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In spring of 1960, Japan's government passed Anpo, a revision of the postwar treaty that allows the United States to maintain a military presence in Japan. This move triggered the largest popular backlash in the nation's modern history. These protests, Nick Kapur argues in Japan at the Crossroads, changed the evolution of Japan's politics and culture, along with its global role. The yearlong protests of 1960 reached a climax in June, when thousands of activists stormed Japan's National Legislature, precipitating a battle with police and yakuza thugs. Hundreds were injured and a young woman was killed. With the nation's cohesion at stake, the Japanese government acted quickly to quell tensions and limit the recurrence of violent demonstrations. A visit by President Eisenhower was canceled and the Japanese prime minister resigned. But the rupture had long-lasting consequences that went far beyond politics and diplomacy. Kapur traces the currents of reaction and revolution that propelled Japanese democracy, labor relations, social movements, the arts, and literature in complex, often contradictory directions. His analysis helps resolve Japan's essential paradox as a nation that is both innovative and regressive, flexible and resistant, wildly imaginative yet simultaneously wedded to tradition. As Kapur makes clear, the rest of the world cannot understand contemporary Japan and the distinct impression it has made on global politics, economics, and culture without appreciating the critical role of the "revolutionless" revolution of 1960-turbulent events that released long-buried liberal tensions while bolstering Japan's conservative status quo.
This book documents the current revival and basketry from its leading practitioners, including basketmakers from the Hupa, Yurok, Karuk, Tolowa, Western Mono (Monache) of northern California; and the Great Basin tribes, including the Western Shoshone, Northern Paiute, Washoe, and Chemehuevi.
The Mogao grottoes in northwestern China, located near the town of Dunhuang on the fabled Silk Road, constitute one of the world's most significant sites of Buddhist art. In some five hundred caves carved into rock cliffs at the edge of the Gobi desert are preserved one thousand years of exquisite wall paintings and sculpture. Founded by Buddhist monks in the late fourth century, Mogao grew into an artistic and spiritual center whose renown extended from the Chinese capital to the far western kingdoms of the Silk Road. Among its treasures are 45,000 square meters of murals, more than 2,000 statues, and some 50,000 medieval silk paintings and illustrated manuscripts. This sumptuous catalogue accompanies an eponymous exhibition which will run from May 7 through September 4, 2016 at the Getty Center. Organized by the Getty Conservation Institute, Getty Research Institute, Dunhuang Academy, and Dunhuang Foundation, the exhibition celebrates decades-long collaboration between the GCI and the Dunhuang Academy to conserve this UNESCO World Heritage Site.It presents, for the first time in North America, a collection of objects from the so- called Library Cave, including illustrated sutras, prayer books, and other exquisite treasures, as well as three full-scale, hand- painted replica caves. This volume includes essays by leading scholars, an illustrated portfolio on the replica caves, and comprehensive entries on all objects in the exhibition.
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."
"Probing, jargon-free and written with the pace of a detective story... [Procter] dissects western museum culture with such forensic fury that it might be difficult for the reader ever to view those institutions in the same way again. " Financial Times 'A smart, accessible and brilliantly structured work that encourages readers to go beyond the grand architecture of cultural institutions and see the problematic colonial histories behind them.' - Sumaya Kassim Should museums be made to give back their marbles? Is it even possible to 'decolonize' our galleries? Must Rhodes fall? How to deal with the colonial history of art in museums and monuments in the public realm is a thorny issue that we are only just beginning to address. Alice Procter, creator of the Uncomfortable Art Tours, provides a manual for deconstructing everything you thought you knew about art history and tells the stories that have been left out of the canon. The book is divided into four chronological sections, named after four different kinds of art space: The Palace, The Classroom, The Memorial and The Playground. Each section tackles the fascinating, enlightening and often shocking stories of a selection of art pieces, including the propaganda painting the East India Company used to justify its rule in India; the tattooed Maori skulls collected as 'art objects' by Europeans; and works by contemporary artists who are taking on colonial history in their work and activism today. The Whole Picture is a much-needed provocation to look more critically at the accepted narratives about art, and rethink and disrupt the way we interact with the museums and galleries that display it.
Chinese brush painting uses minimal strokes to describe the essence
of a subject and capture its rhythm and grace. This beautiful book
contains 200 exquisite motifs to re-create, from flowers and fruits
to wildlife and scenery.
