Theory of art Books
Taylor & Francis Ltd (Sales) Whats the Story
Book SynopsisTable of ContentsSpaciousness Narrative Heat Limits Error Politics Arrest Empathy Opposition Collaboration Sustenance
£29.99
Neopoprealism Press How to Draw NeoPopRealism Abstract Images
Book Synopsis
£14.61
Neopoprealism Press How to Draw NeoPopRealism Color Abstract Images
Book Synopsis
£17.63
Neopoprealism Press How to Draw NeoPopRealism Advanced Abstract
Book Synopsis
£15.38
John Wiley and Sons Ltd Art in Theory 18151900
Book Synopsis* Provides an indispensable companion to Harrison and Wooda s classic volume Art in Theory 1900--1990. * Extends to a startling degree the canon of nineteenth--century art theory. * Offers for the first time English translations of material from foreign sources, comprising a third of the entire volume.Trade Review‘… an enormous contribution to the field and a triumph of editorial endeavour.’ Journal of Art & Design Education "The volume provides the most wide-ranging and comprehensive collection of documents ever assembled on nineteenth-century theories of art. Like its highly successful companion volume Art in Theory 1900-1990, it is edited by Charles Harrison and Paul Wood, this time with an additional editor, Jason Gaiger. Its primary aim is to provide students and teachers with the documentary material for informed and up-to-date study. Its two hundred and sixty texts, clear organisation and considerable editorial content combine to provide a vivid and indispensable introduction to the history of the art of the period. The Anthology is also invaluable to anyone interested in the wider cultural debates of the nineteenth century, and in the development of modern aesthetic theories." Bollettino Del PublicationsTable of ContentsAcknowledgements. A Note on the Presentation and Editing of Texts. General Introduction. Part I: Feeling and Nature:. 1. Originality and Genius. 2. Responses to Nature. Part II: The Demands of the Present:. 3. Utility and Revolution. 4. Art and Nature Moralised. 5. Systems and Techniques. 6. The Individual in the Present. Part III: Modernity and Bourgeois Life:. 7. Modern Conditions. 8. Realism and Naturalism. 9. Morals and Standards. 10. The Conditions of Art. Part IV: Temperaments and Techniques:. 11. Effects and Impressions. 12. Photography as an Art. 13. Science and Method. Part V: Aesthetics and Historical Awareness:. 14. Empathy and the Problem of Form. 15. Cultural Criticism. 16. The Independence of Art. Part VI: The Idea of Modern Art:. 17. Modernist Themes: Paris and Beyond. 18. Expression and Colour. 19. Symbolism. Bibliography. Copyright Acknowledgements. Index.
£31.30
McGill-Queen's University Press Narratives Unfolding
Book SynopsisIn a global art world, how fares the nation?Trade Review"Narratives Unfolding tackles a central project in the discipline of art history, one which has important implications for all humanistic enquiry: how to understand the persistent human need to project social imaginaries in the face of the displacements, dislocations, and demands for similarity that have accompanied globalization. Martha Langford offers a brilliant summary of the most influential thinking on these questions as they apply to contemporary art and to the challenges of thinking about it historically." Terry Smith, University of Pittsburgh
£999.99
Northwestern University Press On Weight and the Will
Book SynopsisCharts a modern history of form as emergent from force. Offering a provocative alternative to the imagery of crisis and estrangement that has preoccupied scholarship on modernism, Malika Maskarinec shows that German modernism conceives of human bodies and aesthetic objects as shaped by a contest of conflicting and reciprocally-intensifying forces.
£102.60
Duke University Press Black and Blue
Book SynopsisPostwar French works that register disturbing truths about loss and regret, and violence and history, through aesthetic refinement anchor this exquisite, image-filled rumination on efforts to capture fleeting moments and comprehend the incomprehensible.Trade Review"Carol Mavor has developed a unique way of responding to images and to their uses by artists and writers: with appetite and fastidious delicacy, she brings the full sensorium synaesthetically into play. Black and Blue is a highly wrought montage, an original attempt to open up the meanings of visual objects in relation to experience, and a startlingly daring account of a symbolic field. It resonates with—and pays tribute to—such key art historical works as Aby Warburg's Mnemosyne Atlas and William Gass's prose poem, On Being Blue."—Marina Warner, author of Stranger Magic: Charmed States and the Arabian Nights"In Black and Blue, Carol Mavor lives with the wounding memories of Hiroshima, the Holocaust, and the regime of hate in American racial history. She looks at herself through a kaleidoscope of texts and images whose pain her own writing seeks to alleviate. The reader witnesses conflicted emotions circulating within a gallery of figures defining the melancholic tenor of critical and creative labors of the last three decades. As a testament and a symptom, Black and Blue belongs to a growing number of first-person accounts that have coped with the years 1939–46 and after, including those by Sarah Kofman (Rue Ordener, rue Labat) and Jean-Luc Godard (Histoire(s) du cinéma), in which the 'author' deals with his or her own relation with the past, from a highly autobiographical standpoint. What makes Black and Blue stand out is its movement to and from a theoretical critical canon, through an impressive body of films, texts, and images, which literally punctuate the book."—Tom Conley, author of An Errant Eye: Poetry and Topography in Early Modern France“Black and Blue is only partly, though brilliantly, about the colours of its title. It’s avowedly indebted to novelist-philosopher William H. Gass’s extraordinary 1976 essay On Being Blue: A Philosophical Inquiry, and shares that book’s super-subjective love of lists and tendency to intuitive digressions.... Black and Blue has a poetic logic of mourning, and its rage to make too much sense.” -- Brian Dillon * Art Review *“It is impossible to make sense of and represent catastrophes—Hiroshima, the Holocaust, loss of memory, death—and these are all approached in an oblique way that makes one ponder the concept. This reviewer would answer in the affirmative Mavor’s indirect question when she seems to wonder if she ‘effectively’ ‘combines catastrophe with frivolity as the text moves between the public and the private, in an effort to make sense.’ This well-maintained tension is the underlying thread that makes the reader watch, read, and think more deeply. Recommended. Upper-division undergraduates, graduate students, researchers, faculty, general readers.” -- E. A. Vanborre * Choice *“The overall effect is hypnotic, aided by the stunning visual affect of the book, tis elegant typesetting and the variety of the images that litter the text. . . . a joy to read . . . a veritable feast for the eyes.” -- Lucy Scholes * TLS *“Mavor succeeds in producing a truly hybrid work: image and text, art criticism and self-analysis come together almost seamlessly, culminating in an impressively phenomenological approach to the subject of memory. . . . [H]er keen attention to etymology and intellectual history succeeds in opening the text, the field of play: the films she discusses function just as Proust’s madeleine, describing but not finally demystifying Mavor’s memory, involuntary in its movement between present and past, research and experience, art and life.” -- Andrew Marzoni * Rain Taxi *“Black and Blue is an unabashedly first person, nonprescriptive account from one such reader-viewer, one that seeks to combine 'catastrophe with frivolity' in its quest to reveal something of the link between private and public affect by staging a struggle between them.” -- Dylan J. Montanari * Los Angeles Review of Books *“Black and Blue is a thought-provoking belletristic work. At times the style reaches the heights of Mavor’s beloved Barthes and Farber. Also, many of the contemporary artists discussed will be unfamiliar to readers within film studies, and will no doubt provide additional ways of thinking and angles of inquiry. It’s also worth noting that Black and Blue is beautifully presented, with ample screenshots taken from the films, and colour plates of the other artworks Mavor discusses.” -- John A. Riley * Scope *“[A] beautiful book, a book that asks art historians and cultural theorists to weigh the merits and limitations of affect as a methodological approach to the image broadly. This passion, Mavor shows everywhere, may be at times blinding but it also has the illuminating force of the sun.” -- Peggy Phelan * Photography and Culture *"In her chapters on La Jetée and Sans soleil she aligns a series of ostensibly unrelated circles. . . . Such associations are not only evocative, efficiently subtending history’s temporal habits and causal relations, they also train the reader to look as thoughtfully and creatively as Mavor does." -- Jane Blocker * Art History *“As I read this book, I lost myself in the writing, floating through a dream of images of rolling marbles, landscapes of ash, on the smile of an auntie in an old photograph, of a blue washcloth in a bathtub. The artwork that colors the text is charged with emotions of motherhood, of death, of race and of coming to terms with events in life out of our control. I wandered back and forth between the essays recalling black milk, black rain and black ink, carried away in the melancholy mixed with delicacy.” -- Jessica Cline * New York Public Library *“Carol Mavor does not write conventional works of art and literary criticism. Yet (or perhaps because of this) she can open up image and text in fascinating ways. . . . Black and Blue will be seen as a moving dramatization of the art of memory and forgetting and a Proustian and surrealist refiguring of post-war French culture. I was moved.” -- Max Silverman * French Studies *"Mavor is a learned scholar whose encyclopedic knowledge allows her to unearth deft connections between texts and figures whose distance from each other may have seemed immense." -- Anderst * Film Criticism *Table of ContentsAcknowledgments ix Abbreviations xi Introduction. First Things: Two Black and Blue Thoughts 1 Author's Note I. A Sewing Needle inside a Plastic and Rubber Suction Cup Sitting on a Watch Spring; or, An Object for Seeing Nothing 17 1. Elegy of Milk, in Black and Blue: The Bruising of La Chambre claire 22 2. "A" is for Alice, for Amnesia, for Anamnesis: A Fairy Tale (Almost Blue) Called La Jetée 53 3. Happiness with a Long Piece of Black Leader: Chris Marker's Sans soleil 77 Author's Note II. She Wrote Me 111 4. "Summer Was inside the Marble": Alain Resnais's and Magurite Duras's Hiroshima mon amour 114 List of Illustrations 161 Notes 169 Index 191
£25.19
Duke University Press What We Made
Book SynopsisWhat We Made presents a series of fifteen conversations in which contemporary artists who create activist, participatory work discuss the cooperative process. Colleagues from fields including architecture, art history, urban planning, and new media join the conversations.Trade Review“These conversations by key practitioners and thinkers are a snapshot of thinking around the emergence of social and collaborative art, which seeks to improve society and address social issues. Finkelpearl ably situates collaborative and participatory art within the chronology of American art history.” -- Toro Castaño * Library Journal *"What What We Made does, perhaps better than anything I’ve read so far about this particular kind of art, is utterly refrain from arriving at singular summaries or judgments. Instead, the conversations foreground the nuanced and complex social relations tied up in any artwork, but particularly collaborative artwork that draws on communities operating largely outside of the arts marketplace. And the projects Finkelpearl has chosen to discuss and feature by and large demonstrate real possibilities for genuine exchange across networks and communities." -- Alexis Clements * Hyperallergic *“What We Made is a good sourcebook of art that tackles politics through participation and collaboration. The author’s introduction provides a useful overview of the situation in contemporary America. . . .” -- Sally O’Reilly * Art Monthly *“What We Made brings together the stars of the social practice world Rick Lowe, Tania Bruguera, Mierle Laderman Ukeles, Harrell Fletcher, and more in conversations with urban planners, educators, and each other, to create a fluid and interdisciplinary dialogue about social practice and its complicated, beautiful and necessary implications in the world.” -- Katie Bachler * The Art Book Review *“Finkelpearl has provided his readers with a rich description of a particular, influential movement in the art museum world. This book illustrates his own commitment to social collaboration. By presenting the conversations that make up the core of this volume, he brings this aspect of the art museum world to a larger public.” -- George E. Hein * Curator *Table of ContentsPreface ix 1. Introduction The Art of Social Cooperation: An American Framework 1 2. Cooperation Goes Public Consequences of a Gesture and 100 Victoria/10,000 Tears 51 Interview: Daniel Joseph Martinez, artist, and Gregg M. Horowitz, philosophy professor Chicago Urban Ecology Action Group 76 Follow-Up Interview: Naomi Beckwith, participant 3. Museum, Education, Cooperation Memory of Surfaces 90 Interview: Ernesto Pujol, artist, and David Henry, museum educator 4. Overview Temporary Coaltions, Mobilized Communities, and Dialogue as Art 114 Interview: Grant Kester, art historian 5. Social Vision and a Cooperative Community Project Row Houses 132 Interview: Rick Lowe, artist, and Mark Stern, professor of social history and urban studies 6. Participation, Planning, and a Cooperative Film Blot Out the Sun 152 Interview: Harrell Fletcher, artist, and Ethan Seltzer, professor of urban studies and planning Ride Out the Sun 174 Follow-up Interview: Jay Dykeman, collaborator 7. Education Art Catedra Arte del Conducta 179 Interview: Tania Bruguera, artist Catedra de Conducta Follow-up Interview: Claire Bishop, art historian 8. A Political Alphabet 219 Interview: Wendy Ewald, artist, and Sondra Farganis, political scientist 9. Crossing Borders Transnational Community-Based Production, Cooperative Art, and Informal Trade Networks 240 Interview: Pedro Lasch, artist, and Teddy Cruz, architect 10. Spirituality and Cooperation Unburning Freedom Hall and The Packer School Project 269 Interview: Brett Cook, artist, and Mierle Laderman Ukeles, artist The Seer Project 301 Interview: Lee Mingwei, artist 11. Interactive Internet Communication White Glove Tracking 313 Interview: Evan Roth, artist White Glove Tracking 335 Follow-up Interview: Jonah Peretti, contagious media pioneer Conclusion: Pragmatism and Social Cooperation 343 Notes 363 Bibliography 373 Index 381
