Theory of art Books
David Zwirner Yayoi Kusama: Every Day I Pray for Love
Book SynopsisIn her most personal book to date, Yayoi Kusama brings us into her private world through poetic recollections, giving insight into her creative process and the essential role language plays in her work and daily life.With a new focus on Kusama’s use of language, this book gives an impressive overview of her poetry, which the artist creates alongside her work in other media. Highlighting the importance of language to Kusama, the book draws special attention to the captivating poetic titles of her paintings, such as in I WOULD LIKE TO SHOW YOU THE INFINITE SPLENDOR OF STARDUST IN THE UNIVERSE and FIGURE OF THE MIDNIGHT DARKNESS OF THE UNIVERSE THAT I DEDICATED ALL MY HEART. These visionary titles are a quintessential part of Kusama’s eye-catching artworks, but also hold their own as unique aphorisms and appealing statements of cosmic spirituality. The poetry collected here touches on Kusama’s personal triumphs and trials, her human ideals, and her heroic pursuit of art and peace above all else.Centered around EVERY DAY I PRAY FOR LOVE, Kusama’s acclaimed exhibition at David Zwirner, New York, in 2019, this book features more than 300 pages of new paintings, sculptures, and Infinity Mirrored Rooms. It also includes photographs of Kusama over time, offering a unique visual timeline of this iconic artist.
£32.00
David Zwirner Strange Impressions
Book SynopsisMost known for her bold and darkly painted portraits, Brooks was revolutionary in her feminist renderings of women in resistance. Openly queer, she challenged conceptions of gender and sexuality in her art, which also served as her refuge. While many of her male counterparts were disfiguring and cubing their subjects—often women—Brooks gave personhood and power to the figures she painted. Her frank approach to her complicated relationship with her mother, faith, wealth, sexuality, and gender is complemented by a keen wit that echoes the gray tones of her work. Though her paintings are held in major collections, Brooks’s influence in modernist circles of the early twentieth century is largely underexplored. This new publication, guided by Brooks’s own impressionistic musings, bridges an important gap between the art and the artist. An introduction by Lauren O’Neill-Butler explores Brooks’s role as an artist in the early twentieth century through the lens of gender and sexuality.
£10.40
Harbour Books (East) Ltd A Shoe Story: Van Gogh, the Philosophers and the
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£12.60
Unicorn Publishing Group Titian’s Lost Last Supper: A New Workshop
Book SynopsisThis intriguing book investigates the very rare discovery of a huge, lost, Last Supper painting produced in the workshop of Tiziano Vecellio, known as Titian. The discoloured canvas hung neglected in a parish church for 110 years until the conservator and art historian Ronald Moore removed centuries of discoloured varnish and began to appreciate that something exceptional was being revealed. Following extensive scientific examination, signatures and dates appeared whilst it also became apparent that some faces were actually portraits. The early history of the painting in a Venetian convent was discovered with the enthusiastic help of the modern Venetian, Count Francesco da Mosto, whose family knew Titian. The many painters of Titian's workshop are considered with careful circumspection to determine possible contributors to the Last Supper and the remarkable reason for the many changes, or pentimenti, are explained. After 10,500 hours of research and the translation of countless Italian documents and books, the full history of the painting has been revealed. We now know that the painting is far more than a Last Supper from Titian's workshop, painted by at least five artists over twenty years, but is actually a painting within a painting involving other prominent painters and a denouement unparalleled in Renaissance art.
£17.00
Sternberg Press The Complex Answer: On Art as a Non-Binary
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£18.00
JRP Ringier New Zurich North / Neuer Norden Zürich
Book SynopsisPresenting contributions by artists such as Jean-Marie Appriou, Isabelle Cornaro, Olafur Eliasson, Fischli/Weiss, HR Giger, John Giorno, Nic Hess, Matt Mullican and Alex Sadkowsky, the festival and book New North Zurich explores the condition of 21st-century cities, and the way contemporary art could inhabit them.
£25.20
Hatje Cantz Rosa Barba: On the Anarchic Organization of
Book SynopsisThe work of the Berlin-based artist and filmmaker Rosa Barba is distinguished by her conceptual exploration of film. In this publication she devises a progressive vision for the cinema of the future. Barba translates questions of composition and plasticity into precisely staged arrangements that open up new ways of looking at both the material and the conceptual conditions of the medium of film. Starting with Barba’s artistic research, this volume deals with the concept of an anarchical organization of filmic spaces—a work principle that could shape a new way of thinking by destabilizing traditional cinematic structures. Through this, the author undertakes a journey to an imaginary political trope for today’s cinema.
£18.70
Hatje Cantz Verlag After Cinema
Book SynopsisHeinz Peter Schwerfel (*1954) lives in Paris. He works as a journalist, filmmaker and curator, and is the author of books on artists (Georg Baselitz, Jannis Kounellis) and non-fiction books such as Kunst-Skandale and Kino und Kunst. As a filmmaker, he produced films about Christian Boltanski, Rebecca Horn, Anish Kapoor, Christoph Marthaler, Annette Messager, Bruce Nauman, Cees Nooteboom, and many others, as well as TV series for the art channel ARTE (Design, Live Art). In addition, he curated exhibitions of work by Shirin Neshat, Julian Rosefeldt, and Loukia Alavanou (Greek pavilion, 2022 Venice Biennale).
£32.00
Hatje Cantz Art in a Multipolar World
Book SynopsisHow do geopolitical, economical, and socio-political upheavals impact the field of art todayThis monograph takes a look at how the increasing multipolarity of our world affects art. It is a diagnosis of the socio-political contexts that surround art and questions what the upheavals in geopolitics, economic and social policy mean for the field of art today. The text is divided into four sections. First, the phenomenon is conceptualized and theorized. This is followed by an in-depth examination of the interrelationships using documenta fifteen as a case study, an exhibition that can be seen as a crystallization point for current political shifts. This is followed by an in-depth reading of Chinese art policy, which oscillates between particularist and universalist claims, in order to arrive at the concluding section, which opens up a horizon of thought and experimentation that helps us to come to terms with the era of multipolarity.
£20.40
Prestel 50 Artists You Should Know
Book SynopsisThis vibrant reference guide profiles 50 major artists alongside their representative works. The entries are presented in an eye-catching format that includes brief biographies and critical analyses, alongside illustrations of the artists' most famous works. Featuring 200 full colour illustrations this book also includes a glossary of important terms, information about relevant movements and techniques, and a timeline that puts the artists in context. Arranged chronologically, the selection of artists includes every major artistic movement and development since the Gothic period, giving readers a clear understanding of the evolution of the visual arts. Perfect for casual reading or easy reference, this accessible overview is a fun and practical art history lesson that everyone can enjoy.
£13.49
Hoaki Artists on Creative Process
Book SynopsisA collection of artists' portraits, where they talk about the difficulties to be and remain creative and how to overcome blocks.
