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In the nineteenth and twentieth centuries it was fashionable to collect 'curios', objects so named because they aroused 'curiosity'. Imaginatively decorated and made from different materials, some of which are still underappreciated, these exotic objects from China and Japan fascinated Westerners. They stimulated a fad for Asia, captivated art lovers, and had a profound influence on the graphic arts in Europe. This beguiling period kindled a passion for collecting in Alfred Baur (1865-1951) and for creation in Alfred Cartier (1841-1925) and his three sons, Louis (1875-1942), Pierre (1878-1964), and Jacques (1884-1941). While the pieces fashioned in Asian style by the Maison Cartier are generally known, their historical and cultural context is not, thus the idea arose of bringing these fine creations together with the collections of the Baur Foundation, Museum of Far Eastern Art, based in Geneva. As one leafs through the pages, Asia Imagined slowly becomes apparent, like a treasure hunt. Diamond-studded pagodas and pavilions, busy scholars beneath the starry sky, nacreous moonlight scenes, shimmering phoenixes, jade dragons, and multi-coloured cherry blossom-like gems depict an imaginary land. The Cartier magic has its effect. Side-by-side with the creations of the Parisian jeweller, the imperial porcelains, lacquerware embellished with precious metals, embroidered silks, jades, coloured enamels, netsuke, sword hilts, and prints belonging to the Baur Foundation give their version of the marvels of China and Japan and install a unique dialogue, offering an exceptional opportunity to view two of the world's most outstanding collections.
The digital collective teamLab, founded in Tokyo in 2001 by Toshiyuki Inoko, breaks established boundaries between the gallery and art world. This group-comprised of more than four hundred people including programmers, designers, and animators-creates immersive digital experiences outside of the realm of the traditional art world, navigating the confluence of art, technology, design, and the natural world. In many cases, it roots its imagery in historical Japanese art but uses the visual language of high-tech rendering and animation. Over the past few years, teamLab's projects have kept pace with technology and have evolved from two-dimensional screen-based animations to room-sized interactive installations. This book is a collection of essays, interviews and photographs exploring both the presence of teamLab's installations and the ideas and processes behind them. With a focus on the development of their work rather than the actual public displays, this book takes readers behind-the-scenes of a fascinating and thoroughly modern take on art. See the teamLab exhibit-the inaugural display in the Asian Art Museum of San Francisco's new 9,500-square-foot exhibition pavilion: April 24 - September 7, 2020.
With characteristic intelligence, wit, and feminist insight, Ellen Willis addresses democracy as she sees it: "a commitment to individual freedom and egalitarian self-government in every area of social, economic, and cultural life."Moving between scholarly and down-to-earth activist writing styles, Willis confronts the conservative backlash that has slowly eroded democratic ideals and advances of the 1960s as well as the internal debates that have frequently splintered the left.
The Art of Eastern India, 300-800 was first published in 1980. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.Though scholars have extensive knowledge of the art that flourished during Pala rule in Eastern India (ca. 800-1200), little is known about Eastern Indian art during the preceding 500 years. This half-millennium includes the period of the Gupta dynasty and the two centuries that bridge Gupta and Pala rule, when no single dynasty long maintained control of Eastern India. In this study, Frederick M. Asher challenges arthistorical assumptions about Pala art - that it is a new school virtually without links to earlier art 00 by demonstrating that sculpture during the Gupta period and the subsequent three centuries evolved along lines that connect it with Pala art. In so doing, he draws attention to important sculptures, most of them never previously studied, that tell us not only about an unexplored period in Indian art but also about broader aspects of the cultural history and geography of Eastern India. Asher's work is based on field research in Bihar, West Bengal, and Bangladesh. There he gave special attention to the sites of once-flourishing Buddhist monasteries and to Hindu images still worshipped in village India. The author's photographs of the bronze, terra cotta, and stone sculptures, and his detailed text, provide a virtual catalogue raisonne of the known works of the period. Asher's analyses of the images and his attributions of dates to them are based upon close attention to artistic style and iconography, and the study of dynastic and social history, contemporary travelers' reports, and religious history. Drawing together these diverse strands of information, he describes the evolution of art forms over a long period in which there was little apparent historic unity. John M. Rosenfield, professor of art history at Harvard University and author of The Art of the Kushans, says, of The Art of Eastern India,"The scholarship is scrupulously detailed and careful . . . [The book] is in the finest tradition of classical scholarship, and will be consulted or several generations."