£27.90
Bloomsbury Publishing (UK) Literary Art in Digital Performance Case Studies in New Media Art and Criticism Case Studies and Critical Positions
Book SynopsisFrancisco J. Ricardo, Ph.D., is an art theorist and filmmaker born in Cuba in 1962. His work focuses on new media art and artists. Formerly affiliated with the University Professors of Boston University, he is co-founder of the Digital Video Research Archive, and has taught digital media theory in the Digital+Media Department at the Rhode Island School of Design.Trade ReviewHow does each specific application of new technology reflect outward, to the broader dynamics of an electronically networked society? Are we talking about form or experience? Digital art draws upon both visual art and literature to establish a new medium that is simultaneously posited as a breakdown of those very boundaries. What results is often both work and event, realized by the audience in the process of reception. The essays in this timely book explore these ambiguities from multiple perspectives, asserting digital art as a significant paradigm shift, even rupture, yet structurally rooted in earlier traditions. Martha Buskirk, Professor of Art History and Criticism, Montserrat College of ArtLiterary Art in Digital Performance charts an expansive range of human/machine topologies, both local and distributed, while negotiating a highly relevant set of informed perspectives and critical positionings. The ever-expanding contextual potentials of this exciting field are clearly reflected here, pointing to a rich landscape of performative literary domains. This book is a must for those interested in new media/literary critical theory as it relates to a set of unique examples of contemporary media practice. William Seaman, Professor Visual Studies of Duke Univ. and Founding Chairman of Dept. of Digital Media, RISDNew technologies like videogames, interactive installation, digital literature and data visualization are used by artists and writers before critical theory can catch up with them. Now this important collection of essays on how we "read" the new media of the day elucidates the underlying meanings of these media through the lens of contemporary criticism. Each of these insightful essays on a specific work of art is made all the more useful by the discerning post essay conversations Ricardo has with the authors. George Fifield, Founder of the Boston Cyberarts FestivalTable of Contents1. Introduction: Juncture and Form in New Media Criticism, Francisco J. Ricardo; 2. What is and Toward What End do We Read Digital Literature?, Roberto Simanowski.
£28.49
Bloomsbury Publishing (UK) Sister Wendy on Prayer
Book SynopsisStates that where prayer is concerned, it is simply a matter of trying to turn to God as honestly as the person you are in the circumstances you find yourself in. This book offers a biographical sketch about being a nun and at the same time one of the art world's most acute and revered commentators and a TV personality.Trade Review"'While the idea is simple it is by no means simplistic. Her point is that people with little time for prayer can nevertheless be prayerful, and for people who live busy lives, that is very reassuring to hear.' Elena Curti, The Tablet 'a beautifully produced book, laid out in a way that makes the content accessible to readers who might otherwise be daunted by the subject.' Revd Peter McGeary, Church Times"Table of ContentsIntroduction - Sister Wendy; Biographical introduction - David Willcock; Section 1 'The Practice of Prayer'; Section 2 'Prayer and Belief'; Section 3 'Prayer and Personality'.
£16.14
Whitechapel Gallery Spieker S Destruction
Book Synopsis
£15.26
Whitechapel Gallery Activism
Book Synopsis
£17.06
The Visible Press Telling Invents Told
Book Synopsis
£20.90
Taylor & Francis Ltd Inner Visions
Book SynopsisFirst published in 1979, Inner Visions discussion the nature of contemporary magical thought encompassing the Tarot and the Qabalah and considers its impact on the creative imagination. The author presents a fusion of the creative, magical and mythological undercurrents which are part of the new consciousness', and traces the influence of surrealist art and the expansive psychedelic period on the art and music of the 1970s. He looks, for example, at the relationship of the fantasy art on record sleeves to the electronic inner-space music which it often accompanies, and shows that this form of modern music represents one facet of the contemporary reaction against scientism and of the search for what Roszak has termed the visionary sources of our culture. The author concludes that a major mythological impulse is emerging in our culture and that magical and surreal approaches represent a profoundly invigorating and inspiring attitude linking the individual to the cosmos. This Table of ContentsAcknowledgements Introduction: Counter-culture, magic and the new consciousness Part One: Magic and Cosmos 1. The magical universe 2. Archetypes and belief systems – the relevance of C. G. Jung and John Lilly 3. The Tarot and transformation Part Two: Sound and symbol 4. Surrealism and the Qabalah 5. Magic and fantasy – the new visionary art 6. The rise of cosmic music Conclusion: Where is it all going? Notes Bibliography Index
£28.99
Taylor & Francis Craft Theory and Contemporary Architecture
Book SynopsisThis book offers a comprehensive exploration of craft theory in relation to contemporary architecture. Craft is an old and familiar idea, but the line between craft and art or craft and mere manufacturing, for example, is notoriously hard to describe. In architecture, a similarly blurred line between the design process on one hand and the physical making of buildings on the other lies at the center of various debates about what it means to do architecture. The growth and development of craft theory in recent years suggest new insights into these architectural debates, but situating the meaning of craft within architecture within todayâs technological landscape is a complex problem. Alford responds to this challenge by collecting various narratives from craft theory and other fields and discerning among them new lenses through which to view contemporary architectural practice. Episodes from this expanded view of craft in architecture go beyond predictable accounts of Ruskin and Morri
£37.99
Taylor & Francis Socially Engaged Art and Ethics
Book SynopsisBringing together artists, curators, activists, academics, managers, and educators from around the world, this unique anthology examines the notion of ethics within socially engaged art. The volume aims to deepen conversations around what âgoodâ or ârightâ activities could be in this developing and expanding practice, and readers are invited to consider the contextual nature of socially engaged art â its politics, infrastructures and values. Supported by case studies from the United Kingdom, the United States, China, Cuba, South Africa, and Norway, as well as discussions relating to education, cultural policy, and activism, this volume provides a much-needed critical analysis in the making, curating, commissioning and managing of socially engaged art. This collection is an ideal text for interdisciplinary courses that place visual arts (including design or performance) within social and political contexts but also for students and scholars of art, art history and visual studies more generally.
