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Bringing together more than 100 items of clothing, this book reveals the intricacies of Japanese dress from the 18th century to the present. Including garments for women, men and children, the details have been selected both for their exquisite beauty and craftsmanship, and for how much they impart about the wearer's identity, be it age, status or taste. A comprehensive introduction, illuminating the main periods and key themes of Japanese fashion history, is followed by thematic chapters that cover all aspects of clothing, from hair accessories and necklines to hemlines and shoes. Each garment or object is accompanied by a short text exploring its structure and the fascinating range of decorative techniques employed, including embroidery, weaving, lacquering, stencilling, dyeing and digital technology. Specially commissioned detail photography and line drawings provide an invaluable resource for Japanophiles, students, collectors, designers and lovers of fashion and world dress.
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.
A comprehensive presentation of Ai Weiwei's recent Public Art Fund exhibition Good Fences Make Good Neighbors, a powerful reflection on the global refugee crisis Internationally renowned Chinese artist and activist Ai Weiwei (b. 1957) transformed over 300 sites across New York City into a compelling, ambitious public art exhibition concerned with the global refugee and migration crises. Good Fences Make Good Neighbors (on view from October 2017 to February 2018) consisted of immersive large-scale sculptures for city monuments, fences on building facades and bus stops, and portraits of refugees and immigrants displayed on outdoor banners. This publication documents the extraordinary project from conception to final installation, giving a behind-the-scenes look at the research, preparatory drawings, planning, and fabrication that brought it to life. The book includes an in-depth interview with Ai Weiwei about the project's personal significance, an essay by curator Nicholas Baume, and statements from a wide variety of individuals-including Olafur Eliasson, David Miliband, Hans Ulrich Obrist, and Jorge Ramos, among many others-about their interactions with the artworks. As Baume asserts, "Ai Weiwei created a remarkable model for what great public art strives to be-emotionally engaging and politically resonant, conceptually and formally inventive yet broadly accessible."
Joseph Hillaire (Lummi, 1894-1967) is recognized as one of the
great Coast Salish artists, carvers, and tradition-bearers of the
twentieth century. In "A Totem Pole History," his daughter Pauline
Hillaire, Scalla-Of the Killer Whale (b. 1929), who is herself a
well-known cultural historian and conservator, tells the story of
her father's life and the traditional and contemporary Lummi
narratives that influenced his work.
"A Totem Pole History" contains seventy-six photographs,
including Joe's most significant totem poles, many of which Pauline
watched him carve. She conveys with great insight the stories,
teachings, and history expressed by her father's totem poles. Eight
contributors provide essays on Coast Salish art and carving, adding
to the author's portrayal of Joe's philosophy of art in Salish
life, particularly in the context of twentieth century
This engaging volume provides an historical record to encourage
Native artists and brings the work of a respected Salish carver to
the attention of a broader audience.
This is a penetrating glimpse into the first illustrated encyclopaedia of the New World. In August 1576, in the midst of an outbreak of the plague, the Spanish Franciscan friar Bernardino de Sahagun and 22 indigenous artists locked themselves inside the school of Santa Cruz de Tlaltelolco in Mexico City with a mission: to create the first illustrated encyclopedia in the New World. Today this twelve-volume manuscript is preserved in the Biblioteca Medicea Laurenziana in Florence and is widely known as the Florentine Codex. A monumental achievement, the Florentine Codex is the single most important artistic and historical document for studying the peoples and cultures of pre-Hispanic and colonial Central Mexico. It reflects both indigenous and Spanish traditions of writing and painting, including parallel columns of text in Spanish and Nahuatl and more than two thousand watercolour illustrations prepared in European and Aztec pictorial styles. This volume reveals the complex meanings inherent in the selection of the pigments used in the manuscript, offering a fascinating glimpse into a previously hidden symbolic language. Drawing on cutting edge approaches in art history, anthropology, and material sciences, the book sheds new light on one of the world's great manuscripts - and a pivotal moment in the early modern Americas.
