremiads attacking the meretricious, fad-obsessed art world of today. . . . Mr. Kramer packs his reviews and essays with telling anecdotes. -- Stephen Goode * The Washington Times *An event: The first collection of Hilton Kramer's art criticism to appear in twenty years displays his great command of subject and historical undergirding. Here is an incisive critique of the artists, critics, institutions, and movements that have formed the basis for modern art. * The New York Review Of Books *Splendid collection . . . Kramer is luminously intelligent when he discusses the great modernists. -- Jeffrey Hart * The American Conservative *Arresting and perceptive judgments displaying Kramer's Modernist tastes. * The New York Times *Kramer's book is erudite, principled, and well written. . . . This book would be especially valuable for anyone conducting a course in either aesthetics or art criticism . . . it should be on the 'must read' list for every museum director. -- Marie L. Meegan * Naea News *Everything Hilton Kramer writes is marked by his bracing intelligence and penetrating judgment. No one could doubt his distinction as an art critic—but he raises broad social and cultural issues too, and fearlessly confronts. -- John GrossA principled and discriminating champion of modern art. His hallmark as a critic is a scrupulous, often exquisite, concern for the aesthetic primacy of the object itself—that is, for the formal properties of a work of art—and secondarily for its place within the art of its time. -- Michael J. Lewis * COMMENTARY *Consistently a pleasure to read . . . faithful to the tradition of high intellectuality which flourished in mid-century America. -- Kenneth Minogue * Times Literary Supplement *A vigorous intellect . . . broad taste and erudition. * Academic Questions *Kramer has a gift for writing about the history of ideas . . . It is when he turns to matters of art and aesthetics that his strengths as a thinker come most fully into play. Though a host of his ideological enemies have branded him a ‘reactionary elitist’ for his belief in objective aesthetic standards, Kramer is no Philistine. After half a century, he retains a qualified but genuine love for the achievements of modernism in art. -- Gregory Wolfe * First Things *More than any other critic of our time—more energetically, more relentlessly, more courageously—Hilton Kramer has stood out against the degradation of modernism in the arts and the symbiotic degradation of liberalism in politics and culture. -- Norman PodhoretzAs sharp as a wasp’s stinger. -- George Scialabba * Boston Review *
£14.24
Rowman & Littlefield Losing Your Head
Book SynopsisLosing Your Head: Abjection, Aesthetic Conflict, and Psychoanalytic Criticism looks at the subject of beheading in art as a trope of the destruction of the mind. This book discusses both psychoanalytic theory and art criticism. It addresses critics, readers, and spectators interested in the keys of interpretation that psychoanalysis can offer, and analysts who are curious to know if artists can help them refine the tools they use every day. It asks whether artists have something to say about the concepts of reverie and negative reverie or about change as aesthetic transformation, and about aesthetic experience as a paradigm of what is most true and most profound in analysis. Why write about beheading? Many art galleries feature paintings of heroines performing this cruel act: Delilah, Salome, Judith, Yael, and others. At the antithesis to this, there is another theme to be found in painting that consistently garners attention: namely, the so-called Sacred Conversation, in which the MadTrade ReviewGiuseppe Civitarese has given us another thought provoking and wonderful new book to open our analytic minds to new ways of thinking about what we analysts do. This volume begins with a discussion of the meaning of ‘beheading,’ a topic that could not be more current as the destruction of the mind, and Civitarese beautifully examines how psychoanalytic theory and art criticism are related endeavors that each strengthen and build the mind. This erudite and aesthetically rich book continues Civitarese’s exploration of psychoanalysis and aesthetics