This illustrated historical overview features some of the finest examples of Cherokee art in private, corporate, and museum collections here and abroad. As Susan C. Power ranges across the rich legacy of Cherokee artistic achievement from the sixteenth century to the present, she discusses such objects as baskets, masks, beaded and embroidered garments, jewelry, and paintings. Power draws on archival and scholarly sources and, when possible, the artists' own words as she interprets these objects in terms of their design, craftsmanship, style, and most important, their function and meaning in Cherokee history and culture. In addition to recognizing artistic merit and significant contributions to the development of Cherokee art, Power reveals the wide range of geographical locales from which Cherokee art has originated. This includes the Cherokee's tribal homeland in the Southeast, the tribe's areas of resettlement in the West, and places in the United States and beyond to which individuals subsequently moved. Intimately connected to the time and place of its creation, Cherokee art changed along with Cherokee social, political, and economic circumstances. The entry of European explorers into the Southeast, the Trail of Tears, the American Civil War, and the signing of treaties with the U.S. government are among the transforming events in Cherokee art history that Power discusses. In the twentieth century, as Cherokee artists joined the mainstream art world, they helped shape the Native American Fine Art Movement. Today, Cherokee artists continue to create in an artistic voice that is uniquely Cherokee - a voice that is both traditional and contemporary.
In Anime's Media Mix, Marc Steinberg convincingly shows that anime is far more than a style of Japanese animation. Beyond its immediate form of cartooning, anime is also a unique mode of cultural production and consumption that led to the phenomenon that is today called "media mix" in Japan and "convergence" in the West. According to Steinberg, both anime and the media mix were ignited on January 1, 1963, when Astro Boy hit Japanese TV screens for the first time. Sponsored by a chocolate manufacturer with savvy marketing skills, Astro Boy quickly became a cultural icon in Japan. He was the poster boy (or, in his case, "sticker boy") both for Meiji Seika's chocolates and for what could happen when a goggle-eyed cartoon child fell into the eager clutches of creative marketers. It was only a short step, Steinberg makes clear, from Astro Boy to Pokemon and beyond. Steinberg traces the cultural genealogy that spawned Astro Boy to the transformations of Japanese media culture that followed-and forward to the even more profound developments in global capitalism supported by the circulation of characters like Doraemon, Hello Kitty, and Suzumiya Haruhi. He details how convergence was sparked by anime, with its astoundingly broad merchandising of images and its franchising across media and commodities. He also explains, for the first time, how the rise of anime cannot be understood properly-historically, economically, and culturally-without grasping the integral role that the media mix played from the start. Engaging with film, animation, and media studies, as well as analyses of consumer culture and theories of capitalism, Steinberg offers the first sustained study of the Japanese mode of convergence that informs global media practices to this day.
Published to coincide with the imminent opening of the beautiful new art galleries at Te Papa, this book takes an intimate yet expert look at the national art collection. Ten art curators each pick ten art works and tell us why they love/admire/revere/are moved by them. It's an entirely fresh way to approach art, through the eyes of those who work with these paintings, prints, photographs, applied art objects and sculptures every day and who know them better than most.
An in-depth exploration of the significance of art in Yoruba culture, focusing on form, function and meaning, as well as the interplay of verbal and visual imagery. Numbering more than 25 million people living in Nigeria and parts of adjacent Benin and Togo, the Yoruba are sub-divided into different kingdoms. Study of the archaeological evidence and historical sources indicates that by the beginning of the second millennium, many Yoruba kingdoms had become major urban centres with highly developed economic, cultural, political and religious institutions. The exceptional quality of Yoruba art from ancient times to the present - with forms ranging from the naturalistic to the schematic - is an expression of the complexity of Yoruba culture, history and religion. Significant regional variations within the culture are reflected in the regional and individual characteristics of the Yoruba style. Art features prominently in Yoruba culture. It is used not only to enrich life and project taste and status, but also to signify, venerate and influence deities who administer the cosmos on behalf of the Supreme Being. Based on field observations, contextual analyses and a variety of oral sources and published materials, this volume offers rare insights into the poetics and dynamics of art, its ontological significance, and the Yoruba belief that the 'beautiful' or the 'well-made' generates a special power that commands attention.
In What Does It Mean to Be Post-Soviet? Madina Tlostanova traces how contemporary post-Soviet art mediates this human condition. Observing how the concept of the happy future-which was at the core of the project of Soviet modernity-has lapsed from the post-Soviet imagination, Tlostanova shows how the possible way out of such a sense of futurelessness lies in the engagement with activist art. She interviews artists, art collectives, and writers such as Estonian artist Liina Siib, Uzbek artist Vyacheslav Akhunov, and Azerbaijani writer Afanassy Mamedov who frame the post-Soviet condition through the experience and expression of community, space, temporality, gender, and negotiating the demands of the state and the market. In foregrounding the unfolding aesthesis and activism in the post-Soviet space, Tlostanova emphasizes the important role that decolonial art plays in providing the foundation upon which to build new modes of thought and a decolonial future.
