This title presents an annotated index and general orientation of Islamic art collections in museums, libraries, other institutions and on private hands. It includes a short description of each collection, its main characteristics, documentation, publications and exhibitions.

Do you ever stare at patterns and wonder how to construct them? Are you ever captivated and inspired by Celtic or Islamic art? Do you ever think about the illusion of depth perspective that your brain builds from your senses? Are you aware that symmetry informs your feeling of what is right? Is there a Golden secret which is hidden in nature and all the traditional arts? Packed with information and exquisite illustrations by more than twelve expert authors, DESIGNA is the ultimate sourcebook for visual artists, artisans and designers of every kind.

Joanna Grabski and Carol Magee bring together a compelling collection that shows how interviews can be used to generate new meaning and how connecting with artists and their work can transform artistic production into innovative critical insights and knowledge. The contributors to this volume include artists, museum curators, art historians, and anthropologists, who address artistic production in a variety of locations and media to question previous uses of interview and provoke alternative understandings of art.

LEGO(R) Heroes is a collection of twelve remarkable stories about everyday heroes using the LEGO(R) system in unique ways to solve some of life's greatest challenges. Meet twelve visionary builders from around the globe who have turned LEGO(R) play into life-altering innovations through immense curiosity, creativity, passion, and a handful of LEGO bricks. From a wheelchair for an injured turtle to customized prosthetic arms to lab research for coral reef preservation, each chapter showcases individuals of all ages and backgrounds who have applied the LEGO System in Play to solve some of life's greatest challenges in the fields of technology, sustainability, education, and more. With inspiring messages of imagination and problem-solving through play, readers will be moved by this heartwarming celebration of people who are changing the world . . . one brick at a time. LEGO, the LEGO logo, and the Brick and Knob configurations are trademarks of the LEGO Group. (C)2023 The LEGO Group. All rights reserved.

- Written specifically for beginning students. The sometimes personal, sometimes intellectual and speculative form of the essays will be refreshing to readers accustomed to the more technical, jargon-laden approach of many academic texts. - Brings aesthetics back into the contemporary discourse about art and architecture - not in order to escape the necessity of political or historical understandings of art and architecture, but to ground such approaches in our actual lived experience of works. - This book will appeal to readers who might not have much, or any, background in the plastic arts. An important premise of this book is the idea that highly nuanced aesthetic concepts can be explored and presented in fairly simple and accessible prose and thus made accessible to this audience. - Takes an interdisciplinary approach, considering canonical works of art, but also many buildings, gardens, and works of design, arguing that well-designed functional objects can establish a special bridge between the fine arts and our everyday lives.

Redressing the neglect of World War I memorials in art history scholarship and memory studies, Sculpting Doughboys considers the hundreds of sculptures of American soldiers that dominated the nation's sculptural commemorative landscape after World War I. To better understand these 'doughboys', the name given to both members of the American Expeditionary Forces and the memorials erected in their image, this volume also considers their sculptural alternatives, including depictions of motherhood, nude male allegories, and expressions of anti-militarism. It addresses why doughboy sculptures came to occupy such a significant presence in interwar commemoration, even though art critics objected to their unrefined realism, by considering the social upheavals of the Red Scare, America's burgeoning consumer and popular culture, and the ambitions and idiosyncrasies of artists and communities across the country. In doing so, this study also highlights the social and cultural tensions of the period as debates grew over art's changing role in society and as more women and immigrant sculptors vied for a place and a voice in America's public sphere. Finally, Sculpting Doughboys addresses the fate of these memorials nearly a century after they were dedicated and poses questions for reframing our relationship with war memorials today.

Deconstructing the Myths of Islamic Art addresses how researchers can challenge stereotypical notions of Islam and Islamic art while avoiding the creation of new myths and the encouragement of nationalistic and ethnic attitudes. Despite its Orientalist origins, the field of Islamic art has continued to evolve and shape our understanding of the various civilizations of Europe, Africa, Asia, and the Middle East. Situated in this field, this book addresses how universities, museums, and other educational institutions can continue to challenge stereotypical or homogeneous notions of Islam and Islamic art. It reviews subtle and overt mythologies through scholarly research, museum collections and exhibitions, classroom perspectives, and artists' initiatives. This collaborative volume addresses a conspicuous and persistent gap in the literature, which can only be filled by recognizing and resolving persistent myths regarding Islamic art from diverse academic and professional perspectives. The book will be of interest to scholars working in art history, museum studies, visual culture, and Middle Eastern studies.