£21.24
Princeton University Press Contact Art and the Pull of Print
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£31.50
Bloomsbury Academic Queer Anatomies
Book SynopsisIn centuries past, sexual body-parts and same-sex desire were unmentionables debarred from polite conversation and printed discourse. Yet one scientific disciplineanatomyhad license to represent and narrate the intimate details of the human bodyanus and genitals included. Figured within the frame of an anatomical plate, presentations of dissected bodies and body-parts were often soberly technical. But just as often monstrous, provocative, flirtatious, theatrical, beautiful, and even sensual. Queer Anatomies explores overlooked examples of erotic expression within 18th and 19th-century anatomical imagery. It uncovers the subtle eroticism of certain anatomical illustrations, and the queerness of the men who made, used and collected them.As a foundational subject for physicians, surgeons and artists in 18th- and 19th-century Europe, anatomy was a privileged, male-dominated domain. Artistic and medical competence depended on a deep knowledge of anatomy and offered cultura
£20.89
MIT Press Ltd 101 Things to Learn in Art School
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£14.39
University of California Press Six Years
Book SynopsisThis work documents the network of ideas that has been labelled conceptual art. Including texts by and taped discussions among and with the artists involved, the book is arranged as an annotated chronology.Trade Review"A marvelous book. . . . Nothing short of a reading of the whole can provide even a faint suggestion of its liveliness or the range of ideas it covers." * ARTnews *Table of ContentsEscape Attempts Author's Notes Preface 1966 1967 1968 1969 1970 1971 Postface Index
£26.10
Yale University Press The Shape of Time Remarks on the History of
Book SynopsisDrawing upon insights in fields such as anthropology and linguistics, this book deals with the concept of historical sequence and continuous change across time.Trade ReviewThe Shape of Time is as relevant now as it was in 1962. This book, a sober, deeply introspective and quietly thrilling meditation on the flow of time and space and the place of objects within a larger continuum, adumbrates so many of the critical and theoretical concerns of the late twentieth and early twenty-first century. It is both appropriate and necessary that it re-appear in our consciousness at this time."—Edward J. Sullivan, New York University "Kubler's telling of the history of things remains a key text, his vision a compelling mixture of the habitual and the poetic in human behavior. For him, human creativity is a constantly repeated attempt to refine answers to a set of questions that change only slowly. But this universal habit is punctuated by the great works of art, ways of doing and seeing that he compares to stars, influencing, shaping and illuminating even after they have been destroyed."—Neil MacGregor, The British Museum
£16.99
Thames & Hudson Ltd Bio Art
Book SynopsisReveals the ways in which the work of bio artists offers new meanings for our lives in the wake of scientific discovery, as well as new frameworks for describing them. This book covers key areas in which biotechnology has had an impact on world, including ecology, biomedicine, designer genomes and evolutionary theory.Trade Review'A compelling contribution to the biotechnology conversation' - Science'Myers shows how the work of bio artists offers a new framework for our lives in the wake of scientific discovery' - Vanity FairTable of ContentsForeword by Suzanne Anker • Introduction: Bio Art and the Gnawing Invisible • I Altering Nature, Naturally • II Redefining Life • III Visualizing Scale and Scope • IV Experimental Identities and Media
£24.00
Dover Publications Inc. Secret Teachings of a Comic Book Master The Art
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£11.24
Penguin Books Ltd What is Art
Book SynopsisDuring his decades of world fame as a novelist, Tolstoy also wrote prolifically in a series of essays and polemics on issues of morality, social justice and religion. These works culminated in What is Art?, published in 1898. Impassioned and iconoclastic, this powerfully influential work both criticizes the elitist nature of art in nineteenth-century Western society, and rejects the idea that its sole purpose should be the creation of beauty. The works of Dante, Michelangelo, Shakespeare, Beethoven, Baudelaire and Wagner are all vigorously condemned, as Tolstoy explores what he believes to be the spiritual role of the artist - arguing that true art must work with religion and science as a force for the advancement of mankind.Table of ContentsWhat Is Art? - Leo Tolstoy Translated by Richard Pevear and Larissa Volokhonsky with a Preface by Richard PevearPrefaceBibliographical NoteA Note on the TextWHAT IS ART?Appendix IAppendix IINotes
£9.49
The University of Chicago Press The Power of Images
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£33.25
Taylor & Francis Ltd Learning to Look at Paintings
Book SynopsisLearning to Look at Paintings is an accessible guide to the study and appraisal of paintings, drawings and prints. Mary Acton shows how you can develop visual, analytical and historical skills in learning to look at and understand an image by analysing how it works, what its pictorial elements are and how they relate to each other. This fully revised and updated new edition is illustrated with over 100 images by a wide range of Western European and American artists, ranging from Rembrandt, Van Gogh and Botticelli to Picasso, Matisse and Rothko, and now includes modern and contemporary artists such as Georgia O'Keeffe, Anselm Kiefer, Tacita Dean and Marlene Dumas. In addition, Mary Acton presents new examples highlighting the survival and revival of painting in recent years.A new introduction situates the book in the wider context of recent changes in the approach to Art History. A glossary of critical and technical terms used in the language of Art History is also included, with an updated but still selective reading list. Trade Review'Each of the six chapters has a succint introduction and a short but useful summary... Recommended.' - CHOICE'Each of the six chapters has a succint introduction and a short but useful summary... Recommended.' – CHOICETable of ContentsIntroduction to the Second Edition List of Figures List of Plates Preface Acknowledgements Introduction 1. Composition 2. Space 3. Form 4. Tone 5. Colour 6. Subject Matter 7. Drawing and its Purposes 8. Looking at Prints. Conclusion: The Use of Comparison as an Aid to Looking. Appendix 1: Some Questions to Ask Yourself When Standing in Front of a Painting Appendix 2: Glossary of Art Terms. References and Further Reading. Index
£26.99
Hatje Cantz Camille Henrot: Milkyways
Book SynopsisMilkyways is a collection of essays by artist Camille Henrot, exploring the ambivalence of motherhood and the process of creation in both art-making and life. Each chapter delivers a cosmos of references in literature, cartoons, art history, psychoanalysis, and more - from ancient maternity myths to modern maternity wards; from Marcel Proust to Maggie Nelson to Hélène Cixous. Alongside illustrations of the artist’s work in painting, drawing, and sculpture, Henrot’s perspectives in writing oscillate freely between the personal and the societal, the obvious and the more complex, the visceral and the utterly mundane. Milkyways was originally conceived for Republik magazine on invitation by Antje Stahl. Written with Jacob Bromberg, Antje Stahl, and Léa Trudel.
£18.70
Penguin Books Ltd What is Black Art
Book SynopsisA landmark anthology on British art history, bringing together overlooked and marginalized perspectives from ''the critical decade''What is Black art? This vital anthology gives voice to a generation of artists of African, Asian and Caribbean heritage who worked within and against British art institutions in the 1980s, including Sonia Boyce, Lubaina Himid, Eddie Chambers and Rasheed Araeen. It brings together artists'' statements, interviews, exhibition catalogue essays and reviews, most of which have been unavailable for many years and resonate profoundly today. Together they interrogate the term ''Black art'' itself, and revive a forgotten dialogue from a time when men and women who had been marginalized made themselves heard within the art world and beyond.
£10.44
