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Historically patronised or promoted with such reductive terms as "folk," "naive," and "outsider," the works of many African-American artists born during the Jim Crow era of institutionalised racism - most of whom are self taught-have,until recently, been relegated to the margins of American culture. These artists are now gaining the recognition they rightfully deserve, having addressed some of the most profound and persistent issues in American society including race, class, gender and spirituality. Originally created as expressions of individual identity and communal solidarity, they eloquent objects are also powerful testaments to the continuity and survival of the African-American culture. Featuring more than sixty artworks and a series of insightful essays, this volume captures the impact of the historical legacy or the African Diaspora and the ways it has expanded and enriched the history of American 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.
Following on from the success of the exhibition Before Time Began, Fondation Opale is taking on a new challenge with a show that juxtaposes contemporary Aboriginal art with prominent examples of contemporary art created in a Western and Asian tradition. This beautifully illustrated catalogue includes more than eighty works by over 54 artists from two separate collections, both of which are outstanding in their own right: the collection of Aboriginal art belonging to Berengere Primat and the contemporary art collection amassed by Garance Primat. The works play off each other with powerful effect. Insightful pairings suggest an underlying unity, a merging of mankind, heaven, earth, and the whole cosmos. The Aboriginal artists represented include: Rover Thomas, Gulumbu Yunupingu, Clifford Possum Tjapaltjarri, Judy Watson, Sally Gabori, Emily Kame Kngwarrey, Paddy Bedford, Nonggirrnga Marawili, Ronnie Tjampitjinpa, and John Mawurndjul. The artists working in the Western and Oriental traditions include: Jean Dubuffet, Kiki Smith, Anselm Kiefer, Sol Lewitt, Yayoi Kusama, Giuseppe Penone, and Anish Kapoor.
An illustrated presentation of the fascinating world of Hindu deities and places of worship, this book should appeal to anyone interested in Indian art and culture. The book features 47 popular images and shrines and has been pictorially embellished and extensively illustrated throughout with photographs and hand painted designs. It is a celebration of India's heritage. The first half of the book features Hindu Gods, with specially designed full page illustrations and the second half features the shrines, with full page photographs.
This adult colouring book featuring stunning Asian designs and high-quality paper and is the perfect stress-reliever for fans of Asian art motifs. Artistry is in the details, and A Touch of Asia Coloring Book presents over 50 colouring patterns drawn from the exquisite traditional porcelains, prints, manuscripts, textiles, mosaics and many other artworks of Asia. Each design gives you a taste of the rich culture, history and variety found in this part of the world. Apply your pencils and fine markers to drawings based on: Chinese porcelain designs; Islamic tiles; Persian rugs and other Asian textiles; Japanese prints... and more! This is a colouring book for both relaxation and exploration. Choose a simpler design for a more restful mood or a detailed pattern when you want more of a challenge. Each single-sided page can be torn out for sharing with family and friends or for framing your finished masterpiece.
The collection of Korean art in the Fitzwilliam Museum is one of the finest outside the Far East, containing rich holdings of early unglazed ceramics, celadon stonewares of the Koryo dynasty, punch'ong wares and porcelains of the Choson dynasty as well as items in glass, jade, bronze, brass, lacquer and wood. This catalogue, compiled by Yun Yong-i and edited by Regina Krahl, supplies detailed information on the artefacts and posits a dating system which will be useful to students and collectors of Korean art worldwide. The introductions to each type of ware represent important contributions to the subject. Essays on Korean culture and the technology of Korean ceramics set the works of art in historical context. The finest examples of each type of ware are represented in 32 pages of colour illustrations and over 450 black and white photographs show varied views of the specimens.
From colorful, expressionist tapestries to the invention of
soundproofing and light-reflective fabric, the workshop's
innovative creations influenced a modernist theory of weaving. In
the first careful examination of the writings of Bauhaus weavers,
including Anni Albers, Gunta Stozl, and Otti Berger, Smith details
how these women challenged assumptions about the feminine nature of
their craft. As they harnessed the vocabulary of other disciplines
like painting, architecture, and photography, Smith argues, the
weavers resisted modernist thinking about distinct media. In
parsing texts about tapestries and functional textiles, the vital
role these women played in debates about medium in the twentieth
century and a nuanced history of the Bauhaus comes to light.
