Theory of art Books
Taylor & Francis A Fine Regard Essays in Honor of Kirk Varnedoe
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Taylor & Francis The New York School Poets and the NeoAvantGarde Between Radical Art and Radical Chic
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£142.50
Taylor & Francis Landscape Art and Identity in 1950s Britain
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£137.75
Taylor & Francis Art and Visual Culture on the French Riviera 19561971
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Taylor & Francis Anarchism and the Advent of Paris Dada
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£137.75
Taylor & Francis Alchemy in Contemporary Art
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Taylor & Francis The Nabis and Intimate Modernism
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Taylor & Francis Designing UNESCO
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Taylor & Francis Ltd Art as Music Music as Poetry Poetry as Art from Whistler to Stravinsky and Beyond
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Taylor & Francis Art History and the Senses
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Taylor & Francis Maruja Mallo and the Spanish AvantGarde
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Taylor & Francis Contemporary Art and Classical Myth
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Taylor & Francis The New York Schools of Music and the Visual Arts 5 Studies in Contemporary Music and Culture Hardcover
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Taylor & Francis Visual Communication for Social Work Practice
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Taylor & Francis Shakespeare Caravaggio and the Indistinct Regard AngloItalian Renaissance Studies
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Taylor & Francis The Arabesque from Kant to Comics
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Taylor & Francis Disability and Art History
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Taylor & Francis Remixing and Drawing
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Taylor & Francis Arte Ambientale Urban Space and Participatory Art
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Taylor & Francis Ltd Art Anthropology and the Gift
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Taylor & Francis Ltd The Psychoanalytic Vocation
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£49.39
Taylor & Francis Ltd Live Visuals
Book SynopsisThis volume surveys the key histories, theories and practice of artists, musicians, filmmakers, designers, architects and technologists that have worked and continue to work with visual material in real time.Covering a wide historical period from Pythagorasâs mathematics of music and colour in ancient Greece, to Castelâs ocular harpsichord in the 18th century, to the visual music of the mid-20th century, to the liquid light shows of the 1960s and finally to the virtual reality and projection mapping of the present moment, Live Visuals is both an overarching history of real-time visuals and audio-visual art and a crucial source for understanding the various theories about audio-visual synchronization. With the inclusion of an overview of various forms of contemporary practice in Live Visuals culture â from VJing to immersive environments, architecture to design â Live Visuals also presents the key ideas of practitioners who work with the visual in a live context.This book will appeal to a wide range of scholars, students, artists, designers and enthusiasts. It will particularly interest VJs, DJs, electronic musicians, filmmakers, interaction designers and technologists.Trade Review“Live Visuals is a timely and compelling account of the relationship between sound and image. It charts a historical course that is long overdue. The book brings together an impressive array of voices that in combination mix historical context, theoretical analysis, and reflections on contemporary practice, to great effect. It is an invaluable resource for audio-visual students and scholars and makes a very significant contribution to intellectual debate in this field.” Professor Stephen Kennedy, Professor of Critical Theory and Practice, Greenwich University“Live Visuals presents a timely historical and conceptual overview of the art and design of live media. Featuring the work of the early pioneers to some of today’s leading designers of spatial media, Live Visuals offers a framework for creative practitioners and students of the art of immersive visual experiences.” Damien Smith, Creative Partner, ISO, http://isodesign.co.ukTable of ContentsList of contributorsAcknowledgementsIntroduction - The Long History of Moving Images Becoming AliveSteve GibsonPART I THE HISTORY OF LIVE VISUALSChapter 1 - Inventing Instruments: Colour-Tone Correspondence to Colour-Music Performance (pre-1900) Maura McDonnellChapter 2 - Moving Towards the Performed Image (Colour Organs, Synesthesia and Visual Music): Early Modernism (1900-1955)Steve GibsonChapter 3 - Liquid Visuals: Late Modernism and Analogue Live Visuals (1950-1985)Steve GibsonChapter 4 - Scratch Video and Rave: The Rise of the Live Visuals Performer (1985-2000) Léon McCarthy and Steve GibsonChapter 5 - The Post-conceptual Digital Era (2000-present)Paul Goodfellow and Steve GibsonPART II THE THEORY OF LIVE VISUALSChapter 6 - Cross-Modal Theories of Sound and ImageJoseph HydeChapter 7 - Live Visuals in Theory and ArtPaul GoodfellowChapter 8 - Live Visuals: Technology and AestheticsLéon McCarthyChapter 9 - AVUIs: Audio-Visual User Interfaces - Working with Users to Create Performance TechnologiesNuno N. Correia and Atau TanakaChapter 10 - A Parametric Model for Audio-Visual Instrument Design, Composition and PerformanceAdriana Sá and Atau TanakaChapter 11 - Presence and Live Visuals PerformanceDonna LeishmanPART III THE PRACTICE OF LIVE VISUALSChapter 12 - VJing, Live Audio-Visuals and Live CinemaSteve Gibson and Stefan ArisonaChapter 13 - Immersive Environments and Live VisualsSteve GibsonChapter 14 - Architectural Projections: Changing the Perception of Architecture with LightSimon Schubiger, Stefan Arisona, Lukas Treyer, and Gerhard SchmittChapter 15 - Design and Live VisualsDonna LeishmanPART IV INTERVIEWS WITH KEY PRACITIONERS–STEVE GIBSONChapter 16 - Interview 1 - Tony Hill, Expanded Cinema pioneer Chapter 17 - Interview 2 - Christopher Thomas Allen, Founder & Director, The Light Surgeons Chapter 18 - Interview 3 - Greg Hermanovic, CEO, DerivativeChapter 19 - Interview 4 - Markus Heckmann, Technical Director, Derivative; Programmer for Carsten Nicolai and others. Chapter 20 - Interview 5 - Peter Mettler, Digital and Live Cinema Artist AfterwardIndex
£48.99
Taylor & Francis Ltd Contemporary British Muslim Arts and Cultural
Book SynopsisThis unique collaboration between scholars, practitioners and Muslim artists profiles emerging forms of contemporary British Muslim art, prompting a debate about its purpose and its inclusion in UK society. It features analysis of Muslim art as a category, as well as reflective accounts of people working in theatre, popular music, the heritage sector and ancient and modern visual arts, often at the margins of the British arts industry. Dealing with sociological and theological themes as well as art history and practice, the volume provides a timely intervention on a neglected topic. The collection discusses diverse topics including how second- and third-generation British Muslims, as part of a broader generational shift, have reworked Sufi music and traditional calligraphy and fused them with new musical and artistic styles, from Grime to comic book art, alongside consideration of the experiences of Muslim artists who work in the theatre, museums and the performing arts sectoTable of ContentsIntroduction (Sadek Hamid and Stephen H. Jones); Part I: The Cultural Politics of British Muslim Artistic Production; 1. A British Muslim Arts Movement: Public Politics or Religious Devotion? (Carl Morris); 2. Decentring the Colonial Gaze: The Framing of Islamic Art (Shaheen Kasmani); Part II: Art in Contemporary British Muslim Culture; 3. The Nature of Islamic Art: Locating a Tradition of Fitrah in the Art and Culture of Islam, with Particular Reference to Calligraphy (Razwan ul-Haq); 4. What is Post-tariqa Sufism? (Ayesha Khan); 5. God and Grime: The Religious Literacy of British Hip Hop (Abdul-Azim Ahmed); Part III: The Inclusion of British Muslim Art; 6. The Playground for Dangerous Ideas: Muslims and British Theatre (Hassan Mahamdallie); 7. Arts, Heritage and Islamic Manuscripts (Neelam Hussain); 8. Flawed and Toxic? Challenges in Contemporary Islamic Art in the UK (Sara Choudhrey); Conclusion: The Future of British Muslim Arts (Sadek Hamid and Stephen H. Jones)