£37.99
Taylor & Francis Liang Shaojiâs Silkworm Art
Book SynopsisThis book focuses on the work of Chinese contemporary artist Liang Shaoji and emphasises the contribution of multispecies ethnography to art criticism. Over three decades, Liang has worked with domestic silkworms to craft art that embodies the Daoism-inspired ecological motif of âziranâ. Are silkworms co-authors or alienated fabricators in such creative practice? Based on a multi-sited ethnographic study conducted in China, the book delves into Liangâs artistic techniques involving close collaboration with silkworm farmers and biologists. In doing so it makes a significant contribution to discussions of non-human agency and labour. The author unveils the intricate power dynamics between silkworms and their caretakers, revealing multi-sensory knowledge, anthropomorphic kinship and moral dilemmas inherent in working with these insects. This volume will be of particular interest to scholars working in the anthropology of art, human-animal studies, and environmental humanities.
£50.34
Routledge Adventurous Film Making
a huge range and FREE tracked UK delivery on ALL orders.
£30.39
Taylor & Francis Chinese Art Theory I
a huge range and FREE tracked UK delivery on ALL orders.
£156.66
Taylor & Francis Chinese Art Theory II
a huge range and FREE tracked UK delivery on ALL orders.
£156.66
CRC Press Smart Technologies for Sustainable Development Goals
a huge range and FREE tracked UK delivery on ALL orders.
£109.25
Taylor & Francis Exhibiting Antonio Canova
a huge range and FREE tracked UK delivery on ALL orders.
£40.84
Eastwest Art Culture & Education Center 30002395922338430495 37329307073004130165Modern
Book Synopsis
£27.36
Cambridge University Press Herders Naturalist Aesthetics
a huge range and FREE tracked UK delivery on ALL orders.
£85.50
John Wiley and Sons Ltd Aesthetics
Book SynopsisTable of ContentsPreface ix Acknowledgements xi Sources xiii Part I: Classic Sources 1 The Modern System of the Arts 3Paul Oskar Kristeller 2 The Ancient and Modern System of the Arts 17James O. Young 3 Ion 31Plato 4 The Republic 39Plato 5 Symposium 49Plato 6 Poetics 57Aristotle 7 Ennead I, vi 73Plotinus 8 De Musica 81St. Augustine 9 On the Reduction of the Arts to Theology 89St. Bonaventure 10 Characteristics of Men, Manners, Opinions, Times 95Third Earl of Shaftesbury 11 An Inquiry into the Original of Our Ideas of Beauty and Virtue 105Francis Hutcheson 12 Of the Standard of Taste 121David Hume 13 Of Tragedy 131David Hume 14 A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful 137Edmund Burke 15 Laocoon 147Gotthold Lessing 16 Critique of the Power of Judgment 155Immanuel Kant Part II: Modern Theories 17 Introduction 199Christopher Janaway and Sandra Shapshay 18 Letters on the Aesthetic Education of Man 205Friedrich Schiller 19 Letter to M. d’Alembert on the Theatre 209J.-J. Rousseau 20 Introductory Lectures on Aesthetics 217G.W.F. Hegel 21 The World as Will and Representation 241Arthur Schopenhauer 22 The Beautiful in Music 281Eduard Hanslick 23 The Birth of Tragedy 287Friedrich Nietzsche 24 What is Art? 299Leo Tolstoy 25 “Psychical Distance” as a Factor in Art and as an Aesthetic Principle 313Edward Bullough 26 Art 331Clive Bell 27 The Principles of Art 341R.G. Collingwood 28 Art as Experience 357John Dewey 29 The Work of Art in the Age of Mechanical Reproduction 379Walter Benjamin 30 The Origin of the Work of Art 397Martin Heidegger 31 Aesthetic Theory 411Theodor Adorno 32 Criteria of Negro Art 423W.E.B. Du Bois 33 Art or Propaganda? 429Alain Locke Part III: Contemporary Aesthetics and Philosophy of Art 34 Introduction 433Stephanie Ross 35 The Artworld 439Arthur Danto 36 What is Art? An Institutional Analysis 449George Dickie 37 “Art” as a Cluster Concept 461Berys Gaut 38 When is Art? 475Nelson Goodman 39 Art and Its Objects 483Richard Wollheim 40 Varieties of Art 497Stephen Davies 41 What a Musical Work Is 513Jerrold Levinson 42 Fictional Characters as Abstract Artifacts 529Amie L. Thomasson 43 Aesthetic Concepts 535Frank Sibley 44 Categories of Art 551Kendall L. Walton 45 The Myth of the Aesthetic Attitude 569George Dickie 46 What is Aesthetic Experience? 581Alan H. Goldman 47 Artistic Value 589Malcolm Budd 48 Beauty Restored 597Mary Mothersill 49 Artistic Worth and Personal Taste 609Jerrold Levinson 50 Style and Personality in the Literary Work 619Jenefer Robinson 51 Criticism and Interpretation 631Noël Carroll 52 The Postulated Author: Critical Monism as a Regulative Ideal 641Alexander Nehamas 53 Artistic Value and Opportunistic Moralism 653Eileen John 54 Emotions in the Music 663Peter Kivy 55 Music and Emotions 673Jenefer Robinson 56 Fearing Fictions 691Kendall L. Walton 57 Transparent Pictures: On the Nature of Photographic Realism 705Kendall L. Walton 58 The Power of Movies 723Noël Carroll 59 Oppressive Texts, Resisting Readers, and the Gendered Spectator: The “New” Aesthetics 737Mary Devereaux 60 Feminist Philosophy of Art 751A.W. Eaton 61 Appreciation and the Natural Environment 767Allen Carlson 62 Everyday Aesthetics 777Yuriko Saito 63 Aesthetic Value, Art, and Food 783Carolyn Korsmeyer 64 Art and Aesthetic Behaviors as Possible Expressions of our Biologically Evolved Human Nature 791Stephen Davies Index 797
£36.05
Taylor & Francis Is Landscape...
