Meet some of the finest 2D and 3D artists working in the industry today and discover how they create some of the most innovative digital art in the world. More than a gallery book or a coffee table book- Digital Art Masters Volume 5 includes over 50 artists and 900 unique and stunning 2D and 3D digital art. Beyond the breath taking images is a breakdown of the techniques, challenges and tricks the artists employed while creating stunning imagery. This volume, much like the previous volumes is not your standard coffee table book nor is it our usual how-to-book. New to this volume will be 5 artist video tutorials. Five artists will specifically detail an aspect of their gallery image from start to finish, offering further technique driven insight and expertise offering 2 1/2 hours of additional inspiration. With a click of a mouse, artists willbe able to apply the leading techniques to their own work with access to additional video tutorials, source files, textures and digital brushes at the companion website: http: //www.focalpress.com/digital-art-masters/index.html.

'At last, the past has arrived Performing Remains is Rebecca Schneider's authoritative statement on a major topic of interest to the field of theatre and performance studies. It extends and consolidates her pioneering contributions to the field through its interdisciplinary method, vivid writing, and stimulating polemic. Performing Remains has been eagerly awaited, and will be appreciated now and in the future for its rigorous investigations into the aesthetic and political potential of reenactments.' - Tavia Nyong'o, Tisch School of the Arts, New York University

'I have often wondered where the big, important, paradigm-changing book about re-enactment is: Schneider's book seems to me to be that book. Her work is challenging, thoughtful and innovative and will set the agenda for study in a number of areas for the next decade.' - Jerome de Groot, University of Manchester

Performing Remains is a dazzling new study exploring the role of the fake, the false and the faux in contemporary performance. Rebecca Schneider argues passionately that performance can be engaged as what remains, rather than what disappears.

Across seven essays, Schneider presents a forensic and unique examination of both contemporary and historical performance, drawing on a variety of elucidating sources including the "America" plays of Linda Mussmann and Suzan-Lori Parks, performances of Marina Abramovic and Allison Smith, and the continued popular appeal of Civil War reenactments. Performing Remains questions the importance of representation throughout history and today, while boldly reassessing the ritual value of failure to recapture the past and recreate the "original."

Commemorating the 50th anniversary of the artist's birth, this book is the intended to be a faithful posthumous execution of the project. Containing a wealth of unpublished materials, and representing a decade of work and research, it promises to be the definitive book on the artist's life and work. Beginning with his very first collages and early subway tags - including many heretofore unseen photographs of the first ephemeral chalk drawings - through the development of the iconic graphic work now synonymous with his name, the book follows his meteoric rise to international stardom and worldwide recognition. Completely unprecedented in its scope, this volume documents everything from sketches to unedited interviews; personal snapshots to party invitations, bringing to life an extraordinary decade in art and history.

The explosion of minimalism into the worlds of visual arts, music and literature in the mid-to-late twentieth century presents one of the most radical and decisive revolutions in aesthetic history. Detested by some, embraced by others, minimalism's influence was immediate, pervasive and lasting, significantly changing the way we hear music, see art and read literature. In The Theory of Minimalism, Marc Botha offers the first general theory of minimalism, equally applicable to literature, the visual arts and music. He argues that minimalism establishes an aesthetic paradigm for rethinking realism in genuinely radical terms. In dialogue with thinkers from both the analytic and continental traditions - including Kant, Danto, Agamben, Badiou and Meillassoux - Botha develops a constellation of concepts which together encapsulate the transhistorcial and transdisciplinary reach of minimalism. Illustrated by a range of historical, canonical and contemporary minimalist works of different media, from the caves of early Christian ascetics to Samuel Beckett's late prose, Botha offers a bold and provocative argument which will equip readers with the tools to engage critically with past, present and future minimalism, and to recognize how, in a culture caught between the poles of excess and austerity, minimalism still matters.

Craig Richardson here addresses key areas of cultural politics and identity in a way that not only illuminates the development of Scottish art, but teases out another strand of the plurality of developments which led to the success of artists throughout the UK in the 1990s. It is of the highest relevance whether one's perspective is that of the development of the Scottish art, British art or European art of this period. The book adds significantly to our knowledge of the art of this period in a way that will aid not only our historical understanding but our understanding of the dynamics of art practice today. Providing an analysis and including discussion (interviewing artists, curators and critics and accessing non-catalogued personal archives) towards a new chronology, Richardson here examines and proposes a sequence of precisely denoted 'exemplary' works which outlines a self-conscious definition of the interrogative term 'Scottish art.' Among the artists whose work is discussed are John Latham, Simon Starling, Alan Johnston, Roderick Buchanan, Glen Onwin, Christine Borland, William Johnstone, Joan Eardley, Alexander Moffat, Douglas Gordon, Alan Smith, Graeme Fagen, Ross Sinclair and many others. The discussion culminates in a critically original demonstration of the scope for further research and practice within the subject, facilitating national cultural debate on the character of Scottish-national visual art.