£45.99
Taylor & Francis Ltd Grace Pailthorpes Writings on Psychoanalysis and
Book SynopsisThis book gathers the published and unpublished writings of Dr Grace Pailthorpe (1883-1971), English surgeon, specialist in psychological medicine and surrealist artist to provide an in-depth study of her work and legacy.Pailthorpe's theoretical understanding of the psyche informed her approach to art, setting her work apart from other Surrealist artists by unifying artistic, scientific and therapeutic aims. Pailthorpe considered Surrealism to be a method of investigation into unconscious mental life, and believed that it was essential that the repressed part of our minds should find expression. By bringing her artistic and theoretical work to light, Montanaro and Stefana reassert Pailthorpe's significance to the histories of both psychoanalysis and Surrealism, rendering the cross-disciplinary relevance of her work accessible to a contemporary audience. This book will prove to be a rich resource for scholars and students interested in psychoanalysis and art history, anTrade Review‘Grace Pailthorpe was an extraordinary figure, a pioneering female surgeon, psychoanalyst and artist. The Portman Clinic, of which she is the de jure founder, is a unique institution that specialises in studying the roots of violent, sexual and antisocial behaviour. In some ways this parallels Surrealism’s fascination with the irrational, bizarre and unconventional. This collection of Pailthorpe’s writings represents a major re-appraisal of her life and her involvement with the surrealist movement.’Jessica Yakeley, director of the Portman Clinic, consultant psychiatrist in Forensic Psychotherapy; associate medical director, clinical governance and medical director, The Tavistock and Portman NHS Foundation Trust‘Surgeon, criminologist, psychoanalyst, surrealist, painter, Grace Pailthorpe was an intrepid pioneer in every aspect of her life, not least in her unique partnership with Reuben Mednikoff. Thanks to this indispensable collection of her theoretical writings on psychoanalysis and Surrealism, we at last have access to a remarkably original mind at work.’Elizabeth Cowling, emeritus professor, History of Art, University of EdinburghTable of ContentsForeword by Robert Hinshelwood 1. Introduction by Alberto Stefana and Lee Ann Montanaro 2. The analysis of a poem (1938) 3. The Birth Trauma lecture (1938): Lecture on drawings. Being an extract from a research now in its final stages 4. The Scientific Aspect of Surrealism (1938-39) 5. Primary processes of the infantile mind demonstrated through the analysis of a prose-poem (1941) 6. Deflection of energy as a result of birth trauma and its bearing upon character formation (1941) 7. Lecture on Surrealism (1944) 8. Surrealism and Psychology (1944) 9. Draft summary of Psychorealism: The sluicegate of the emotions (Not dated) Afterword by Desy Safán-Gerard
£29.99
Taylor & Francis Ltd Art Exhibition and Erasure in Nazi Vienna
Book SynopsisThis book examines three exhibitions of contemporary art held at the Vienna Künstlerhaus during the period of National Socialist rule and shows how each attempted to culturally erase elements anathema to Nazi ideology: the City, the Jewess and fin-de-siècle Vienna. Each of the exhibits was large scale and ambitious, part of a broader attempt to situate Vienna as the cultural capital of the Reich, and each aimed to reshape cultural memory and rewrite history. Applying illuminating theories on memory studies, collective and public memory, and notions of memoricide, this is the first book in English to focus on visual culture in the period when Austria was erased as a nation and incorporated into the Third Reich as Ostmark. The organization, content and publications surrounding these three exhibits are explored in depth and set against the larger political changes and dangerous ideologies they reflect. The book will be of interest to scholars working in art history, museuTable of Contents1. Introduction: Repression, Revision and the History of Art in Nazi Vienna 2. Austrian Identity, the Anschluss and the Creation of Ostmark 3. Ushering in the Ostmark: Vienna and the Künstlerhaus: Spring 1938 to Spring 1939 4. Erasing the City: Mountains and People of Ostmark: March 3 to April 23, 1939 5. Cultural Politics, Separatism and Baldur von Schirach: Summer 1939 to Spring 1942 6. Erasing the Jewess: The Beautiful Viennese Female Portrait: June 13 to July 12, 1942 7. The Pearl Loses Its Luster: Summer 1942 to Defeat at Stalingrad 8. Erasing the Fin de Siècle: The Gustav Klimt Exhibit, February 7 to March 7 1943 9. The Fall of Vienna and the Künstlerhaus 10. Conclusion
£135.00
Taylor & Francis Reading Claude Cahuns Disavowals
Book SynopsisThe first monograph on a Surrealist cult classic, Reading Claude Cahun's Disavowals offers a comprehensive account of Cahun's most important published work, Aveux non avenus (Disavowals), 1930. Jennifer L. Shaw provides an encompassing interpretation of this groundbreaking work, paying careful attention to the complex interrelationship between the photomontages and writings of Aveux non avenus. This study argues that the texts and images of Aveux non avenus not only explore Cahun's own subjectivity, they formulate a trenchant social and cultural critique. Shaw explores how Cahun's work both calls into question the dominant culture of interwar France - with its traditional gender roles, religious conservatism, and pronatalism - and takes to task the era's artistic avant-garde and in particular its models of desire. This volume cuts across the disciplinary boundaries of interwar art studies, demonstrating how one artist's personal exploration intervened in wider contemporary debates abou
£37.99
Taylor & Francis Art Culture and International Development
Book SynopsisTrade Review"Art, Culture and International Development offers a profound civilizational critique of contemporary predicament of development and presents us many important resources for development of a new culture of creativity. It challenges us to realize our manifold contemporary poverty in the midst of illusion of affluence on the part of a few—material, cultural and spiritual poverty—and urges us to strive for realizing ‘integral development’ in self and society in which arts in all their myriad manifestations—visual, crafts, literature, painting, and theatre—play an important role." – Ananta Kumar Giri, Madras Institute of Development Studies, India "John Clammer brings fresh air to the field of development. The author proposes art and its transformative potential as a way to improve the living conditions of the poorest. Therefore, art, once a stronghold of the elites, would become a powerful resource for development. Clammer reinstates the expressive and creative capacity of vulnerable groups as a means of exploring alternative paths to the longed, but rarely achieved "well-being". This perspective on development -a field still hegemonized by hard data, and the logics of economics-is optimistic, and especially humane." – Marian Moya, University of Buenos Aires, Argentina"Because of the provocative argument of including culture into holistic understandings of growth and wellbeing, this text is an inspirational account of what truly human approaches to social development can be and, alongside other texts in the ‘Rethinking Development’ series is a recommended reading for both seasoned practitioners and development studies students alike." – Jacqueline Priego-Hernandez, LSE Review of Books"The book serves the purpose of demonstrating the potential influence of re-imagining cultural expression through arts. The case studies and wide variety of empirical examples are suitable for advanced students and practitioners. It should also find a wide audience in those with an interest in global artistic production." – Margath A. Walker, Department of Geography and Geosciences University of Louisville, USATable of ContentsPreface 1. Art, Culture and Development: What Are the Connections? 2. Art as Social Enterprise: The Creative Sector in Relation to Poverty, Policy and Social Development 3. The Arts of Sustainability: Architecture, Design and Public Art 4. Performing Development: Theatres of the Oppressed and Beyond 5. Visualizing Development: Film, Photography, Representation 6. Writing Development: Literatures of Critique and Transformation 7. Arts Education for Development and Social Justice 8. Art, Culture and Integral Development