The University of Chicago Press Art and Objecthood
Book SynopsisContains 27 essays and reviews defining the contours of late modernism in the visual arts. Ranging from brief reviews to extended essays, the writings establish a set of basic terms for understanding key issues in high modernism. An extended introductory essay by the author clarifies his views.
£34.20
Dorling Kindersley Ltd Timelines of Art
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£21.25
MIT Press Ltd The Sensorium of the Drone and Communities
Book SynopsisA comprehensive overview of how civilian drones sense the world and how they build the aesthetic imaginaries of our communities.Drone technology has garnered critical attention across many fields, from engineering to the humanities. While the first wave of drone scholarship was key in initiating the debate on drones, it also privileged the idea of the “scopic regime”—a militarized regime of hypervisuality—in its analyses of the connection between vision and power. The Sensorium of the Drone and Communities broadens the drone’s spectrum of perception by acknowledging its creative, life-affirming possibility with the notion of the sensorium. The sensorium of the drone is a multimedia, synesthetic sensing assemblage in which the human agent is enmeshed with the drone. Drone sensoria can sense in many more ways than the scopic regime—with sound, touch, smell, temperature, and movement.In The Sensorium of the Drone and Com
£34.85
Taylor & Francis Ltd The Selfie Temporality and Contemporary
Book SynopsisThis book is a theoretical examination of the relationship between the face, identity, photography, and temporality, focusing on the temporal episteme of selfie practice.Claire Raymond investigates how the selfie's involvement with time and self emerges from capitalist ideologies of identity and time. The book leverages theories from Katharina Pistor, Jacques Lacan, Rögnvaldur Ingthorsson, and Hans Belting to explore the ways in which the selfie imposes a dominant ideology on subjectivity by manipulating the affect of time. The selfie is understood in contrast to the self-portrait. Artists discussed include James Tylor, Shelley Niro, Ellen Carey, Graham MacIndoe, and LaToya Ruby Frazier.The book will be of interest to scholars working in visual culture, history of photography, and critical theory. It will also appeal to scholars of philosophy and, in particular, of the intersection of aesthetic theory and theories of ontology, epistemology, and temporality.Table of Contents1. Dreaming the Self: Selfie Practice, Temporality, and Artificial Intelligence 2. The Capitalist Affect 3. Embodied Self: Temporality, Ontology, Mortality 4. Numbering Identity: The Algorithmic Self 5. Archive, Memory, Identity 6. Selfie-as-Mask 7. Celebrity Self-Fashioning 8. Self-Portrait Performance
£37.99
Thames & Hudson Ltd How Art Can Change Your Life
Book SynopsisBrimming with upbeat guidance, this accessible handbook shows how anyone can use art to enlighten, uplift, calm and ease stress and anxieties. Visual art is enlightening, challenging, informative and arresting; but it can also be therapeutic, reducing anxiety and stress levels, and offering perspective on the challenges that we all face in our lives. This guide introduces readers to new ways of looking at a wide range of art. Through careful examination and explanation, it investigates how engaging with art and drawing upon its ideas can help everyone feel connected and inspired. From Frida Kahlo confronting her anxieties to Henri Matisse embracing happiness, from Louise Bourgeois conquering fear to Auguste Rodin finding hope, it shows how you too can use art to work through difficult emotions and improve your mental wellbeing. Even art that unsettles can help us to think and feel differently. Artists have been conveying aspirations, emotions, ideas and stories for thousands of years; this book will help everyone to read' these messages, and thereby to enrich their own emotional life through art.Table of ContentsIntroduction 1. Dissipating Anger 2. Conquering Fear 3. Confronting Anxiety 4. Relieving Stress 5. Tackling Loneliness 6. Overcoming Sorrow 7. Inspiring Self-Reflection 8. Learning Empathy 9. Gaining Inspiration 10. Creating Energy 11. Finding Hope 12. Embracing Happiness
£13.49
Thames & Hudson Ltd Art in the Making Artists and their Materials
Book SynopsisToday's artists have an unprecedented level of choice with regard to materials and methods available to them, yet the processes involved in making artworks are rarely addressed in books or exhibitions on art. This title sets out a history of trends in artistic production and the possible catalysts for the proliferation of production strategies.Trade Review'Full of very good surprises, unusual suspects and unexpected perspectives … illuminating and thought-provoking' - we-make-money-not-art.com'After reading this book I won’t ever look at an artwork in the same way again' - CraftsTable of ContentsIntroduction • 1. Painting • 2. Woodworking • 3. Building Out • 4. Tooling Up 5. Cashing In • 6. Digitization • 7. Fabrication • 8. Performing • 9. Outsourcing
£21.25
Thames & Hudson Ltd Colour in Art
Book SynopsisA wide-ranging and engaging introduction to the place and power of colour in life and art by John Gage, author of the award-winning Colour and Culture. The complex phenomenon of colour has received detailed attention from the perspectives of physics, chemistry, physiology, psychology, linguistics and philosophy. However, the people who work most closely with colour â artists â have rarely been canvassed for their opinions on this mysterious subject. John Gage sets out to address this omission by focusing on the thoughts and practices of artists. Colour in Art is concerned with the history of colour, but is not itself a history; instead each chapter develops a theme from a different scientific discipline, as seen from the viewpoint of such diverse artists such as Wassily Kandinsky, Vincent van Gogh, Sonia Delaunay, Bridget Riley and Clifford Possum Tjapaltjarri. Drawing on examples through the ages, from ancient times to the present, the many topics covered include flags, synaesTrade Review'A brilliant account ... The text is staggeringly erudite but accessible, and the illustrations are as varied as they are informative' - Sunday TimesTable of ContentsForeword Introduction 1. Light from Colour – Colour from Light 2. A Psychology of Colour? 3. The Shape of Colour 4. The Health of Colours 5. Languages of Colour 6. Can Colours Signify? 7. The Union of the Senses 8. Colour Trouble Glossary Bibliography Illustration list Index
£15.29
John Wiley and Sons Ltd Art in Theory 1900 2000
Book Synopsis* New edition of this popular anthology of twentieth-century art-theoretical texts. * Now updated to include the results of new research, together with significant contributions from the 1990s. * Includes writings by critics, philosophers, politicians and literary figures.Trade Review"Occasionally one comes across a book that is at once compelling and frightening, a book that excites and disorientates, a book with intimations of the sublime. Art in Theory is such a book. An indispensable source book." (Arlis News-Sheet)Table of ContentsPreface and Acknowledgements. A Note on the Presentation and Editing of Texts. General Introduction. Part I: The Legacy of Symbolism. Introduction. 1. Classicism and Originality. Paul Signac: from Eugène Delacroix to Neo-Impressionism 1899. Paul Gauguin: letter to Fontainas 1899. Sigmund Freud: from 'On Dreams' 1901. Otto Weininger: from Sex and Character 1903. Max Liebermann: 'Imagination in Painting' 1904. Paul Cézanne: letters to Emile Bernard 1904-06. Rainer Maria Rilke: from Letters on Cézanne 1907. Maurice Denis (intro. Roger Fry): 'Cézanne' 1907. Maurice Denis: 'From Gauguin and Van Gogh to Neo-Classicism' 1909. Julius Meier-Graefe: 'The Mediums of Art, Past and Present' 1904. Giorgio de Chirico: 'Mystery and Creation' 1913. 2. Expression and the Primitive. August Endell: 'The Beauty of Form and Decorative Art' 1897-98. Albert Pinkham Ryder: 'Paragraphs from the Studio of a Recluse' 1905. André Derain: letters to Vlaminck c.1905-1909. Ernst Ludwig Kirchner: programme of Die Brücke 1906. Wilhelm Worringer: from Abstraction and Empathy 1908. Henri Matisse: 'Notes of a Painter' 1908. Roger Fry: 'An Essay in Aesthetics' 1909. Wassily Kandinsky: from Concerning the Spiritual in Art 1911. Wassily Kandinsky: The Cologne Lecture 1914. Franz Marc: 'The "Savages" of Germany' and 'Two Pictures' 1912. August Macke: 'Masks' 1912. Emil Nolde: 'On Primitive Art' 1912. Oscar Kokoschka: 'On the Nature of Visions' 1912. Alexander Shevchenko: 'Neo-Primitivism' 1913. Benedetto Croce: 'What is Art?' 1913. Clive Bell: 'The Aesthetic Hypothesis' 1914. Carl Einstein: 'Negro Sculpture' 1915. Hermann Bahr: from Expressionism 1916. Hans Prinzhorn: from Artistry of the Mentally Ill 1922. Part II: The Idea of the Modern World. Introduction. 