The Problems of Viewing Performance challenges long-held assumptions by considering the ways in which knowledge is received by more than a single audience member, and breaks new ground by, counterintuitively, claiming that viewing performance is not a shared experience. Given that viewers come to each performance with differing amounts and types of knowledge, they each make different assumptions as to how the performance will unfold. Often modified by other viewers and often after the performance event, knowledge of performance is made more accurate by superimposing the experiences and justified beliefs of multiple viewers. These differences in the viewing experience make knowledge surrounding a performance intersubjective. Ultimately, this book explains the how and the why audience members have different viewing experiences. The Problems of Viewing Performance is important reading for theatre and performance students, scholars and practitioners, as it unpacks the dynamics of spectatorship and explores how audiences work.

?a game-changer, a must-read for scholars, students and artists alike? ? Tom Finkelpearl

At a time when art world critics and curators heavily debate the social, and when community organizers and civic activists are reconsidering the role of aesthetics in social reform, this book makes explicit some of the contradictions and competing stakes of contemporary experimental art-making.

Social Works is an interdisciplinary approach to the forms, goals and histories of innovative social practice in both contemporary performance and visual art. Shannon Jackson uses a range of case studies and contemporary methodologies to mediate between the fields of visual and performance studies. The result is a brilliant analysis that not only incorporates current political and aesthetic discourses but also provides a practical understanding of social practice.

Six case studies, conducted in New York City, Trenton, and Jersey City, explore how graffiti murals are created and what role they play in cities where buffing illegal graffiti is a lucrative business. The author interviewed people affected on a daily basis by the murals at sites around the metropolitan area, including property owners who have welcomed the muralists in hopes that the artwork would serve as a deterrent to vandalism-and provide a more aesthetically pleasing alternative to buffing. This analysis, informed by cultural Marxism and supported by street photography, suggests a radical departure from traditional New York City policy: instead of spending money exclusively on the elimination of illegal graffiti, resources should also be devoted to the creation of graffiti murals. In the end, graffiti removal teams and mural promoters are pursuing the same goal: making the city a more visually appealing place.

This volume is a collection of five Sinhala plays, translated into English, which were written and performed during the most violent phase of modern Sri Lankan history. Ranjini Obeyesekere's translation of these five well-known and celebrated plays by K. B. Herath, Prasannajith Abeysuriya, Dhananjaya Karunarathne, Prasanna Jayakody and Rajitha Dissanayake highlights and explores the dynamic period of Sri Lankan theater and performance arts in the 1980s and 1990s. The plays in this collection offered a political space for criticism, introspection, discussion and protest during a time of suppression of voices, political violence and terror. Audiences flocked to the theater to watch plays produced by talented dramatists and artists who were experimenting with forms and themes under extremely challenging circumstances, shoe-string budgets and strict censorship. Kanchuka Dharmasiri's introduction to the volume further details the history and socio-political contexts of the theater of this period, discussing themes such as dissent, identity and the brutal power of the state. She also looks at the unique formal elements employed in these plays as well as their influence and reach. This volume is a significant addition to the growing corpus of Sinhala literature in translation. It will be an essential read for scholars and researchers of literature, performance studies, cultural studies, and the politics and history of Sri Lanka.

A bold rethinking of the Civil Rights Movement through the lens of Black theater "Freedom, Now!" This rallying cry became the most iconic phrase of the Civil Rights Movement, challenging the persistent command that Black people wait-in the holds of slave ships and on auction blocks, in segregated bus stops and schoolyards-for their long-deferred liberation. In Black Patience, Julius B. Fleming Jr. argues that, during the Civil Rights Movement, Black artists and activists used theater to energize this radical refusal to wait. Participating in a vibrant culture of embodied political performance that ranged from marches and sit-ins to jail-ins and speeches, these artists turned to theater to unsettle a violent racial project that Fleming refers to as "Black patience." Inviting the likes of James Baldwin, Lorraine Hansberry, Alice Childress, Douglas Turner Ward, Duke Ellington, and Oscar Brown Jr. to the stage, Black Patience illuminates how Black artists and activists of the Civil Rights era used theater to expose, critique, and repurpose structures of white supremacy. In this bold rethinking of the Civil Rights Movement, Fleming contends that Black theatrical performance was a vital technology of civil rights activism, and a crucial site of Black artistic and cultural production.

