Theatre Studios explores the history of the studio model in England, first established by Konstantin Stanislavsky, Jacques Copeau and others in the early twentieth century, and later developed in the UK primarily by Michel Saint-Denis, George Devine, Michael Chekhov and Joan Littlewood, whose studios are the focus of this study. Cornford offers in-depth accounts of the radical, collective work of these leading theatre companies of the mid-twentieth century, considering the models of ensemble theatre-making that they developed and their remnants in the newly publicly-funded UK theatre establishment of the 1960s. In the process, this book develops an approach to understanding the politics of artistic practices rooted in the work of John Dewey, Antonio Gramsci and the standpoint feminists. It concludes by considering the legacy of the studio movement for twenty-first-century theatre, partly by tracking its echoes in the work of Secret Theatre at the Lyric, Hammersmith (2013-2015). Students and makers of theatre alike will find in this book a provocative and illuminating analysis of the politics of performance-making and a history of the theatre as a site for developing counterhegemonic, radically democratic, anti-individualist forms of cultural production.

La Pocha Nostra: A Handbook for the Rebel Artist in a Post-Democratic Society marks a transformation from its sister book, Exercises for Rebel Artists, into a pedagogical matrix suited for use as a performance handbook and conceptual tool for artists, activists, theorists, pedagogues, and trans-disciplinary border crossers of all stripes. Featuring a newly reworked outline of La Pocha Nostra's overall pedagogy, and how it has evolved in the time of Trump, cartel violence, and the politics of social media, this new handbook presents deeper explanations of the interdisciplinary pedagogical practices developed by the group that has been labeled "the most influential Latino/a performance troupe of the past ten years." Co-written by Guillermo Gomez-Pena in collaboration with La Pocha Nostra's artistic co-director Saul Garcia-Lopez and edited by Paloma Martinez-Cruz, this highly anticipated follow-up volume raises crucial questions in the new neo-nationalist era. Drawing on field experience from ten years of touring, the authors blend original methods with updated and revised exercises, providing new material for teachers, universities, radical artists, curators, producers, and students. This book features: Introductions by the authors and editor to Pocha Nostra practice in a post-democratic society. Theoretical, historical, poetic, and pedagogical contexts for the methodology. Suggestions for how to use the book in the classroom and many other scenarios. Detailed, hands-on exercises for using Pocha Nostra-inspired methods in workshops. A step-by-step guide to creating large-scale group performances. New, unpublished photos of the Pocha Nostra methods in practice. Additional texts by Reverend Billy and Savitri D., Dragonfly, Francesca Carol Rolla, VestAndPage, Micha Espinosa, Zulfikar Ali Bhutto, Praba Pilar, L. M. Bogad, Anuradha Vikram, and Annie Sprinkle and Beth Stephens, among many others. The book is complemented by the new book Gomez-Pena Unplugged: Texts on Live Art, Social Practice and Imaginary Activism (2008-2019).

La Pocha Nostra: A Handbook for the Rebel Artist in a Post-Democratic Society marks a transformation from its sister book, Exercises for Rebel Artists, into a pedagogical matrix suited for use as a performance handbook and conceptual tool for artists, activists, theorists, pedagogues, and trans-disciplinary border crossers of all stripes. Featuring a newly reworked outline of La Pocha Nostra's overall pedagogy, and how it has evolved in the time of Trump, cartel violence, and the politics of social media, this new handbook presents deeper explanations of the interdisciplinary pedagogical practices developed by the group that has been labeled "the most influential Latino/a performance troupe of the past ten years." Co-written by Guillermo Gomez-Pena in collaboration with La Pocha Nostra's artistic co-director Saul Garcia-Lopez and edited by Paloma Martinez-Cruz, this highly anticipated follow-up volume raises crucial questions in the new neo-nationalist era. Drawing on field experience from ten years of touring, the authors blend original methods with updated and revised exercises, providing new material for teachers, universities, radical artists, curators, producers, and students. This book features: Introductions by the authors and editor to Pocha Nostra practice in a post-democratic society. Theoretical, historical, poetic, and pedagogical contexts for the methodology. Suggestions for how to use the book in the classroom and many other scenarios. Detailed, hands-on exercises for using Pocha Nostra-inspired methods in workshops. A step-by-step guide to creating large-scale group performances. New, unpublished photos of the Pocha Nostra methods in practice. Additional texts by Reverend Billy and Savitri D., Dragonfly, Francesca Carol Rolla, VestAndPage, Micha Espinosa, Zulfikar Ali Bhutto, Praba Pilar, L. M. Bogad, Anuradha Vikram, and Annie Sprinkle and Beth Stephens, among many others. The book is complemented by the new book Gomez-Pena Unplugged: Texts on Live Art, Social Practice and Imaginary Activism (2008-2019).

