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The interplay of the local and the global in contemporary Thai art, as artists strive for international recognition and a new meaning of the national. Since the 1990s, Thai contemporary art has achieved international recognition, circulating globally by way of biennials, museums, and commercial galleries. Many Thai artists have shed identification with their nation; but "Thainess" remains an interpretive crutch for understanding their work. In this book, the curator and critic David Teh examines the tension between the global and the local in Thai contemporary art. Writing the first serious study of Thai art since 1992 (and noting that art history and criticism have lagged behind the market in recognizing it), he describes the competing claims to contemporaneity, as staked in Thailand and on behalf of Thai art elsewhere. He shows how the values of the global art world are exchanged with local ones, how they do and don't correspond, and how these discrepancies have been exploited. How can we make sense of globally circulating art without forgoing the interpretive resources of the local, national, or regional context? Teh examines the work of artists who straddle the local and the global, becoming willing agents of assimilation yet resisting homogenization. He describes the transition from an artistic subjectivity couched in terms of national community to a more qualified, postnational one, against the backdrop of the singular but waning sovereignty of the Thai monarchy and sustained political and economic turmoil. Among the national currencies of Thai art that Teh identifies are an agricultural symbology, a Siamese poetics of distance and itinerancy, and Hindu-Buddhist conceptions of charismatic power. Each of these currencies has been converted to a legal tender in global art-signifying sustainability, utopia, the conceptual, and the relational-but what is lost, and what may be gained, in such exchanges?
Exquisite and labor-intensive, phulkari ("floral-work" or "flower-craft") embroideries were originally produced by women in towns and villages across the greater Punjab, a region that today straddles Pakistan and India, from at least the early 19th century into the first decades of the 20th. Phulkaris were made from brightly colored silk thread on rough, earth-toned fabric. When done for domestic use, they functioned primarily as women's wraps at weddings or other important events. Especially following the Punjab's devastating partition in 1947, phulkaris were also produced as commercial exports. Focusing on a group of nineteen stunning works from the collection of Jill and Sheldon Bonovitz, Phulkari surveys the genre's fascinating history. This is the first publication outside South Asia specifically on this art form. It also offers significant new information on the craft and its importance to personal, familial, and regional identity in the past and the present.
This book is published to mark the opening of the Ko Rongowhakaata: The Story of Light and Shadow exhibition at Te Papa, which represents the culmination and breadth of Rongowhakaata history and whakaaro (considerations) and has the significant meeting house Te Hau ki Turanga as its central statement of identity and aspiration. The book showcases more than 60 Rongowhakaata taonga, and its text, in English and te reo Maori, focuses on key threads including innovation and kaitiekitanga (sustainable processes). It also explores layers of encounter within Turanga - Rongowhakaata and Gisborne iwi first encountered the British in 1769, during Captain Cook's arrival in Poverty Bay - and the impacts of those encounters on the shape and position of the iwi, and indeed modern New Zealand, today.
Named the Deutsche Bank Artist of the Year for 2013, Imran Qureshi combines traditional motifs and techniques of Islamic art with contemporary reflections on the relationship between Islam and the West. His investigations into ornamentation reference both the miniature painting of the Mughal tradition, in which he was trained, and large, site-specific installations in architectural space, which address both the building itself and its historical and political meanings. In May 2013, Qureshi will create the latest rooftop installation for the Metropolitan Museum. This volume discusses the specific interplay between the artist's vision and the particulars of the space for which the work was created. An interview with Qureshi highlights the traditions from which his work derives, as well as the political and aesthetic connotations that inform this latest creation.
Join Julia Tinker--avid explorer, angler, and artist--in her travels as she recounts her multi-year journey captaining her boat through the beautiful waters surrounding Ketchikan and Prince of Wales. Her mission is to delve into the diverse ecosystems and catch fish and crustaceans for her gyotaku prints, a traditional Japanese art form using fish pressings painted over with watercolor. This book is one of the few books on this popular art form. It is a visual adventure through gorgeous paintings and color photographs; a vibrant depiction of life at sea in southeast Alaska--as well as a celebration of the importance of marine life for the indigenous communities in the area.