that he began in his previous publication, The Violence of Emotions: Bion and Post-Bionian Psychoanalysis. This present volume further establishes Civitarese as a leading creative thinker in contemporary psychoanalysis. -- Lawrence J. Brown, author of Intersubjective Processes and the Unconscious: Freudian, Kleinian and Bionian PerspectivesFocusing here on the unexpected theme of ‘decapitation’ (the real as well as the metaphorical losses of heads and minds), Giuseppe Civitarese’s critical reflections upon such a variety of artistic creations as a Haneke’s movie, a Boccaccio’s short story, or a video installation from the Venice Biennale leave us intellectually stimulated and enriched. Civitarese’s wide-ranging psychoanalytic scholarship on aesthetics, combined with his elegant writing style, will only surprise those readers not yet familiar with the depth and breadth of his contributions to psychoanalysis. -- Andrea Sabbadini, British Psychoanalytical SocietyCivitarese's extensive clinical experience and knowledge of Freud, Klein, Meltzer, Kristeva, and especially Bion, is here deployed in analyses of the art object, film, installation, and poetry to illuminate the nature of aesthetic experience and its fundamental place in the space and relationships of the analytic encounter. -- Lesley Caldwell, PhD, University College LondonTable of ContentsChapter 1 Towards a (New) Psychoanalytic Criticism Giuseppe Civitarese, Sara Boffito and Francesco Capello Chapter 2 Aesthetic Conflict and Abjection in Boccaccio’s (L)Isabetta Chapter 3 Changing Styles, Affective Continuities and Psychic Containers: Corrado Govoni’s Early Poetry Francesco Capello and Giuseppe Civitarese Chapter 4 Do Cyborgs Dream? Post-human Landscapes in Shinya Tsukamoto’s Nightmare Detective Chapter 5 The Dream Screen and the Birth of the Psyche in Ingmar Bergman’s Persona Chapter 6 What’s Going to Happen to Us Without Barbarians? Guilt and Paranoia in Michael Haneke’s Hidden Chapter 7 Joseph Losey’s The Servant, the Shattered Life Chapter 8 The Last Riot and the Déjà Vu Decapitations of the AES+F Group References About the Author
£56.70
Rowman & Littlefield Horrors of War
Book SynopsisBattlefields have traditionally been considered places where the spirits of the dead linger, and popular culture brings those thoughts to life. Supernatural tales of war told in print, on screen, and in other media depict angels, demons, and legions of the undead fighting againstor alongsidehuman soldiers. Ghostly war ships and phantom aircraft carry on their never-to-be-completed missions, and the spiritssometimes corpsesof dead soldiers return to confront the enemies who killed them, comrades who betrayed them, or leaders who sacrificed them.In Horrors of War: The Undead on the Battlefield, Cynthia J. Miller and A. Bowdoin Van Riper have assembled essays that explore the meaning and significance of these tales. Among the questions that the volume seeks to answer are: How do supernatural stories engage with cultural attitudes toward war? In what ways do these stories reflect or challenge the popular memories of particular wars? How do they ask us to think again about battlefield heroiTrade ReviewOutside the study of visual culture and exploitation genres more generally, Cynthia Miller and her frequent comrade-in-arms, A. Bowdoin Van Riper, have carved a niche for themselves in Horror Studies, most recently with Horrors of War: The Undead on the Battlefield. Their names are held highly among film circles in the U.S., and they belong to small but ever widening cadre of popular culturalists who are bringing prestige to the often overlooked among the arts. Horror Studies needs scholars like Miller and Van Riper. -- John Edgar Browning, editor of Graphic Horror: Movie Monster MemoriesTable of ContentsAcknowledgments Introduction Part I: Monstrous Enemies 1. “Blood-Thirsty Graybacks”: The Monstrous Othering of the Confederacy in Abraham Lincoln, Vampire Hunter Robert A. Saunders 2. Cry “Havoc!” and Let Slip the Vampires of War Cynthia J. Miller 3. Vampire Pilots and Industrialized War in The Bloody Red Baron A. Bowdoin Van Riper 4. Nazis on the Moon! Nazis under the Polar Ice Cap! And Other Recent Episodes in the