Performing the jumbled city is a complex artefact beyond its own materiality. Linked to a dedicated website hosting additional audio-visual materials, the book acts as a connecting device allowing an exchange between texts, audio-visual materials, and original artworks, situating it in the emerging field of multi-modal ethnography. From this stance, and as an edited collection co-authored with urban indigenous artists and activists, it interrogates the ways in which knowledge is built and shared. The book is constructed as a particular kind of edited collection, shifting between different authorships. The resulting interaction between individual and collective essays draws together scholars' and activists' perspectives in a rich exchange between textual, visual and dramatic sections, for the book is organised around the original script of the site-specific performance Santiago Waria, and the related exhibition MapsUrbe. Making a claim for creation, rather than recuperation, the essays contained in the book put forward alternative imaginations that disrupt the social and material landscape of the (post)colonial city, defying the spatialities usually assigned to colonised bodies and subjects. As such, and actively engaging with current debates through collective writing by indigenous people raising questions in terms of decolonisation, the book stands as both an academic and a political project, interrogating the relationship between activism and academia, and issues of representation, authorship, and knowledge production. -- .

Modern English translations of several of the most important essays of Winckelmann, one of the fathers of art history and archaeology and a strong influence on Goethe and Schiller and Weimar Classicism. Johann Joachim Winckelmann (1717-68) has long been recognized as one of the founders of modern art history and a major force in the development of archaeology and the study of ancient Greek architecture. He also exerted an influence on the Weimar Classicism of Goethe and Schiller, for whom his description of Greek sculpture as evoking "edle Einfalt und stille Groesse" (noble simplicity and a calm greatness) became a watchword. He contributed to modern scientific archaeology through his application of empirically derived categories of style to the analysis of classical works of art and architecture, and was one of the first to undertake detailed empirical examinations of artifacts and describe them precisely in a way that enabled reasoned conclusions to be drawn about ancient societies and their cultures. Yet several of his important essays are not available in modern English translation. The present volume remedies this situation by collecting four of Winckelmann's most seminal essays on art along with several shorter pieces on the topic, two major if brief essays on architecture, and one longer essay on archaeology. Paired with thisis an introduction covering Winckelmann's life and work. David Carter is retired as Professor of Communicative English at Yonsei University, Seoul, Korea, and is former Lecturer in German Studies at the University of Southampton, UK. Among his recently published translations from German are Klaus Mann's novel Alexander (2008) and On Cocaine (2011), a collection of Sigmund Freud's writings on the topic.

This book is an ethnographic study of the travelling art exhibition Indian Highway that presented Indian contemporary art in Europe and China between 2008 and 2012, a significant period for the art world that saw the rise and fall of the national exhibition format. It analyses art exhibition as a mobile "object" and promotes the idea of art as a transcultural product by using participant observation, in-depth interviews, and multi-media studies as research method. This work encompasses voices of curators, artists, audiences, and art critics spread over different cities, sites, and art institutions to bridge the distance between Europe and India based on vignettes along the Indian Highway. The discussion in the book focuses on power relations, the contested politics of representation, and dissonances and processes of negotiation in the field of global art. It also argues for rethinking analytical categories in anthropology to identify the social role of contemporary art practices in different cultural contexts and also examines urban art and the way national or cultural values are reinterpreted in response to ideas of difference and pluralism. Rich in empirical data, this book will be useful to scholars and researchers of modern and contemporary art, Indian art, art and visual culture, anthropology, art history, mobility, and transcultural studies.

Few contemporary artists before the 1990s explored the negative impact of the Spanish in the Southwest, but unreflective celebrations of the Columbus Quincentennial brought about portrayals of a more complicated legacy of Columbus's arrival in the Americas--especially by Indigenous artists. Through a series of etchings, Floyd Solomon of Laguna and Zuni heritage undertook a visual recounting of Pueblo history using Indigenous knowledge positioned to reimagine a history that is known largely from non-Native records. While Solomon originally envisioned more than forty etchings, he ultimately completed just twenty. From nightmarish visions of the Spanish that preceded their arrival to the subsequent return of the Spanish and their continuing effects on the Pueblo people, Solomon provides a powerful visual record. These insightful, probing etchings are included in this important full-color volume showcasing Solomon's work and legacy. In Reimagining History from an Indigenous Perspective, Joyce M. Szabo positions Solomon among his contemporaries, making this vibrant artist and his remarkable vision broadly available to audiences both familiar with his work and those seeing it for the first time.