As both an activist and the dynamic editor of Negro Digest, Hoyt W. Fuller stood at the nexus of the Black Arts Movement and the broader black cultural politics of his time. Jonathan Fenderson uses historical snapshots of Fuller's life and achievements to rethink the period and establish Fuller's important role in laying the foundation for the movement. In telling Fuller's story, Fenderson provides provocative new insights into the movement's international dimensions, the ways the movement took shape at the local level, the impact of race and other factors, and the challenges--corporate, political, and personal--that Fuller and others faced in trying to build black institutions. An innovative study that approaches the movement from a historical perspective, Building the Black Arts Movement is a much-needed reassessment of the trajectory of African American culture over two explosive decades.
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.
Even ardent fans of Andy Warhol (1928-1987) may be surprised to learn that the artist created a significant body of western work. In fact, Warhol was drawn to the lore and lure of the American West throughout his life. He was heavily influenced by the mythology and iconography of the American West, conveyed primarily through film and television, and revealed at various points in his life by toys, clothing, and travel. His lifelong fascination with the West culminated with his 1986 series Cowboys and Indians, a print portfolio that represents an important milestone in the artist's late career and a shift in the conception of contemporary western American art. One of the last major projects Warhol completed prior to his death, Cowboys and Indians received very little critical or public attention at the time of its release and remains one of the most understudied aspects of the artist's career. Warhol and the West explores for the first time the range of western imagery Warhol produced. New scholarship examines how Warhol's western work merges the artist's ubiquitous portrayal of celebrities with his interest in cowboys, American Indians, and other western motifs. His work in the western genre is immediately recognizable, impressive, daring, inspirational, and sometimes confrontational. This body of work furthers our understanding of how the American West infiltrates the public's imagination through contemporary art and popular culture. The major traveling exhibition includes more than 100 objects and works of art including source materials revealing Warhol's process. The accompanying catalogue will feature essays by heather ahtone of the American Indian Cultural Center and Museum (AICCM) in Oklahoma City, Faith Brower of the Tacoma Art Museum, and Seth Hopkins of the Booth Western American Art Museum, as well as 12 additional contributors: Tony Abeyta, Sonny Assu, Gregg Deal, Lara M. Evans, Michael R. Grauer, Frank Buffalo Hyde, Thomas S. Kalin, Gloria Lomahaftewa, Daryn A. Melvin, Andrew Patrick Nelson, Chelsea Weathers, and Rebecca West. Published in association with Tacoma Art Museum. Exhibition dates: Booth Western Art Museum, Cartersville, GA: August 25-December 31, 2019 National Cowboy & Western Heritage Museum, Oklahoma City, OK: January 31-May 10, 2020 Tacoma Art Museum, Tacoma, WA: Summer 2020
Identities of power and place, as expressed in paintings from the periods before and after the Spanish conquest of Mesoamerica, are the subject of this book of case studies from Central Mexico, Oaxaca, and the Maya area. These sophisticated, skillfully rendered images occur with architecture, in manuscripts, on large pieces of cloth, and on ceramics.
A stunning look at an internationally recognized collection of Indian jeweled artworks India's rich tradition of jeweled arts has produced extravagant and opulent creations that range from ornaments for every part of the body to ceremonial court objects such as boxes, daggers, and thrones. Starting with the Mughal rulers of India (1526-1858) and continuing to the present day, this artistic practice is characterized by an abundance of costly materials such as gold, ivory, jade, and precious stones of astounding size and quality, which artists have used to create unique and valuable works. Treasures from India presents 60 iconic works from the world-renowned Al-Thani collection, accompanied by a text that introduces readers to their significance within the history of Indian jeweled arts. Included are some of the earliest pieces created for the imperial Mughals in the 16th century, others made for Maharajahs of the 18th through 20th centuries, and later Indian-inspired works created by Cartier in the 20th century. These examples represent the range and scope of the finest expression of the jeweled arts in India, and stand among the highest expressions of Indian culture and artistry.