Shakespeare and Venice is the first book length study to describe and chronicle the mythology of Venice that was formulated in the Middle Ages and has persisted in fiction and film to the present day. Graham Holderness focuses specifically on how that mythology was employed by Shakespeare to explore themes of conversion, change, and metamorphosis. Identifying and outlining the materials having to do with Venice which might have been available to Shakespeare, Holderness provides a full historical account of past and present Venetian myths and of the city's relationship with both Judaism and Islam. Holderness also provides detailed readings of both The Merchant of Venice and of Othello against these mythical and historical dimensions, and concludes with discussion of Venice's relevance to both the modern world and to the past.

Narratology in Practice opens up the well-known theory of narrative to various disciplines in the humanities and social sciences. Written as a companion to Mieke Bal's international classic Narratology: Introduction to the Theory of Narrative, in which the examples focus almost exclusively on literary studies, this new book offers more elaborate analyses of visual media, especially visual art and film. Read independently or in parallel with its companion, Narratology in Practice enables readers to use the suggested concepts as tools to assist them in practising narrative analysis.

This book is an investigation into church music through the lens of performance theory, both as a discipline and as a theoretical framework. Scholars who address religious music making in general, and Christian church music in particular, use "performance" in a variety of ways, creating confusion around the term. A systematized performance vocabulary for the study of church music can support interdisciplinary investigations of Christian congregational music making in today's complex, interconnected world. From the perspective of performance theory, all those involved in church musicking are performing, be it from platform or pew. The book employs a hybrid methodology that combines ethnographic research and theory from ritual studies, ethnomusicology, theology, and church music scholarship to establish performance studies as a possible "next step" in church music studies. It demonstrates the feasibility of studying church music as performance by analyzing ethnographic case studies using a developmental framework based on the concepts of ritual, embodiment, and play/change. This book offers a fresh perspective on Christian congregational music making. It will, therefore, be a key reference work for scholars working in Congregational Music Studies, Ethnomusicology, Ritual Studies and Performance Studies, as well as practitioners interested in examining their own church music practices.

Driven by a powerful belief in the value of free expression, Sheryl Oring has for more than a decade been helping people across the United States voice concerns about public affairs through her 'I Wish to Say' project. This book uses that project as the starting point for an exploration of a series of issues of public interest being addressed by artists today. It features essays by contributors ranging from art historians and practicing artists to scholars and creators working in literature, political science and architecture. All the contributors offer a different approach, but they share a primary goal of sparking a dialogue not just among makers of art, but among viewers, readers and the concerned public at large. The resulting volume will be an essential resource for politically engaged contemporary artists searching for innovative, cross-disciplinary ways of making and sharing art.

Dramaturgy of Form examines verse in twenty-first-century theatre practice across different languages, cultures, and media. Through interdisciplinary engagement, Kasia Lech offers a new method for verse analysis in the performance context. The book traces the dramaturgical operation of verse in new writings, musicals, devised performances, multilingual dramas, Hip Hop theatre, films, digital projects, and gig theatre, as well as translations and adaptations of classics and new theatre forms created by Irish, Spanish, Nigerian, Polish, American, Canadian, Australian, British, Russian, and multinational artists. Their verse dramaturgies explore timely issues such as global identities, agency and precarity, global and local politics, and generational and class stories. The development of dramaturgy is discussed with the focus turning to the new stylized approach to theatre, whose arrival Hans-Thies Lehmann foretold in his Postdramatic Theatre, documenting a turning point for contemporary Western theatre. Serving theatre-makers, scholars, and students working with classical and contemporary verse and poetry in performance contexts; practitioners and academics of aural and oral dramaturgies; voice and verse-speaking coaches; and actors seeking the creative opportunities that verse offers, Dramaturgy of Form reveals verse as a tool for innovation and transformation that is at the forefront of contemporary practices and experiences.

Jill Carrick's Nouveau Realisme, 1960s France, and the Neo-avant-garde provides the first in-depth historical analysis of the "New Realism" movement and the critical and theoretical debates it engaged. This text makes available a new corpus of material - the rich historical and theoretical analysis as well as the fascinating photographic documentation of artists and works - from one of the most significant French art movements of the post-World War II period, whose literature has up to now been dominated by the terms of its founder, Pierre Restany. The illustrations and surprising contextual material - many of which have been unearthed by the author's archival research - document artwork, artists' collaborations, and ephemeral events.