Unicorns horns, mermaids skeletons, stuffed and preserved animals and plants, work in precious metals, clocks, scientific instruments, celestial globes . . . all knowledge, the whole cosmos arranged on shelves. Such were the cabinets of curiosities of the seventeenth century, the last period of history when man could aspire to know everything. Who were the collectors? They were archdukes and kings the Emperor Rudolf II was the prince of all collectors rich merchants and scholars, and their collections ranged from a single crowded room to whole palatial suites. Patrick Mauries traces the amazing history of these rooms of wonders in this ingeniously erudite survey. Not many of the rooms survive, though there are pictorial records, but their contents still exist and are among the treasures of museums all over the world.
This retrospective of Jims skateboard art bombards the reader with colorful decks, logos, ad art, ad layouts, photos, and stickers to illustrate the history of skateboarding, from the urethane revolution to the present. Take a ride with an inside view of Phillips Studios, to observe the wacky world of his crazed studio artists and examine their graphic assignments. The story traces the roots of skateboarding with more than half a century of Phillips involvement. It provides insight to the creative evolution of the sport, and worldwide interest in and influence from this California artist.
The book includes useful case studies of the world s rock art management and preservation. Through practical comparisons among the world s petroglyph sites such as those in France, Portugal, Russia &c., readers are able to recognize the issues of preservation that they all share. Nine experts specializing in rock art conservation and the management of cultural heritage sites have contributed articles to this book.
Contemporary Jewish art is a growing field that includes traditional as well as new creative practices, yet criticism of it is almost exclusively reliant on the Second Commandment's prohibition of graven images. Arguing that this disregards the corpus of Jewish thought and a century of criticism and interpretation, Ben Schachter advocates instead a new approach focused on action and process. Departing from the traditional interpretation of the Second Commandment, Schachter addresses abstraction, conceptual art, performance art, and other styles that do not rely on imagery for meaning. He examines Jewish art through the concept of melachot-work-like "creative activities" as defined by the medieval Jewish philosopher Maimonides. Showing the similarity between art and melachot in the active processes of contemporary Jewish artists such as Ruth Weisberg, Allan Wexler, Archie Rand, and Nechama Golan, he explores the relationship between these artists' methods and Judaism's demanding attention to procedure. A compellingly written challenge to traditionalism, Image, Action, and Idea in Contemporary Jewish Art makes a well-argued case for artistic production, interpretation, and criticism that revels in the dual foundation of Judaism and art history.
A bookplate, or Ex Libris, is a small print for pasting inside the cover of a book to express ownership. The first books were highly valuable and prestigious objects to own, hence the first bookplates usually incorporated the decorative coats of arms of the fabulously wealthy. By the late nineteenth century, bookplates had developed into a highly imaginative form of the engraver's and printmaker's art in miniature. This delightful book showcases bookplates drawn from the rich collections of the British Museum, including works created by some of the most talented artists of their day, such as Albrecht Du rer, Edward Burne-Jones, Aubrey Beardsley and Eric Gill. Equally it shows how the content of bookplates has evolved over the years to feature a vast range of allegory and symbolism - often incorporating a pun on the owner's name - uniquely relevant to that individual. For example, the bookplate for a professor of Sanskrit features Hindu imagery, while a Venetian publisher is associated with a lion, the symbol of his city. Endlessly diverse, surprising and touching, this is a book that will be treasured by art-lovers and book-lovers alike.
The art world is on the move. As part of a critical reassessment of European-American art in an international context, many previously marginalised showplaces have been gaining the attention they are due - including the Nepalese capital, Kathmandu. In a large arc from modernism to the vibrant most recent present, the Weltmuseum in Vienna honoured the outstanding art of Nepal. The exhibition showed how local and global cultures continuously pervade one another and, simultaneously, how Nepalese artists give expression to their own identity.