The British School of Sculpture, c. 1760-1832 represents the first edited collection exploring one of the most significant moments in British art history, returning to centre stage a wide range of sculpture considered for the first time by some of the most important scholars in the field. Following a historical and historiographical introduction by the editors, situating British sculpture in relation to key events and developments in the period, and the broader scholarship on British art more generally in the period and beyond, the book contains nine wide-ranging case studies that consider the place of antique and modern sculpture in British country houses in the period, monuments to heroes of commerce and the Napoleonic Wars, the key debates fought around ideal sculpture at the Royal Academy, the reception of British sculpture across Europe, the reception of Hindu sculpture deriving from India in Britain, and the relationship of sculpture to emerging industrial markets, both at home and abroad. Challenging characterisations of the period as 'neoclassical', the volume reveals British sculpture to be a much more eclectic and various field of endeavour, both in service of the state and challenging it, and open to sources ranging from the newly arrived Parthenon Frieze to contemporary print culture.

For anyone who wants their children to understand and love the art of Africa, Asia, Oceania and the Americas, this guide has questions and answers about thirty amazing objects. Anticipating how children will react to artifacts ranging from a Congolese mask or a Sioux warrior's tunic to a Javanese puppet or an Easter Island Moai, each section begins with very simple observations - 'This face doesn't look very African!' - and moves on to more complex questions such as 'What do the decorations on the forehead and temples represent?', 'Does white mean something special in Africa?'. Written in everyday language for people with no art expertise or teaching experience, the book includes maps, colour coding and thumbnail images to help you see where each featured work of art comes from. The explanations also include guidance on what's most appropriate for what age, from four to fourteen. There are invaluable tips for planning a visit to a museum and a thorough discussion of modern western perceptions of world art and the tricky terminology associated with the subject.

These fine-quality tear-out wrapping sheets feature six whimsical watercolor patterns, suitable for craft projects as well as for gift wrapping. An introduction details the history and meaning behind the designs and provides some wrapping inspiration Tuttle Gift Wrapping Papers are an excellent value--a fraction of the price of a single sheet of gift wrap paper from stationery shops Each sheet is removable by tearing along a perforated line There are six sheets with six different patterns in each book

'Even a seasoned art history buff will find new things to discover in this book.' - Hyperallergic 'Fascinating facts and illuminating anecdotes.' - The Art Newspaper The perfect miscellany for every art lover - an essential and engaging collection of facts, figures, and findings about art, artists, and the art world, past and present This extraordinary compendium of compelling facts, figures, and findings gathers and distils obscure and fascinating information about art, artists, and the art world. Fun, surprising, and compelling, in this covetable book you will learn: - which artist's work is stolen most often (Picasso) - names of artists' pets: Fat Fat & Cous-Cous (Louise Nevelson's cats), Giotto and Goya (John Baldessari's dogs) - artist couples (Nancy Rubins and Chris Burden; Niki de Saint Phalle and Jean Tinguely; Dorothea Tanning and Max Ernst) - things artists collect: prosthetic arms and legs (Sophie Calle), glass eyes (Hiroshi Sugimoto) - odd jobs and side hustles: telephone marketer (Tomma Abts), crop duster (James Turrell) - artists who were rejected from art school (Francisco Goya, Auguste Rodin) ... and hundreds of other miscellaneous details. Thoughtfully and thoroughly researched, this intriguing book offers refreshing and surprising perspectives on the world of art. The five page-turning chapters cover: - Artists - Art School - Art Studio - Art Museum - Art World

Indian art, increasingly popular in the west, cannot be fully appreciated without some knowledge of the religious and philosophical background. This book, first published in 1985, covers all aspects of Hindu iconography, and explains that its roots lie far back in the style of prehistoric art. The dictionary demonstrates the rich profusion of cults, divinities, symbols, sects and philosophical views encompassed by the Hindu religious tradition.

Drawing Imagining Building focuses on the history of hand-drawing practices to capture some of the most crucial and overlooked parts of the process. Using 80 black and white images to illustrate the examples, it examines architectural drawing practices to elucidate the ways drawing advances the architect's imagination. Emmons considers drawing practices in the Renaissance and up to the first half of the twentieth century. Combining systematic analysis across time with historical explication presents the development of hand-drawing, while also grounding early modern practices in their historical milieu. Each of the illustrated chapters considers formative aspects of architectural drawing practice, such as upright elevations, flowing lines and occult lines, and drawing scales to identify their roots in an embodied approach to show how hand-drawing contributes to the architect's productive imagination. By documenting some of the ways of thinking through practices of architectural handdrawing, it describes how practices can enrich the ethical imagination of the architect. This book would be beneficial for academics, practitioners, and students of architecture, particularly those who are interested in the history and significance of hand-drawing and technical drawing.