This is the first comprehensive English-language study of East Asian art history in a transnational context, and challenges the existing geographic, temporal, and generic paradigms that currently frame the art history of East Asia. This pioneering study proposes an important new framework that focuses on the relationship between China, Japan, and Korea. By reconsidering existing concepts of 'East Asia', and examining the porousness of boundaries in East Asian art history, the study proposes a new model for understanding trans-local artistic production - in particular the mechanics of interactions - at the turn of the 20th century.

Artists especially from dance and performance art as well as opera are involved to an increasing degree in the transfer between different media, not only in their productions but also the events, materials, and documents that surround them. At the same time, the focus on that which remains has become central to any discussion of performance. Performing Arts in Transition explores what takes place in the moments of transition from one medium to another, and from the live performance to that which "survives" it. Case studies from a broad range of interdisciplinary scholars address phenomena such as: The dynamics of transfer between the performing and visual arts. The philosophy and terminologies of transitioning between media. Narratives and counternarratives in historical re-creations. The status of chronology and the document in art scholarship. This is an essential contribution to a vibrant, multidisciplinary and international field of research emerging at the intersections of performance, visual arts, and media studies.

Performance Art in the Second Public Sphere is the first interdisciplinary analysis of performance art in East, Central and Southeast Europe under socialist rule. By investigating the specifics of event-based art forms in these regions, each chapter explores the particular, critical roles that this work assumed under censorial circumstances. The artistic networks of Yugoslavia, Hungary, Latvia, Lithuania, Poland, Romania, East Germany and Czechoslovakia are discussed with a particular focus on the discourses that shaped artistic practice at the time, drawing on the methods of Performance Studies and Media Studies as well as more familiar reference points from art history and area studies.

As he turns 100, the definitive monograph of Wayne Thiebaud's work is now available in a reformatted, accessibly priced edition, and including his most recent paintings. This is the most comprehensive monograph to date on Wayne Thiebaud, with new works added, in a reformatted size. Spanning the length of his career from the 1950s to the present, the book has been made in close collaboration with the artist. Thiebaud selected the works himself, making the book an act of autobiography in a sense. At age 100, he looks back over his life and his work, rich with breakthroughs in painting and masterful individuality. Required reading for those who have a healthy appetite for provocative art. -Bloomberg Business This comprehensive monograph of more than 200 illustrations can literally be considered eye candy. American artist Wayne Thiebaud is famed for his brightly coloured canvases of cakes, diner pies, pastries, ice cream cones, candy and brightly coloured gumball machines. . . . Whether still lifes or landscapes, Thiebaud's paintings are akin to visual Prozac; you simply cannot be in a bad mood looking at them. -Kansas City Magazine While Thiebaud is best known for his heavily pigmented still lifes of cakes, pies, and candies, [this] book shows his broader range, from vibrant landscapes depicting highways and farmland to portraits of solitary figures. . . The texts examine Thiebaud's influences as well as his impact on the art world and the individual viewers of his work. -Architectural Digest

This book traces the history of engagements between dance and the visual arts in the mid-twentieth century and provides a backdrop for the emerging field of contemporary, intermedial art practice. Exploring the disciplinary identity of dance in dialogue with the visual arts, this book unpacks how compositional methods that were dance-based informed visual art contexts. The book provokes fresh consideration of the entangled relationship between, and historiographic significance of, visual arts and dance by exploring movements in history that dance has been traditionally mapped to (Neo-Avant Garde, Neo-Dada, Conceptual art, Postmodernism, and Performance Art) and the specific practices and innovations from key people in the field (like John Cage, Anna Halprin, and Robert Rauschenberg). This book also employs a series of historical and critical case studies which show how compositional approaches from dance-breath, weight, tone, energy-informed the emergence of the intermedial. Ultimately this book shows how dance and choreography have played an important role in shaping visual arts culture and enables the re-imagination of current art practices through the use of choreographic tools. This unique and timely offering is important reading for those studying and researching in visual and fine arts, performance history and theory, dance practice and dance studies, as well as those working within the fields of dance and visual art. Chapter 1 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at http://www.taylorfrancis.com

This is a very readable, useful and above all, deeply historical account of some of the defining tropes in art history and performance today. Written by world renowned feminist art historian, Amelia Jones, this genealogy is a key work bridging art historical and performance studies approaches. Each chapter includes 'Ruptures' - bursts of intimately written accounts of experiences of performance (and related interludes) - which help make the content accessible.

