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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.
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.
"Taken as a trilogy, consent not to be a single being is a monumental accomplishment: a brilliant theoretical intervention that might be best described as a powerful case for blackness as a category of analysis."-Brent Hayes Edwards, author of Epistrophies: Jazz and the Literary Imagination In Black and Blur-the first volume in his sublime and compelling trilogy consent not to be a single being-Fred Moten engages in a capacious consideration of the place and force of blackness in African diaspora arts, politics, and life. In these interrelated essays, Moten attends to entanglement, the blurring of borders, and other practices that trouble notions of self-determination and sovereignty within political and aesthetic realms. Black and Blur is marked by unlikely juxtapositions: Althusser informs analyses of rappers Pras and Ol' Dirty Bastard; Shakespeare encounters Stokely Carmichael; thinkers like Kant, Adorno, and Jose Esteban Munoz and artists and musicians including Thornton Dial and Cecil Taylor play off each other. Moten holds that blackness encompasses a range of social, aesthetic, and theoretical insurgencies that respond to a shared modernity founded upon the sociological catastrophe of the transatlantic slave trade and settler colonialism. In so doing, he unsettles normative ways of reading, hearing, and seeing, thereby reordering the senses to create new means of knowing.
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.
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.
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.
This highly regarded survey of the works of a master of Japanese printmaking is now available in a convenient and attractively priced flexi edition. Utagawa Hiroshige holds an assured place in the history of art as one of the greatest and best-loved masters of the woodblock print. His immensely popular works capture the beauty and delicacy of Japan's landscape. This superb overview of Hiroshige's oeuvre is arranged according to subject matter: prints of birds and flowers; scenes of his native city; landscapes; still-lifes; a selection from his renowned series, One Hundred Famous Views in Edo; images of mist, snow, rain, and moonlight; and drawings and other works related to the artist's prints. Matthi Forrer's thorough and insightful essays are filled with scholarly detail and fascinating observations. The book's breathtaking images allow readers to fully experience the splendor of Hiroshige's prints in all their poetry and detail.
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.
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.
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.
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.
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.
This splendidly illustrated publication features over 90 important paintings from the predominantly Hindu Rajput tradition of Indian painting, and are highlights from the Kronos Collection, one of the finest holdings of Indian art. These remarkable works-most of them published and illustrated here for the first time-were painted between the 16th and 18th centuries for the Indian royal courts in Rajastan and the Punjab Hills. Many of the paintings are characterized by their brilliant colors and vivid depictions of scenes from Hindu epics, mystical legends, and courtly life. Along with an informative entry for every work and a personal essay by expert and collector Steven M. Kossak, the book contains an extensive essay by Terence McInerney that outlines the history of Indian painting, with a special emphasis on the Rajput courts, and provides an overview of the subject with fresh insights and interpretations.
Mural Art - Studies on mural paintings in Asia is a series of 10 articles by the best scholars on murals in Afghanistan, Xinjiang (China), Tibet, Burma, Thailand and Mongolia - from the 5th to the 18th century. With issues such as preservation, digital reconstruction of lost murals, redating through the study of regional influences, iconography, style, translation and edition of captioned murals, this important book provides new information with challenging perspectives based on the latest findings. It also reveals murals never published (Burma, Thailand, Mongolia), recently rediscovered and endangered (Tibet) or destroyed and vandalized (Afghanistan, Xinjiang). This unique publication on murals in Asia counts as a precious testimony of a fragile and inspiring heritage.
An introduction to the key Christian themes, signs, and symbols found in art, from the devotional works of the Medieval and Renaissance periods, to the co-existence, in the twentieth and twenty-first centuries, of the deliberately controversial and the consciously devotional.
Isms: Understanding Art is the perfect pocket-sized guide for gallery and museum lovers who have a general interest in the arts, but not necessarily any formal education in the visual arts. With this portable and indispensable tool in hand, anyone can guide themselves through the world's prestigious museums and major art collections and recognize and intelligently discuss the significant movements that have shaped the world of art.
Using an informative and engaging style with informal and direct tone, each of the numerous "isms" that are used to define-but often misleadingly cloud-art movements are explained in simple terms and made accessible to the casual art lover. Readers are encouraged to think of styles as useful tools for conversation and exploration rather than as hard and fast academic definitions, and to relate to the art itself rather than to a merely conceptual idea.
Each spread is devoted to a single art historical period and begins with an introduction that explains when the movement first emerged, the historical period to which it applies, and the principal disputes over its applicability, usefulness, or significance. The rest of the chapter is divided into several sections illustrating the most important artists and works within the period, related key words, and illustrations that best represent the distinctive features. This comprehensible structure makes it possible for any reader to gain a clear understanding of Classicism or Cubism while sitting in a cafe or visiting a gallery.
Caring for Japanese Art at the Chester Beatty Library is a memoir of Yoshiko Ushioda , looking back at more than five decades of life in Dublin. The story begins in 1960, when she traveled from Tokyo with her young son to join her husband, a research-fellow at University College Dublin. Beginning as a volunteer at the Chester Beatty Library in 1970, she would go on to become curator and accompany masterpieces loaned by The Chester Beatty Library to special exhibitions all around the world. Both inspiring and heartfelt, Mrs. Ushioda's memoir will be of interest to both lovers of Japanese Art and those interested in Irish-Japanese relations.
Stanley Spencer was one of Britain's greatest twentieth-century artists. He became famous for two things: his celebration and immortalisation of his home town of Cookham in Berkshire - his 'heaven on earth' as he lovingly called it - and the fusion in his paintings of sex and religion, the heavenly and the ordinary. In 1915, Spencer left home to serve as a medical orderly in the Beaufort Military Hospital in Bristol. Aged 24, he had rarely stayed away overnight from home. For ten months he scrubbed floors, bandaged convalescent soldiers and carried supplies around the vast, former lunatic asylum. In 1916, he signed up for overseas duty in Macedonia, where he saw violent action up to the eve of the Armistice. Five years after the war, Spencer started making large drawings of a possible memorial scheme based on his wartime experiences. So extraordinary were his sketches, and so committed was he to realising them in paint, that the Behrend family became his patrons, funding a purpose-built memorial chapel at Burghclere, near Newbury. For five years he toiled, often on top of a giant scaffold, to produce the painted chapel now regarded as his masterpiece - one of the unsung artistic glories of Europe. Drawing on Spencer's own letters, illustrations and paintings, Paul Gough tells the story of the artist's journey from cosseted family life, through the drudgery of a war hospital and the malarial battlefields of a forgotten front, to his unique vision of peace and resurrection in Burghclere. The book locates Spencer's work alongside other soldier-artists of the time.
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