£51.29
Taylor & Francis Ltd Constructing the Viennese Modern Body
Book SynopsisThis book takes a new, interdisciplinary approach to analyzing modern Viennese visual culture, one informed by Austro-German theater, contemporary medical treatises centered on hysteria, and an original examination of dramatic gestures in expressionist artworks. It centers on the following question: How and to what end was the human body discussed, portrayed, and utilized as an aesthetic metaphor in turn-of-the-century Vienna? By scrutinizing theatrically âœhystericalâ performances, avant-garde puppet plays, and images created by Oskar Kokoschka, Koloman Moser, Egon Schiele and others, Nathan J. Timpano discusses how Viennese artists favored the pathological or puppet-like body as their contribution to European modernism.Trade Review"I cannot begin to do justice to this book in this brief review. As a lay reader interested in gender, sexuality, and the history of the body, I approached the book with great curiosity and I was not disappointed."-- German Studies Review "Alongside all of the quickly and superficially produced publications on Viennese modernism, Timpano's book pleasantly stands out - as a very serious study written with a highly scientific ethos."-- Journal of Art Historiography"Timpano writes with confidence and authority on art history…[his] perspective on some of the better known developments in twentieth-century European puppetry will be of interest to readers."-- Puppetry International"I cannot begin to do justice to this book in this brief review. As a lay reader interested in gender, sexuality, and the history of the body, I approached the book with great curiosity and I was not disappointed."-- German Studies Review "Alongside all of the quickly and superficially produced publications on Viennese modernism, Timpano's book pleasantly stands out - as a very serious study written with a highly scientific ethos."-- Journal of Art Historiography"Timpano writes with confidence and authority on art history…[his] perspective on some of the better known developments in twentieth-century European puppetry will be of interest to readers."-- Puppetry InternationalTable of ContentsList of Illustrations List of Plates AcknowledgmentsIntroduction: A Conundrum of the Viennese Modern Body 1 “The Semblance of Things”: Re-Visioning Viennese Expressionism2 “The Woman Emerges”: Medical Vision and the Spectacle of Hysteria 3 Performing Hysteria: A Vogue for Hystero-Theatrical Gestures 4 A Tale of Three Hysterics: Elektra, Isolde, and Salome 5 The Inanimate Body Speaks: The Language of the Marionette Theater 6 Pathological Puppets: The Body and the Marionette in Viennese Expressionism
£128.25
Taylor & Francis Ltd Tracking Color in Cinema and Art
Book SynopsisColor is one of cinemaâs most alluring formal systems, building on a range of artistic traditions that orchestrate visual cues to tell stories, stage ideas, and elicit feelings. But what if color is notâor not onlyâa formal system, but instead a linguistic effect, emerging from the slipstream of our talk and embodiment in a world? This book develops a compelling framework from which to understand the mobility of color in art and mind, where color impressions are seen through, and even governed by, patterns of ordinary language use, schemata, memories, and narrative.Edward Branigan draws on the work of Ludwig Wittgenstein and other philosophers who struggle valiantly with problems of color aesthetics, contemporary theories of film and narrative, and art-historical models of analysis. Examples of a variety of media, from American pop art to contemporary European cinema, illustrate a theory based on a spectatorâs present-time tracking of temporal patterns that are firmly entwineTrade Review'This is an extraordinary achievement -- a major work (perhaps Branigan's most impressive yet) by one of our most important film theorists and philosophers. While color studies in film have exploded over the last fifteen years, most of the work has moved very cautiously and largely in a historicist fashion, one that privileges accounts of emerging technological innovations and to a lesser extent style at the expense of the fascinating perceptual questions color and color filmmaking raises. Branigan takes these questions head on and the results are positively stunning. It is the first book -- in film studies, at least -- to deal at great length and specificity with the question of color perception and color style. As I mentioned, most books shy away from stylistic analysis and the rich philosophical questions that color poses about perception and, as Branigan indicates very daringly, about how real the real world is.' -- Brian Price, University of Toronto'Branigan takes a Wittgensteinian approach to color that "focuses not on what color is, but on how it functions, what it does for us, what we make of it." For our delectation, he offers us an extraordinarily rich and provocative feast that takes us beyond cinema to the uses and meanings of color in painting, philosophy and literature.' -- C.L. Hardin, Professor of Philosophy, Emeritus, Syracuse University. Author of Color for Philosophers: Unweaving the Rainbow (1993). Table of ContentsPreface1. Introduction and Overview2. Living with Chromophilia3. Stand or Track?4. What's in White?5. Making it Color-Full6. Musical Hues: Color Harmony7. Track this Color (in Place)8. Track that Color (in Movement)9. Summary10. Conclusion
£137.75
Taylor & Francis Ltd Scale in Contemporary Sculpture
Book SynopsisThe first book to devote serious attention to questions of scale in contemporary sculpture, this study considers the phenomenon within the interlinked cultural and socio-historical framework of the legacies of postmodern theory and the growth of global capitalism. In particular, the book traces the impact of postmodern theory on concepts of measurement and exaggeration, and analyses the relationship between this philosophy and the sculptural trend that has developed since the early 1990s. Rachel Wells examines the arresting international trend of sculpture exploring scale, including American precedents from the 1970s and 1980s and work by the ''Young British Artists''. Noting that the emergence of this sculptural trend coincides with the end of the Cold War, Wells suggests a similarity between the quantitative ratio of scale and the growth of global capitalism that has replaced the former status quo of qualitatively opposed systems. This study also claims the allegorical nature of scaTrade ReviewWinner, Henry Moore Foundation Grant '... sustained attention is lent to the appearance, properties and rhetorical modes of sculpture, and to the open question of its particular relationship to contemporary reality.' Burlington Magazine'This first work by Rachel Wells offers a contribution to thinking about recent developments in sculpture which is as unexpected as it is remarkable. This analysis undertakes a critique of postmodernist theories and their effect on the perception of sculptural practices, which, since the end of the 1980s, explore the concept of scale by means of enlargement, miniaturisation or the life-size. Through a selection of artists - from Claes Oldenberg to Do-Ho-Suh, via the Young British Artists, Ron Mueck, Mark Wallinger, Elizabeth Wright and Michael Landy - Rachel Wells outlines the genesis of a sculptural tendency which, because it is imbued with the preoccupations underlined by postmodern theory, has been considered as the expression of a denial of all certainty and of the stable value which would make possible the interpretation of the real..." Sandra Delacourt, Critique d’art Table of ContentsContents: Preface; Introduction: defining scale: Enlargement and miniaturisation; The life size; Photography, sculpture and scale; Conclusion; Bibliography; Index.