This timely follow-up to Conway's highly successful Marine Art of Geoff Hunt (2004) presents the considerable artistic output of Britain's leading marine painter since 2003. This new volume is heavily illustrated with images ranging from large paintings to sketchbook drawings with text written by the artist himself. The new book reflects Hunt's developing career during a time in which he served a five-year term as President of the Royal Society of Marine Artists, worked on large-scale paintings such as the definitive Mary Rose,and also completed numerous outdoor sketches and paintings. The book is divided into six sections: 1. The Sea Painter's World, an introduction to the artist's studio work at Merton Place, London and his plein air work on the River Thames; 2. Home Waters; 3. The Mediterranean; 4. In the Wake of Nelson; 5. North America and 6. The West Indies and Beyond. This concept sets Geoff's work in a broadly geographical context, showcasing the artist's freer plein air style alongside the exhaustively researched maritime history paintings to which he owes his standing as Britain's leading marine artist.

A beautifully illustrated look at the work of one of today's most unique and exciting artists Bisa Butler (b. 1973) is an American artist who creates arresting and psychologically nuanced portraits composed entirely of vibrantly colored and patterned fabrics that she cuts, layers, and stitches together. Often depicting scenes from African American life and history, Butler invites viewers to invest in the lives of the people she represents while simultaneously expanding art-historical narratives about American quiltmaking. Situating her interdisciplinary work within the broader history of textiles, photography, and contemporary art, contributions by a group of scholars-and entries by the artist herself-illuminate Butler's approach to color, use of African-print fabrics, and wide-ranging sources of inspiration. Offering an in-depth exploration of one of America's most innovative contemporary artists, this volume will serve as a primary resource that both introduces Butler's work and establishes a scholarly foundation for future research. Distributed for the Art Institute of Chicago Exhibition Schedule: Katonah Museum of Art, New York (March 15-October 4, 2020) Art Institute of Chicago (November 14, 2020-September 6, 2021)

Hilton Kramer, well known as perhaps the most perceptive, courageous, and influential art critic in America, is also the founder and co-editor (with Roger Kimball) of "The New Criterion." This comprehensive book collects a sizable selection of his early essays and reviews published in "Artforum," "Commentary," "Arts Magazine," "The New York Review of Books," and "The Times," and thus constituted his first complete statement about art and the art world.

The principal focus is on the artists and movements of the last hundred years: the Age of the Avant-Garde that begins in the nineteenth century with Realism and Impressionism. Most of the major artists of this rich period, from Monet and Degas to Jackson Pollock and Claes Oldenburg, are discussed and often drastically revaluated. A brilliant introductory essay traces the rise and fall of the avant-garde as a historical phenomenon, and examines some of the cultural problems which the collapse of the avant-garde poses for the future of art. In addition, there are chapters on art critics, museums, the relation of avant-garde art to radical politics, and on the growth of photography as a fine art.

This collection is not intended to be the last word on one of the greatest as well as one of the most complex periods in the history of the artistic imagination. The essays and reviews gathered here were written in response to particular occasions and for specific deadlines--in the conviction that a start in the arduous task of critical revaluation needed to be made, not because a critical theory prescribed it but because our experience compelled it

As one of the key figures in the first generation of British conceptual artists and a crucial force behind many of the Young British Artists, Michael Craig-Martin has dedicated a career to complicating the practice and reception of drawing. Often considered the 'high priest of the everyday', he is engaged with the methodical exploration of those objects and design classics that are so often taken for granted: the tap, the clothes hanger, the petrol pump, the Anglepoise lamp. For Craig-Martin, those objects that we value least, simply for their ubiquity, are often the most extraordinary. His is a world of revelation.