Part of a series of exciting and luxurious Flame Tree Notebooks. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed, then foil stamped. And they're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use and make a dazzling gift. This example features Hiroshige's Twilight Hill.
Featuring all kinds of dogs - big, small, graceful, cute, funny - The Book of the Dog is a cool and quirky collection of dog art and illustration by artists around the world. Interspersed through the illustrations are short texts about the artists and different breeds, paying homage to man's best friend. Beautifully designed and packaged, the book will appeal to dog lovers of all ages.
"Distributed by the University of Nebraska Press for Whale and Star
This is the only specifically designed key to the interpretation of American rock art. The Field Guide brings together 600 commentaries on specific symbols by over 100 archaeologists, researchers, and Native American informants. Covers the northern states of Mexico to Utah and from California to Colorado.
With characteristic intelligence, wit, and feminist insight, Ellen Willis addresses democracy as she sees it: \u201ca commitment to individual freedom and egalitarian self-government in every area of social, economic, and cultural life.\u201d Moving between scholarly and down-to-earth activist writing styles, Willis confronts the conservative backlash that has slowly eroded democratic ideals and advances of the 1960s as well as the internal debates that have frequently splintered the left.
Sir Victor Sassoon (1881-1961) lived an extraordinary and colourful life and left a remarkable legacy. He created a trust to preserve his collection of ivories for the benefit of UK citizens. Since its foundation and under the guardianship of the dedicated trustees, the collection has grown by the addition of significant specimens that originally went unrepresented. Chinese Ivory Carvings< presents 350 of its most significant artefacts, each illustrated and discussed. Four introductory essays explore the acquisition of the pieces, placing the ivories in their historical and cultural context. In this scholarly celebration of Sassoon's bequest, one can appreciate some of the many facets of Chinese culture both religious and secular. Including minutely carved 'devil's work' spheres, massive figures and exuberantly carved vases, the book is also testament to the technical skills of the craftsmen who produced these wonderful objects.
From the remote shores of Rapa Nui to the dense rainforest of Papua New Guinea, the islands of the Pacific are home to some of the most culturally diverse populations on the planet. The region embraces an extraordinary range of art forms, from delicate shell ornaments to spectacularly decorated canoes and meeting houses. These have fascinated outsiders since the exploratory voyages of Captain Cook, the first of which commenced 250 years ago in 1768, and went on to entrance Gauguin and a host of other European artists. This volume accompanies a major survey in London and Paris of art from Oceania. It brings together the most up-to-date scholarship by the leading experts in the field, encompassing a dazzling array of objects from the region, including many that have never been published before. Also included are many works that have historically been overlooked, such as painted and woven textiles, elaborate wicker assemblages and expressively sculpted vessels, alongside works by artists working in Oceania today. Objects of great aesthetic beauty, these artworks are the product of a complex web of social, mythological and historical influences.
New, information-packed introduction and extensive captions
accompany more than 120 full-page plates of magnificent,
elaborately carved, museum-quality masks worn by actors playing
gods, warriors, beautiful women, feudal lords, and supernatural
beings. A unique introduction to classic Japanese theater for
westerners and an excellent reference for students, scholars, and
enthusiasts of No drama. Captions.