3. Modernity. Georg Simmel: 'Metropolis and Mental Life' 1902-3. Max Weber: 'Asceticism and the Spirit of Capitalism' 1904-05. Vladimir Ilyich Lenin: 'Party Organization and Party Literature' 1905. Henri Bergson: from Creative Evolution 1907. Alexander Blok: 'Nature and Culture' 1908. Filippo Tommaso Marinetti: 'The Foundation and Manifesto of Futurism' 1909. Umberto Boccioni et al: 'Futurist Painting: Technical Manifesto' 1910. Robert Delaunay: 'On the Construction of Reality in Pure Painting' 1912. Georgy Valentinovich Plekhanov: from Art and Social Life 1912. Franz Marc: 'Foreword' 1914. Fernand Léger: 'Contemporary Achievements in Painting' 1914. Percy Wyndham Lewis: 'Our Vortex' 1914. Henri Gaudier-Brzeska: 'Gaudier-Brzeska Vortex' 1914, and 'Vortex Gaudier-Brzeska' 1915. Ludwig Meidner: 'Instructions for Painting Pictures of the Metropolis' 1914. Karl Kraus: from 'In These Great Times' 1914. Kasimir Malevich: From Cubism and Futurism to Suprematism: The New Realism in Painting 1915-16. 4. Cubism. Jean Metzinger: 'Note on Painting' 1910. Guillaume Apollinaire: 'The Cubists' 1911. Guillaume Apollinaire: 'On the Subject in Modern Painting' 1912. Guillaume Apollinaire: 'The New Painting: Art Notes' 1912. Guillaume Apollinaire: from The Cubist Painters 1912. Jacques Rivière: 'Present Tendencies in Painting' 1912. Albert Gleizes and Jean Metzinger: from Cubism 1912. Fernand Léger: 'The Origins of Painting and its Representational Value' 1913. Olga Rozanova: 'The Bases of the New Creation' 1913. Daniel-Henry Kahnweiler: from The Rise of Cubism 1916-20. Georges Braque: 'Thoughts on Painting' 1917. Pablo Picasso: 'Picasso Speaks' 1923. Part III: Rationalization and Transformation. Introduction. 5. Neo-Classicism and the Call to Order. Amédée Ozenfant: 'Notes on Cubism' 1916. Guillaume Apollinaire: 'The New Spirit and the Poets' 1918. Oswald Spengler: from The Decline of the West 1918. Carlo Carrà: 'Our Antiquity' 1916-18. Léonce Rosenberg: 'Tradition and Cubism' 1919. Giorgio de Chirico: 'The Return to Craft' 1919. Charles Edouard Jeanneret (Le Corbusier) and Amédée Ozenfant: 'Purism' 1920. Albert Gleizes: 'The Dada Case' 1920. André Derain: 'On Raphael' 1920. Percy Wyndham Lewis: 'The Children of the New Epoch' 1921. Juan Gris: Reply to a Questionnaire 1921. Gustav Friedrich Hartlaub: 'Reply to a Questionnaire' 1922. 6. Dissent and Disorder. Hugo Ball: 'Dada Fragments' 1916-17. Marcel Duchamp: 'The Richard Mutt Case' 1917. Tristan Tzara: 'Dada Manifesto 1918' 1918. Richard Huelsenbeck: 'First German Dada Manifesto' 1918. Richard Huelsenbeck and Raoul Hausmann: 'What is Dadaism and what does it want in Germany?' 1919. Richard Huelsenbeck: from En Avant Dada 1920. Alexander Blok: 'The Decline of Humanism' 1918. Novembergruppe: Draft Manifesto 1918 and 'Guidelines' 1919. Novembergruppe Opposition: 'Open Letter to the Novembergruppe' 1921. Walter Gropius: Reply to Arbeitsrat für Kunst Questionnaire 1919. Max Beckmann: 'Creative Credo' 1918-20. Max Pechstein: 'Creative Credo' 1920. George Grosz: 'My New Pictures' 1921. Francis Picabia: 'Thank you, Francis!' 1923. 7. Abstraction and Form. Hans Arp: Introduction to a catalogue 1915. Man Ray: Statement 1916. Viktor Shklovsky: from 'Art as Technique' 1917. De Stijl: 'Manifesto 1' 1918. Theo van Doesburg: from Principles of Neo-Plastic Art 1915-25. Piet Mondrian: 'Dialogue on the New Plastic' 1919. Piet Mondrian: Neo-Plasticism: the General Principle of Plastic Equivalence 1920-21. Kasimir Malevich: 'Non-Objective Art and Suprematism' 1919. Kasimir Malevich: The Question of Imitative Art 1920. Naum Gabo and Anton Pevsner: 'The Realistic Manifesto' 1920. UNOVIS: 'Programme of a United Audience in Painting of the Vitebsk State Free Workshops' 1920. Wassily Kandinsky: 'Plan for the Physico-psychological Department of the Russian Academy of Artistic Sciences' 1921. Johannes Itten: 'Analyses of Old Master Art' 1921. Oskar Schlemmer: Notes 1922-23. Walter Gropius: 'The Theory and Organization of the Bauhaus' 1923. Theo van Doesburg, El Lissitsky, Hans Richter: 'Declaration of the International Fraction of Constructivists of the First International Congress of Progressive Artists' 1922-23. 17 Wladyslaw Strzeminski: 'What is legitimately called the New Art...' 1924. El Lissitsky: 'A and Pangeometry' 1925. Hannah Höch: 'The painter' c. 1920. José Ortega y Gasset: from The Dehumanisation of Art 1925. 8. Utility and Construction. KOMFUT: 'Programme Declaration' 1919. Vladimir Tatlin: 'The Initiative Individual in the Collective' 1919. Lyubov Popova: Catalogue statement 1919. Nikolai Punin: 'The Monument to the Third International' 1920. Alexander Rodchenko: 'Slogans' and 'Organizational Programme' 1920-21. Alexander Rodchenko and Varvara Stepanova: 'Programme of the First Working Group of Constructivists' 1922. Alexei Gan: from Constructivism 1922. El Lissitsky and Ilya Ehrenburg: Statement by the editors of Veshch 1922. LEF editorial: 'Whom is LEF alerting?' 1923. Osip Brik: 'The So-Called "Formal Method" 1923. Osip Brik: 'From Picture to Calico-Print' 1924. Vladimir Tatlin: 'Report of the Section for Material Culture's Research Work' 1924. Part IV: Freedom, Responsibility and Power. Introduction. 9. The Modern as Ideal. Paul Klee: from On Modern Art 1924. Amédée Ozenfant: from Foundations of Modern Art 1928. Hans Hofmann: 'On the Aims of Art' 1931. Abstraction-Création: Editorial Statements 1932 and 1933. Wladyslaw Strzeminski: Statements 1932 and 1933. Carl Gustav Jung: On the concept of the 'archetype' 1934 and 1938. Alfred H. Barr Jr: from Cubism and Abstract Art 1936. Henri Matisse: Statements to Tériade 1936. Naum Gabo: 'The Constructive Idea in Art' 1937. Piet Mondrian: 'Plastic Art and Pure Plastic Art' 1937. Barbara Hepworth: 'Sculpture' 1937. American Abstract Artists: Editorial Statement 1938. Ibram Lassaw: 'On Inventing Our Own Art' 1938. Ben Nicholson: 'Notes on Abstract Art' 1941. 10. Realism as Figuration. Vladimir Ilyich Lenin: 'On Proletarian Culture' 1920. AKhRR: 'Declaration' 1922. AKhRR: 'The Immediate Tasks of AKhRR' 1924. David A. Siqueiros et al: 'A Declaration of Social, Political and Aesthetic Principles' 1922. Red Group: 'Manifesto' 1924. Otto Dix: 'The Object is Primary' 1927. ARBKD (Asso): 'Manifesto' and 'Statutes' 1928. George Grosz: from 'My Life' 1928. Alfred Rosenberg: from The Myth of the Twentieth Century 1930. Georg Lukács: '"Tendency" or Partisanship?' 1932. Central Committee of the All-Union Communist Party: 'Decree on the Reconstruction of Literary and Artistic Organizations' 1932. John Reed Club of New York: 'Draft Manifesto' 1932. Diego Rivera: The Revolutionary Spirit in Modern Art' 1932. Mario Sironi: 'Manifesto of Mural Painting' 1933. Andrei Zhdanov: 'Speech to the Congress of Soviet Writers' 1934. David A. Siqueiros: 'Towards a Transformation of the Plastic Arts' 1934. Stuart Davis and Clarence Weinstock: 'Abstract Painting in America', 'Contradictions in Abstractions' and 'A Medium of 2 Dimensions' 1935. Grant Wood: from Revolt Against the City 1935. Francis Klingender: 'Content and Form in Art' 1935. Adolf Hitler: Speech Inaugurating the 'Great Exhibition of German Art' 1937. 11. Realism as Critique. Leon Trotsky: from Literature and Revolution 1922-23. André Breton: from the First Manifesto of Surrealism 1924. Louis Aragon: from Paris Peasant 1924. Louis Aragon et al. 'Declaration of the Bureau de Recherches Surréalistes' 1925. André Breton: Surrealism and Painting 1928. André Breton: from the 'Second Manifesto of Surrealism' 1929. George Grosz and Wieland Herzfelde: 'Art is in Danger' 1925. Osip Brik: 'Photography versus Painting' 1926. Sergei Tretyakov: 'We are searching' and 'We Raise the Alarm' 1927. Siegfried Kracauer: from 'The Mass Ornament' 1927. October (Association of Artistic Labour):'Declaration' 1928. Georges Bataille: from 'Critical Dictionary' 1929-30. Georges Bataille: 'The Lugubrious Game' 1929. Salvador Dali: 'The Stinking Ass' 1930. Gustav Klucis: 'Photomontage as a new problem in Agit Art' 1931. Max Ernst: 'What is Surrealism?' 