Book SynopsisIs Landscape . . . ? surveys multiple and myriad definitions of landscape. Rather than seeking a singular or essential understanding of the term, the collection postulates that landscape might be better read in relation to its cognate terms across expanded disciplinary and professional fields. The publication pursues the potential of multiple provisional working definitions of landscape to both disturb and develop received understandings of landscape architecture. These definitions distinguish between landscape as representational medium, academic discipline, and professional identity. Beginning with an inquiry into the origins of the term itself, Is Landscape . . . .? features essays by a dozen leading voices shaping the contemporary reading of landscape as architecture and beyond.Trade Review"A series of rhetorical questions asked by well- known authors describe the relationship between landscape architecture and its closely related disciplines and other cultural fields." – Peter Zöch, Topos "As richly illustrated and annotated volume, Is Landscape…? is of significant value to students and researchers who wish to dig deeper, and for those leading topical seminars on any of the covered subjects." – Sarah Cowles, Landscape Architecture Magazine"Is Landscape…? Presents both a documentation and projection of Gareth Doherty and Charles Waldheim’s proseminar at the Harvard Graduate School of Design that explores questions of landscape identity." - Karl Kullman, JAE Online Table of ContentsIntroduction: What is landscape? Gareth Doherty and Charles Waldheim, 1. Is landscape architecture? Garrett Eckbo 2. Is landscape literature? Gareth Doherty, 3. Is landscape painting? Vittoria Di Palma, 4. Is landscape photography? Robin Kelsey, 5. Is landscape gardening? Udo Weilacher, 6. Is landscape ecology? Nina-Marie Lister, 7. Is landscape planning? Frederick Steiner, 8. Is landscape urbanism? Charles Waldheim, Is landscape infrastructure? Pierre Bélanger, 9. Is landscape technology? Niall Kirkwood, 10. Is landscape history? John Dixon Hunt, 11. Is landscape theory? Rachael Z. DeLue, 12. Is landscape philosophy? Kathryn Moore, 13. Is landscape life? Catharine Ward Thompson, 14. Is landscape architecture? David Leatherbarrow
£52.24
Taylor & Francis Ltd Painting Politics and the Struggle for the Ecole
Book SynopsisPainting, Politics and the Struggle for the École de Paris, 1944-1964 is the first book dedicated to the postwar or ''nouvelle'' École de Paris. It challenges the customary relegation of the École de Paris to the footnotes, not by arguing for some hitherto ''hidden'' merit for the art and ideas associated with this school, but by establishing how and why the École de Paris was a highly significant vehicle for artistic and political debate. The book presents a sustained historical study of how this ''school'' was constituted by the paintings of a diverse group of artists, by the combative field of art criticism, and by the curatorial policies of galleries and state exhibitions. By thoroughly mining the extensive resources of the newspaper and art journal press, gallery and government archives, artists'' writings and interviews with surviving artists and art critics, the book traces the artists, exhibitions, and art critical debates that made the École de Paris a zone of aesthetTable of ContentsContents: Introduction: École de Paris: meaning to be determined; A complete change of décor: the Nouvelle École de Paris; An 'individualist internationale': foreign artists and abstract painting; The crisis of realism and reality; The critics of the École de Paris; Is the École de Paris condemned to death?; Conclusion: the mourning of the object; Selected bibliography; Index.
£51.29
Bloomsbury Publishing PLC Irma Stern and the Racial Paradox of South
Book SynopsisSouth African artist Irma Stern (18941966) is one of the nation's most enigmatic modern figures. Stern held conservative political positions on race even as her subjects openly challenged racism and later the apartheid regime. Using paintings, archival research, and new interviews, this book explores how Stern became South Africa's most prolific painter of Black, Jewish, and Colored (mixed-race) life while maintaining controversial positions on race. Through her art, Stern played a crucial role in both the development of modernism in South Africa and in defining modernism as a global movement. Spanning the Boer War to Nazi Germany to apartheid South Africa and into the contemporary #RhodesMustFall movement, Irma Stern's work documents important twentieth-century cultural and political moments. More than fifty years after her death, Stern's legacy challenges assumptions about race, gender roles, and religious identity and how they are represented in art history.Trade ReviewLaNitra M. Berger’s subtle and very timely study brilliantly mines Stern’s story and her works’ imagery to extract from them essential insights into global modernism, art under apartheid, and Stern’s conflicted legacy. * Peter Chametzky, Professor of Art History, University of South Carolina, USA *Strikingly original and well-researched, Irma Stern and the Racial Paradox of South African Modern Art is the work of a pioneering scholar. Employing a powerful Black feminist and decolonial perspective, LaNitra M. Berger questions received ideas about what constitutes modern African art. She shows us that the life and work of a controversial white artist like Irma Stern, whose work was predicated on racial exploitation, is important to the formation of global modernism in South Africa and beyond. * Prita Meier, Associate Professor of Art History, New York University, USA *Table of ContentsIntroduction Acknowledgements Chapter 1 Irma Stern in a Global Context: Expressionist Influences Chapter 2 Cape Town Blues: Painting South Africa Chapter 3 Congo and Zanzibar Chapter 4 Modernism Under Apartheid: Art and Social Context Chapter 5 Irma Stern and Post-Apartheid South Africa Conclusion Biographical Timeline Bibliography Index
£81.00
Bloomsbury Publishing PLC DArcy Wentworth Thompsons Generative Influences
Book SynopsisScottish zoologist D'Arcy Wentworth Thompson's visionary ideas in On Growth and Form continue to evolve a century after its publication, aligning it with current developments in art and science. Practitioners, theorists, and historians from art, science, and design reflect on his ongoing influence. Overall, the anthology links evolutionary theory to form generation in both scientific and cultural domains. It offers a close look at the ways cells, organisms, and rules become generative in fields often otherwise disconnected. United by Thompson's original exploration of how physical forces propel and shape living and nonliving forms, essays range from art, art history, and neuroscience to architecture, design, and biology. Contributors explore how translations are made from the discipline of biology to the cultural arena. They reflect on how Thompson's study relates to the current sciences of epigenesis, self-organization, biological complex systems, and the expanded evolutionary Trade ReviewD’Arcy Wentworth Thompson’s Generative Influences in Art, Design, and Architecture offers a significant contribution in its explication of the interrelationships between art, architecture, design, and biology