A Guardian Book of the Year Maggie Nelson is one of the most electrifying writers at work in America today, among the sharpest and most supple thinkers of her generation - Olivia Laing Bluets winds its way through depression, divinity, alcohol, and desire, visiting along the way with famous blue figures, including Joni Mitchell, Billie Holiday, Yves Klein, Leonard Cohen and Andy Warhol. While its narrator sets out to construct a sort of `pillow book' about her lifelong obsession with the colour blue, she ends up facing down both the painful end of an affair and the grievous injury of a dear friend. The combination produces a raw, cerebral work devoted to the inextricability of pleasure and pain, and to the question of what role, if any, aesthetic beauty can play in times of great heartache or grief. Much like Roland Barthes's A Lover's Discourse, Bluets has passed between lovers in the ecstasy of new love, and been pressed into the hands of the heartbroken. Visceral, learned, and acutely lucid, Bluets is a slim feat of literary innovation and grace, never before published in the UK.
River-cane baskets woven by the Chitimachas of south Louisiana are universally admired for their beauty and workmanship. Recounting friendships that Chitimacha weaver Christine Paul (1874-1946) sustained with two non-Native women at different parts of her life, this book offers a rare vantage point into the lives of American Indians in the segregated South. Mary Bradford (1869-1954) and Caroline Dormon (1888-1971) were not only friends of Christine Paul; they were also patrons who helped connect Paul and other Chitimacha weavers with buyers for their work. Daniel H. Usner uses Paul's letters to Bradford and Dormon to reveal how Indian women, as mediators between their own communities and surrounding outsiders, often drew on accumulated authority and experience in multicultural negotiation to forge new relationships with non-Indian women. Bradford's initial interest in Paul was philanthropic, while Dormon's was anthropological. Both certainly admired the artistry of Chitimacha baskets. For her part, Paul saw in Bradford and Dormon opportunities to promote her basketry tradition and expand a network of outsiders sympathetic to her tribe's vulnerability on many fronts. As Usner explores these friendships, he touches on a range of factors that may have shaped them, including class differences, racial attitudes, and shared ideals of womanhood. The result is an engaging story of American Indian livelihood, identity, and self-determination.
Oscar night -- the world's most glamorous evening -- and a billion television viewers tune in to watch. With stars dressing for impact, the Academy Awards has become the world's grandest fashion show. Star Style at the Academy Awards showcases the stars and styles that have become legends since the inception of the Awards. In 150 gorgeous photos, Patty Fox, author of best-selling Star Style, features Audrey Hepburn, Gwyneth Paltrow, Elizabeth Taylor, Helen Hunt, Grace Kelly, Cher, Salma Hayek and many more. Plus, the never-before-published photo of Marilyn Monroe at her only Oscar appearance.
Bold, inventive and highly graphic, the indigenous art of the Northwest Coast is distinguished by its sophistication and complexity. It is also composed of basically simple elements, which, guided by a rich mythology, create images of striking power. This indispensable and beautifully illustrated book is the first to introduce everyone, from the casual observer to the serious collector of Northwest Coast prints, to the forms, cultural background and structures of this highly imaginative art. The elements of style are introduced; the myths and legends which shape the motifs are interpreted; the stylistic differences between the major cultural groupings are defined and illustrated. Raven, Thunderbird, Killer Whale, Bear: all the traditional forms are here, deftly analyzed by a professional writer and artist who has a deep understanding of this powerful culture.
Unprecedented in scope, this beautiful book offers an authoritative examination of the modern history of the Caribbean through its artistic culture. Featuring 500 colour illustrations of artworks from the late 18th through the 21st century, the book explores modern and contemporary art, ranging from the Haitian revolution to the present. Acknowledging both the individuality of each island, the richness of the coastal regions, and the reach of the Diaspora, Caribbean looks at the vital visual and cultural links that exist among these diverse constituencies. The authors examine how the Caribbean has been imagined and pictured, and the role of art in the development of national identity. Essays by leading scholars cover such topics as the interconnections between Caribbean artistic production to its colonial contexts; between various generations of artists; and between the so-called high and low arts and religion, music and carnival celebrations. Primary source documents crucial to understanding the region provide an important complement. Edited by Deborah Cullen and Elvis Fuentes, and featuring essays by Katherine Manthorne, Mari Carmen Ramirez, Lowery Stokes Sims, and Edward J. Sullivan, among many others, this book will serve as the definitive volume on Caribbean visual culture for many decades to come.