£47.49
Taylor & Francis Ltd New Geographies of Abstract Art in Postwar Latin
Book SynopsisThis edited volume examines the history of abstract art across Latin America after 1945. This form of art grew in popularity across the Americas in the postwar period, often serving to affirm a sense of being modern and the right of Latin America to assume the leading role Europe had played before World War II. Latin American artists practiced gestural and geometric abstraction, though the history of art has favored the latter. Recent scholarship, for instance, has focused on geometric abstraction from Argentina, Brazil, and Venezuela. The book aims to expand the map and consider this phenomenon as it developed in neglected regions such as Central America and the Andes, investigatinghow this style came to stand in for Latin American contemporary art.Trade Review"...contributes to a careful reconsideration of the links between this region and the United States and Europe. ...The compilation successfully accomplishes its main aim to expand outside the borders of Argentina, Uruguay, Brazil, and Venezuela. The essays it includes are interested in areas often disregarded within larger studies of Latin America, such as Costa Rica, Colombia, Bolivia, Peru, and Ecuador. The volume achieves this expansion across a huge range of territories, even exploring how diasporic communities employed abstract art, moving the discussion of Latin American art away from a few cities that dominate scholarship, thus further decentering histories of abstract art."--Latin American Research ReviewTable of ContentsIntroduction [Mariola V. Alvarez and Ana M. Franco] Part I: Gestural Abstractions 1. "Informalism Between Surrealism and Concrete Art. Aldo Pellegrini and the Promotion of Modern Art in Buenos Aires during the 1950s" [María Amalia García] 2."Calligraphic Abstraction and Postwar Brazilian Informalist Painting" [Mariola V. Alvarez] 3. "The Painting Devoured: El Techo de la Ballena and the Destruction of Venezuelan Informalism" [Sean Nesselrode Moncada] Part II: New Visions of Geometric Abstraction 4/ "The Fotoforma Exhibition at MASP, 1951: Geraldo de Barros and the Museum-School" [Heloisa Espada] 5. "Negotiating Afro-Brazilian Abstraction: Rubem Valentim in Rio, Rome, and Dakar, 1957-1966" [Abigail Lapin Dardashti] 6. "Fighting for the Abstract: Manuel de la Cruz González and Geometric Abstraction in Costa Rica" [Lauran Bonilla-Merchav] 7. "Beyond Abstraction: The Work of Vicente Rojo, Kazuya Sakai, and Manuel Felguérez during the 1970s" [Daniel Garza Usabiaga] Part III: Nuestra América: Abstraction between Latin America and the United States 8. "Andean Abstraction as Displayed at the Organization of American States" [Michele Greet] 9. "The Politics of Abstraction in Colombian Art during the Cold War" [Ana M. Franco] 10. "Public ‘Lifescapes’: Gonzalo Fonseca’s Designs for Life and Play (1964-1969)" [María Laura Steverlynck] Part IV: Abstraction and the Avant-garde 11. "From Sacrilegious Black to Chromatic System: The Argentinean Monochrome" [Daniel R. Quiles] 12. "Antagonistic Environments: Gendered Spaces and the Kinetic Installations of Colombian Artists Feliza Bursztyn, Jacqueline Nova, and Julia Acuña" [Gina McDaniel Tarver] 13. "Vontade Construtiva: Latin America’s Geometric Abstract Identity" [Camila Maroja]
£128.25
Taylor & Francis Ltd Art and Expression
Book SynopsisPerception of expression distinguishes our cognitive activity in a pervasive, significant and peculiar way, and manifests itself paradigmatically in the vast world of artistic production.Art and Expression examines the cognitive processes involved in artistic production, aesthetic reception, understanding and enjoyment. Using a phenomenological theoretical and methodological framework, developed by Rudolf Arnheim and other important scholars interested in expressive media, Alberto Argenton considers a wide range of artistic works, which span the whole arc of the history of western graphic and pictorial art. Argenton analyses the representational strategies of a dynamic and expressive character that can be reduced to basic aspects of perception, like obliqueness, amodal completion, and the bilateral function of contour, giving new directions relative to the functioning of cognitive activity.Art and Expression is a monument to the fruitful collaboration of Table of ContentsEditor’s IntroductionIan Verstegen Introduction to the Italian Edition Part One: Expression and the Dynamics of Perception Chapter 1. Expression and Expressive Qualities 1.1. The study of Expression in Psychology 1.1.1. The Deficiency Disease 1.1.2. The Phenomenological Method 1.1.2.1. Inter-observation 1.2. For a Definition of Expression 1.2.1. Expression and Physiognomic Perception 1.2.2. The Genetic and Phenomenal Primacy of Expressive Qualities 1.2.3. Emotive Determinism 1.2.4. The Lexicon of Expression 1.2.5. The Essential Traits of Expression 1.2.6. Isomorphism and Figurative Thought References Chapter 2. The Dynamics of Perception and Expressive Qualities 2.1. The Construct of Dynamics 2.2. Arnheim’s Conception of the Dynamics of Visual Perception 2.2.1. Vectors, Forces, Tensions, and Dynamics of Perception 2.2.1.1. Physical Forces and Perceptual Forces 2.2.2. Dynamics is the Vehicle of Expression 2.2.2.1. An Example Taken from Art 2.3. Dynamics, Expression and Graphic and Pictorial Language 2.3.1. A Comparison of Two Paintings 2.4. The Two ‘Guiding Values’ of Art and Behaviour 2.5. Representational Strategies of the Graphic-Pictorial Medium References Part Two: Thematic Studies Chapter 3. The Swing Effect: A Little-studied Perceptual Phenomenon 3.1. Pictorial Perception and Line Drawing 3.2. Contour Rivalry 3.2.1. The Visual Tug-of-War 3.3. Perceptual Conditions of the Swing Effect 3.3.1. Differences between the Swing Effect and other Cases of Percept Alternation 3.4. The Dynamic Aspects of the Swing Effect 3.5. The Presence of the Swing Effect in Graphic and Pictorial Representation 3.5.1. Trademarks 3.5.2. Symbols 3.5.3. Decoration 3.5.4. Enamels and Painting on Glass 3.5.5. Cubism and Pablo Picasso 3.5.6. A Unique Case: Sano di Pietro 3.6. The