A magnificent survey of the rich and varied arts in Latin America from 1492 to the end of the colonial era Essays by Gauvin Alexander Bailey, Clara Bargellini, Dilys E. Blum, Elizabeth Hill Boone, Marcus Burke, Mitchell A. Codding, Thomas B. F. Cummins, Cristina Esteras Martin, M. Concepcion Garcia Saiz, Ilona Katzew, Adrian Locke, Gridley McKim-Smith, Alfonso Ortiz Crespo, Jorge F. Rivas P., Nuno Senos, Edward J. Sullivan, and Marjorie Trusted. By the end of the 16th century, Europe, Africa, and Asia were connected to North and South America via a vast network of complex trade routes. This led, in turn, to dynamic cultural exchanges between these continents and a proliferation of diverse art forms in Latin America. This monumental book transcends geographic boundaries and explores the history of the confluence of styles, materials, and techniques among Europe, Africa, Asia, and the Americas through the end of the colonial era--a period marked by the independence movements, the formation of national states, and the rise of academic art. Written by distinguished international scholars, essays cover a full range of topics, including city planning, iconography in painting and sculpture, East-West connections, the power of images, and the role of the artist. Beautifully illustrated with over 450 works-many published for the first time-this book presents a spectacular selection of decorative arts, textiles, silver, sculpture, painting, and furniture. Scholarly entries on some three hundred works highlight the various cultural influences and differences throughout this vast region. This groundbreaking book also includes an illustrated chronology, informative maps, and an exhaustive bibliography and is sure to set a new standard in the field of Latin American studies.
This lushly illustrated book examines the cross-cultural influences and unique artistic dialogue between Hispano and Native American arts in the Southwest over the past 400 years since Spanish colonization. Insightful essays by historians, artists, and scholars including Estevan Rael-Galvez, Lane Coulter, Enrique R. Lamadrid, Marc Simmons, and others, explore the impact of cultural interaction on various art forms including painting, sculpture, metalwork, textiles, architecture, furniture and performance and ceremonial arts. Over 150 art works and photographs gathered from museums across the country are testimony to the unique Southwestern aesthetic that developed from this dynamic cultural exchange. Published as companion to an exhibition at the Museum of Spanish Colonial Art in Santa Fe, New Mexico on display through September 30, 2010.
Praise for the companion title "Encyclopedia of Native Tribes of
North America" by Michael Johnson:
"Arts and Crafts of the Native American Tribes" is an authoritative illustrated reference that has been carefully created to be a companion to "Encyclopedia of Native Tribes of North America," not a competitive title. It examines in detail how Native American culture evolved and considers the regional similarities and differences of the arts and crafts created by tribes across the continent. Contemporary and modern photographs, fine line illustrations and step-by-step reconstructions (including a Plains Indian warrior dress with headdress, war bonnet, shirt and leggings) show the techniques of manufacture and display the skill and artistry of the crafters.
The book opens with concise coverage of the main cultural areas of North America and a survey of styles by region and over time. A major section on the living structures -- huts, tipis, igloos, etc. -- is followed by an analysis of individual crafts. These include: Baskets -- plaiting, twining, coiling Bone, antler and horn -- implements, tools, pins, fishhooks Decorative arts -- beadwork, porcupine quillwork Featherwork -- bonnets and headdresses Metalwork -- copper, silver, iron, gold Pottery Shellwork Skinwork -- rawhide, leather, furs Stonework -- arrowheads, pipes, art Textiles -- spinning, weaving Woodwork -- totems, figures, masks, utensils, working with bark.
"Arts and Crafts of the Native American Tribes" is destined to be a primary reference used by ethnographers, historians and collectors for years to come. It is essential for any library serving academic patrons.
Japanese woodblock prints of the Edo period (1615-1868) were the products of a highly commercialised and competitive publishing industry. Their content was inspired by the vibrant popular culture that flourished in Edo (Tokyo). At any given time scores of publishers competed for the services of the leading artists of the day. Publishers and artists displayed tremendous ingenuity in finding ways to sustain demand for prints and to to circumvent the restrictions placed upon them by government censorship. Japanese woodblock prints have long been appreciated in the West for their graphic qualities but their content has not always been fully understood. In recent years, publications by scholars in Japan, Europe and the United States have made possible a more subtle appreciation of the imagery encountered in them. This book draws upon this recent scholarship to explain how those who first purchased these prints would have read them. Through stunning new photography of both well-known and rarely published works in the collection of the British Museum, including many recent acquisitions, the author explores how and why such prints were made, providing a fascinating introduction to a much-loved but little-understood art form.