1934. Walter Benjamin: 'The Author as Producer' 1934. Bertolt Brecht: 'Popularity and Realism' 1938. Fernand Léger: 'The New Realism Goes On' 1937. 12. Modernism as Critique. Kasimir Malevich: Letter to Meyerhold 1932. Pablo Picasso: 'Conversation with Picasso' 1935. Herbert Read: 'What is Revolutionary Art?' 1935. Meyer Schapiro: 'The Social Bases of Art' 1936. Jan Mukařvoský: from Aesthetic Function 1934/36. Walter Benjamin: 'The Work of Art in the Age of Mechanical Reproduction' 1936. Theodor Adorno: Letter to Benjamin 1936. Ernst Bloch: 'Discussing Expressionism' 1938. André Breton, Diego Rivera and Leon Trotsky: 'Towards a Free Revolutionary Art' 1938. R. G. Collingwood: Good Art and Bad Art' 1938. Clement Greenberg: 'Avant-Garde and Kitsch' 1939. Harold Rosenberg: 'The Fall of Paris' 1940. Part V: The Individual and the Social. Introduction. 13. The American Avant-Garde. Clement Greenberg: 'Towards a Newer Laocoon' 1940. Adolph Gottlieb and Mark Rothko with Barnett Newman: Statement 1943. Jackson Pollock: Answers to a Questionnaire 1944. Jackson Pollock: Two Statements 1947 and 1947/8. Mark Rothko: 'The Romantics were Prompted...' 1947. Mark Rothko: Statement 1947. Adolph Gottlieb: Statement 1947. Barnett Newman: 'The Ideographic Picture' 1947. Barnett Newman: 'The First Man was an Artist' 1947. Clement Greenberg: 'The Decline of Cubism' 1948. Barnett Newman: 'The Sublime is Now' 1948. Willem de Kooning: 'A Desperate View' 1949. Jackson Pollock: Interview with William Wright 1950. David Smith: 'Aesthetics, the Artist and the Audience' 1952. Clyfford Still: Statement 1952. Harold Rosenberg: from 'The American Action Painters' 1952. Clyfford Still: letter to Gordon Smith 1959. 14. Individualism in Europe. Wols: Aphorisms c. 1945-51. Jean-Paul Sartre: from Existentialism and Humanism 1946. Jean Dubuffet: 'Notes for the Well-Lettered' 1946. Jean Dubuffet: 'Crude Art Preferred to Cultural Art' 1948. Antonin Artaud: from Van Gogh: the Man Suicided by Society 1947. Jean-Paul Sartre: 'The Search for the Absolute' 1948. Samuel Beckett and Georges Duthuit: from Three Dialogues 1949. Jacques Lacan: 'The Mirror-Phase as Formative of the Function of the I' 1949. Jean-Michel Atlan: 'Abstraction and Adventure in Contemporary Art' 1950. Francis Ponge: 'Reflections on the Statuettes, Figures and Paintings of Alberto Giacometti' 1951. Albert Camus: 'Creation and Revolution' 1951. Michel Tapié: from An Other Art 1952. Georg Baselitz: 'Pandemonium Manifestos' 1961-2. Francis Bacon: Interview with David Sylvester 1962-3. 15. Art and Society. Maurice de Vlaminck: 'Open Opinions on Painting' 1942. Francis Klingender: from Marxism and Modern Art 1943. Robert Motherwell: 'The Modern Painter's World' 1944. Renato Guttuso: 'Crisis of Renewal' 1944. Pablo Picasso: 'Why I Joined the Communist Party' 1944. Pablo Picasso: Statement to Simone Téry 1945. Frida Kahlo: On Moses 1945. Lucio Fontana: 'The White Manifesto' 1946. Vladimir Kemenov: from 'Aspects of Two Cultures' 1947. Robert Motherwell and Harold Rosenberg: 'The Question of What Will Emerge Is Left Open' 1947/8. Constant: 'Our Own Desires Build the Revolution' 1949. Asger Jorn: 'Forms Conceived as Language' 1949. André Fougeron: 'The Painter on his Battlement' 1948. Hans Sedlmayr and Theodor Adorno: from the 'Darmstadt Colloquy' 1950. George Dondero: from The Congressional Record 1949. Arthur M. Schlesinger Jr. from The Politics of Freedom 1950. Alfred H. Barr Jr. 'Is Modern Art Communistic?' 1952. Ben Shahn: 'The Artist and the Politician' 1953. Henry Moore: 'The Sculptor in Modern Society' 1952. David A. Siqueiros: 'Open Letter to the Painters, Sculptors and Engravers of the Soviet Union' 1955. Georg Lukács: 'The Ideology of Modernism' 1956. Part VI: The Moment of Modernism. 16. Art and Modern Life. Roland Barthes: from 'Myth Today' 1956. Jirô Yoshihara: Gutai Manifesto 1956. Guy Debord: Writings from the Situationist International 1957-61. Asger Jorn: 'Detourned Painting' 1959. Frantz Fanon: 'On National Culture' 1959. Lawrence Alloway: 'The Arts and the Mass Media' 1958. Allan Kaprow: from Assemblages, Environments and Happenings 1959-65. Piero Manzoni: 'Free Dimension' 1960. Pierre Restany: 'The New Realists' 1960. Groupe de Recherche d'Art Visuel: 'Transforming the Current Situation of Plastic Art' 1961/2. George Maciunas: 'Neo-Dada in Music, Theater, Poetry, Art' 1962. Raymond William: 'The Analysis of Culture' 1961. John Cage: 'On Robert Rauschenberg, Artist, and his Work' 1961. Jasper Johns: Interview with David Sylvester 1965. Richard Hamilton: 'For the Finest Art, Try Pop' 1961. Claes Oldenburg: from Documents from The Store 1961. Andy Warhol: Interview with Gene Swenson 1963. Roy Lichtenstein: Lecture to College Art Association 1964. George Kubler: from The Shape of Time 1962. Marshall McLuhan: from Understanding Media 1964. Gerhard Richter: 'Notes 1964-5'. Tony Smith: from an interview with Samuel Wagstaff Jr 1966. Jasper Johns: Obituary of Marcel Duchamp 1968. 17. Modernist Art. Alain Robbe-Grillet: 'Commitment' 1957. David Smith: 'Tradition and Identity' 1959. Maurice Merleau-Ponty: from 'Eye and Mind' 1961. Roger Hilton: 'Remarks about Painting' 1961. Clement Greenberg: 'Modernist Painting' 1960-65. Theodor Adorno: from 'Commitment' 1962. Barnett Newman: Interview with Dorothy Gees Seckler 1962. Clement Greenberg: from 'After Abstract Expressionism' 1962. Michael Fried: from Three American Painters 1965. Michael Fried: from 'Shape as Form: Frank Stella's New Paintings' 1966. Jules Olitski: `Painting in Color' 1967. Stanley Cavell: 'A Matter of Meaning It' 1967. William Tucker and Tim Scott: 'Reflections on Sculpture' 1967. Richard Wollheim: 'The Work of Art as Object' 1970. Part VII: Institutions and Objections. Introduction. 18. Objecthood and Reductivism. Yves Klein: from 'The Evolution of Art towards the Immaterial' 1959. Carl Andre: 'Preface to Stripe Painting' 1959. Frank Stella: Pratt Institute Lecture 1959-60. Ad Reinhardt: 'Art as Art' 1962. Donald Judd: 'Specific Objects' 1965. Robert Morris: 'Notes on Sculpture 1-3' 1966-67. Michael Fried: 'Art and Objecthood' 1967. Sol LeWitt: 'Paragraphs on Conceptual Art' 1967. Sol LeWitt: 'Sentences on Conceptual Art' 1969. Robert Barry: Interview with Arthur R. Rose 1969. Joseph Kosuth: 'Art after Philosophy' 1969. Daniel Buren, Olivier Mosset, Michel Parmentier and Niele Toroni: Statement 1967. Daniel Buren: 'Beware' 1969-70. 19. Attitudes to Form. Terry Atkinson and Michael Baldwin: 'Air Show' 1967. Michelangelo Pistoletto: 'Famous Last Words' 1967. Robert Smithson: 'A Sedimentation of the Mind: Earth Projects' 1968. Robert Morris: 'Notes on Sculpture 4: Beyond Objects' 1969. Art & Language: Editorial introduction to Art-Language 1969. Ian Burn and Mel Ramsden: 'The Role of Language' 1969. Lawrence Weiner: Statements 1969-72. Victor Burgin: 'Situational Aesthetics' 1969. John A. Murphy: Sponsor's statement for 'When Attitudes become Form' 1969. Germano Celant: from Art Povera 1969. Eva Hesse: Interview with Cindy Nemser. Joseph Beuys: 'Not just a few are called, but everyone' 1972. Lea Vergine: from 'The Body as Language' 1974. Bruce Nauman: Interview with Michele De Angelus 1980. 20. Political Aspects. Hélio Oiticica: 'Appearance of the Supra-Sensorial' 1967/8. Dan Graham: Presentation to an Open Hearing of the Artworkers Coalition 1969. Mierle Laderman Ukeles: 'Maintenance Art Manifesto' c. 1969. Lucy Lippard: 'Interview with Ursula Meyer' 1969 and 'Postface' 1973. Artforum: 'The Artist and Politics: a Symposium' 1970. Art Workers Coalition: Statement of Demands 1970. Valie Export: 'Woman's Art' 1972. Joseph Beuys: 'I Am Searching for Field Character' 1974. Hans Haacke: Statement 1974. Marcel Broodthaers: 'To be bien pensant... or not to be. To be blind' 1975. Mel Ramsden: from 'On Practice' 1975. Ian Burn: 'The Art Market: Affluence and Degradation' 1975. Victor Burgin: from 'Socialist Formalism' 1976. Art & Language: Editorial to Art-Language 1976. 21. Critical Revisions. Jacques Derrida: from Of Grammatology 1967. Michel Foucault: 'What is an Author?' 