Nature and Properties of the Swing Effect References Chapter 4. Amodal Completion and Pictorial Representation 4.1. Amodal Completion 4.2. Perceptual Completion 4.3. The Structural Conditions, Laws and Psychological Principles of Completion 4.4. Amodal Completion between Seeing and Thinking 4.5. Amodal Completion, Dynamics and Expression 4.6. "Completion by Frame" 4.7. Amodal Completion and Cognition References Chapter 5. The Dynamics of Obliqueness: Windmills and Timepieces 5.1. Obliqueness in Perception and in Pictorial Representation 5.1.1. The Local Use of Obliqueness 5.2. Two Studies on Local Obliqueness 5.3. The Study of the Pictorial Representation of Windmills 5.3.1. Windmills 5.3.2. The Pictorial Genre 5.3.3. Stylistic Characterization 5.3.4. The Premises of the Research 5.3.4.1. Windmill Illusion 5.4. Hypothesis, Aims and Structure of the Research 5.4.1. Research Results 5.4.1.1. The 1400s, 1500s and the Flemish Tradition 5.4.1.2. The 1600s and Dutch Landscape Painting 5.4.1.3. The 1700s 5.4.1.4. The 1800s 5.4.1.5. The Early 1900s: Piet Mondrian 5.5. Research into the Pictorial Representation of Timepieces 5.5.1. Timepiece Advertising 5.6. Hypothesis, Aims and Structure of the Research 5.6.1. Research Results 5.7. Obliqueness and Visual Thinking References Indexes Authors Index Subject Index
£128.25
Taylor & Francis Ltd The Routledge Companion to Expressionism in a
Book SynopsisThe Routledge Companion to Expressionism in a Transnational Context is a challenging exploration of the transnational formation, dissemination, and transformation of expressionism outside of the German-speaking world, in regions such as Central and Eastern Europe, the Baltics and Scandinavia, Western and Southern Europe, North and Latin America, and South Africa, in the first half of the twentieth century.Comprising a series of essays by an international group of scholars in the fields of art history and literary and cultural studies, the volume addresses the intellectual discussions and artistic developments arising in the context of the expressionist movement in the various art centers and cultural regions. The authors also examine the implications of expressionism in artistic practice and its influence on modern and contemporary cultural production.Essential for an in-depth understanding and discussion of expressionism, this volume opens up new perspectivesTrade Review"Making a serious contribution to a global art history ... [the book] succeeds in mapping patterns of identity in under-explored geographical areas while augmenting our understanding of the concepts of expressionism and Bauhaus modernism."--Art HistoryTable of ContentsExpressionist Networks, Cultural Debates, and Artistic Practices: A Conceptual Introduction Isabel WünschePart I: Central and Eastern Europe and the Baltic States Prague – Brno: Expressionism in Context Marie Rakušanová Košice Modernism and Anton Jaszusch’s Expressionism Zsófia Kiss-Szemán Expressionism in Hungary: From the Neukunstgruppe to Der Sturm András Zwickl Poznan Expressionism and Its Connections with the German and International Avant-garde Lidia Głuchowska Expressionist Networks in the Russian Empire, Soviet Russia, and the Soviet Union Isabel Wünsche Expressionism in Lithuania: From German Artistic Import to National Art Giedrė Jankevičiūtė and Laima Laučkaitė Expressionist Originality in Latvia: Between Confirmation and Destruction Ginta Gerharde-Upeniece The Ambivalent Affair of Estonian Expressionism Tiina Abel Part II: Scandinavia Expressionism in Denmark: Art and Discourse Torben Jelsbak Expressionisms in Sweden: Anti-realism, Primitivism, and Politics in Painting and Print Margareta Wallin Wictorin Nationalism, Transnationalism, and the Discourses on Expressionism in Finland: From the November Group to Ina Behrsen-Colliander Timo Huusko and Tutta Palin Expressionism in Sámi Art: John Savio’s Woodcuts of the 1920s and 1930s Tuija Hautala-Hirvioja Early Expressionism in Icelandic Art: Jón Stefánsson, Jóhannes Kjarval, and Finnur Jónsson Margrét Elísabet Ólafsdóttir Part III: Western Europe Early Engagements: Peripheral British Responses to German Expressionism Christian Weikop Expressionism in the Netherlands Gert Imanse and Gregor Langfeld Flemish Expressionism in Belgium Cathérine Verleysen Jewish Expressionists in France, 1900-1940 Richard D. Sonn German Expressionism in Italy: Herwarth Walden’s Der Sturm, the Berlin Novembergruppe, and the Modernist Circles of Florence, Turin, and Rome Irene Chytraeus-Auerbach Expressionism and the Spanish Avant-garde between Restoration and Renovation Wiebke Gronemeyer Portuguese Expressionism, or German Expressionism in Portugal? Nina Blum de Almeida Part IV: Southeastern Europe Expressionism in Slovenia: The Aspects of a Term Marko Jenko From Anxiety to Rebellion: Expressionism in Croatian Art Petar Prelog On New Art and its Manifestations: Rethinking Expressionism in Visual Arts in Belgrade Ana Bogdanović Tokens of Identity: Expressionisms in Romania around the First World War Erwin Kessler Expressionism in Bulgaria: Critical Reflections in Art Magazines and the Graphic Arts Irina Genova Part V: Beyond Europe Expressionism in Canada and the United States Oliver A.I. Botar and Herbert R. Hartel, Jr. Expressionism in Latin America and Its Contribution to the Modernist Discourse Maria Frick The Expressionist Roots of South African Modernism Lisa HörstmannSelected BibliographyIndex
£204.25
Taylor & Francis Ltd Ornament and European Modernism