"Bauhaus Weaving Theory" deftly reframes the Bauhaus weaving workshop as central to theoretical inquiry at the school. Putting questions of how value and legitimacy are established in the art world into dialogue with the limits of modernism, Smith confronts the belief that the crafts are manual and technical but never intellectual arts.
Hardcover, 304 pages, 2,000 color and historic b & w illustrations; Featuring: Acoma, Cochiti, Isleta, Jemez, Pecos, Laguna, Sandia, San Felipe, Santa Ana, Santo Domingo, Tiqua/Ysleta del Sur, Zia and Zuni. Dimensions (in inches): 11.50 x 1.00 x 8.75 Vol. 4 - "American Indian Art Series." REVIEWS: ***** "The Bible of Native Arts " Native Peoples Magazine "The volume will for decades remain a primary resource." Dr. Bruce Bernstain, Smithsonian Institutiton, National Museum of the American Indian "We applaud the efforts of Dr. Gregory Schaaf in his American Indian Art Series." Susan Pourian, The Indian Craft Shop, Department of Interior "THE reference books for Indian art." Isa and Dick Diestler
Viktor Wynd's gallery and shop in East London is arranged with the sensibility of a 17th-century Wunderkabinett. It displays and sells an eccentric and seemingly random collection of objects - everything from shrunken heads to narwhal tusks, united only by the sense of wonder they inspire in their curator. Now, Wynd takes readers on a tour of homes, private collections and museums that share his fondness for things arcane, desiccated, antique, or just plain odd. The book visits rarefied locations lovingly curated to by dilettantes, bohemians and artists: from David McKinley's rambling Devon farmhouse and its historic taxidermy to an Italianate villa in East London built near tower blocks; to the House of Dreams Museum and artist Marcelle Hanselaar's studio. It also includes advice on how to start a collection of your own, covering details on auction houses, private dealers, flea markets and fairs, and shows that having distinctive taste does not necessarily require a massive budget. Designed in a style that reflects its author's delightfully idiosyncratic perspective and with illustrations by the Theatre of Dolls, and photography by Oskar Proctor, this book is dedicated to collecting the wonders of the world.
Woodblock printing is a traditional artistic medium in Japan most renowned for its use in ukiyo-e or 'floating world' prints. Both moving and mesmerising, this medium captures scenes with considerable atmosphere and vibrancy whether it be crashing waves, autumn leaves or serene waterfalls. Beginning with a fresh and thoughtful introduction to Japanese woodblock art, Japanese Woodblocks Masterpieces of Art goes on to showcase key works by artists such as Katsuhika Hokusai and Ando Hiroshige.
Contemporary art production in Arab countries still remains largely unexplored. Often general and trite assumptions are made distinguishing between East and West, Arabic-Islamic and Western-Christian civilisation, without addressing each culture's specific characteristics in appropriate ways. Aware of the fact that the reception of art from these countries calls for a new approach, the museum for contemporary art, MARTa in Herford, Germany, has invited nine female artists from Libya, Tunisia, Algeria, Lebanon, Jordan, Iran and Iraq to share their work. They all came to the West as university students or exiles, and most of them never returned to their homes. This exhibition focuses on their works of art and devotes ample space to the particular biographical and national details in the lives of these women. The diversity of their artistic styles links many different aspects, reflecting on the concept of cultural boundaries, and the crossing of those boundaries, as well as the on-going conflicts and upheaval in their home countries.
This classic compendium of ancient Indian artifacts from the entire southeastern United States remains an indispensable reference source for professionals and enthusiasts alike.