Strange Cinematic Afterlife of the Third Reich James J. Ward Part II: The Dead Don’t Rest 5. The Wages of War: Spectral Children in The Devil’s Backbone Michael C. Reiff 6. Traversing the Afterlife Fantasy: The Haunted Soldier in Jacob’s Ladder Thomas Robert Argiro 7. The Haunted Tank Paul O’Connor 8. (Re)Remembering the Great War in Deathwatch Marzena Sokołowska-Paryż 9. The U.N.dead: Cold War Ghosts in Carol for Another Christmas Christina M. Knopf Part III: Making Monsters 10. Pall in the Family: Deathdream, House, and the Vietnam War Christopher D. Stone 11. Strategic Military Reconfiguration in Horror Fiction: The Case of F. Paul Wilson’s The Keep and Graham Masterton’s The Devils of D-Day Fernando Gabriel Pagnoni Berns 12. Horror under the Radar: Memory, Revelation, and the Ghosts of Below Christina V. Cedillo 13. The Supernatural, Nazi Zombies, and the Play Instinct: The Gamification of War and the Reality of the Military Industrial Complex Steve Webley Part IV: Legacies and Memories 14. “Strange Things Happen in a War-Torn Land”: Cat Demons, Samurai, Victims’ Vengeance, and the Social Costs of War in Kaneto Shindo’s Kuroneko (1968) Thomas Prasch 15. Public Memory and Supernatural Presence: The Mystery and Madness of Weird War Tales Terence Check 16. War in The Twilight Zone: Rod Serling’s Haunted Visions of World War II Vincent Casaregola 17. Specters of Media: Jacques Tardi’s Graphic Reanimation of the War of the Trenches Katherine Kelp-Stebbins 18. R-Point as Postcolonial Palimpsest: Generic Complexity and the Ghost in the War/Horror Film Amanda Landa Index About the Editors and Contributors
£76.50
Rowman & Littlefield Stealing History
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
£35.15
Rowman & Littlefield Blind Visitor Experiences at Art Museums
Book SynopsisBlind Visitor Experiences at Art Museums seeks to answer two questions:1.Given the guiding principle of visual art being understood only by sight, what do people understand when sight is diminished or not there?2.Moreover, given the experience of blindness, what are the effects of vision loss or no vision on a cultural identity in art?It does this by exploring seven in-depth case studies of visitors to the education department at the Metropolitan Museum of Art, New York, and the experiences of leading groups by two teachers. In addition, this book includes findings from participant observations in classes and touch tours for blind and visually impaired people at the Metropolitan Museum of Art.After reading this book, readers will understand both passive and active social exclusion from the museum's facilities (active exclusion is defined as a deliberate act of exclusion based on the belief that blind people are incapable of understanding visual art, whereas passive exclusion is definedTrade ReviewSimon Hayhoe writes fluidly and pointedly and has unexcelled knowledge of the blind, education and the arts, in modern times and in the past. He is today’s go-to authority. -- John Kennedy, FRSC, Author, Drawing & the BlindDr. Hayhoe's book takes us on a fascinating journey led by an expert guide highlighting via case study and argument the passive exclusions our premier art museums demonstrate to people with no vision. He delivers a nuanced and persuasive account as to why we need a greater understanding of creativity, identity, and agency. I thoroughly enjoyed reading this welcome resource. -- John Ravenscroft, Chair of Childhood Visual Impairment, University of EdinburghTable of ContentsPart I: Theories on Blindness, Disability and Art Chapter 1: Why Do We Think That People Who Are Blind Cannot Understand the Visual Arts? Chapter 2: The Earliest Art Education of People Who Are Blind Part II: Case Study – Metropolitan Museum of Art, New York Chapter 3: The Metropolitan Museum of Art: A New York Icon Chapter 4: Experiences of Verbal Imaging Chapter 5: Experiences of Teaching and Independent Visits Chapter 6: The Two Questions
£75.60
Simon & Schuster Books for Young Readers Hogg Hogg Hog
Book Synopsis
£14.39
University of Toronto Press Creative Margins
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
£32.00
Read Books What Is Art And Essays On Art
£26.59
Read Books The Art Of Enameling Upon Metals
