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This wide-ranging survey, now established as the best single-volume introduction to Andean art and architecture on the market today, describes the strikingly varied artistic achievements of the Chavin, Paracas, Moche, Nasca, Chimu and Inca cultures, among others. For this fully revised third edition, Rebecca Stone has rewritten and expanded the text throughout, touching on many of the recent discoveries and advances in the field. These include new work on the huge stone pyramids and other structures at Caral; continued excavations of Inca child sacrifices perched on mountaintops throughout the empire, with their perfectly preserved clothing and miniature offerings of metal, ceramics and shell; spectacular murals and the remarkable burial of a tattooed female warrior-leader at the Moche site of Huaca Cao Viejo; and many new finds of high-status textiles, along with fresh analyses of weaving technology and new interpretations of designs and motifs.
Highlights from the palatial Hermitage Museum in St. Petersburg,
Russia, are beautifully reproduced in an accessible volume
celebrating the museum's 250th anniversary. For 250 years, the
State Hermitage Museum has been one of the world's most palatial
and significant museums. The Hermitage collections were developed
beginning in 1764 by Catherine the Great, Empress of Russia, and
now encompass more than 3 million works of art and artifacts
displayed within a spectacular architectural ensemble, the heart of
which is the famed Winter Palace. Now, on this important
anniversary, this stunning volume captures the masterpieces that
make this world-famous institution a cultural destination and a
Over the years, Kobena Mercer has critically illuminated the visual innovations of African American and black British artists. In Travel & See he presents a diasporic model of criticism that gives close attention to aesthetic strategies while tracing the shifting political and cultural contexts in which black visual art circulates. In eighteen essays, which cover the period from 1992 to 2012 and discuss such leading artists as Isaac Julien, Renee Green, Kerry James Marshall, and Yinka Shonibare, Mercer provides nothing less than a counternarrative of global contemporary art that reveals how the "dialogical principle" of cross-cultural interaction not only has transformed commonplace perceptions of blackness today but challenges us to rethink the entangled history of modernism as well.
Puja and Piety celebrates the complexity of South Asian representation and iconography by examining the relationship between aesthetic expression and the devotional practice, or puja, in the three native religions of the Indian subcontinent. This stunning and authoritative catalogue presents some 150 objects created over the past two millennia for temples, home worship, festivals, and roadside shrines. From monumental painted temple hangings and painted meditation diagrams to portable pictures for pilgrims, from stone sculptures to processional bronzes and wooden chariots, from ancient terracottas to various devotional objects for domestic shrines, this volume provides much-needed context and insight into classical and popular art of India. Featuring an introduction by the eminent art historian and curator Pratapaditya Pal; accessible essays on each religious tradition by Stephen P. Huyler, John E. Cort, and Christian Luczanits; and useful guides to iconography and terms by Debashish Banerji, this richly illustrated catalogue will provide a lasting resource for readers interested in South Asian art and spirituality. Published in association with the Santa Barbara Museum of Art Exhibition organized by Susan S. Tai, Elizabeth Atkins Curator of Asian Art Exhibition dates: Santa Barbara Museum of Art, April 17-July 31, 2016.
Known for her expansive multidisciplinary approach to art making Vancouver-based Dana Claxton, who is Hunkpapa Lakota (Sioux), has investigated notions of Indigenous identity, beauty, gender and the body, as well as broader social and political issues through a practice which encompasses photography, film, video and performance. Rooted in contemporary art strategies, her practice critiques the representations of Indigenous people that circulate in art, literature and popular culture in general. In doing so, Claxton regularly combines Lakota traditions with "Western" influences, using a powerful and emotive "mix, meld and mash" approach to address the oppressive legacies of colonialism and to articulate Indigenous world views, histories and spirituality. This timely catalogue will be the first monograph to examine the full breadth and scope of Claxton's practice. It will be extensively illustrated and will include essays by Claxton's colleague Jaleh Mansoor, Associate Professor in the Department of Art History, Visual Art & Theory at the University of British Columbia; Monika Kin Gagnon, Professor in the Communications Department at Concordia University, who has followed Claxton's work for 25 years; Olivia Michiko Gagnon, a New York-based scholar and doctoral student in Performance Studies; and Grant Arnold, Audain Curator of British Columbia Art at the Vancouver Art Gallery.