and in situating Thompson’s biological model within a broad cultural frame. * Woman's Art Journal *D’Arcy Wentworth Thompson, in his beautifully written book, On Growth and Form, describes how if artists wanted to look for beauty in nature, they would have to turn to science. The present new volume is a fitting tribute to this accomplished thinker. * Arthur I. Miller, Emeritus Professor of History & Philosophy of Science, University College London, UK and author of "The Artist in the Machine: The World of AI-Powered Creativity" *The life and work of D’Arcy Wentworth Thompson is a reminder of what can be achieved when we remove the silos into which so many academic disciplines have been confined. By revealing Thompson’s immense influence, this book offers a profound argument for the interdependence of art, science and technology. * Eleanor Heartney, Contributing Editor, Art in America and Artpress, USA *Table of ContentsList of Plates List of Figures List of Contributors Preface Acknowledgments Timeline Introduction, Ellen K. Levy (Artist and Independent Scholar, USA) and Charissa N. Terranova (University of Texas at Dallas, USA) 1. Are All Fish the Same if You Stretch Them? The Victorian Tale of On Growth and Form, Stephen Wolfram (Wolfram Research, USA) 2. Physics in Biology – Has D’Arcy Wentworth Thompson Been Vindicated? Evelyn Fox Keller (Massachusetts Institute of Technology, USA) 3. On the Beauty of the Metacarpal, Hadas A. Steiner (State University of New York at Buffalo, USA) 4. “Drawn from structures living and dead” – Collections and Connections, Growing and Forming, Matthew Jarron (University of Dundee Museum Collections, Scotland) 5. D’Arcy Wentworth Thompson and Dorothy Wrinch: A Friendship, 1918–1948, Marjorie Senechal (Smith College, USA) 6. D’Arcy Wentworth Thompson’s Surrealism, Brandon Taylor (University of Southampton, UK and Oxford University, UK) 7. Structures of Light as ‘An Ethnologist’s Jewels’: D’Arcy Wentworth Thompson, The Independent Group and Montage, Assimina Kaniari (Athens School of Fine Arts, Greece) 8. Exhibition as Extended Organism: The Evolutionary Agency of Richard Hamilton’s Growth and Form, Charissa N. Terranova (University of Texas at Dallas, USA) 9. The Invisible Motives of Growth and Form, Caroline O’Donnell (CODA, USA) 10. Diagrams of Entropic Forces: New Growth and Form, Philip Beesley (University of Waterloo, Canada) 11. Tracing Threads of the Living Organism, Ellen K. Levy (Artist and Independent Scholar, USA) 12. The Growth and Form of ArtNano Innovations: Inspirations from D’Arcy Wentworth Thompson’s On Growth and Form, Todd Siler (Artist, USA) 13. On Growth and Form and Lightweight Structures, Sarah Bonnemaison (Dalhousie University, Canada) 14. D’Arcy Wentworth Thompson Going Forward Between Chance and Necessity, Philip Ball (Independent Scholar, UK) Image as Argument: D'Arcy Wentworth Thompson and Contemporary Scientific Discourse, Justine Kupferman (Kallyope, Inc., USA) Reflections on Influence, Carolee Schneemann (Artist, USA, d. 2019) D’Arcy Wentworth Thompson and Polycrystalline Pattern Formation, Bart Kahr (New York University, USA) Conversations with D’Arcy Wentworth Thompson, Ellen K. Levy (Artist and Independent Scholar, USA) The Vortex and D’Arcy Wentworth Thompson, Meredith Tromble (Artist and Independent Scholar, USA) Deployable and Other Structural Forms, Henry Petroski (Duke University, USA) Index
£28.94
Bloomsbury Publishing PLC Concerning Stephen Willats and the Social
Book SynopsisThis book on Stephen Willats pulls together key strands of his practice and threads them through histories of British cybernetics, experimental art, and urban design. For Willats, a cluster of concepts about control and feedback within living and machine systems (cybernetics) offered a new means to make art relevant. For decades, Willats has built relationships through art with people in tower blocks, underground clubs, middle-class enclaves, and warehouses on the Isle of Dogs, to investigate their current conditions and future possibilities. Sharon Irish's study demonstrates the power of Willats's multi-media art to catalyze communication among participants and to upend ideas about audience and art. Here, Irish argues that it is artists like Willats who are now the instigators of social transformation.Trade ReviewChange and exchange—Sharon Irish has given us an insightful, nuanced and sympathetic account of Stephen Willats’s cybernetic art and social practice, growing from the maelstrom of the 1960s to the present, unsettling the balance of present and future, artist and participants, galleries and worlds along the way. * Andrew Pickering, Emeritus Professor of Sociology and Philosophy, Exeter University, UK *Table of ContentsList of figures Preface Acknowledgements Introduction: new functions for art practice in society A cybernetics primer Cybernetics goes social A social practice primer Chapter overview 1. The Omni-Directional Artist Heuristic tools on the move < Control Magazine Homeostat diagrams Cooperative decision-making: Visual Meta Language Simulation Pedagogical processes Man from the Twenty-First Century 2. Modelling the Social Cognition Control Centre for Behavioural Art Constructing social resources and social models West London Social Resource Project Social modelling in Edinburgh Meta Filter Art and social function 3. Mutually Bound Of concept frames From a Coded World A ‘new reality’? Willats in east London Sorting Out Other People’s Lives Inside an Ocean Art for Whom? 4. The Art of Sociotechnical Systems Toward a ‘depleted, disillusioned new reality’ The Ideological Tower Vertical Living Brentford Towers Art creating society: curating the Oxford Symposium and the Mosaic Series Personal Islands 5. Creativity in Self-Organization Participatory reception Working within a defined context Defined context, social practice, and the multi-homeostat problem Living with practical realities Do-It-Yourself (DIY) aesthetics ‘Objects of Creative Release’ Back to the Wasteland 6. Open-Ended Urban Systems Middlesbrough and The Transformer Marble Arch to Oxford Circus, London: Freezone Simulation in Sheffield South London: changing everything A pivot in scale: data streams Oxford community data stream Data stream portrait of London Conclusion: On Giving Up and Compromise Feedback and multiple futures Open systems and participation Thinking with cybernetics Compromise not compliance Notes Select Bibliography Index
£90.00
Bloomsbury Publishing (UK) Art and Creativity in an Era of Ecocide
Book SynopsisAnna Pigott is Lecturer in Human Geography at Swansea University, UK. Working in the field of Environmental Humanities, she is particularly interested in the impact of art and storytelling on our responses to environmental, social and economic crises.Owain Jones is Emeritus Professor of Environmental Humanities at Bath Spa University, UK. He has published over eighty scholarly articles and edited four books including Visual Culture in the Northern British Archipelago (2017).Ben Parry is Senior Lecturer and Course Leader of the MA in Curatorial Practice at Bath School of Art, Bath Spa University, UK. He is co-editor of Waste Work: The art of Survival in Dharavi (2023)and works as an artist, curator and independent researcher at the intersections of art, activism and urban space.