Di Benedetto considers theatrical practice through the lens of contemporary neuroscientific discoveries in this provoking study, which lays the foundation for considering the physiological basis of the power of theatre practice to affect human behavior. He presents a basic summary of the ways that the senses function in relation to cognitive science and physiology, offering an overview of dominant trends of discussion on the realm of the senses in performance. Also presented are examples of how those ideas are illustrated in recent theatrical presentations, and how the different senses form the structure of a theatrical event. Di Benedetto concludes by suggesting the possible implications these neuroscientific ideas have upon our understanding of theatrical composition, audience response, and the generation of meaning.

The Art of Experience provides an interdisciplinary analysis of selected plays from Ireland's premier female playwright, Marina Carr. Dagmara Gizlo explores the transformative impact of a theatrical experience in which interdisciplinary boundaries must be crossed. This book demonstrates that theatre is therapeutic and therapy is theatrical. The role of emotions, cognitions, and empathy in the theatrical experience is investigated throughout. Dagmara Gizlo utilises the methodological tools stemming from modern empirically grounded psychology (such as cognitive-behavioural therapy or CBT) to the study of theatre's transformative potential. This book will be of great interest to students and scholars of theatre, performance, and literature, and will be a fascinating read for those at the intersection of cognitive studies and the humanities.

New Theatre in Italy 1963-2013 makes the case for the centrality of late-millennium Italian avant-garde theatre in the development of the new forms of performance that have emerged in the 21st Century. Starting in the Sixties, young artists and militants in Italy reacted to the violence in their streets and ruptures in the family unit that are now recognized as having been harbingers of the end of the global post-war system. As traditional rituals of State and Church faltered, a new generation of cultural operators, largely untrained and driven away from political activism, formed collectives to explore new ways of speaking theatrically, new ways to create and experience performance, and new relationships between performer and spectator. Although the vast majority of the works created were transient, like all performance, their aesthetic and social effects continue to surface today across media on a global scale, affecting visual art, cinema, television and the behavioural aesthetics of social networks.

Performative theatre is one of the most important trends of our time. It is emblematic of the work of many European theatrical artists in the early twenty-first century. Annamaria Cascetta does not propose a model or a historical overview, but rather strives to identify the salient features of a significant trend in the theatrical research and transformation of our time by analysing some crucial examples from outstanding works, of great international resonance. She draws on work by artists from different generations, all active between the late twentieth century and the first decades of the twenty-first, and in various European countries, performed in a number of European theatres in recent years. The aim is to apply a method of analysis in depth, bringing out the technical elements of contemporary "performative theatre" in the field, and above all to highlight the close links between it and the urgent and troubled issues and problems of history and society in the phase of cultural and anthropological transition we are experiencing.

A new, updated and expanded edition of this classic survey on the history of Caribbean art, featuring the work of over 100 artists from the period of colonialism to the present day. Caribbean Art presents and discusses the diverse, fascinating and highly accomplished work of Caribbean artists, whether indigenous or from the diaspora, popular or 'high' culture, rural or urban based, politically radical or religious. This expanded edition has a new preface, and has been updated to reflect on recent challenges to the ideological premises and institutions of conventional art-historical practice and their connections to histories of colonialism, Eurocentricity and race. Two new chapters focus on public monuments linked to the history of the Caribbean, and the intersections between art and tourism, raising important questions about cultural representation. Featuring the work of internationally recognized artists such as Sonia Boyce, Christopher Cozier, Wifredo Lam, Ana Mendieta, Ebony G. Patterson, Herve Telemaque, and more than 100 others working across a variety of media, this new edition makes an important contribution to the understanding of Caribbean art and its context, in ways that invite and encourage further explorations on the subject.

Katie Mitchell: Beautiful Illogical Acts offers the first comprehensive study of Britain's most internationally recognised, influential, and controversial theatre director. It examines Mitchell's innovations in fourth-wall realism, opera, and Live Cinema across major British and European institutions, bringing three decades of practice vividly to life. Informed by first-hand rehearsal observations and in-depth conversations with the director and her collaborators, Fowler investigates the intense and immersive qualities of Mitchell's distinctive theatrical realism and challenges mainstream narratives about realism as a defunct or inherently conservative genre. He explores Mitchell's theatre-and its often polarised reception-to question familiar assumptions governing contemporary performance criticism, including common binaries that pit realism against radical experimentation, auteurs against texts, feminists against Naturalism, and Britain against Europe. By examining a career trajectory that intersects with huge cultural change, Fowler places Mitchell at the centre of urgent contemporary debates about cultural transformation and its genuinely inclusive potential. This is an essential book for those interested in Katie Mitchell, British theatre, directing, the transformative power of realism and feminism in contemporary theatre practice, and challenges to hierarchical distributions of power inside the mainstream.