A trove of primary source materials, From Postwar to Postmodern, Art in Japan 1945-1989 is an invaluable scholarly resource for readers who wish to explore the fascinating subject of avant-garde art in postwar Japan. In this comprehensive anthology, an array of key documents, artist manifestos, critical essays, and roundtable discussions are translated into English for the first time. The pieces cover a broad range of artistic mediums-including photography, film, performance, architecture, and design-and illuminate their various points of convergence in the Japanese context. The collection is organized chronologically and thematically to highlight significant movements, works, and artistic phenomena, such as the pioneering artist collectives Gutai and Hi Red Center, the influential photography periodical Provoke, and the emergence of video art in the 1980s. Interspersed throughout the volume are more than twenty newly commissioned texts by contemporary scholars. Including Bert Winther-Tamaki on art and the Occupation and Reiko Tomii on the Yomiuri Independent Exhibition, these pieces supplement and provide a historical framework for the primary source materials. From Postwar to Postmodern, Art in Japan 1945-1989 offers an unprecedented look at over four decades of Japanese art-both as it unfolded and as it is seen from the perspective of the present day. Publication of The Museum of Modern Art
This is the latest volume in the acclaimed series that depicts medicine as depicted in art throughout history. This sumptuously illustrated volume offers a visual history of the depiction of illness and healing in Western culture, ranging from Egyptian wall carvings to medieval manuscripts and from paintings and sculpture by the great masters of the Renaissance to 20th century artists such as Matisse & Magritte. Thematic chapters cover the examination of patients and their maladies, healing and medical treatments, and the sufferings and hopes of patients awaiting cure and recovery. Psychological anguish, represented by Masaccio's The Expulsion of Adam and Eve, and Munch's The Scream, are also treated along with more obvious physical manifestations.
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 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. A William Sangki and Nanhee Min Hahn Book Art History Publication Initiative. For more information, visit http://arthistorypi.org/books/flowering-plums-and-curio-cabinets
Redraws the contours of Asian American art, attempting to free it from a categorization that stifles more than it reveals. Charting its historical conditions and the expansive contexts of its emergence, Susette Min challenges the notion of Asian American art as a site of reconciliation or as a way for marginalized artists to enter into the canon or mainstream art scene. Pressing critically on the politics of visibility and how this categorization reduces artworks by Asian American artists within narrow parameters of interpretation, Unnamable reconceives Asian American art not as a subset of objects, but as a medium that disrupts representations and embedded knowledge. By approaching Asian American art in this way, Min refigures the way we see Asian American art as an oppositional practice, less in terms of its aspirations to be seen-its greater visibility-and more in terms of how it models a different way of seeing and encountering the world. Uniquely presented, the chapters are organized thematically as mini-exhibitions, and offer readings of select works by contemporary artists including Tehching Hsieh, Byron Kim, Simon Leung, Mary Lum, and Nikki S. Lee. Min displays a curatorial practice and reading method that conceives of these works not as "exemplary" instances of Asian American art, but as engaged in an aesthetic practice that is open-ended. Ultimately, Unnamable insists that in order to reassess Asian American art and its place in art history, we need to let go not only of established viewing practices, but potentially even the category of Asian American art itself. Redraws the contours of Asian American art, attempting to free it from a categorization that stifles more than it reveals. Charting its historical conditions and the expansive contexts of its emergence, Susette Min challenges the notion of Asian American art as a site of reconciliation or as a way for marginalized artists to enter into the canon or mainstream art scene. Pressing critically on the politics of visibility and how this categorization reduces artworks by Asian American artists within narrow parameters of interpretation, Unnamable reconceives Asian American art not as a subset of objects, but as a medium that disrupts representations and embedded knowledge. By approaching Asian American art in this way, Min refigures the way we see Asian American art as an oppositional practice, less in terms of its aspirations to be seen-its greater visibility-and more in terms of how it models a different way of seeing and encountering the world. Uniquely presented, the chapters are organized thematically as mini-exhibitions, and offer readings of select works by contemporary artists including Tehching Hsieh, Byron Kim, Simon Leung, Mary Lum, and Nikki S. Lee. Min displays a curatorial practice and reading method that conceives of these works not as "exemplary" instances of Asian American art, but as engaged in an aesthetic practice that is open-ended. Ultimately, Unnamable insists that in order to reassess Asian American art and its place in art history, we need to let go not only of established viewing practices, but potentially even the category of Asian American art itself.