Mark Tobey and Teng Baiye: Seattle / Shanghai is the first book to explore artistic and intellectual exchanges between Chinese artist Teng Baiye (1900-1980) and his American contemporary Mark Tobey (1890-1976). Essays by Jo-Anne Birnie Danzker and David Clarke consider Teng's influence as both a cultural interpreter and an artistic practitioner on the development of Tobey's distinctive artistic practice and - through Tobey - on the discourse on abstraction in midcentury American art.

This volume is a groundbreaking discussion of the role of digital media in research on ancient painting, and a deep reflection on the effectiveness of digital media in opening the field to new audiences. The study of classical art always oscillates between archaeology and classics, between the study of ancient texts and archaeological material. For this reason, it is often difficult to collect all the data, to have access to both types of information on an equal basis. The increasing development of digital collections and databases dedicated to both archaeological material and ancient texts is a direct response to this problem. The book's central theme is the role of the digital humanities, especially digital collection,s such as the Digital Milliet, in the study of ancient Greek and Roman painting. Part 1 focuses on the transition between the original print version of the Recueil Milliet and its digital incarnation. Part 2 addresses the application of digital tools to the analysis of ancient art. Part 3 focuses on ancient wall painting. The book will be of interest to scholars working in art history, classics, archaeology, and digital humanities.

Antebellum American Pendant Paintings: New Ways of Looking marks the first sustained study of pendant paintings: discrete images designed as a pair. It opens with a broad overview that anchors the form in the medieval diptych, religious history, and aesthetic theory and explores its cultural and historical resonance in the 19th-century United States. Three case studies examine how antebellum American artists used the pendant format in ways revelatory of their historical moment and the aesthetic and cultural developments in which they partook. The case studies on John Quidor's Rip Van Winkle and His Companions at the Inn Door of Nicholas Vedder (1839) and The Return of Rip Van Winkle (1849) and Thomas Cole's Departure and Return (1837) shed new light on canonical antebellum American artists and their practices. The chapter on Titian Ramsay Peale's Kilauea by Day and Kilauea by Night (1842) presents new material that pushes the geographical boundaries of American art studies toward the Pacific Rim. The book contributes to American art history the study of a characteristic but as yet overlooked format and models for the discipline a new and productive framework of analysis focused on the fundamental yet complex way images work back and forth with one another.

Discover the ancient images in ancient landscapes through this guide. Learn how the designs were created and what is known about the people who made them. A directory to 28 outstanding sites in 7 states. Includes an information guide to southwestern research centers, websites, and national and international rock-art organizations.

This book unfolds a history of American basketry, from its origins in Native American, immigrant, and slave communities to its contemporary presence in the fine art world. Ten contributing authors from different areas of expertise, plus over 250 photos, insightfully show how baskets convey meaning through the artists' selection of materials; the techniques they use; and the colors, designs, patterns, and textures they employ. Accompanying a museum exhibition of the same name, the book illustrates how the processes of industrialization changed the audiences, materials, and uses for basketry. It also surveys the visual landscape of basketry today; while some contemporary artists seek to maintain and revive traditions practiced for centuries, others combine age-old techniques with nontraditional materials to generate cultural commentary. This comprehensive treasury will be of vital interest to artists, collectors, curators, and historians of American basketry, textiles, and sculpture.