£24.99
Bloomsbury Publishing PLC Feminism and Art History Now
Book SynopsisTo what extent have developments in global politics, artworld institutions and local cultures reshaped the critical directions of feminist art historians? The significant research gathered in Feminism and Art History Now engages with the rich inheritance of feminist historiography since around 1970, and considers how to maintain the forcefulness of its critique while addressing contemporary political struggles.Taking on subjects that reflect the museological, global and materialist trajectories of 21st-century art historical scholarship, the chapters address the themes of Invisibility, Temporality, Spatiality and Storytelling. They present new research on a diversity of topics that span political movements in Italy, urban gentrification in New York, community art projects in Scotland and Canada''s contemporary indigenous culture. Case studies focus on the art of Lee Krasner, The Emily Davison Lodge, Zoe Leonard, Martha Rosler, Carla Lonzi and Womanhouse. Together withTrade ReviewAs an innovative selection that engenders new approaches to writing feminist art histories today, [this collection] unquestionably adds to the scholarship and the growing number of edited collections on feminist art and art histories. * Visual Studies *Table of ContentsList of Illustrations Notes on Contributors Acknowledgements Introduction: Feminism and Art History Now Victoria Horne and Lara Perry PART I. WRITING | SPEAKING | STORYTELLING 1. An Unfinished Revolution in Art Historiography, or How to Write a Feminist Art History Victoria Horne and Amy Tobin 2. I Want a Dyke for President: Sounding out Zoe Leonard’s Manifesto for Art History’s Feminist Futures Laura Guy 3. ‘Our Stories Are Our Life Blood’: Indigenous Feminist Memory and Storytelling as Strategy for Social Change Cherry Smiley PART II. VISIBILITY | INTERVENTION | REFUSAL 4. Making Visible Lee Krasner’s Occupation: Feminist Art Historiography and the Pollock-Krasner Studio Andrew Hardman 5. Challenging Feminist Art History: Carla Lonzi’s Divergent Paths Giovanna Zapperi 6. This Moment: A Dialogue on Participation, Refusal and History Making Angela Dimitrakaki and Lara Perry PART III. SPATIALITY | OCCUPATION | HOME 7. The Salon Model: The Conversational Complex Elke Krasny 8. Los Angeles, 1972/Glasgow, 1990: A Report on Castlemilk Womanhouse Hannah Hamblin 9. If You Lived Here…: A Case Study on Social Reproduction in Feminist Art History Kirsten Lloyd PART IV. TEMPORALITY | GHOSTS | RETURNS 10. Temporalities of the ‘Feminaissance’ Francesco Ventrella 11. Gestures of Inclusion, Bodily Damage and the Hauntings of Exploitation in Global Feminisms (2007) Kimberly Lamm 12. Learning and Playing: Re-enacting Feminist Histories Catherine Grant Index
£25.99
Bloomsbury Publishing PLC Images of Childhood
Book SynopsisDrawing on a rich legacy of pictorial evidence, Images of Childhood examines historical constructions of childhood and how they reinforce or challenge the prevailing view of childhood as a state of innocence. Each chapter explores how visual elements such as framing, points-of view, and lighting, as well as clothes, accessories, and body language, help to construct our many different conceptions of children: from members of the family unit and assumed gender roles; to schooling and aesthetic objects; through to their economic value and use in political propaganda.Skillfully navigating a multitude of perspectives on this topic, Paul Duncum considers both how our ideas, beliefs and values have changed throughout history and how some have remained unchanged. He also explores the cultural notion of the child within and how this has contributed to the way adults perceive children. The result is a text far broader in scope than any other in its field, as art history is interweaved wiTrade ReviewAnchored by respect for children and by compelling imagery, Paul Duncum comprehensively and captivatingly interrogates multiple and contradictory discourses that generate both personal and public conceptions of childhood. * Marissa McClure, Professor of Art Education, Indiana University of Pennsylvania, USA; Associate Editor, Childhood Art: An International Journal of Research *Images convey so much more than we realize. This extraordinary and seminal text will surely expand, enrich, even interrogate, one’s conceptions of what childhood has meant across history, cultural studies and psychology. * Rita L. Irwin, Distinguished University Scholar and Professor, Art Education, The University of British Columbia, Canada *Deconstructing childhood imagery and its ideologies, this book outlines the different ways of understanding infancy throughout history. Gender, abuse, victimization, and commoditization are some of the issues the author reveals through a wide array of historical images. * Cesar Peña, Professor, School of Architecture & Design, Universidad de los Andes, Colombia *Examining the trope of childhood innocence that permeates representations of children throughout Western history, this engaging text highlights the role images play in shaping our conceptions of childhood and our enduring cultural ambivalence toward children. * Christine Marmé Thompson, Professor Emerita, Penn State University School of Visual Arts, USA *Table of ContentsList of Illustrations Introduction 1. Children as Worthy Subject 2. Children as Family Member 3. Children as Gendered 4. Children as Adult 5. Children as Schooled 6. Children as Aesthetic 7. Children as Victim 8. Children as Threat 9. Economic Entity 10. Political Propaganda 11. Children as Innocent Bibliography Index
£23.74
John Wiley & Sons Memorials Now
Book Synopsis
£29.40
Edinburgh University Press The DidiHuberman Dictionary
Book SynopsisThe Didi-Huberman Dictionary is a specialized introduction to the thought of contemporary French philosopher Georges Didi-Huberman, best known for his path-breaking philosophy of image and for his impact on the 'visual turn' in theoretical humanities.Trade Review"This extraordinary glossary leverages the power of interdisciplinary research in art and human sciences, and invites the reader to consider the beauty of these disciplines by embracing multiple genres in and about the work of philosopher, thinker, poet Georges Didi-Huberman." -Barbara Baert, KU Leuven
£80.75
Edinburgh University Press Gombrich a Theory of Art
Book SynopsisThis is the first English translation of Gombrich: una teor a del arte, by Joaqu n Lorda, originally published in 1991. This book presents an extensive, expansive and holistic analysis of Gombrich's thought.
£112.50
State University of New York Press Dimensions of Aesthetic Encounters
Book SynopsisA novel fusing of multiple approaches and range of examples exploring the dimensions, objects, and import of aesthetic encounters.We encounter in our lives things and situations that elicit from us special forms of attention. They affect and inform us in various ways, drawing us in and holding us in their grasp or turning us away. Works of art of all sorts, and nature in its myriad manifestations, exemplify these luring and repelling qualities and potencies. Dimensions of Aesthetic Encounters explores central perceptual, interpretative, and semiotic dimensions of these encounters, combining a wide range of examples and intellectual resources from pragmatist, hermeneutical, and semiotic frameworks. Practicing a kind of "method of rotation" Robert E. Innis breaks down barriers in aesthetic theory and shows their complementary powers. Recurring themes link each chapter, throwing a powerful light on aesthetic encounters by foregrounding such pivotal notions as play, fundedness and the role of memory, the defining quality of an artwork, energies of objects, potencies, rhythm, form, presentational abstraction, medium, symbolization, intuition, role of the body, and the non-argumentative nature of art.