Micro Monumentality is the first title in a new series, Micro-Africa, which aims to highlight the artistic and cultural value of miniature objects made in Africa. The whole series will be based on a single private collection. Forthcoming titles will be dedicated to different ethnic groups and/or varieties of objects (jewels, talismans, containers, boxes, fetishes). The first volume introduces the concept behind the series, offering a broad overview of objects and materials created and used by a large number of different African ethnic groups. With superb full-page photographs and close-ups of single details, Micro Monumentality extols the wealth of expression found in talismans, weights, boxes, containers, fetishes, jewels, and other objects made from wood, ivory, bone, bronze, iron, aluminium, and stone. None of these exceed 15 cm (just under 6 inches) in height or length, and though indeed 'microscopic', they are as expressive as much larger works, and are even 'monumental' in their own right. Showcased here are approximately 150 objects from a unique collection of 20,000 pieces, purchased from renowned art galleries, exchanged between collectors, or found in Africa during decades of enthusiastic research. Representing the quintessence of African thought, religiosity, and prodigious formal inventiveness, this private collection is a celebration of the union of the miniscule, the sacred, and the precious. Including a long interview in which the collector talks about the origin of his passion, this book plunges the reader into a poetic odyssey of materials, forms, and rituals composed on a smaller scale. Text in English and French.
This richly illustrated book showcases a previously unseen and virtually unknown historical collection of Chinese ceramics, formed in the early twentieth century by George Eumorfopoulos, a pivotal figure in the appreciate of Asian art. Taken together, these artifacts, now located at the Benaki Museum in Athens, Greece, build a rare time capsule of Western tastes and preoccupations with the East in the decades prior to World War II. The years between the collapse of the Qing dynasty in 1911 and the establishment of the People s Republic of China in 1949 marked an opening up of China to the rest of the world and coincided with the first archaeological excavations of the country s early cultures. Working at the time in London, a center of imperialist power and global finance, Eumorfopoulos and his colleagues were instrumental in acquiring, assessing, interpreting, and manipulating the unearthed objects. The years of isolation that followed this period allowed aspects of his approach to become canonical, influencing later scholarly research on Chinese material culture.This groundbreaking exploration of approximately one hundred artifacts is not only an important account of Eumorfopoulos s work, but also a story about China and the West and the role antique materials played in their cultural interplay. "
As one of the unavoidable realities of human existence, death is
also one of the oldest and most common themes in the history of
art. From Egyptian tomb paintings and battle scenes on Greek vases
by anonymous artists, to depictions of the Crucifixion and
Resurrection of Jesus by the great Renaissance masters, to
contemporary encounters with these subjects by such artists as
Damien Hirst and Andres Serrano, the contents of this book
highlight three thousand years of the iconography of death and
resurrection. While focusing on the Western artistic tradition, the
book also includes many artworks from Asia, Africa, and Oceania.
Chinese wallpaper has been an important element of western interior decoration for three hundred years. As trade between Europe and China flourished in the seventeenth century, Europeans developed a strong taste for Chinese art and design. The stunningly beautiful wall coverings now known as `Chinese wallpaper' were developed by Chinese painting workshops in response to western demand. In spite of their spectacular beauty, Chinese wallpapers have not been studied in any depth until relatively recently. This book provides an overview of some of the most significant Chinese wallpapers surviving in the British Isles. Sumptuously illustrated, it shows how these wallpapers became a staple ingredient of high-end interiors while always retaining a touch of the exotic.
"A Singular Voice" brings together essays by the controversial and popular Australian art and architecture scholar, Joan Kerr, that have appeared over the past 30 years. The Joan Kerr story is as much a history of changing attitudes to Australian art and architecture as it is a record of the remarkable academic career of a woman distinguished by her open mind, her infectious enthusiasm for everthing from colonial architecture to contemporary Aboriginal art, and her generosity to her peers.
From the ancient remains of a dinosaur in an outback museum display to the importance of art in our everday lives, Joan Kerr always had an interesting and different point of view. Whether she wrote about 19th-century Tasmanian painting, the architecture of imprisonment, or the forgotten and marginalized of Australian art, her writing crackles with energy. Her voice was unlike any other--a singular voice.
Joan Kerr (1938-2004) was an art and architectural historian, critic, curator of historical and contemporary exhibitions, lecturer and prolific writer, a witty and erudite public speaker, and a committed feminist. Her major publications include "The Dictionary of Australian Artists: Painters, Sketchers, Photographers and Engravers to 1870" and "Heritage: The National Women's Art Book. "
"A Singular Voice" is part of the four-book series Australian Studies in Art and Art Theory and is published with the assistance of the Getty Foundation, the Gordon Darling Foundation, and the Nelson Meers Foundation.
Through forty-one masterworks, Mumuye reveals some of the most accomplished statues made by this Nigerian tribal group. It was not until the late 1960s that statues from the Mumuye culture of northeastern Nigeria appeared on the European art scene. Their impact was immediate and profound: African art aficionados marvelled at Mumuye artists' abstract interpretation of the human body, which recalled the approach to anatomy by artists of the Cubist and Expressionist movements. Indeed, anthropomorphic Mumuye figure sculptures demonstrate an astonishing range of variations, testifying to their makers' unbridled creativity and limitless inventiveness. Here, a meticulous analysis of the extraordinary forms of Mumuye figures - paying attention to their striking inherent sense of motion - leads to a new style of classification that recognises different workshops and even the hands of individual masters. A summary of the scant field-based studies discusses the figures' primary role as emblems of status and rank, their connections to ancestral veneration, and healing and divination practices. Through a selection of masks and other objects, this book reveals the beauty of Mumuye figurative sculpture.