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. The study of Jewish art frequently raises questions relating to Jewish survival and Jewish identity. These issues have always been of relevance throughout the Jewish diaspora, and as is evident from the articles in this volume they continue to concern Jewish artists to this day. The opening article, 'Illuminations of Kol Nidrei in Two Ashkenazi Mahzorim' by Sara Offenberg, deals with the hidden meanings expressed by groups of animals depicted in two medieval Ashkenazi prayer books for the Day of Atonement. By using allegorical animals in this way the Jews of the thirteenth and fourteenth centuries could safely express their fear of the hostile Christian society in which they lived, as well as their trust in God and belief in redemption. A surprising link between the Middle Ages and modern times is made by Rachel Singer's article, 'Maurice Sendak's Where the Wild Things Are: An Exploration of the Personal and the Collective'. Published in 1963, this classic children's book, written and illustrated by the son of a Jewish immigrant family in Brooklyn, is far removed, both chronologically and geographically, from the Ashkenazi Middle Ages. In her study, however, Singer prises out hidden sources of antisemitic perceptions rooted in medieval Christian Europe. This leads us to the volume's third article, 'The Return of the Wandering Jew(s) in Samuel Hirszenberg's Art' by Richard I. Cohen and Mirjam Rajner. The motif of the wandering Jew, a negative and frightening figure, is rooted in the late Middle Ages: it made its first appearance in Christian art, in printed books which disseminated the Christian legend all over Europe. In the nineteenth century, Jewish artists engaging with the image of the wandering Jew endowed it with new interpretations and presentations. One of these is revealed by the authors as they focus on the painting The Wandering Jew, created in 1899 by the Polish Jewish artist Samuel Hirszenberg. As is well known, emancipation and the Jewish national awakening in late nineteenth-century Europe were accompanied by diverse artistic activities. These included the establishment of Jewish societies promoting Jewish art and artists, exhibitions, documentation, and research. Among the most impressive efforts were the activities of Jewish artists in interwar Poland, recorded in contemporary local newspapers and periodicals. As these were published in Polish and Yiddish they weren't accessible to the English-speaking reader, something that is now rectified by Renata Piatkowska in 'A Sense of Togetherness: The Jewish Society for the Encouragement of the Fine Arts in Warsaw (1923-1939)'. Based on primary sources, the article introduces us to the flourishing artistic life which was cruelly destroyed in the Holocaust. Another result of Jewish national awakening, in this case in the medium of photography, is presented in 'Modernity as Anti-Nostalgia: The Photographic Books of Tim Gidal and Moshe Vorobeichic and the Eastern European Shtetl', by Rose-Carol Washton Long. This article examines how Zionist ideas led two assimilated German-trained photographers to develop variant thematic and stylistic portrayals of eastern European shtetls in their photobooks, published in 1931 and 1932. Their volumes are neither romantic nor nostalgic, but instead convey a vibrant vision of modernity. While the first five articles discuss issues of identity encountered by Jewish individuals or groups, the next contribution focuses on a 'Jewish identity' that was imposed by a colonial administration. Dominique Jarrasse's 'Orientalism, Colonialism, and Jewish Identity in the Synagogues of North Africa under French Domination' fills the gaps in our knowledge of synagogue architecture in Tunisia and Algiers in the modern era in general, and about colonial Orientalism in particular. Covert Jewish identity is revealed by Milly Heyd in 'Hans Richter: Universalism vis-a-vis Particularism'. This is the third part of her study of the place of the hidden Jew in the Dada avant-garde, one part of which is published in volume 1 of Ars Judaica. The focus in the present piece is on Hans Richter's art in the context of Man Ray, Tristan Tzara, and others who were born to Jewish families but opted for universalism rather than particularism in their art. The Special Item in this year's volume is devoted to a painting by Moritz Oppenheim that was long thought to be lost. 'Of Provenance and Providence: On the Reappearance of David Playing the Harp for Saul by Moritz Oppenheim', by Susan Nashman Fraiman, raises some new and interesting questions about Oppenheim's early work and patrons. The study of this painting reveals a conscious effort to incorporate Jewish source material into his work, an important aspect of his corpus which has previously been neglected. 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]]

The early collections from Africa in Liverpool's World Museum reflect the city's longstanding shipping and commercial links with Africa's Atlantic coast. A principal component of these collections is an assemblage of several thousand artefacts from western Africa that were transported to institutions in northwest England between 1894 and 1916 by the Liverpool steam ship engineer Arnold Ridyard. While Ridyard's collecting efforts can be seen to have been shaped by the steamers' dynamic capacity to connect widely separated people and places, his Methodist credentials were fundamental in determining the profile of his African networks, because they meant that he was not part of official colonial authority in West Africa. Kingdon's study uncovers the identities of many of Ridyard's numerous West African collaborators and discusses their interests and predicaments under the colonial dispensation. Against this background account, their agendas are examined with reference to surviving narratives that accompanied their donations and within the context of broader processes of trans-imperial exchange, through which they forged new identities and statuses for themselves and attempted to counter expressions of British cultural imperialism in the region. The study concludes with a discussion of the competing meanings assigned to the Ridyard assemblage by the Liverpool Museum and examines the ways in which its re-contextualization in museum contexts helped to efface signs of the energies and narratives behind its creation.

The Mongol period (1206-1368) marked a major turning point of exchange - culturally, politically, and artistically - across Eurasia. The wide-ranging international exchange that occurred during the Mongol period is most apparent visually through the inclusion of Mongol motifs in textile, paintings, ceramics, and metalwork, among other media. Eiren Shea investigates how a group of newly-confederated tribes from the steppe conquered the most sophisticated societies in existence in less than a century, creating a courtly idiom that permanently changed the aesthetics of China and whose echoes were felt across Central Asia, the Middle East, and even Europe. This book will be of interest to scholars in art history, fashion design, and Asian studies.