1969. Louis Althusser: from 'Ideology and Ideological State Apparatuses' 1970. Thomas Kuhn: from 'Postscript – 1969' 1970. Roland Barthes: 'From Work to Text' 1971. Robert Smithson: 'Cultural Confinement' 1972. Leo Steinberg: from Other Criteria 1968-72. Rosalind Krauss: 'A View of Modernism' 1972. Jean Baudrillard: 'Ethic of Labour, Aesthetic of Play' 1973. Laura Mulvey: 'Visual Pleasure and Narrative Cinema' 1973/75. Michel Foucault: A Lecture 1976. Rosalind Krauss: 'Notes on the Index, Part I' 1976/77. Fredric Jameson: from 'Reflections on the Brecht-Lukács Debate' 1977. Raymond Williams: 'Dominant, Residual and Emergent' 1977. Edward Said: From Orientalism 1978. Part VIII: Ideas of the Postmodern. Introduction. 22. The Critique of Originality. Jean Baudrillard: 'The Hyper-realism of Simulation'1976. Pierre Bourdieu: 'Being Different' 1977. Craig Owens: 'The Allegorical Impulse' 1980. Rosalind Krauss: from 'The Originality of the Avant-Garde' 1981. Hal Foster: 'Subversive Signs' 1982. Sherrie Levine: Statement 1982. Art & Language: 'Letter to a Canadian Curator' 1982. Barbara Kruger: '"Taking" Pictures' 1982. Peter Halley: 'Nature and Culture' 1983. Fredric Jameson: 'The Deconstruction of Expression' 1984. Haim Steinbach, Jeff Koons, Sherrie Levine, Philip Taaffe, Peter Halley, Ashley Bickerton: 'From Criticism to Complicity' 1986. Julia Kristeva: Interview with Catherine Francblin 1986. 23. Figures of Difference. Edward Said: from 'Opponents, Audiences, Constituencies, and Community' 1981. Mary Kelly: 'Re-Viewing Modernist Criticism' 1981. Ana Mendieta: 'Art and Politics' 1982. Krzysztof Wodiczko: 'Public Projection' 1983. Victor Burgin: from 'The Absence of Presence' 1984. Jacqueline Rose: 'Sexuality in the Field of Vision' 1984/85. Niklas Luhmann: 'The Work of Art and the Self-Reproduction of Art' 1984-86. W. J. T. Mitchell: 'Image and Word' and 'Mute Poesy and Blind Painting' 1986. Raymond Williams: 'When was Modernism?' 1987/89. Louise Bourgeois: Statements from an Interview with Donald Kuspit 1988. Richard Rorty: 'Private Irony and Liberal Hope' 1989. Gayatri Chakravorti Spivak: 'Who Claims Alterity?' 1989. Richard Serra: The Yale Lecture 1990. Mike Kelley: 'Dirty Toys: Mike Kelley Interviewed' 1991/2. Martin Kippenberger: Interview with Jutta Koether 1991/94. Peter Wollen: 'Into the Future: Tourism, Language and Art' 1990/93. Homi K. Bhabha: On 'hybridity' and moving 'beyond' 1994. 24. The Condition of History. Daniel Bell: from 'Modernism and Capitalism' 1978. Jean-Francois Lyotard: 'Introduction' to The Postmodern Condition 1979. Jürgen Habermas: 'Modernity - An Incomplete Project' 1980. Jean-Francois Lyotard: 'What is Postmodernism?' 1982. Julia Kristeva: 'Powers of Horror' 1980. Donald Judd: from '... not about master-pieces but why there are so few of them' 1984. Joseph Beuys, Jannis Kounellis, Anselm Kiefer, Enzo Cucchi: from 'The Cultural-Historical Tragedy of the European Continent' 1986. Gerhard Richter: from 'Interview with Benjamin Buchloh' 1988. Gerhard Richter: Notes 1990. Jeff Wall: from a discussion 1990. Diederich Diederichsen: 'Which Side are You on, Cultural Worker?' 1990. Albert Oehlen: in conversation with Wilfred Dickhoff and Martin Prinzhorn 1991. Olu Oguibe: 'In the Heart of Darkness' 1993. IIlya Kabakov: On installations 1994 and 2000. Doris Salcedo: Interview with Charles Merewether 1999. Franco Moretti: 'MoMA2000: The Capitulation' 2000. Bibliography. Copyright Acknowledgements. Index.
£29.40
Princeton University Press Black
Book SynopsisBlack, favorite color of priests and penitents, artists and ascetics, fashion designers and fascists, has always stood for powerfully opposed ideas: authority and humility and sin and holiness. This book discusses the social history of the color black in Europe. It is suitable for those interested in the history of fashion, art, media, or design.Trade ReviewWinner of the 2009 Bronze Medal in Fine Art, Independent Publisher Book Awards One of Choice's Outstanding Academic Titles for 2009 "Who would have thought the history of a single color could be so fascinating? Black: The History of a Color, by Michel Pastoureau, (Princeton University Press, $35) proceeds chronologically from cave painting to modern fashion and focuses on mythology, heraldry, religion, science and painting along the way. The author, a historian at the Sorbonne, narrates developments in the material, aesthetic and sociological dimensions of the color black with infectious, wide-ranging curiosity and easy-going erudition. After this you'll want to read his previous book, from the same publisher, Blue: The History of a Color."--Ken Johnson, New York Times Praise for Michel Pastoureau's Blue: "Pastoureau's text moves us through one fascinating area of activity after another... The jacket, cover and end-papers of this luscious book are appropriately blue; its double-columned text breathes easily in the space of its pages; it is so well sewn it opens flat at any place; and fascinating, aptly chosen color plates, not confined to the title color, will please even those eyes denied the good luck of being blue."--William H. Gass, author of Blue: A Philosophical Inquiry, writing in the Los Angeles Times Book Review "This handsome, strikingly designed, richly illustrated book traces the history of the color black in Europe... Like his earlier Blue, this book is well researched, skillfully written, and a pleasure to read."--R. M. Davis, Choice "Michael Pastoureau, in Black: The History of a Color, sees the rise of puritanism and Protestantism as the war of the colours--a war against vivid colour that black usually won... He has a terrific story to tell, and a multitude of gorgeous images to help tell it."--Robert Fulford, The National Post "Black is a penetrating, erudite, thoughtfully illustrated cultural history of a color, by Michel Pastoureau, an author whose earlier work has included--surprise, surprise--Blue."--Nicholas A. Basbanes, The Worcester Telegram & Gazette "French popular art historian Pastoureau here tackles one of the most complex and interesting colours, the favourite of 'priests and penitents, artists and ascetics, fashion designers and fascists.' This social history is lavishly illustrated with paintings, movie stills, photo portraits and fashion shoots."--The Globe & Mail "Until I came upon Michel Pastoureau's 2000 book Blue: The History of a Color it had never occurred to me colors had a history. Turns out they do, and tracking the significance first of blue, now black, provides a satisfyingly fresh angle of approach to the past."--Frtiz Lanham, The Houston Chronicle "What is interesting in sociological histories like Pastoureau's is their revelations about how cultural attitudes change. Black's connection with death began as early as ancient Egypt, when people left black stones on funeral pyres, not in a ghoulish way but as a symbol of rebirth (the Egyptian death divinity, Anubis, was painted black)... But this book will have you seeing black in more shades than you imagined."--Victor Swoboda, The Montreal Gazette "The author of more than a dozen art history books, Pastoureau's work is accessible, generous and witty. What's more, like all good illustrated books, this one is has more than 150 pictures in support of its superb text."--Marc Horton, The Edmonton Journal "Now Princeton University Press has published a social history of this most allusive of hues, Black: The History of a Color, by Michel Pastoureau, a French scholar and author of a similarly titled history of the color blue. Both are lavishly illustrated coffee table books that follow their colors down the time line of European history."--John Zeaman, Design NJ Magazine "This erudite and elegantly written exploration of the history of black charts its changing symbolism and shades of meaning as a colour of death and rebirth, of religious authority and evil, of luxury and poverty."--Fiona Capp, The Age (Australia) "Pastoureau combines a charming, conversational tone with a haughtiness I found entirely endearing. A director of studies at the Ecole Pratique des Hautes Etudes at the Sorbonne in Paris, he writes from a position of professorial confidence. He has conducted extensive research into the history of colour for a quarter century and his aim is to correct misapprehensions and banish ignorance. His style is not to inquire, explore or interrogate, in the fashion of academic studies today. It is to impart knowledge."--Sebastian Smee, The Australian "As the handsomely produced book demonstrates, black is the colour of the pigment used to draw the great bull of Lascaux, of evil, the devil, funerals, the fecundity of the Earth, bears, crows, hell, half the pieces on a chess board, Satan, heretics and priests alike, mysterious cats and, in the 12th century, the mantle of Mary, the mother of Jesus."--Sydney Morning Herald "[T]his book ... reads quite naturally as English ... and it has something worthwhile to say in a style that is informative rather than aimed mostly at enhancing the reputation of the writer among his academic peers... There is much valuable information about the history of dying in different periods and the fashionability of the color black among the nobility and upper classes (later the wealthy merchant class) of Europe."--Colin Blogs Praise for Michel Pastoureau's Blue: "A generous, gorgeous book full of nearly 100 historical and artistic plates, all illustrating the meaning and role of the color blue in Western history... Pastoureau has created something rare: a coffee table book that is also a good read. And not just a good read, but a compelling read."--Brian Bouldrey, Chicago TribuneTable of ContentsINTRODUCTION