The Caribbean has been traditionally associated with externally devised mappings and categories, thus appearing as a passive entity to be consumed and categorized. Challenging these forces and representations, Carlos Garrido Castellano argues that something more must be added to the discussion in order to address contemporary Caribbean visual creativity. Beyond Representation in Contemporary Caribbean Art arises from several years of field research and curatorial activity in museums, universities, and cultural institutions of Jamaica, Trinidad, Martinique, Guadeloupe, Cuba, Dominican Republic, Puerto Rico, and the United States. This book explores the ways in which Caribbean individuals and communities have recurred to art and visual creativity to create and sustain public spaces of discussion and social interaction. The book analyzes contemporary Caribbean art in relation to broader discussions of citizenship, cultural agency, critical geography, migration, and social justice. Covering a broad range of artistic projects, including curatorial practice, socially engaged art, institutional politics, public art, and performance, this book is about the imaginative ways in which Caribbean subjects and communities rearrange the sociocultural framework(s) they inhabit and share.
Now in its fourth edition, this classic bestselling book has been updated with brand new chapters and hand-drawn illustrations. Using a highly accessible approach, the author takes history rather than aesthetics as his starting point. Risebero unfolds and explains the development of architecture in the Western world by examining the subject as an expression of social and economic conditions. The Story of Western Architecture explores not only the buildings constructed, but also how they were built, by whom and for what purpose. This informative book, brought to life through the author's expressive line drawings, is an essential guide to how buildings have evolved through time for keen amateurs and experts alike.
In this first systematic introduction to contemporary Chinese art, Wu Hung provides an accessible, focused and much-needed narrative of the development of Chinese art across all media from the 1970s to the 2000s. From its underground genesis during the Cultural Revolution (1966-76), contemporary Chinese art has become a dynamic and hugely influential force in a globalized art world where the distinctions between Eastern and Western culture are rapidly collapsing. The book is a richly illustrated and easy-to-navigate chronological survey that considers contemporary Chinese art both in the context of China's specific historical experiences and in a global arena. Wu Hung explores the emergence of avant-garde or contemporary art - as opposed to officially sanctioned art - in the public sphere after the Cultural Revolution; the mobilization by young artists and critics of a nationwide avant-garde movement in the mid-1980s; the re-emphasis on individual creativity in the late 1980s, the heightened spirit of experimentation of the 1990s; and the more recent identification of Chinese artists, such as Ai Weiwei, as global citizens who create works for an international audience.
The outflow of archaeological or artistic work from Africa, together with the ways of exhibiting African treasures outside Africa, are emerging as serious issues both in political and ethical terms. They are typified by a series of hot disputes concerning the legality of the exhibition of Nok terracotta pieces from Nigeria in the Louvre. Meanwhile in Africa, there has been an upsurge of active efforts by many ethnic groups - in Mali, Zimbabwe, Nigeria, South Africa and elsewhere - to create or re-create their own cultures by reviewing their cultural legacy. The book discusses the question: 'How should Africa's cultural heritage be preserved?' Scholars and museum professionals from Africa, Europe, America and Japan clarify the significance of 'Cultural Heritage' for African people in postcolonial Africa. They also explore how scholars and museum professionals outside Africa can support African colleagues in handing down their cultural legacy to future generations. Kenji Yoshida is Professor at the National Museum of Ethnology, Osaka, Japan; John Mack, formerly Keeper of Ethnography at the British Museum, is Professor of World Art at the University of East Anglia. The contributors include: RUMI UMINO, GODFREY MAHACHI, TEREBA TOGOLA, GEORGE S. MUDENDA, JASPER MORGAN CHALCRAFT, NORIKO AIKAWA-FAURE, ANITRA NETTLETON, MOYO OKEDIJI, YUKIYA KAWAGUCHI, TETSUYA KAMEI, MARY NOOTER ROBERTS, SHOICHIRO TAKEZAWA and KIPROP LAGAT South Africa: Unisa Press (PB)
In 1990 Jacques Chirac, the future president of France and a
passionate fan of non-European art, met Jacques Kerchache, a
maverick art collector with the lifelong ambition of displaying
African sculpture in the holy temple of French culture, the Louvre.
Together they began laying plans, and ten years later African
fetishes were on view under the same roof as the "Mona Lisa," Then,
in 2006, amidst a maelstrom of controversy and hype, Chirac
presided over the opening of a new museum dedicated to primitive
art in the shadow of the Eiffel Tower: the Musee du Quai Branly.