This collection of essays explores hybridity in early modern art through two primary lenses: hybrid media and hybrid time. The varied approaches in the volume to theories of hybridity reflect the increased presence in art historical scholarship of interdisciplinary frameworks that extend art historical inquiry beyond the single time or material. The essays engage with what happens when an object is considered beyond the point of origin or as a legend of information, the implications of the juxtaposition of disparate media, how the meaning of an object alters over time, and what the conspicuous use of out-of-date styles means for the patron, artist, and/or viewer. Essays examine both canonical and lesser-known works produced by European artists in Italy, northern Europe, and colonial Peru, ca. 1400-1600. The book will be of interest to art historians, visual culture historians, and early modern historians.

In this theoretical tour-de-force, renowned scholar Ariella Aisha Azoulay calls on us to recognize the imperial foundations of knowledge and to refuse its strictures and its many violences. Azoulay argues that the institutions that make our world, from archives and museums to ideas of sovereignty and human rights to history itself, are all dependent on imperial modes of thinking. Imperialism has segmented populations into differentially governed groups, continually emphasised the possibility of progress while trying to destroy what came before, and voraciously sought out the new by sealing the past away in dusty archival boxes and the glass vitrines of museums. By practising what she calls potential history, Azoulay argues that we can still refuse the imperial violence that shattered communities, lives, and worlds, from native peoples in the Americas to the Congo ruled by Belgium's brutal King Leopold II, from dispossessed Palestinians in 1948 to displaced refugees in our own day. In Potential History, Azoulay travels alongside historical companions - an old Palestinian man who refused to leave his village in 1948, an anonymous woman in war-ravaged Berlin, looted objects and documents torn from their worlds and now housed in archives and museums - to chart the ways imperialism has sought to order time, space, and politics. Rather than looking for a new future, Azoulay calls upon us to rewind history and unlearn our imperial rights, to continue to refuse imperial violence by making present what was invented as "past" and making the repair of torn worlds the substance of politics.

Constructing African Art Histories for the Lagoons of Cote d'Ivoire is an investigation of the methods employed by art historians who study creative production in Africa. While providing insights into the rich visual arts of the Lagoon Peoples of southeastern Cote d'Ivoire, this study is one of the few attempts by an Africanist to situate local and regional artistic practices in the context of the global art market, and to trace the varied receptions an African art work is given as it leaves a local context and enters an international one. Drawing on her three seasons of fieldwork among Akan populations in Cote d'Ivoire, Monica Blackmun Visona provides a comprehensive account of a major art-producing region of Africa, and explores such topics as gender roles in performance, the role of sculpture in divination, and the interchange of arts and ideas across ethnic boundaries. The book also addresses issues inherent in research practices, such as connoisseurship and participant observation, and examines theoretical positions that have had an impact on the discipline of African art history.

Inuit art, both ancient and contemporary, has inspired the interest of scholars, collectors and art lovers around the globe. This book examines Inuit art from prehistory to the present with special attention to methodology and aesthetics, exploring the ways in which it has been influenced by and has influenced non-Inuit artists and scholars. Part One gives the history of the main art-producing prehistoric traditions in the North American arctic, concentrating on the Dorset who once flourished in the Canadian region. It also demonstrates the influence of theories such as evolutionism, diffusionism, ethnographic comparison, and shamanism on the interpretation of prehistoric Inuit art. Part Two demonstrates the influence of such popular theories as nationalism, primitivism, modernism, and postmodernism on the aesthetics and representation of twentieth-century Canadian Inuit art. This discussion is supported by interviews conducted with Inuit artists. A final chapter shows the presence of Inuit art in the mainstream multi-cultural environment, with a discussion of its influence on Canadian artist Nicola Wojewoda. The work also presents various Inuit artists' reactions to Wojewoda's work.

An awe-inspiring study of the enduring power of Paleolithic art The cave art of France's Dordogne region is world-famous for the mythology and beauty of its remarkable drawings and paintings. These ancient images of lively bison, horses, and mammoths, as well as symbols of all kinds, are fascinating touchstones in the development of human culture, demonstrating how far humankind has come and reminding us of the ties that bind us across the ages. Over more than twenty-five years of teaching and research, Christine Desdemaines-Hugon has become an unrivaled expert in the cave art and artists of the Dordogne region. In her new book she combines her expertise in both art and archaeology to convey an intimate understanding of the "cave experience." Her keen insights communicate not only the incomparable artistic value of these works but also the near-spiritual impact of viewing them for oneself. Focusing on five fascinating sites, including the famed Font de Gaume and others that still remain open to the public, Stepping-Stones reveals striking similarities between art forms of the Paleolithic and works of modern artists and gives us a unique pathway toward understanding the culture of the Dordogne Paleolithic peoples and how it still touches our lives today.