This book provides a comprehensive assessment of Dürer’s depictions of human diversity, focusing particularly on his depictions of figures from outside his Western European milieu. Heather Madar contextualizes those depictions within their broader artistic and historical context and assesses them in light of current theories about early modern concepts of cultural, ethnic, religious and racial diversity. The book also explores Dürer’s connections with contemporaries, his later legacy with respect to his imagery of the other and the broader significance of Nuremberg to early modern engagements with the world beyond Europe. The book will be of interest to scholars working in art history, Renaissance studies and Renaissance history.

Indigenous museums and cultural centres have sprung up across the developing world, and particularly in the Southwest Pacific. They derive from a number of motives, ranging from the commercial to the cultural political (and many combine both). A close study of this phenomenon is not only valuable for museological practice but, as has been argued, it may challenge our current bedrock assumptions about the very nature and purpose of the museum. This book looks to the future of museum practice through examining how museums have evolved particularly in the non-western world to incorporate the present and the future in the display of culture. Of particular concern is the uses to which historic records are put in the service of community development and cultural renaissance.

The development of complex cultural behaviour in our own species is perhaps the most significant research issue in modern archaeology. Until recently, it was believed that our capacity for language and art only developed after some of our ancestors reached Europe around 40,000 years ago. Archaeological discoveries in Africa now show that modern humans were practicing symbolic behaviours prior to their dispersal from that continent, and more recent discoveries in Indonesia and Australia are once again challenging ideas about human cultural development. Despite these significant discoveries and exciting potentials, there is a curious absence of published information about Asia-Pacific region, and consequently, global narratives of our most celebrated cognitive accomplishment - art - has consistently underrepresented the contribution of Southeast Asia, Australia, and the Pacific Islands. This volume provides the first outline of what this region has to offer to the world of art in archaeology. Readers undertaking tertiary archaeology courses interested in the art of the Asia-Pacific region or human behavioural evolution, along with anyone who is fascinated by the development of our modern ability to decorate ourselves and our world, should find this book a good addition to their library.

Portraits of Queen Marie Leszczinska (1703-1768) were highly visible in eighteenth-century France. Appearing in royal chateaux and, after 1737, in the Parisian Salons, the queen's image was central to the visual construction of the monarchy. Her earliest portraits negotiated aspects of her ethnic difference, French gender norms, and royal rank to craft an image of an appropriate consort to the king. Later portraits by Maurice-Quentin de La Tour, Carle Van Loo, and Jean-Marc Nattier contributed to changing notions of queenship over the course of her 43 year tenure. Whether as royal wife, devout consort, or devoted mother, Marie Leszczinska's image mattered. While she has often been seen as a weak consort, this study argues that queenly images were powerful and even necessary for Louis XV's projection of authority. This is the first study dedicated to analyzing the queen's portraits. It engages feminist theory while setting the queen's image in the context of portraiture in France, courtly factional conflict, and the history of the French monarchy. While this investigation is historically specific, it raises the larger problem of the power of women's images versus the empowerment of women, a challenge that continues to plague the representation of political women today.

The author contrasts primitive & naive painting through the life & work of 2 of Cornwall's distinctive artists. The survey concludes with brief profiles of a dozen other artists whose individual visions have enriched the life of this celebrated artist's c

Wide-ranging and timely, The Practice of Public Art brings together practicing artists, curators, activists, art writers, administrators, city planners, and educators from the United Kingdom and United States to offer differing perspectives on the many facets of the public art process. The Practice of Public Art examines the continual evolution of public art, from monuments and memorials to socially engaged public art practice. Topics include constructing new models for developing and commissioning public art works, understanding the challenges of public art vs. public design, and unraveling the relationships between public artists and the communities they serve. The Practice of Public Art offers a diverse perspective on the complex nature of public art in the twenty-first century.