A prolifically creative artistic polymath, American artist Amy Sillman (b.1955) works in drawing, zines, iPhone videos, installation, collaboration, teaching and curating, but painting has remained always at the very heart of her practice. This comprehensive monograph covers two decades of production, from the late-1990s to the present. Valerie Smith's text reveals Sillman's uniquely time-based approach to painting, influenced and inflected as much by filmmakers and musicians and the processes of her other chosen disciplines as by strictly art-historical forebears. Sillman's works perform an intensive cognitive and gestural interrogation of her chosen materials: discovering, undoing and reforming trains of painterly thought, often over long periods of time and across large numbers of linked works. Sillman's painting emerges as a radically expressive force; a pointedly self-reflexive practice that reformulates contemporary painting as an ever-evolving continuum and never simply a finished work.

In 1966, the most destructive flood in the history of Venice temporarily submerged the city and threatened its extraordinary art and architecture. Among the organizations that mobilized to protect this fragile heritage was Save Venice Inc. Founded in Boston and now headquartered in New York City, this nonprofit has become the largest and most active committee dedicated to preserving the artistic legacy of Venice.Christopher Carlsmith tells the fascinating story of Save Venice Inc., from its origins to its fiftieth anniversary. It continues to provide an influential model for philanthropy in the cultural sector, raising substantial funds to conserve and restore paintings, sculptures, books, mosaics, and entire buildings at risk from human and environmental impacts. Employing extensive archival research, oral interviews, and newspaper accounts, Save Venice Inc. explores a range of topics, including leadership, conservation projects, fundraising, and educational outreach. Using a range of methodologies from cultural history and art history, Carlsmith traces the achievements and challenges faced by this and other historic preservation organizations and by this unique city on the sea.

The ultimate monograph on one of the most important artists of the twentieth century - a key figure in Arte Povera

This book is the final, most comprehensive book ever made by Greek-born Jannis Kounellis, one of the key artists in the Arte Povera movement. Following his breakthrough in the late 1960s in Rome, when he questioned the traditionally sterile environment of the gallery by exhibiting live animals within its walls, Kounellis went on to include diverse materials in his work, including fire, earth, gold, wood, and charcoal, quickly establishing himself as one of the most innovative sculptors of our time.

Writings by the artist and a collection of tributes from people who have known and worked with him over the years, such as Pierre Audi, David Hammons, Gloria Moure, Giulio Paolini, Vassili Vassilikos, and many others, are included.

Jannis Kounellis is the latest addition to the acclaimed Phaidon Contemporary Artists Series.

A member of the art history generation from the golden age of the 1920s and 1930s, Millard Meiss (1904-1975) developed a new and multi-faceted methodological approach. This book lays the foundation for a reassessment of this key figure in post-war American and international art history. The book analyses his work alongside that of contemporary art historians, considering both those who influenced him and those who were receptive to his research. Jennifer Cooke uses extensive archival material to give Meiss the critical consideration that his extensive and important art historical, restoration and conservation work deserves. This book will be of interest to scholars in art history, historiography and heritage management and conservation.

Signs of Our Times: From Calligraphy to Calligraffiti covers six decades of an art trend led by artists from the Arab world and Iran. Starting in the early 1950s, this alternative and original approach to modernism began with artists who took inspiration from their own cultural sources and combined them with international aesthetics and concepts. This publication considers the work of 50 key artists, ranging from important pioneers of the calligraphic movement to those who use the written word in their work today. The book begins with a contribution from Venetia Porter, curator of Islamic and contemporary Middle Eastern art at the British Museum, who provides a historical contextualization of the movement and its relationship to lettrism in Europe. In a second essay, the writer and curator Rose Issa presents an overview of 60 years of the art movement in Arab countries and Iran, from the independences of the late 1940s and 1950s to the present day. A timeline by Juliet Cestar, an expert on contemporary Middle Eastern art, then sets out major cultural and historical events in the Middle East over the course of the last 60 years. The main part of the book is divided into three sections, each devoted to a different generation of artists: the first generation of pioneers, who created a new aesthetic language following the independence of their countries; the second generation of artists, who mostly live in exile and who reference their own cultures and languages in their work; and the third generation, comprising contemporary artists who have absorbed international aesthetics, concepts and languages and who occasionally use Arabic and Persian script, or the morphology of letters, in their work. The entry for each artist includes a concise biography and a statement from the artist about their work. The artworks, in a variety of media, are also interspersed with poems and relevant literature, putting into personal and historical contexts the innovative use of words in art.