Art lovers well know the works of the different groups of peoples generally referred to as 'Guro' who live in the centre of the Ivory Coast. Close to the Wan, Baule, Yaure, and Bete, the Guro have maintained close contacts with their neighbours, and reciprocal influences are apparent in their various artistic creations. Masks have a particular importance that goes well beyond the value attributed to them for their aesthetic qualities on the art market. These objects might even be considered emblematic, having till now allowed those who have defined themselves as Guro to lay claim to this identity. Whereas the French colonisation largely weakened the prestige of those men whose power resulted from their hunting and war activities, the continuation of complex rituals that entailed the use of masks allowed the men to preserve a form of political and religious control. By diversifying the categories of masks between, on one hand, those that receive blood sacrifices to honour spiritual entities, and those, on the other hand, made more for entertainments given at funerals, political demonstrations, and tourist events, the Guro have reinvented, regalvanised, and readapted perfectly integrated rituals to a contemporary society in permanent change.
This book contains more than 350 masterworks of artists such as Hiroshite, Utamaro, Harunobu, Eisen, and Hokusai, all from the collections of the Victoria & Albert Museum.
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.
On the southern end of the Grand Rue, a major thoroughfare that runs through the center of Port-au-Prince, waits the Haitian capital's automobile repair district. This veritable junkyard of steel and rubber, recycled parts, old tires, and scrap metal might seem an unlikely foundry for art. Yet, on the street's opposite end thrives the Grand Rue Galerie, a working studio of assembled art and sculptures wrought from the refuse. Established by artists Andre Eugene and Jean Herard Celeur in the late 1990s, the Grand Rue's urban environmental aesthetics-defined by motifs of machinic urbanism, Vodou bricolage, the postprimitivist altermodern, and performative politics--radically challenge ideas about consumption, waste, and environmental hazards, as well as consider innovative solutions to these problems in the midst of poverty, insufficient social welfare, lack of access to arts, education, and basic needs. In Riding with Death, Jana Evans Braziel explores the urban environmental aesthetics of the Grand Rue sculptors and the beautifully constructed sculptures they have designed from salvaged automobile parts, rubber tires, carved wood, and other recycled materials. Through first-person accounts and fieldwork, Braziel constructs an urban ecological framework for understanding these sculptures amid environmental degradation and grinding poverty. Above all, Braziel presents Haitian artists who live on the most challenged Caribbean island, yet who thrive as creators reinventing refuse as art and resisting the abjection of their circumstances.
Hiroshige (1797-1858), Japanese painter and printmaker, is known especially for his landscape prints. The last great figure of the popular ukiyo-e school of printmaking, he transmuted everyday landscapes into intimate, lyrical scenes. With Hokusai, Hiroshige dominated the popular art of Japan in the first half of the nineteenth century. He captured, in a poetic, gentle way that all could understand, the ordinary person's experience of the Japanese landscape, as well as the varied moods of memorable places at different times. His total output was immense, some 5400 prints in all. Ukiyo-e publishing was not a cultural institution subsidized by public funds, but rather a commercial business. During his lifetime, Hiroshige was well known and commercially successful. But the Japanese society did not take too much notice of him. His real reputation started with his discovery in Europe. This beautiful book, published on the occasion of a major exhibition in Rome, examines various aspects of Hiroshige's oeuvre and reproduces in color some two hundred of his prints. The comprehensive text examines his life and achievement as well as his masterwork, and explains the particular qualities that make Hiroshige such an essential artist.
Separating Sheep from Goats investigates the history of collecting and exhibiting Chinese art through the lens of the career of renowned American curator and museum director Sherman E. Lee (1918-2008). Drawing upon artworks and archival materials, Noelle Giuffrida excavates an international society of collectors, dealers, curators, and scholars who constituted the art world in which Lee operated. From his early training in Michigan and his work in Occupied Japan as a monuments man to his acquisitions, exhibitions, and publications for museums in Detroit, Seattle, and Cleveland, this study traces how Lee shaped public and scholarly understandings of Chinese art. By examining transnational efforts to collect and present Chinese art and scrutinizing scholarly and museological discourses of the postwar era, this book contributes to the historiography of both Chinese art and American museums.
The native American face has long fascinated artists in every medium. Its strong features and deep character present a challenge and an opportunity for visual expression. In this new book, Terry Kramer offers the wood carver a method for creating realistic native American faces in wood. From layout to finish, Terry takes the carver step-by-step through the process. Each step is illustrated in full color and clearly described. A gallery of several carved faces gives the reader an idea of the variations that are possible, as well as guidelines for future carving projects.
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