£22.49
£19.94
John Wiley and Sons Ltd A Concise Companion to Realism
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
£33.26
John Wiley and Sons Ltd A Companion to Renaissance and Baroque Art
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
£44.06
John Wiley and Sons Ltd A Companion to Modern African Art
Book SynopsisOffering a wealth of perspectives on African modern and Modernist art from the mid-nineteenth century to the present, this new Companion features essays by African, European, and North American authors who assess the work of individual artists as well as exploring broader themes such as discoveries of new technologies and globalization.Table of ContentsList of Figures xi Notes on Contributors xv Acknowledgments xx Part I Introduction 1 1 Writing African Modernism into Art History 3 Gitti Salami and Monica Blackmun Visonà Part II “Africa Has Always Been Modern” 21 2 Local Transformations, Global Inspirations: The Visual Histories and Cultures of Mami Wata Arts in Africa 23 Henry John Drewal Part III Art in Cosmopolitan Africa: The Nineteenth Century 51 3 Loango Coast Ivories and the Legacies of Afro-Portuguese Arts 53 Nichole N. Bridges 4 Roots and Routes of African Photographic Practices: From Modern to Vernacular Photography in West and Central Africa (1850–1980) 74 Christraud M. Geary 5 At Home in the World: Portrait Photography and Swahili Mercantile Aesthetics 96 Prita Meier 6 African Reimaginations: Presence, Absence, and New Way Architecture 113 Ikem Stanley Okoye Part IV Modernities and Cross-Cultural Encounters in Arts of the Early Twentieth Century 135 7 “One of the Best Tools for Learning”: Rethinking the Role of ‘Abduh’s Fatwa in Egyptian Art History 137 Dina A. Ramadan 8 Congolese and Belgian Appropriations of the Colonial Era: The Commissioned Work of Tshelantende (Djilatendo) and Its Reception 154 Kathrin Langenohl 9 Warriors in Top Hats: Images of Modernity and Military Power on West African Coasts 174 Monica Blackmun Visonà Part V Colonialism, Modernism, and Art in Independent Nations 195 10 Algerian Painters as Pioneers of Modernism 197 Mary Vogl 11 Kofi Antubam, 1922–1964: A Modern Ghanaian Artist, Educator, and Writer 218 Atta Kwami 12 Patron and Artist in the Shaping of Zimbabwean Art 237 Elizabeth Morton 13 “Being Modern”: Identity Debates and Makerere’s Art School in the 1960s 255 Sunanda K. Sanyal 14 The École des Arts and Exhibitionary Platforms in Postindependence Senegal 276 Joanna Grabski 15 From Iconoclasm to Heritage: The Osogbo Art Movement and the Dynamics of Modernism in Nigeria 294 Peter Probst 16 Modernism and Modernity in African Art 311 John Picton 17 A Century of Painting in the Congo: Image, Memory, Experience, and Knowledge 330 Bogumil Jewsiewicki Part VI Perspectives on Arts of the African Diaspora 347 18 Visual Expressivity in the Art of the Black Diaspora: Conjunctures and Disjunctures 349 dele jegede Part VII Syntheses in Art of the Late Twentieth Century 369 19 Art and Social Dynamics in Côte d’Ivoire: The Position of Vohou-Vohou 371 Yacouba Konaté 20 Contemporary Contradictions: Bronzecasting in the Edo Kingdom of Benin 389 Barbara Winston Blackmun 21 Puppets as Witnesses and Perpetrators in Ubu and the Truth Commission 408 Peter Ukpokodu 22 Moroccan Art Museums and Memories of Modernity 426 Katarzyna Pieprzak Part VIII Primitivism as Erasure 445 23 The Enduring Power of Primitivism: Showcasing “the Other” in Twenty-First-Century France 447 Sally Price Part IX Local Expression and Global Modernity: African Art of the Twenty-First Century 467 24 Zwelethu Mthethwa’s “Postdocumentary” Portraiture: Views from South Africa and Abroad 469 Pamela Allara 25 Creative Diffusion: African Intersections in the Biennale Network 489 Kinsey Katchka 26 Lacuna: Uganda in a Globalizing Cultural Field 507 Sidney Littlefield Kasfir 27 Painted Visions under Rebel Domination: A Cultural Center and Political Imagination in Northern Côte d’Ivoire 528 Till Förster 28 Postindependence Architecture through North Korean Modes: Namibian Commissions of the Mansudae Overseas Project 548 Meghan L. E. Kirkwood 29 Concrete Aspirations: Modern Art at the Roundabout in Ugep 572 Gitti Salami Index 593
£161.95