African-American art has made an increasingly vital contribution to the art of the United States from the time of its origins in early-eighteenth-century slave communities. This major reassessment of the subject discusses folk and decorative arts such as ceramics, furniture, and quilts alongside fine art -- sculptures, paintings, and photography -- produced by African Americans, both enslaved and free, throughout the nineteenth century. It explores art and politics, the influence of galleries and museums, and examines the New Negro Movement of the 1920s, the Era of Civil Rights and Black Nationalism through the 1960s and 1970s, and the emergence of new black artists and theorists in the 1980s and 1990s. African-American Art shows that in its cultural diversity and synthesis of cultures it mirrors those in American society as a whole.
`a much needed text. . . breaks down the barrier between folk and formal art, and articulates an interrelationship of both concepts to African-American people and their culture' Keith Morrison, Artist and Dean of the College of Arts, San Francisco State University.
`a fine survey of contemporary African-American art and ideas... a volume, which, like no other, can be used both as an unusual reference book and a good read' Emma Amos, Artist and Professor of Art at Rutgers University
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.
The Haida are islanders first and foremost - a people apart. Discover the source of their distinctive culture and the inspirations for their arts in this book.
This lavishly illustrated catalogue is a comprehensive historical review of Chinese ceramics covering newly excavated discoveries from the Paleolithic era thousands of years ago to the end of the Qing dynasty in 1911. Throughout China's history there has been an ongoing practice of invention and innovation in the forms, materials, decorations, and functions of ceramics made in China, both for the domestic market and for its ever-growing trade with foreign markets. The creation of ceramic ware holds a special and very important place among the many arts and inventions that characterize Chinese culture, society, and civilization.
The product of a ten-year collaboration among eminent American, Chinese, and Japanese scholars, "Chinese Ceramics "offers a new perspective in interpreting the oldest and one of the most admired Chinese art forms, from its technological aspects to its aesthetic value. The volume includes a chapter on Chinese export ceramics that delves into Chinese trade activities and ceramic wares made for export as well as a chapter about the authenticity of Chinese ceramics, discussing issues related to connoisseurship of this Chinese art.
As author He Li writes, "Despite the rich variety of Chinese ceramics around the world, no fully illustrated, photographed survey of a complete history has been attempted in English. This volume] will convey the excitement of encountering these specially chosen examples for the first time."
The University of New Mexico's Tamarind Institute is a world-renowned center for fine art lithography dedicated to training master printers and providing a professional studio for artists. In "Migrations," Tamarind director Marjorie Devon has compiled the work of six Native American artists, each of whom collaborated with professional printers at Tamarind and at Crow's Shadow Institute of the Arts in Pendleton, Oregon, to create prints. These artists were selected because they engage in contemporary art rather than what is traditionally considered "Native American art." Artists Steven Deo (Creek/Euchee), Tom Jones (Ho Chunk), Larry McNeil (Tlingit/Nisgaa), Ryan Lee Smith (Cherokee), Star Wallowing Bull (Chippewa/Arapaho), and Marie Watt (Seneca) represent a wide spectrum of Native American cultures and experiences.
In addition to the art, essays by Jo Ortel, Lucy Lippard, Kathleen Howe, and Gerald McMaster contribute expert analyses of Native American art. Ortel, an associate professor of art history at Beloit College, defines "Migrations" as it applies to this project. Lippard is an art critic and author whose essay discusses the cultural baggage forced upon the American Indian. As director of the Pomona College Museum of Art and professor of art history, Howe offers an overview of Tamarind Institutes projects with indigenous peoples. A Plains Cree artist, McMasters essay details the history of Crow's Shadow Institute on Oregon's Umatilla Reservation. A traveling exhibition of the art contained here, also entitled "Migrations," will begin in 2007, venues to be announced.
The social and economic rise of the chungin class ("middle people" who ranked between the yangban aristocracy and commoners) during the late Choson period (1700-1910) ushered in a world of materialism and commodification of painting and other art objects. Generally overlooked in art history, the chungin contributed to a flourishing art market, especially for ch'aekkori, a new form of still life painting that experimented with Western perspective and illusionism, and a reimagined style of the traditional plum blossom painting genre. Sunglim Kim examines chungin artists and patronage of the visual arts, and their commercial transactions, artistic exchange with China and Japan, and historical writings on art. She also explores the key role of men of chungin background in preserving Korean art heritage in the tumultuous twentieth century, including the work of the modern Korean collector and historian O Se-ch'ang, who memorialized many chungin painters and calligraphers. Revealing a vivid picture of a complex art world,Flowering Plums and Curio Cabinets presents a major reconsideration of late Choson society and its material culture. Lushly illustrated, it will appeal to scholars of Korea and East Asia, art history, visual culture, and social history.
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