This enchanted tour of Egyptian art by one of its early explorers is one of the most beautiful modern works on ancient Egyptian art. Prisse d'Avennes's monumental work, first published in Paris over a ten-year period between 1868 and 1878, includes the only surviving record of many lost artifacts. This classic work is now available for the first time in paperback.
The natural Japanese affinity for decorative art is apparent in
this striking collection of 104 exquisite stencil designs,
reproduced from a rare 19th-century publication. Motifs depict --
among other subjects -- lush florals, bamboo branches, birds on the
wing, and rustic country homes. Captions identify the
For over three decades, contemporary Native American artist Hock E Aye Vi Edgar Heap of Birds has pursued a disciplined practice in multiple media, having shown his paintings, drawings, prints, and text-based conceptual art throughout numerous national and international galleries and public spaces. In the first book-length study of this important artist, Bill Anthes analyzes Heap of Birds's art and politics in relation to the international contemporary art scene, Native American history, and settler colonialism. Foregrounding how Heap of Birds roots his practice in Cheyenne spirituality and an indigenous way of seeing and being in the world, Anthes describes how Heap of Birds likens his art to "sharp rocks"-weapons delivering trenchant critiques of the loss of land, life, and autonomy endured by Native Americans. Whether appearing as interventions in public spaces or in a gallery, Heap of Birds's carefully honed artworks pose questions about time, modernity, identity, power, and the meaning and value of contemporary art in a global culture.
Ahh, the impact of Indian art and culture on a Dutch artist in the late 1650s! Pairing Rembrandt's twenty-three surviving drawings of Shah Jahan, Jahangir, Dara Shikoh, and other Mughal courtiers with Mughal paintings of similar compositions, the book critiques the prevailing notion that Rembrandt "brought life" to the static Mughal art. With essays written by both scholars of both Dutch and Indian art, this volume demonstrates that Rembrandt's contact with Mughal painting inspired him to draw in an entirely new, refined style on Asian paper-an approach that was shaped by the Dutch trade in Asia and prompted by the curiosity of a foreign culture. Seen in this light, Rembrandt's engagement with India enriches our understanding of collecting in seventeenth-century Amsterdam, the Dutch global economy, and Rembrandt's artistic self-fashioning. A close examination of the Mughal imperial workshop provides new insights into how Indian paintings came to Europe as well as how Dutch prints were incorporated into Mughal compositions.
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.
In the late nineteenth century Tahiti embodied Western ideas of an earthly Paradise, a primitive utopia distant geographically and culturally from the Gilded Age or Belle Epoque. Stimulated by fin de siecle longings for the exotic, a few adventurous artists sought out this Eden on the South Seas - but what they found did not always live up to the Eden of their imagination. Bringing three of these figures together in comparative perspective for the first time, "Vanishing Paradise" offers a fresh take on the modernist primitivism of the French painter Paul Gauguin, the nostalgic exoticism of the American John LaFarge, and the elite tourism of the American writer Henry Adams. Drawing on archives throughout Europe, America, and the South Pacific, Childs explores how these artists, lured by romantic ideas about travel and exploration, wrestled with the elusiveness of paradise and portrayed colonial Tahiti in ways both mythic and modern.
This sumptuous slip-cased set presents the Barbier-Mueller Collection, which includes masterworks from the Aztec, Maya, and other cultures, in two magnificently illustrated books written by the greatest international specialists on the subject, and also includes Sotheby's sale catalogue. The Barbier-Mueller Collection of Pre-Columbian art, recently auctioned at Sotheby's, is the most comprehensive collection of its kind. Comprising some 300 works from Mexico, Central, and South America - wood and stone sculptures, ceramics, textiles, and ritual objects - it spans 1200 BC to AD 1500. The Barbier-Mueller Collection, one of the most important and wide-ranging art collections in the world, was begun by Josef Mueller in Paris in 1908 with the purchase of works by Hodler and Cezanne; the Swiss Mueller then looked beyond Western art and bought his first pre-Columbian piece, an Aztec stone water goddess, in 1920. Today, Mueller's daughter and son-in-law, Monique and Jean Paul Barbier-Mueller, continue to collect Western, African, Oceanic, and Cycladic art, which is frequently on loan to museums around the world. Text in English and French.
When the Aztec Empire emerged to dominate central Mexico from 1460
to 1519, vast amounts of tribute wealth flowed into the capital
city of Tenochtitlan, enabling artists and architects to create
sophisticated works on a monumental scale. Confronting a
civilization without precedent, some Spanish conquistadors and
missionaries looked to the classical past for explanations and
parallels were drawn between two great empires--the Aztec and the
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