Book SynopsisThese in-depth, historical, and critical essays study the meaning of ornament, the role it played in the formation of modernism, and its theoretical importance between the mid-nineteenth century and the late twentieth century in England and Germany. Ranging from Owen Jones to Ernst Gombrich through Gottfried Semper, Alois Riegl, August Schmarsow, Wilhelm Worringer, Adolf Loos, Henry van de Velde, and Hermann Muthesius, the contributors show how artistic theories are deeply related to the art practice of their own times, and how ornament is imbued with historical and social meaning.Trade Review"This emphasis on the chronological margins of Modernism should not come as a surprise either, since Modernism and ornament are two notions that are often positioned in diametrically opposed way. The famous, but not always well read or contextualized slogan of Alfred Loos, ‘Ornament is crime’, is the best-known symptom of this antagonism, which the interesting collection edited by art historian Loretta Vandi aims to question. And it does so very successfully, thanks to the rich and sophisticated historical reconstruction and close-reading of many debates, publications, and realizations having to do with ornaments."--Leonardo"[This book] offers an in-depth contribution to the theoretical interpretations of ornament and its role in the development of a crucial period in Western art and architecture. ... While some of the essays provide a deep contextual analysis, others are more focused on the discussion of specific and complex theoretical issues, but all of them share a common concern about the question of the dissociation between non-representational and representation art and the problem of the unity of art."--Journal of Art Historiography"These essays go beyond the question of whether their protagonists were for or against ornament in design and art; rather, they pursue questions of how these figures approached ornament in practice and theory and ask whether ornament was understood as valuable to cultural and artistic development or was regarded as reactionary and a hindrance to social reform. This detailed examination of the discussions and theories regarding ornament leads on to an analysis of the relationship of such debates to the creation of the modernist self-image (or images) of the European bourgeois man."--The Burlington Magazine"...the collection succeeds in tracing a trajectory that encourages a profound reconsideration of the role of ornamental theory in modernist thinking."--Journal of Design HistoryTable of ContentsTable of ContentsList of IllustrationsAcknowledgmentsContributors’s BiographiesIntroduction Chapter OneOwen Jones’s Theory of Ornament Isabelle J. FrankChapter TwoFunction, Fiction, Flux and Silence:Ornamental Theory, Science, and the Modern Search for Aesthetic VolitionDebra K. SchafterChapter ThreeAugust Schmarsow’s Theory of OrnamentChristiane HertelChapter FourThe Veil of Truth?Van de Velde, Muthesius, and the Battle over Ornament in Modern ArchitectureOle W. Fischer Chapter FiveOrnament, Image, and Tension in Ernst Gombrich’s Theory of PerceptionLoretta Vandi & Pavlos Jerenis Bibliography
£137.75
Taylor & Francis Ltd Singularities
Book SynopsisHow does the production of performance engage with the fundamental issues of our advanced neo-capitalist age? André Lepecki surveys a decade of experimental choreography to uncover the dual meaning of performance' in the twenty-first century: not just an aesthetic category, but a mode of political power. He demonstrates the enduring ability of performance to critique and subvert this power, examining this relationship through five singularities' in contemporary dance: thingness, animality, persistence, darkness, and solidity.Exploring the works of Mette Ingvartsen, Yvonne Rainer, Ralph Lemon, Jérôme Bel and others, Lepecki uses his concept of singularity'the resistance of categorization and aesthetic identificationto examine the function of dance and performance in political and artistic debate.Trade ReviewSingularities is a sparkling work of dance theory that reads like an urgent and prescient call to action.Sima Belmar - The Drama ReviewTable of ContentsIntroduction: Dance and the age of neoliberal performance Chapter 1: Moving as Some Thing (or, Some things want to run)Chapter 2: In the Dark Chapter 3: Limitrophies of the Human: monstrous nature, thingly life, and the wild animalChapter 4: The Body as Archive: will to reenact and the afterlives of dances Chapter 5: Choreographic Angelology: the dancer as worker of history (or, Remembering is a hard thing)Chapter 6: Afterthought: Four notes on witnessing performance in the age of neoliberal dis-experience
£36.99
Taylor & Francis Reading Claude Cahuns Disavowals
Book SynopsisThe first monograph on a Surrealist cult classic, Reading Claude Cahun's Disavowals offers a comprehensive account of Cahun's most important published work, Aveux non avenus (Disavowals), 1930. Jennifer L. Shaw provides an encompassing interpretation of this groundbreaking work, paying careful attention to the complex interrelationship between the photomontages and writings of Aveux non avenus. This study argues that the texts and images of Aveux non avenus not only explore Cahun's own subjectivity, they formulate a trenchant social and cultural critique. Shaw explores how Cahun's work both calls into question the dominant culture of interwar France - with its traditional gender roles, religious conservatism, and pronatalism - and takes to task the era's artistic avant-garde and in particular its models of desire. This volume cuts across the disciplinary boundaries of interwar art studies, demonstrating how one artist's personal exploration intervened in wider contemporary debates aboTrade Review'Reading Claude Cahun‘s Disavowals nous permet ainsi de recadrer le mouvement surr iste, de mieux comprendre ses r rcussions au cours de l‘histoire, et de mieux mesurer son ampleur.' Contemporary French Civilization 'Shaw contributes to our understanding of a text that appears at times intriguingly exploratory, at others frustratingly elliptical. The strength of her study lies in the detailed analyses of the photo-montages and their relations to the text, which order Cahun's multiple voices as a coherent whole.' French Studies 'Shaw‘s book, with its detailed and meticulous contextualized readings of both the photomontages and texts in Disavowals, will be a major addition to the slim list of in-depth studies of photographic books.' CAA ReviewsTable of ContentsContents: Introduction: exist otherwise; Refiguring romance; Narcissus and the magic mirror; Reimagining art and (homo)sexuality: against idealization; Mirrors of femininity, sensuality, and desire; Games, dreams, and Surrealism; Conclusion: after Disavowals; Bibliography; Index.