Initially, they were the waste product of wooden bowls turned in an ancient technique by Robin Wood of the United Kingdom, an expert pole-lathe turner and author. Known for his historical and functional objects made on a foot-powered lathe, Wood keeps the tradition of pole turning alive. The leg-powered process Wood uses results in thousands of solid, round chunks - Cores - that get broken out of the center of the bowl at the last moment. Wood donated 100 Cores, which ranged in size from 2 x 2 to 3 x 4 to The Center for Art in Wood in Philadelphia. The Center sent Cores to two-score artists who agreed to the challenge of reworking them into new pieces of art. These works, shown here in more than 240 color photos, formed the exhibition - Robin Wood's CORES Recycled - by The Center for Art in Wood.

Dance Appreciation is an exciting exploration of how to understand and think about dance in all of its various contexts. This book unfolds a brief history of dance with engaging insight into the social, cultural, aesthetic, and kinetic aspects of various forms of dance. Dedicated chapters cover ballet, modern, tap, jazz, and hip-hop dance, complete with summaries, charts, timelines, discussion questions, movement prompts, and an online companion website all designed to foster awareness of and appreciation for dance in a variety of contexts. This wealth of resources helps to uncover the fascinating history that makes this art form so diverse and entertaining, and to answer the questions of why we dance and how we dance. Written for the novice dancer as well as the more experienced dance student, Dance Appreciation enables readers to learn and think critically about dance as a form of entertainment and art.

Dance Appreciation is an exciting exploration of how to understand and think about dance in all of its various contexts. This book unfolds a brief history of dance with engaging insight into the social, cultural, aesthetic, and kinetic aspects of various forms of dance. Dedicated chapters cover ballet, modern, tap, jazz, and hip-hop dance, complete with summaries, charts, timelines, discussion questions, movement prompts, and an online companion website all designed to foster awareness of and appreciation for dance in a variety of contexts. This wealth of resources helps to uncover the fascinating history that makes this art form so diverse and entertaining, and to answer the questions of why we dance and how we dance. Written for the novice dancer as well as the more experienced dance student, Dance Appreciation enables readers to learn and think critically about dance as a form of entertainment and art.

The definitive book on the life and career of internationally acclaimed artist Yoshitomo Nara Yoshitomo Nara rose to prominence in the mid-1990s, a star in a generation of avant-garde Japanese artists associated with the neo-Pop 'Superflat' movement. This book, made in close collaboration with Nara himself, explores more than three decades of his work - and is the first truly authoritative monograph on the artist in more than a decade. Written by art historian Yeewan Koon and featuring texts by Nara himself, it includes his most recent work in painting, drawing, sculpture, and ceramics.

Le Theatre du Soleil traces the company's history from a group of young, barely trained actors, directors, and designers struggling to match their political commitment to a creative strategy, to their grappling with the concerns of migration, separation and exile in the early decades of the twenty-first century. Beatrice Picon-Vallin recounts how, in the 55 years since its founding, the Theatre du Soleil has established itself as one of the foremost names in modern theatre. Ariane Mnouchkine and her collaborators have developed a unique and ever-evolving style that combines a piercing richness of shape, color, and texture with precision choreography, innovative musical accompaniment, and multi-layered, metaphorical dreamscapes. This rich, storied history is illustrated by a wealth of spectacular rehearsal and production photos from the company's own archive and interviews with dozens of past and present members, including Mnouchkine herself. Judith G. Miller's timely translation of the first comprehensive history and analysis of a remarkable, award-winning company is a compelling read for both students and teachers of Drama and Theatre Studies.

David Hockney introduces his two dachshunds, Stanley and Boodgie, in this delightful new book. The result of both sharp observation and affection, these paintings and drawings are lyrical studies in form and color. A text by the artist himself gives a behind-the-scenes glimpse of how to work with models who don't necessarily want to sit still. Hockney has provided additional drawings made specially on the page, and has been largely involved in the layout of the book, creating a charming and unified whole.

The latest addition to the 'Lives of the Artists' series: highly readable short biographies of the world's greatest artists David Hockney is the most famous living British artist. And he is arguably one of the more famous American artists as well. Emerging from the north of England in the 1960s, he made quite a splash in Swinging London as a portaitist, and went on to make a even bigger splash in Los Angeles when he moved there in the 1970s. His figurative paintings of the 1970s and 1980s captured the zeitgeist of West Coast living, while he also explored new avenues by constructing mosaics out of polaroids. By the beginning of the millennium, he returned to his Yorkshire roots, embarking on a new period of painting. This came to an end with the death by misadventure in his home of a young studio assistant in 2013. He went 'home' to LA and has in the intervening years begun a new period of contemplative portraiture.