£27.00
Princeton University Press Red
Book SynopsisTranslation of: Rouge: histoire d'une couleur.Trade Review"Love, oh love, oh bloody love! So intense, so beautiful, so treacherous--so red... The new book Red: The History of a Color by Michel Pastoureau ... considers red in all its manifold guises. A richly and imaginatively illustrated survey filled with history, lore, religion, science, cosmetics, archaeology, medicine, alchemy, superstition, magic, linguistics, and even recipes for pigments, the book ambitiously traverses the centuries from prehistoric times to the present."--Barbara A. MacAdam, ARTnews "Pastoureau is the world's most distinguished and influential historian of colour, and ... his life's work on the symbolism of the spectrum is one of the great humane projects of our day."--Kevin Jackson, Literary Review "Pastoureau ... deftly weaves a tapestry that takes in not just the history of Western art, but also etymology, fairy tales and even the origins of modern road signage in heraldry. There can be no doubting his passion."--Stephen Patience, World of Interiors "Red is the color of lovers, blood, and anguish, and often signifies intensity. It is no doubt one of the most important colors in our history. Michel Pastoureau examines its significance through a slew of analytical essays and photographs that reveal the complex and, at times, controversial nature of the color and its relation to other hues."--Metropolis "Gorgeous... [A] splendid book, beautiful to look at and fascinating to read."--Jeff Jacoby, Boston Globe "Does the warning red of our stop signs burble up from the color's association with medieval morality? Does the emergence of red as an ideological identity in right-wing American politics have some echo of the color's use as a symbol of power, such as the red cloak of Charlemagne and the Phrygian cap of the French Revolution? Michel Pastoureau's Red: The History of a Color, recently released by Princeton University Press, is a concise biography of the complex symbolism and perception of this hue of blood and fire."--Allison Meier, Hyperallergic "Beautifully and imaginatively illustrated ... Red is less a theory than a very readable compendium of fascinating facts... Red contains more than enough engrossing diversions that act like a traffic light and bring you to a stop."--Michael Prodger, The Times "Superb."--Vanity Fair "A wonderful book."--Le Figaro Magazine "A heady story of colors."--Telerama "An exciting cultural journey through the color red."--La vie "A rich and exciting story, a transversal approach, accessible to all."--Le Journal des Arts "A captivating human, sociological and spiritual history."--Connaissance des ArtsTable of ContentsIntroduction 7 The First Color (From Earliest Times To The End Of Antiquity) 12 The First Palettes 16 Fire and Blood 22 With Pliny among the Painters 30 Dyeing in Red 37 Roman Purple 40 Red in Everyday Life 44 Evidence from the Lexicon 50 The Favorite Color (Sixth To Fourteenth Centuries) 54 The Four Reds of the Church Fathers 58 The Blood of Christ 64 The Red of Power 69 The First Color of Heraldry 74 Love, Glory, and Beauty 80 Blue versus Red 86 The Wardrobes of Beautiful Florentine Ladies 90 A Controversial Color(Fourteenth To Seventeenth Centuries) 94 In the Flames of Hell 98 Judas, the Redhead 102 Hatred of Red 108 The Red of Painters 116 A Primary Color 126 Fabric and Clothing 130 Little Red Riding Hood 135 A Dangerous Color? (Eighteenth To Twenty-First Centuries) 140 On the Margins of Red: Pink 144 Makeup and Society Life 152 Red Caps and Flags: In the Midst of the Revolution 163 A Political Color 167 Emblems and Signals 176 Red for the Present Day 181 Notes 195 Bibliography 209 Photography Credits214 Acknowledgments 216
£31.50
Princeton University Press The Royal Inca Tunic
Book Synopsis
£40.50
James Clarke & Co Ltd Learning to Look
Book SynopsisSlow Looking can lead to unexpected and huge rewards. In Book One - Learning to Look Robert Cumming shares his own slow discovery of the pleasures of looking and aesthetic experience, and in so doing encourages you to explore art through your own eyes. He takes you to Madrid to explore Velázquez''s Las Meninas, travels with you to Cortona in Tuscany to look at a Fra Angelico altarpiece, takes you to St Petersburg to immerse yourself in Canaletto''s Venice, and examines with you the minute details of a Jackson Pollock in New York. You will have your eyes truly opened by this artistic odyssey with Robert as your fellow traveller.With illustrations by the artist Gino Ballantyne, Slow Looking - Book One is the start of an eye-opening adventure. In Book Two - Continuing to Look Robert and Gino continue the journey by casting fresh eyes on the Mona Lisa and paintings by Brueghel, Matisse, Turner, Constable, Poussin and Manet. Book Three - Seeing is Believing concludes with Rembrandt, Picass
£45.00
Stanford University Press Empathic Vision
Book SynopsisThis book analyzes contemporary visual art produced in the context of conflict and trauma from a range of countries, including Colombia, Northern Ireland, South Africa, and Australia. It focuses on what makes visual language unique, arguing that the affective quality of art contributes to a new understanding of the experience of trauma and loss. By extending the concept of empathy, it also demonstrates how we might, through art, make connections with people in different parts of the world whose experiences differ from our own.The book makes a distinct contribution to trauma studies, which has tended to concentrate on literary forms of expression. It also offers a sophisticated theoretical analysis of the operations of art, drawing on philosophers such as Gilles Deleuze, but setting this within a postcolonial framework.Empathic Vision will appeal to anyone interested in the role of culture in post-September 11 global politics.Trade Review"This is an insightful, timely book....Thought-provoking and at times startling, Empathic Vision opens up new ideas that stay with you long after you have closed its covers." -- Leonardo ReviewsTable of Contents@fmct:Contents @toc4:List of Illustrations iii Acknowledgments iii @toc2:Chapter 1: On the Subject of Trauma 000 Chapter 2: Insides, Outsides: Trauma, Affect, and Art 000 Chapter 3: The Force of Trauma 000 Chapter 4: Journeys into Place 000 Chapter 5: Face-to-Face Encounters 000 Chapter 6: Global Interconnections 000 Afterword: Beyond Trauma Culture 000 @toc4:Notes 000 Select Bibliography 000 Index 000
£17.99
Whitechapel Gallery The Magazine
Book Synopsis
£15.26
Taylor & Francis An Introduction to Contemporary Aesthetics
a huge range and FREE tracked UK delivery on ALL orders.
£37.99
John Wiley and Sons Ltd Thinking About Art
Book SynopsisThinking about Art explores some of the greatest works of art and architecture in the world through the prism of themes, instead of chronology, to offer intriguing juxtapositions of art and history.Table of ContentsCompanion Website viAcknowledgements viiIntroduction 1Formal Analysis Toolbox 6Chapter 1 Genres and Subjects 20Chapter 2 Materials, Techniques and Processes 74Chapter 3 Form, Style and Function 114Chapter 4 Social and Historical Contexts 156Chapter 5 Patronage and the Social and Cultural Status of the Artist 190Chapter 6 Gender, Nationality and Ethnicity 230Glossary 274Index 289
£26.55
Cambridge University Press The Complete Writings of Henry James on Art and Drama Volume 1 Art
a huge range and FREE tracked UK delivery on ALL orders.
£28.49
Bloomsbury Publishing (UK) The Trouble with Space in Painting
a huge range and FREE tracked UK delivery on ALL orders.