£137.75
Taylor & Francis Ltd British Art for Australia 18601953
Book SynopsisTraditional postcolonial scholarship on art and imperialism emphasises tensions between colonising cores and subjugated peripheries. The ties between London and British white settler colonies have been comparatively neglected. Artworks not only reveal the controlling intentions of imperialist artists in their creation but also the uses to which they were put by others in their afterlives. In many cases they were used to fuel contests over cultural identity which expose a mixture of rifts and consensuses within the British ranks which were frequently assumed to be homogeneous. British Art for Australia, 1860â1953: The Acquisition of Artworks from the United Kingdom by Australian National Galleries represents the first systematic and comparative study of collecting British art in Australia between 1860 and 1953 using the archives of the Australian national galleries and other key Australian and UK institutions. Multiple audiences in the disciplines of art history, cultural histTrade Review"British Art for Australia makes a valuable contribution to the histories of Australian art collecting and Anglo-Australian cultural identity. In addition to enriching an understanding of Australian galleries, it will also provide a useful point of comparison for studies investigating the collections development of institutions in other former British settler societies, such as Canada, New Zealand, and South Africa. Potter’s study is well supported by extensive archival research."--Nineteenth-Century Art Worldwide"The book provides a nuanced reading that contributes to our understanding of the complexities of cultural exchange that underpinned the development of the British collections of Australia’s state galleries."--The Burlington Magazine"Potter is thorough in his documentation of how British artworks contained monarchist and imperialist meanings, with depictions of dramatic historical and military events, which were attractive to self-appointed trustees and self-chosen benefactors of the galleries who came from conservative empire-loyalist civic and business elites. ... Potter makes an original contribution to our art history when he explores how the preferences of the galleries as to what artworks were to be acquired were influenced by debates in Australia."--Australian Historical Studies"Matthew Potter’s British Art for Australia contests the still prevalent view that Australia was a "dumping ground" for unfashionable and second-rate British art from the Victorian period until the middle of the twentieth century, when Australia was finally confident enough in its own cultural identity to consign these embarrassing purchases to storage. Instead, Potter argues convincingly that Australian cultural institutions actively sought out the best the British art world had to offer even though they were often constrained by issues of distance and cost, but certainly neither by retardataire taste nor lock-tugging acquiescence to metropolitan dictates."--Art History"The volume summarizes an enormous amount of detailed archival research that draws upon the national gallery archives and includes annual and trustee reports, newspapers, and journals, as well as other more general accounts. This provides an invaluable reference for those in the field ... Potter is to be commended for producing an extensively researched, thought-provoking, and convincing account of the previously overlooked area of acquisitions of British art for Australia."--Victorian StudiesTable of ContentsChapter One: British Art for Australia, 1860-1953: An IntroductionChapter Two: ‘Work that would meet the taste of the Colonists’: British art for Antipodean BritonsChapter Three: ‘The civilization of the people’: Australian national galleries and civic humanismChapter Four: ‘A more extended area for English art’: The British world and the imperial art market Chapter Five: ‘The best equipped agent, with as free a hand’: advisors and selectors of British art for AustraliaChapter Six: ‘A Sop to Cerberus’: Collecting the British Old Masters in AustraliaChapter Seven: ‘One of the many Colonial Delusions’: Australian national galleries and British Landscape PaintingChapter Eight: ‘No highly desirable Pre-Raphaelite picture should be spared from home’: the antipodean pursuit of a British acmeChapter Nine: ‘The gap that is steadily widening’: the acquisition of ‘insular’ British Modernism by Australian national galleries, 1900-1953Chapter Ten: Conclusions
£128.25
Taylor & Francis Ltd The Paris Zone
Book SynopsisSince the mid-1970s, the colloquial term zone has often been associated with the troubled post-war housing estates on the outskirts of large French cities. However, it once referred to a more circumscribed space: the zone non aedificandi (non-building zone) which encircled Paris from the 1840s to the 1940s. This unusual territory, although marginal in a social and geographical sense, came to occupy a central place in Parisian culture. Previous studies have focused on its urban and social history, or on particular ways in which it was represented during particular periods. By bringing together and analysing a wider range of sources from the duration of the zone's existence, this study offers a rich and nuanced account of how the area was perceived and used by successive generations of Parisian novelists (including Zola and Flaubert), poets, songwriters, artists, photographers, film-makers, politicians and town-planners. More generally, it aims to raise awareness of a neglected aspect ofTrade Review’For over a century, the Parisian zone was an extraordinary place, seen as the dreadful heart of the French underworld, and filled with dropouts, gypsies, vagrants, ragpickers, pimps and prostitutes. James Cannon’s book is a reliable and remarkable guide into this devastated landscape. It explains the making of this new Cour des miracles, nourished by hundreds of novels, songs, poems, press reports, photographs, films, etc. But Cannon also knows that no imaginary is univocal and he shows how the zone was also a place of social solidarity and mutual aid, a vast playground and a place of entertainment for the popular classes. A brilliant and strongly documented study on one of the major myths of Parisian life.’ Dominique Kalifa, Panthéon-Sorbonne University, France '... informative, well-researched history ... Cannon's history gives perspective to France's current political and social problems, including disaffection and brutality emanating from the zone. ... Highly recommended.' ChoiceTable of ContentsIntroduction; 1: The Urban Periphery and the Zone before 1870; 2: The Emergence of the Zone as a Metaphor, 1870–1889; 3: From Metaphor to Myth, 1890–1918; 4: The Zone between the Wars, 1919–1939; 5: The Death Knell of the Zone, 1940–1944; Conclusion
£128.25
Taylor & Francis Ltd French Women Orientalist Artists 1861â1956
Book SynopsisThis book is the first full-length study dedicated to French women Orientalist artists. Mary Kelly has gathered primary documentation relating to seventy-two women artists whose works of art can be placed in the canon of French Orientalism between 1861 and 1956. Bringing these artists together for the first time and presenting close contextual analyses of works of art, attention is given to artistsâ cross-cultural interactions with painted/sculpted representations of the Maghreb particularly in Algeria, Tunisia and Morocco. Using an interdisciplinary âopen platform of discussionâ approach, Kelly builds on established theory which places emphases on the gendered gaze. This entails a discussion on womenâs painted perspectives of and contacts with Muslim women as well as various Maghrebi cultures and landâall the while remaining mindful of the subject position of the French artist and the problematic issues which can arise when discussing European-made âethnographicâ scTrade Review"Mary Kelly’s book, spanning the heyday of nineteenth-century Orientalism into twentieth-century Modernism, is a timely and innovative contribution to orientalist art studies. The importance of Kelly’s highly original work in broadening the canon of French women Orientalists cannot be overstated. She has expanded and redefined