"This is the most comprehensive and insightful study on this topic in any language and the first written in English. In addition to its scholarly value, Professor Pan's book opens a window to a picturesque poetic world for Western readers who are interested in Chinese poetry and painting." - Zu-yan Chen, Professor of Chinese Literature, Binghamton University "In this book, Professor Pan provides a rare treat for the English-language reader with valuable information regarding this hitherto under-represented subject. He lucidly traces the development of this border-crossing genre from its prototype works to its maturity in the Tang Dynasty (618-907) and the subsequent expansion in late imperial China. He illustrates the tihuashi poetics of the master bard Du Fu (712-770) and that of the virtuoso poet-artist-philosopher Su Shi (1037-1101). Most remarkable of his contribution is the generous number of faithfully translated poems, all with great clarity and elegance. This book will help the reader better understand the relationship between Chinese painting, calligraphy and poetry, the interartistic, intertextual, and interdisciplinary characteristics of tihuashi, the cultural milieu of its creation, and its intellectual significance to the Chinese literati community." - Madeline Chu, Professor of Chinese Language & Literature, Kalamazoo College "A special value I find in this book lies in its bilingual texts of Chinese tihuashi poems, which will not only benefit scholars and students of classical Chinese poetry but also exemplify Professor Pan's insights on classical Chinese poetic language and the art of translating this language into contemporary English." - John S. Rohsenow, Professor Emeritus, The University of Illinois at Chicago

This interdisciplinary collection of essays brings together scholars in the fields of art history, theatre, visual culture, and literature to explore intersections between the European avant-garde (c. 1880–1945) and themes of health and hygiene, such as illness, contagion, cleanliness, and contamination. Examining the artistic oeuvres of some of the canonical names of modern art – including Edgar Degas, Edvard Munch, Pablo Picasso, George Orwell, Marcel Duchamp, and Antonin Artaud – this book investigates instances where the heightened political, social, and cultural currencies embedded within issues of hygiene and contagion have been mobilised, and subversively exploited, to fuel the critical strategy at play. This edited volume promotes an interdisciplinary and socio-historically contextualised understanding of the criticality of the avant-garde gesture and cultivates scholarship that moves beyond the limits of traditional academic subjects to produce innovative and thought-provoking connections and interrelations across various fields. The book will be of interest to scholars working in art history, literature, theatre, cultural studies, modern history, medical humanities, and visual culture.

Mount Fuji has long been a centerpiece of Japanese cultural imagination, and nothing captures this with more virtuosity than the landmark woodblock print series Thirty-six Views of Mount Fuji by Katsushika Hokusai (1760-1849). The renowned printmaker documents 19th-century Japan with exceptional artistry and adoration, celebrating its countryside, cities, people, and serene natural beauty. Produced at the peak of Hokusai's artistic ambition, the series is a quintessential work of ukiyo-e that earned the artist world-wide recognition as a leading master of his craft. The prints illustrate Hokusai's own obsession with Mount Fuji as well as the flourishing domestic tourism of the late Edo period. Just as the mountain was a cherished view for travelers heading to the capital Edo (now Tokyo) along the Tokaido road, Mount Fuji is the infallible backdrop to each of the series' unique scenes. Hokusai captures the distinctive landscape and provincial charm of each setting with a vivid palette and exquisite detail. Including the iconic Under the Great Wave off Kanagawa (also The Great Wave), this widely celebrated series is a treasure of international art history. Among only a few complete reprints of the series, this XXL edition pays homage to Hokusai's striking colors and compositions with unprecedented care and magnitude. Bound in the Japanese tradition with uncut paper, Thirty-six Views of Mount Fuji presents the original 36 plates plus the additional 10 later added by the artist. The perfect companion piece to TASCHEN's One Hundred Views of Edo and The Sixty-Nine Stations along the Kisokaido, this publication paints an enchanting picture of pre-industrial Japan and is itself a stunning monument to the art of woodblock printing.

These fine-quality tear-out wrapping sheets feature twelve traditional Indonesian prints, suitable for craft projects as well as for gift wrapping. An introduction details the history and meaning of the Batik designs and provides some wrapping inspiration Tuttle Gift Wrapping Papers are an excellent value--a fraction of the price of a single sheet of gift wrap paper from stationery shops Each sheet is removable by tearing along a perforated line There are twelve sheets with twelve different patterns in each book

The delightful arts of American Indian tribes in the Southwest are occasionally made in miniature by especially talented artists who dare to work in tiny scale. This book presents, for the first time, a wide array of these miniatures of al the major craft styles of the region. Shown through hundreds of all color photographs, the miniature arts are arranged in sections devoted to beadwork, rattles, sandpaintings, weavings, basketry, Kachinas, paintings, and pottery. The weavings section includes geometric and pictorial styles from each of the regional areas, while the basketry and pottery sections have all the major style areas represented. Wherever possible, the artists and their regions are identified. This collection of truly appealing tiny art works will be enjoyed for many years to come.