£21.99
Bloomsbury Publishing PLC The Politics of Artists in War Zones
Book SynopsisWhat exactly is contemporary war art in the West today? This book considers the place of contemporary war art in the 2020s, a whole generation after 9/11 and long past the War on Terror'.Exploring the role contemporary art plays within conversations around war and imperialism, the book brings together chapters from international contemporary artists, theorists and curators, alongside the voices of contemporary war artists through original edited interviews.It addresses newly emerged contexts in which war is found: not only sites of contemporary conflicts such as Ukraine, Yemen and Syria, but everywhere in western culture, from social media to culture' wars. With interviews from official war artists working in the UK, the US, and Australia, such as eX de Medici (Australia) and David Cotterrell (UK), as well as those working in post-colonial contexts, such as Baptist Coelho (India), the editors reflect on contemporary processes of memorialisation and the impact of British colonisaTrade ReviewA monumental and richly curated volume that challenges our notions of war itself, questioning how mass violence comes to count as meaningful and worthy of official memory. * Roger Stahl, author of Through the Crosshairs (2018), and Professor of Communication Studies, the University of Georgia, USA *An evocative exploration of the complexities inherent in ‘war art’. The significant inclusion of the voices of official and unofficial war-artists provides compelling insights into the tensions involved in making art that speaks to military experience and public expectation. * Margaret Baguley, Professor, School of Education, University of Southern Queensland, Australia *In an era of hybrid warfare, the role of war art is changing. This book eloquently examines these transformations, exploring the relationship of war art to colonisation, witness bearing, knowledge, “truth”, and memorialisation. * Babak Bahador, Associate Research Professor and Director of the Media and Peacebuilding Project, George Washington University, USA *Few books have had the wit or the daring to pose serious questions about the visual potency of 21st century conflict. Facing this challenge head on, this urgent, timely, and important publication examines the ambiguous, distributed and often invisible world of warfare with conviction and insight. It is compulsory reading for scholars of conflict and all those fascinated by the testimony of learned experience. * Paul Gough, Principal and Vice-Chancellor, Arts University Bournemouth, UK *Table of ContentsList of Illustrations Acknowledgements Introduction: Contemporary War Art, Kit Messham-Muir (Curtin University, Australia), Uroš Cvoro (UNSW, Australia) and Monika Lukowska-Appel (Curtin University, Australia) Part One: Colonisation, Memory and Amnesia Introduction 1. Unsettling Colonial Postamnesia: Contemporary Art, the WW1 Centenary and Beyond, Ana Carden-Coyne (Manchester University, UK) 2. Above all Else: Art as a Weapon, Lisa Slade (Art Gallery of South Australia) 3. WAR (ART): what is it good for?, Anthea Gunn and Laura Webster (Australian War Memorial) 4. Colonisation, Memory and Amnesia: Interviews with Baptist Coelho, Alana Hunt and Abdul Abdullah Part Two: War Art, Official and Unofficial Introduction 5. The War at Home, Charles Green (University of Melbourne, Australia) 6. Soldier/Artist: Negotiating the complexities of military service and critical practice, Kit Messham-Muir (Curtin University, Australia) and Uroš Cvoro (UNSW, Australia) 7. War Art, Official and Unofficial: Interviews with eX de Medici, David Cotterrell, Karen Bailey and Phillip Cheung Part Three: Knowing and Testimony Introduction 8. The Art of Testimony, Paul Lowe (University of the Arts London, UK) 9. Inconvenient Narratives: Addressing moral ambiguity in the national war museum, Kit Messham-Muir (Curtin University, Australia) 10. Knowing and Testimony: Interviews with Todd Stone, Andrew Sneddon and Joanna Bourke Bibliography Index
£23.99
Bloomsbury Publishing (UK) Im Not an Artist
Book SynopsisGiovanni Aloi is an art historian and curator, specializing in the representation of nature, history and theory of photography, and everyday objects in art. He currently lectures on modern and contemporary art at the School of the Art Institute of Chicago, USA.
£15.29
Bloomsbury Publishing (UK) Exhibition as Interior Interior as Exhibition
Book SynopsisPenny Sparke is Professor of Design History and Director of the Modern Interiors Research Centre at Kingston University. She previously co-edited Interiors in the Era of Covid-19 (Bloomsbury 2022).
£23.74
John Wiley and Sons Ltd The Philosophy of Art
a huge range and FREE tracked UK delivery on ALL orders.
£72.15
David R. Godine Publisher Inc Seeing Like an Artist: What Artists Perceive in
Book Synopsis“Beguiling and informative”—Wall Street JournalLearn to see art as an artist does. Discover how a painting’s composition or a sculpture’s spatial structure influence the experience of what you’re seeing. With an artist as your guide, viewing art becomes a powerfully enriching experience that will stay in your mind long after you’ve left a museum.A visit to view art can be overwhelming, exhausting, and unrewarding. Lincoln Perry wants to change that. In fifteen essays—each framed around a specific theme—he provides new ways of seeing and appreciating art. Drawing heavily on examples from the European traditions of art, Perry aims to overturn assumptions and asks readers to re-think artistic prejudices while rebuilding new preferences. Included are essays on how artists “read” paintings, how scale and format influence viewers, how to engage with sculptures and murals, as well as guides to some of the great museums and churches of Europe.Seeing Like an Artist is for any artist, art-lover, or museumgoer who wants to grow their appreciation for the art of others.Trade ReviewPraise for Seeing Like an Artist “Go, look, love! A painter’s memoir of traveling to see great paintings with his own eyes becomes a passionate argument for the value of personal encounters with art....Beguiling and informative...Mr. Perry advises each of his readers to ‘create your own Grand Tour’ of the kingdom of art....this guidebook is obligatory.”—Wall Street Journal “Perry covers ‘how certain paintings and sculpture were made’ in his conversational debut, a convincing ‘plea to look closely.’ Across 16 essays, Perry combines memoir and art criticism...‘Reading Paintings’ is a masterclass in technical components including color, shape, and what Perry calls velocity, or the speed with which the viewer is ‘asked to read through the fictional space of the picture’....His guidance is well delivered: ‘I’ll try to evoke what I’ve come to love not because I believe it’s what you should love, but, rather, because I hope my enthusiasm might inspire you to find what you love.’ Budding art aficionados, take note.” —Publishers Weekly “Meticulously reveals the interplay of light, color, and spatial planes hidden beneath a wealth of important paintings. Perry’s lessons are revelatory.”—Kirkus Reviews“A dazzling tour . . . In easy-going language, Perry discusses just about every consideration that goes into completing a work of art . . . Read it before your next visit to a museum.”—Maine Sunday Telegram “Lincoln Perry has written an irresistibly readable, companionable, and quotable artist’s memoir in this Grand Tour of commentary on museums (primarily European) and artists as varied as Rodin, Picasso, Corot, Bruegal, Veronese (the ‘group figure narrative’), Bernini, Courbet, R.B. Kitaj, Masaccio and Masolino, Rubens, Pollock, and Rothko. There is no substitute for seeing art ‘in situ,’ as Perry tells us, but accompanying this ideal observer, a practicing artist with the sharp, sympathetic eye of a fellow craftsman, is an exhilarating experience.” —Joyce Carol Oates, author of Babysitter “So much writing about art seems like useless noise—abstract, pretentious, gassy. This is not that. Lincoln Perry takes us on a journey, showing us what he sees and how he sees, and it’s wonderful. There is revelation on every page.” —James Gleick, author of Time Travel: A History “Lincoln Perry writes so clearly and sees everything in a state of wonder. His visual experience embraces ancient Greece, the Renaissance, African and Asian art, Modernism. He finds the abstractionist in Michelangelo and the storyteller in Picasso. No one knows how to cite quotations better than he. He has looked into museums all over the world and literally lived in a camper next to the Louvre. He is a wonderful companion on the page and an unintimidating expert: this book will open your eyes.” —Edmund White, author of A Previous Life
£18.89
Getty Trust Publications Activity-Based Teaching in the Art Museum:
Book SynopsisAn essential resource for museum professionals, teachers, and students, the award-winning Teaching in the Art Museum (Getty Publications, 2011) set a new standard in the field of gallery education. This follow-up book blends theory and practice to help educators—from teachers and docents to curators and parents—create meaningful interpretive activities for children and adults. Written by a team of veteran museum educators, Activity-Based Teaching in the Art Museum offers diverse perspectives on embodiment, emotions, empathy, and mindfulness to inspire imaginative, spontaneous interactions that are firmly grounded in history and theory. The authors begin by surveying the emergence of activity-based teaching in the 1960s and 1970s and move on to articulate a theory of play as the cornerstone of their innovative methodology. The volume is replete with sidebars describing activities facilitated with museum visitors of all ages.
£24.70
David Zwirner Writing after Art: Essays on Modern and
Book SynopsisIn his engaging and penetrating observations of major modern and contemporary visual art, Shiff has written about an impressive range of artists, including Willem de Kooning, Marlene Dumas, Jasper Johns, Donald Judd, Barnett Newman, Pablo Picasso, Bridget Riley, and Peter Saul. A leading scholar and powerful voice, Shiff’s insight into prominent artistic practices spans generation, place, and approach, as seen in this considered selection of essays on twenty-seven artists. These writings first appeared in exhibition catalogues for institutions including the Centre Georges Pompidou, the Solomon R. Guggenheim Museum, The Museum of Modern Art, and Tate Modern. Shiff supplements his unquestionable fluency in art history with insights cultivated from his readings in philosophy, phenomenology, literary theory, and psychoanalysis, among other fields. Shiff’s writing—conceptually rich, meditative, and enjoyable to read—is attuned to the nuances of artistic style and technique, drawing out art’s social implications not merely from broad histories but also directly from artists’ mark making and technical gestures. Actively engaged as a viewer and a writer, Shiff has transformed the act of looking at art into contemplative and captivating writing. Writing After Art includes essays on Georg Baselitz, Mark Bradford, Georges Braque, Jim Campbell, Chuck Close, Willem de Kooning, Peter Doig, Marlene Dumas, Dan Flavin, Suzan Frecon, Lucian Freud, Ellen Gallagher, Jasper Johns, Donald Judd, Ellsworth Kelly, Brice Marden, Julie Mehretu, Barnett Newman, Pablo Picasso, Bridget Riley, Peter Saul, Richard Serra, Joel Shapiro, Richard Tuttle, Cy Twombly, Jack Whitten, and Zeng Fanzhi.
£32.00