the field through this ambitious account of women artists. From now on, it should not be possible to marginalize women’s contribution in any study of French Orientalism." Mary Roberts, Professor of Art History and Nineteenth-Century Studies, University of Sydney and author of Istanbul Exchanges: Ottomans, Orientalists and Nineteenth-Century Visual Culture (2015) and Intimate Outsiders: The Harem in Ottoman and Orientalist Art and Travel Literature (2007) "For too long, progressive debates on French Orientalism have been driven by the eroticized harem and slave market scenes painted by Western male artists in the nineteenth century. Mary Kelly’s new book, a brilliant and welcome intervention into these debates, highlights the work of dozens of lesser-known French women artists who functioned professionally as Orientalists in the modern era, countering the sexualized stereotype of Muslim women with images that focused instead on their cultural and economic contributions to contemporary life. Through compelling cross-cultural analyses, Kelly poses nuanced questions about the gendered fantasies and realities of Orientalism, and her book reveals the multiple ways in which gender and the female gaze can complicate post-colonialism’s unitary notion of a 'Western' way of seeing the 'Orient.'"Norma Broude, Professor Emerita of Art History, American University and author of Gauguin’s Challenge: New Perspectives After Postmodernism (2018) and Impressionism, A Feminist Reading: The Gendering of Art, Science, and Nature in the Nineteenth Century (1991, 1997)"Mary Kelly’s book adds rich new materials to the debate about Orientalism in art. Through detailed primary research she enhances our knowledge of the practices of women artists in depicting the Mahgreb – a region spanning Algeria, Tunisia and Morocco – and the reception of their works in Paris. French Women Orientalist Artists makes a powerful connection between the depiction of female subjects in the 'East' and the life of those in the 'West.' The artists seen anew here, Kelly persuasively argues, 'painted modernising views of Muslim women which were in keeping with their own female situations as modern women in Europe.' The book contributes a wealth of new biographical data and presents close analyses of hitherto overlooked works. This new material undergirds Mary Kelly’s insistence that gender must be understood as a key variable inflecting subject position of the Orientalist painter. Impressively rich case studies of little-known artists such as Marie Élisabeth Aimée Lucas-Robiquet and Ketty Carré demand a revision of the canon of Orientalist work both before and after the advent of Modernism. More importantly, however, to look closely at this work, as Kelly does, is to revise our conception of modern painting as a whole."Tim Barringer, Paul Mellon Professor and Chair of the Department of the History of Art, Yale University, co-editor of Colonialism and the Object, Art and the British Empire and Art and Emancipation in Jamaica (2007); author of Men at Work: Art and Labour in Victorian Britain and Reading the Pre-Raphaelites (2006)Table of Contents1. Marie Élisabeth Aimée Lucas-Robiquet (1858–1959): Interior Depictions of Maghrebi Weavers 2. Interior Representations of Maghrebi Women 3. Describing the Maghrebi Exterior: Women Orientalists’ Depictions of Life and Landscape 4. Modernism in the Works of French Women Orientalists
£128.25
Taylor & Francis Ltd Consuming Surrealism in American Culture
Book SynopsisConsuming Surrealism in American Culture: Dissident Modernism argues that Surrealism worked as a powerful agitator to disrupt dominant ideas of modern art in the United States. Unlike standard accounts that focus on Surrealism in the U.S. during the 1940s as a point of departure for the ascendance of the New York School, this study contends that Surrealism has been integral to the development of American visual culture over the course of the twentieth century. Through analysis of Surrealism in both the museum and the marketplace, Sandra Zalman tackles Surrealismâs multi-faceted circulation as both elite and popular. Zalman shows how the American encounter with Surrealism was shaped by Alfred Barr, William Rubin and Rosalind Krauss as these influential curators mobilized Surrealism to compose, to concretize, or to unseat narratives of modern art in the 1930s, 1960s and 1980s - alongside Surrealismâs intersection with advertising, Magic Realism, Pop, and the rise of contemporary photograTrade ReviewWinner of 2016 SECAC Award for Excellence in Scholarly Research and Publication'Zalman brilliantly explicates Salvador Dalí’s enactment of a kind of primal scene of American modernism, which alone makes the book essential reading. As she recounts, this was realized in his super-spectacle at the 1939 World’s Fair, and, more generally, in the amorous mutual embrace between Dalí and the U.S. advertising and film industries. It is this latter relationship that damned and marginalized him in 20th-century art history. One lesson of Zalman’s book is that despite the deep shame that this period of Dalí’s art prompted in the New York art world, it made it impossible for American critics to continue to deny modern art's eager participation in the booming wealth of American commerce.' Claudia Mesch, Arizona State University, USA 'Embracing Surrealism’s "pluralist and hybrid nature", Sandra Zalman offers a well-argued and wittily revisionist history of Surrealism and its legacy in the United States, astutely parsing the intersection of art and commerce which characterized America’s embrace of European modernism’s most expansive movement. Zalman’s study ranges from Alfred Barr’s 1936 Fantastic Art, Dada, Surrealism at New York’s Museum of Modern Art to the immersive environment created by John Baldessari for Magritte and Contemporary Art at the Los Angeles County Museum of Art in 2006. Both authoritative and immediately engaging, Zalman brings a scholar’s eye to the hidden persuaders of advertising copy and exhibition design, as well as to landmark works of art and critical texts that defined the ascendency of American art in the post-war era.' Alison de Lima Greene, The Museum of Fine Arts, Houston, USA 'Sandra Zalman has produced the most deeply and imaginatively researched account of the profound ways in which European Surrealism altered not just American art but the wider culture as well. Fluently written and full of riveting details, hers is now the definitive study of this vital, long-running phenomenon.' Thomas Crow, Institute of Fine Arts, New York University, USA 'Sandra Zalman's lucid analysis of the reception of Surrealism in America should be required reading for anyone interested in the movement. By showing how Surrealism's engagement with mass culture was deployed and re-deployed as a critical tool for understanding contemporary art, she offers a fresh look at the collapsing distinctions between modernism and commerce in the closing decades of the twentieth century.' Theresa Papanikolas, Curator of European and American Art, Honolulu Museum of Art, and author of Anarchism and the Advent of Paris Dada: Art and Criticism, 1914-1924Table of ContentsTable of Contents to come.
£128.25
Cambridge University Press The Creation of Art New Essays in Philosophical Aesthetics
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£37.99
Cambridge University Press Nietzsche Aesthetics and Modernity
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£36.09
Cambridge University Press Richard Wollheim on the Art of Painting
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£37.99
Cambridge University Press The Classification of Visual Art A Philosophical Myth and its History
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Cambridge University Press Bakhtin and the Visual Arts
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£38.94
Cambridge University Press Hegels Art History and the Critique of Modernity
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Cambridge University Press The Victorians and the Visual Imagination
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£41.79
Cambridge University Press Kant Art and Art History
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£37.04