An irresistible call lured Australian artists abroad between 1890 and 1914, a transitional period immediately pre- and post-federation. Travelling enabled an extension of artistic frontiers, and Paris - the centre of art - and London - the heart of the Empire - promised wondrous opportunities. These expatriate artists formed communities based on their common bond to Australia, enacting their Australian-ness in private and public settings. Yet, they also interacted with the broader creative community, fashioning a network of social and professional relationships. They joined ateliers in Paris such as the Academie Julian, clubs like the Chelsea Arts Club in London and visited artist colonies including St Ives in England and Etaples in France. Australian artists persistently sought a sense of belonging, negotiating their identity through activities such as plays, balls, tableaux, parties, dressing-up and, of course, the creation of art. While individual biographies are integral to this study, it is through exploring the connections between them that it offers new insights. Through utilising extensive archival material, much of which has limited or no publication history, this book fills a gap in existing scholarship. It offers a vital exploration re-consideration of the fluidity of identity, place and belonging in the lives and work of Australian artists in this juncture in British-Australian history.

In Chinese Symbolism and Art Motifs Fourth Edition, scholar C.A.S. Williams offers concise explanations of the important symbols and motifs relevant to Chinese literature, arts and crafts, and architecture. This reference book has been a standard among students of Chinese culture and history since 1941 and, in its Fourth Edition, has been completely reset with Pinyin pronunciation of Chinese names and words. Organized alphabetically, enhanced by over 400 illustrations, and clearly written for accessibility across a variety of fields, this book not only explains symbols and motifs essential to any designer, art collector, or historian, but delves into ancient customs in religion, food, agriculture, and medicine. Some of the symbols and motifs explicated are: The Eight Immortals, The Five Elements, The Dragon, The Phoenix, Yin and Yang. With Chinese Symbolism and Art Motifs, you can access hidden insights into the intentions behind works of Chinese craftsmanship, and the thorough explanations of each symbol, accompanied by the historical origins from which they arose, will complement your existing knowledge of any area of Chinese culture, or help you confidently explore new topics within the realm of Asian art and history.

This book explores the ways in which statues have been experienced in public in different cultures and the role that has been played by statues in defining publicness itself. The meaning of public statues is examined through discussion of their appearance and their spatial context and of written discourses having to do with how they were experienced. Bringing together experts working on statues in different cultures, the book sheds light on similarities and differences in the role that public statues had in different times and places throughout history. The book will also provide insight into the diverse methods and approaches that scholars working on these different periods use to investigate statues. The book will appeal to historians, art historians and archaeologists of all periods who have an interest in the display of sculpture, the reception of public art or the significance of public monuments.

Featuring striking full-colour images and new research, this publication from the Hong Kong Palace Museum celebrates some of the most important works of horse art from the Palace Museum and the Louvre Museum. Five essays and forty-five entries highlight objects dating from the Han (206 BCE-220 CE) to Qing (1644-1911) dynasties, and explore the horse in art in a way that is accessible to general readers, encouraging them to think through comparisons with objects from both institutions. Centred on the question of human connection to the horse across time in China and beyond, the catalogue entries are divided into sections that examine the horse in mythology and religion, military culture, and transnational traversals, providing a means for reflecting on fundamental issues of human creativity, ambition, and tradition. This is a beautifully designed and thought-provoking volume that will find a ready market among those with an interest in Chinese art and culture. Published to celebrate the opening of the new Hong Kong Palace Museum in July 2022, Grand Gallop accompanies a major exhibition of the same name that is expected to generate significant media attention.

This book aims to redefine Australia's earliest art history by chronicling for the first time the birth of the category "Aboriginal art," tracing the term's use through published literature in the late eighteenth, nineteenth and early twentieth centuries. Susan Lowish reveals how the idea of "Aboriginal art" developed in the European imagination, manifested in early literature, and became a distinct classification with its own criteria and form. Part of the larger story of Aboriginal/European engagement, this book provides a new vision for an Australian art history reconciled with its colonial origins and in recognition of what came before the contemporary phenomena of Aboriginal art.