£24.23
Cambridge Scholars Publishing Aesthetics of Everyday Life
Book SynopsisAs a new trend in aesthetics appearing concurrently in the West and the East in the last ten years, the aesthetics of everyday life points to a growing diversification among existing methodologies for pursuing aesthetics, alongside the shift from art-based aesthetics.Trade Review"Ten years or so from its earliest iterations, it is timely to find a new volume dedicated to everyday aesthetics, one that demonstrates both the confidence of a movement moving into maturity, and a certain reflexivity about how far it has since come. [...] The conceptual problems that the movement faces ... have been addressed more explicitly, and this is one of the collection’s strengths. The movement remains challenged by how to circumscribe the notion of the everyday, and how to conceptualize its aesthetic character. The relation of aesthetics to ethics is not new, but is given an original approach here, as connected to a more general notion of human well-being, and an instinct that the aesthetic is a larger part of that well-being than has been previously considered. The responses offered to these challenges ... demonstrate a sophistication of thought over previous works in this area."Jane ForseyUniversity of WinnipegPhilosophy in Review, 35: 6 (2015)
£999.99
Edinburgh University Press Grey on Grey
Book SynopsisInspired by Hegel's invocation of philosophy as a painting of grey on grey', this collection of essays explores the rich scope of ideas implicated by grey, as a colour and a philosophical concept.
£85.50
Edinburgh University Press The Art of Iran in the Twentieth and Twentyfirst
Book SynopsisDeals with the exploration and theorisation of Modern and Contemporary art of Iran through the examination of art movements and artistic practices in relation to other cultural, social and political discourses during the twentieth and twenty-first centuries.
£31.50
Edinburgh University Press Probabilistic Aesthetics of the AvantGardes
a huge range and FREE tracked UK delivery on ALL orders.
£17.99
Edinburgh University Press ImageThinking
Book SynopsisIn this rich, highly illustrated book, Mieke Bal takes us on a journey through the range of her work, using the concept of image-thinking as a point of connection between cultural analysis and artistic practice. Bal teaches us how to think with images, but also how to write and think as artists and writers about our own creative work.
£26.99
Manchester University Press Addressing the Other Woman: Textual
Book SynopsisThis book analyses how three artists – Adrian Piper, Nancy Spero and Mary Kelly – worked with the visual dimensions of language in the 1960s and 1970s. These artists used text and images of writing to challenge female stereotypes, addressing viewers and asking them to participate in the project of imagining women beyond familiar words and images of subordination. The book explores this dimension of their work through the concept of ‘the other woman’, a utopian wish to reach women and correspond with them across similarities and differences. To make the artwork’s aspirations more concrete, it places the artists in correspondence with three writers – Angela Davis, Valerie Solanas, and Laura Mulvey – who also addressed the limited range of images through which women are allowed to become visible.Trade Review'In looking at the decade that occupies a unique place in the ongoing history of the transnational feminist movement, [Lamm has] uncovered hitherto unassessed materials and proposed insightful new readings in the archives of feminism, whilst also presenting us with an archival rearrangement that produces new objects with which to think about art history.'Association for Art History -- .Table of ContentsList of figuresIntroduction: addressing the other womanPart I: Writing the 'I' otherwise: telegraphing black feminism in the work of Adrian Piper and Angela Davis 1 Adrian Piper’s textual address2 Letters from an imaginary enemy, Angela DavisPart II: Typing the poetry of monsters: Nancy Spero and Valerie Solanas write aggression 3 Writing the drives in Nancy Spero’s Codex Artaud4 Valerie Solanas’ SCUM Manifesto and the texts of aggression Part III: Hieroglyphs of maternal desire: the collaborative texts of Mary Kelly and Laura Mulvey5 Rewriting maternal femininity in Mary Kelly’s Post-Partum Document6 Feminist desires and collective reading in the work of Laura MulveyConclusionBibliographyIndex
£63.75
Manchester University Press Transmodern: An Art History of Contact, 1920–60
Book SynopsisHow can we reconfigure our picture of modern art after the postcolonial turn without simply adding regional art histories to the Eurocentric canon? Transmodern examines the global dimension of modern art by tracing the crossroads of different modernisms in Asia, Europe and the Americas. Featuring case studies in Indian modernism, the Harlem Renaissance and post-war abstraction, it demonstrates the significance of transcultural contacts between artists from both sides of the colonial divide. The book argues for the need to study non-western avant-gardes and Black avant-gardes within the west as transmodern counter-currents to mainstream modernism. It situates transcultural art practices from the 1920s to the 1960s within the framework of anti-colonial movements and in relation to contemporary transcultural thinking that challenged colonial concepts of race and culture with notions of syncretism and hybridity.Trade ReviewThis book makes an important contribution to the ongoing debate on global modernism. Enriched by wide research spanning a wide geographical area, this subtle, scholarly work, well-grounded in deep research, will become an essential textbook at educational institutions as well as provide a benchmark in future discussions on questions of global art. Partha Mitter -- .Table of ContentsIntroduction1 Toward a postcolonial art history of contact2 In the shade of tall mango trees: art education and transcultural modernism in the context of the Indian independence movement3 Transcultural beginnings: decolonisation, transculturalism and the overcoming of race4 Trees of knowledge: anthropology, art and politics. Melville J. Herskovits and Zora Neale Hurston – Harlem circa 19305 The migrant as catalyst: Winold Reiss and the Harlem Renaissance6 Encounters with masks: counter-primitivisms in Black modernism7 Purity of art in a transcultural age: modernist art theory and the culture of decolonisation8 Painting the global history of art: Hale Woodruff’s The Art of the NegroIndex
£72.00
Manchester University Press Gestures
Book SynopsisThis cross-disciplinary collection of feminist approaches to gesture offers new explorations of how gesture/s and feminism/s have animated one another in feminist and interdisciplinary artistic practice from the 1960s onwards. -- .
£90.00
Manchester University Press Model Collapse
a huge range and FREE tracked UK delivery on ALL orders.
£81.00
Manchester University Press Addressing the Other Woman
Book SynopsisThis book analyses how three artists Adrian Piper, Nancy Spero and Mary Kelly worked with the visual dimensions of language in the 1960s and 1970s. -- .
£28.50