The uniqueness of Japanese culture rests on the fact that, throughout its history, Japan has continually taken, adapted, and transformed diverse influences whether from Korea, China, and the South Seas, or Europe and America into distinct traditions of its own. This book, an authoritative and provocative survey of the arts of Japan from the prehistoric period to the present, brings together the results of the most recent research on the subject. In this expanded and updated edition, a new chapter explores Japanese art from the 1980s to the new millennium. Profusely illustrated with examples from a range of arts as well as an extensive bibliography, Japanese Art is a concise, thought-provoking overview of a fascinating culture."
This stunning collection of 284 rare designs is a bonanza for
artists and craftspeople seeking distinctive patterns with a South
American Indian flavor. The carefully adapted, authentic motifs
include animal and totemic designs, geometric and rectilinear
figures, abstracts, grids, and many other styles in a wide range of
shapes and sizes.
Innovative artists in 1960s Japan who made art in the "wilderness"-away from Tokyo, outside traditional norms, and with little institutional support-with global resonances. 1960s Japan was one of the world's major frontiers of vanguard art. As Japanese artists developed diverse practices parallel to, and sometimes antecedent to, their Western counterparts, they found themselves in a new reality of "international contemporaneity" (kokusaiteki dojisei). In this book Reiko Tomii examines three key figures in Japanese art of the 1960s who made radical and inventive art in the "wilderness"-away from Tokyo, outside traditional norms, and with little institutional support. These practitioners are the conceptualist Matsuzawa Yutaka, known for the principle of "vanishing of matter" and the practice of "meditative visualization" (kannen); The Play, a collective of "Happeners"; and the local collective GUN (Group Ultra Niigata). The innovative work of these artists included a visionary exhibition in Central Japan of "formless emissions" organized by Matsuzwa; the launching of a huge fiberglass egg-"an image of liberation"-from the southernmost tip of Japan's main island by The Play; and gorgeous color field abstractions painted by GUN on accumulating snow on the riverbeds of the Shinano River. Pioneers in conceptualism, performance art, land art, mail art, and political art, these artists delved into the local and achieved global relevance. Making "connections" and finding "resonances" between these three practitioners and artists elsewhere, Tomii links their local practices to the global narrative and illuminates the fundamentally "similar yet dissimilar" characteristics of their work. In her reading, Japan becomes a paradigmatic site of world art history, on the periphery but asserting its place through hard-won international contemporaneity.
Kulango Figurines is designed to introduce various miniature works created by the Kulango in northeastern Cote d'Ivoire, who were formerly vassals of the two kingdoms that inhabited the country (Bouna and Gyaman). Their extraordinarily varied art, which can be both intriguing and disconcerting, is relatively unknown. Their metal sculptures in particular display a strikingly free expressiveness, breaking as they do with the iconographic codes that govern their works in wood. Doing away with immobile remoteness, bodies seem to reinvent movement, sometimes adopting almost choreographic gestures, an airy grace, sinuous lines. Or, in trembling tension, some display unexpected twists and provocative curves, while others stretch out impossibly or offer a chance for virtuoso foreshortening and stylised bodies. Still others are even stranger, like Siamese twins, inseparable triplets, headless figures or figures with one head on two torsos, with one leg or four, webbed feet, outsize arms and hooped bodies. Who are these enigmatic beings whose bulging eyes peer at the invisible? Is the sculpture confined to just these specimens? The range of styles is simply astonishing, the forms beyond imagination. The collection includes over 100 figurines, none of which is over 10cm tall: pendants, amulets, fortune tellers' statuettes or weights for gold. Introduced into our world through the metamorphosis of photography, transfigured by lighting and framing effects, these resurrected works have been revitalised, like apparitions from another world. Text in English and French.
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