craftsman working in a set tradition for a lifetime? What is the value of handwork? Why should even the roughly lacquered rice bowl of a Japanese farmer be thought beautiful? The late Soetsu Yanagi was the first to fully explore the traditional Japanese appreciation for objects born, not made. Mr. Yanagi sees folk art as a manifestation of the essential world from which art, philosophy, and religion arise and in which the barriers between them disappear. The implications of the author's ideas are both far-reaching and practical. Soetsu Yanagi is often mentioned in books on Japanese art, but this is the first translation in any Western language of a selection of his major writings. The late Bernard Leach, renowned British potter and friend of Mr. Yanagi for fifty years, has clearly transmitted the insights of one of Japan's most important thinkers. The seventy-six plates illustrate objects that underscore the universality of his concepts. The author's profound view of the creative process and his plea for a new artistic freedom within tradition are especially timely now when the importance of craft and the handmade object is being rediscovered.
This book is the first in a major three-volume series that will survey China's immense wealth of art, architecture, and artifacts from prehistoric times to the twentieth century. The Arts of China to A.D. 900 investigates the beginnings of the traditions on which much of the art rests, moving from Neolithic and Bronze Age China to the era of the Tang Dynasty around A.D. 900. William Watson discusses in lively detail a wide range of art forms and techniques: porcelain and pottery, lacquer, religious and secular painting and sculpture, mural painting, monumental sculpture and architecture. He explains the materials and techniques of bronze casting, jade carving, pottery manufacture, and other arts, and he describes the most important sites, the artifacts that were produced at each one, and the historical interactions between different areas. He discusses the iconography, the technique and the function of every art form. Written by one of the most distinguished scholars in the field of Chinese art and archaeology, this lavishly illustrated book will be a valuable resource for both experts and beginners in the field.
Presenting classic Japanese woodblock prints, Japan Journeys offers a unique perspective on the country's most famous travel destinations. This stunning art book gathers together approximately two hundred Japanese woodblock prints depicting scenic spots and cultural icons that still delight visitors today. Many of the prints are by masters such as Utagawa Hiroshige, Kitagawa Utamaro, and Utagawa Kunisada, and currently hang in prestigious galleries and museums worldwide. Katsuhika Hokusai, the artform's most celebrated artist, is also well represented, with many prints from his "Fifty-three Stations of the Tokaido Road" series and "Thirty-six Views of Mount Fuji" series, including his world-renowned "Great Wave" print. In addition to prints showcasing Japan's natural beauty, this carefully curated selection depicts roads and railways; favorite pastimes, such as blossom viewing and attending festivals; beloved entertainment, such as kabuki theater; the fashions they wore, and the food they ate. Author Andreas Marks is a leading expert on Japanese woodblock prints, and his Illuminating captions provide background context to the scenes depicted.
"Black People Are My Business": Toni Cade Bambara's Practices of Liberation studies the works of Bambara (1939-1995), an author, documentary filmmaker, social activist, and professor. Thabiti Lewis's analysis serves as a cultural biography, examining the liberation impulses in Bambara's writing, which is concerned with practices that advance the material value of the African American experience and exploring the introspection between artist production and social justice. This is the first monograph that focuses on Bambara's unique approach and important literary contribution to 1970s and 1980s African American literature. It explores her unique nationalist, feminist, Marxist, and spiritualist ethos, which cleared space for many innovations found in black women's fiction. Divided into five chapters, Lewis's study relies on Bambara's voice (from interviews and essays) to craft a "spiritual wholeness aesthetic"-a set of principles that comes out of her practices of liberation and entail family, faith, feeling, and freedom-that reveals her ability to interweave ethnic identity, politics, and community engagement and responsibility with the impetus of balancing black male and female identity influences and interactions within and outside the community. One key feature of Bambara's work is the concentration on women as cultural workers whereby her notion of spiritual wholeness upends what has become a scholarly distinction between feminism and black nationalism. Bambara's fiction situates her as a pivotal voice within the Black Arts Movement and contemporary African American literature. Bambara is an understudied and important artistic voice whose aversion to playing it safe both personified and challenged the boundaries of black nationalism and feminism. "Black People Are My Business" is a wonderful addition to any reader's list, especially those interested in African American literary and cultural studies.
'Every picture tells a story' - but for many of us the subjects and themes of the great paintings of Western art are something of a mystery. The Gallery Companion unravels the legends behind many of the most popular and frequently painted figures and explains their symbolism, which is all too often overlooked or misunderstood. What is the Judgment of Paris? Why does St Catherine have a wheel by her side, and St Jerome a lion? Who was crucified upside down? Written in a lively and engaging style, The Gallery Companion includes a Classical section, detailing the characters from the myths and histories of ancient Greece and Rome, and a Biblical and Religious section, describing the figures from the Old and New Testaments as well as later saints. The text supplies the background to the character, lists the most famous paintings that depict him or her, and details the events shown. Other facts, such as why that particular subject was in vogue, are also included, as well as variations and discrepancies between treatments of the same subject matter. Drawing upon the art of the last 800 years, with descriptions of over 150 characters commonly represented in murals and on canvas, The Gallery Companion is a beautifully illustrated guide to many of the most important subjects in painting. It will be indispensable to all those seeking to enhance their understanding and enjoyment of Western art.
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.
Following current developments in contemporary art history, historians of Jewish art increasingly redefine themselves as studying Jewish visual culture and also distance themselves from any single definition of 'Jewish'. Focusing instead on the range and flexibility of both individual and collective Jewish self-identification, the trend today is to consider artistic creativity, messages, and reception in multiple intracultural settings. Reflecting this trend, the volume presents a round-table discussion and selected papers from Constructing and Deconstructing Jewish Art, an international symposium held at Bar-Ilan University in 2015. Accordingly, Steven Fine questions the role of ideologies and the limits of semantic analysis in contemporary readings of ancient Jewish art. Sergey Kravtsov traces the transmission of legends about the Jewish past through cultures and artistic practices. Larry Silver proposes that in modern societies, all artists of Jewish origin are marked by their Jewishness and develop a minority self-consciousness. Ben Schachter notes how criticism of religious art has neglected the material and artistic process and focused only on spirituality and theology. Kathrin Pieren discusses the role of public displays in negotiating the relationship between art and identities. The volume also includes two articles on the effects of displacement on the art of twentieth-century Jewish artists of Russian origin; description of a forgotten masterpiece by Hermann Struck; and book reviews. Ars Judaica is an annual publication of the Department of Jewish Art at Bar-Ilan University. It showcases the Jewish contribution to the visual arts and architecture from antiquity to the present from a variety of perspectives, including history, iconography, semiotics, psychology, sociology, and folklore. As such it is a valuable resource for art historians, collectors, curators, and all those interested in the visual arts. Contributors: Ziva Amishai-Maisels, Hebrew University of Jerusalem, Maya Balakirsky Katz, Touro College, New York, Samantha Baskind, Cleveland State University, Asher Biemann, University of Virginia, Monika Czekanowska-Gutman, University of Warsaw, Marina Dmitrieva, Leibniz-Institut fur Geschichte und Kultur des OEstlichen Europa, Leipzig, Steven Fine, Yeshiva University, New York, Eva Frojmovich, University of Leeds, Batsheva Goldman-Ida, Tel Aviv Museum of Art, William L. Gross, collector, Tel Aviv, Felicitas Heiman-Jelinek, independent scholar and curator, Vienna, Ahuva Klein, independent researcher, Tel Aviv, Rudolf Klein, Szent Istvan University, Budapest, Lola Kantor Kazovsky, Hebrew University of Jerusalem, Katrin Kogman-Appel, Westfalische Wilhelms-Universitat, Munster, Sergey R. Kravtsov, Hebrew University of Jerusalem, Shulamit Laderman, Schechter Institute for Jewish Studies, Jerusalem, Irit Miller, University of Haifa, Kathrin Pieren, University of Southampton, Mirjam Rajner, Bar-Ilan University, Ramat-Gan, Ilia Rodov, Bar-Ilan University, Ramat-Gan, Ben Schachter, Saint Vincent College, Pennsylvania, Larry Silver, University of Pennsylvania, Daniel Sperber, Bar-Ilan University, Ramat-Gan, Annette Weber, Hochschule fur Judische Studien, Heidelberg, Gil Weissblei, National Library of Israel, Jerusalem, Bracha Yaniv, Bar-Ilan University, Ramat-Gan Volumes of Ars Judaica are distributed by the Littman Library of Jewish Civilization throughout the world, except Israel. Orders and enquiries from Israeli customers should be directed to: Ars Judaica Department of Jewish Art Bar-Ilan University Ramat-Gan 52900 telephone 03 5318413 fax 03 6359241 email [email protected]
Ink, Silk, and Gold explores the dynamic and complex traditions of Islamic art through more than 115 major works in a dazzling array of media, reproduced in full color and exquisite detail - manuscripts inscribed with gold, paintings on silk, elaborate metalwork, intricately woven textiles, luster-painted ceramics, and more. These objects, which originated within an Islamic world that ranges from Western Europe to Indonesia and across more than thirteen centuries, share a distinctive relationship to the materials they are made of: their color, shape, texture, and technique of production all convey meaning. Enhanced by texts from an international team of scholars and drawing on the latest technical information, Ink, Silk, and Gold is an inviting introduction to the riches of the Islamic art collection at the Museum of Fine Arts, Boston, and a window into a vibrant global culture.
Considered the definitive book on dream catchers, this book is for all readers that want to learn about these important symbols in Native American tradition. It features close-up photographs of dream catchers; covers their history, legends, lore and cultural symbolism; and presents a stunning collection of dream catchers that are at once craft and high art. The text is suitable for a popular audience while also thorough, rigorous and valuable in research. This edition has been redesigned with a new cover. The exact genesis of dream catchers is unknown and origin stories vary as do beliefs about how they work. One legend has it that a medicine woman made a circle from a willow branch and used sinew to weave a spider-web pattern across the hoop. The circular talisman was hung over the bed of a sick child where it would 'catch' bad dreams and protect the child, or it would catch good dreams to bless the child. However it worked, the child would recover by morning. Purchasers of dream catchers might find such a story attached to it. Dream catchers made by artists and artisans vary in their design and decoration, and range from craft to high art. Making dream catchers is a popular project for craft groups; conversely, dream catchers are exhibited at museum and galleries where they can fetch a high price. Each element of a dream catcher carries a meaning and function, and these are discussed in the book. * Part 1: Legend and Distribution - Origins; Algonquian Cultures; Dreaming. * Part 2: Net Charms - Power in Lines and Knots; Non-Algonquian Cultures; Dream Catchers Today. * Part 3: Scale - Fascination with 'Indians'; Marketing; Artists and Manufacturing; The Future. More than 40 colour photographs feature contemporary dream catchers and artifacts with captions that identify and comment on the different patterns and their significance. The book features original works by Nick Huard, who creates dream catchers in his studio near Montreal.
This comprehensive book is the first in English to examine two of the most successful and important postwar Japanese artists, Kazuo Shiraga (1924-2008) and Sadamasa Motonaga (1922-2011). During an 18-year engagement with the Gutai Art Association, both artists experimented with unorthodox techniques, such as Motonaga's use of smoke and water, or Shiraga's method of painting with his feet. Relatively little, however, is known in the West about Shiraga and Motonaga beyond their involvement with Gutai. Essays aim to assert the importance of Shiraga's and Motonaga's post-Gutai careers-when they pursued exciting new styles and themes in their work-as well as to evaluate the legacy of Japan's postwar avant-garde. Never-before-translated interviews with the artists, incisive essays by experts in the field, and a beautiful color plate section featuring many works never before seen outside of Japan complete this impressive catalogue.
From its birth in the 7th century through modern times, the Islamic religion has inspired glorious works of art. This stunning book includes more than four hundred reproductions of treasures of Islamic art that span the world: from southern Europe, along the entire Mediterranean basin to sub-Saharan Africa through the Middle East, India, and Central Asia. Arranged geographically, the objects include paintings, miniatures, ceramics, calligraphy, textiles, carpets, and metal works. Each region is given a thorough introduction that offers historical context and extensive descriptions of its artifacts. Accompanying essays offer guidance in interpreting the many themes that tie these works together, including typology, calligraphy, and religious beliefs. With its large format, exquisite reproductions, and extensive research, this book is a thorough introduction to the Islamic artistic tradition.
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