From utilitarian arrowheads to beautiful stone effigy pipes to ornately-carved shell disks, the photographs and drawings in "Sun Circles and Human Hands " present the archaeological record of the art and native crafts of the prehistoric southeastern Indians. Painstakingly compiled in the 1950s by two sisters who traveled the eastern United States interviewing archaeologists and collectors and visiting the major repositories, "Sun Circles and Human Hands" is remarkable for its breadth of illustration of Indian-made artifacts and its comprehensive documentation. Although research over the last 50 years has disproven many of the early theories reported in the text--which were not the editors' theories but those of the archaeologists of the day--the excellent illustrations of objects no longer available for examination have more than validated the lasting worth of this popular book.
Broadly acclaimed when it first appeared, this new printing has the added value of Knight's foreword, which places the work in its proper context. Useful to museums, state and national parks, school libraries, gift stores, archaeological agencies, and private collections, "Sun Circles and Human Hands" is a rich pictorial survey accessible to anyone interested in early American Indian culture.
History of Art in Japan is a fully illustrated overview of Japanese art, written by one of Japan's most distinguished art historians. This masterful account of the country's exceptional cultural heritage sheds light on how Japan has nurtured distinctive aesthetics, prominent artists, and movements that have achieved global influence and popularity. A leading authority on Japanese art history, Tsuji Nobuo discusses works ranging from the Jomon period to contemporary art, from earthenware figurines in 13,000 BCE to manga, anime, and modern subcultures. He explains crucial aspects of Japan's many artistic mediums and styles-including paintings, ukiyo-e, ceramics, sculpture, armor, gardens, and architecture-covering thousands of years. Drawing on newly discovered archaeological findings and the latest research, the book examines Japanese art in various contexts, including Buddhist and religious influences, aristocratic and popular aesthetics, and interactions with the world. Generously illustrated with hundreds of full-color images, maps, and figures, History of Art in Japan is an indispensable resource for all those interested in this multifaceted history, illuminating countless aspects of Japanese art for scholars and general readers alike.
With Smiling Sushi Roll, lunch can resemble great works of art, like Munch's The Scream and Rodin's The Thinker. In this unique, humorous little book, popular maki (sushi roll) artist and instructor Tama-chan, otherwise known as Takayo Kiyota, shows how basic ingredients like rice, seaweed, pickles, and cucumber can be used like paint and ink to create maki that is so fun to look at, you almost won't want to eat it. Mostly humorous art book, part sushi cookbook, Smiling Sushi Roll includes a few of the basics of using condiments, herbs and spices to colourize rice as well as preparing a sushi roll for some artistic strokes. Tama-chan's rolls feature original whimsical cartoons of Japanese culture and social commentary, as well as interpretations of famous works. Some of the cartoons even change with each slice of the roll to form a running narrative. Some of the sushi art projects in this book include: Famous paintings, like The Kiss by Gustav Klimt Objects, like a gun or a guitar People, like a Hula dancer or a Ninja Animals, like a dinosaur or a fish Symbols, like a Japanese character or a radiation warning sign. The result is a funny, joyous celebration of food preparation and presentation, and a whole new definition of culinary art.
The idea that Japanese art is produced through rote copy and imitation is an eighteenth-century colonial construct, with roots in Romantic ideals of originality. Offering a much-needed corrective to this critique, Michael Lucken demonstrates the distinct character of Japanese mimesis and its dynamic impact on global culture, showing through several twentieth-century masterpieces the generative and regenerative power of Japanese arts. Choosing a representative work from each of four modern genres-painting, film, photography, and animation-Lucken portrays the range of strategies that Japanese artists use to re-present contemporary influences. He examines Kishida Ryusei's portraits of Reiko (1914-1929), Kurosawa Akira's Ikiru (1952), Araki Nobuyoshi's photographic novel Sentimental Journey-Winter (1991), and Miyazaki Hayao's popular anime film Spirited Away (2001), revealing the sophisticated patterns of mimesis that are unique but not exclusive to modern Japanese art. In doing so, Lucken identifies the tensions that drive the Japanese imagination, which are much richer than a simple opposition between progress and tradition, and their reflection of human culture's universal encounter with change. This global perspective explains why, despite its non-Western origins, Japanese art has earned such a vast following.
First published in 1976, People of the Eland was the first major step away from the outsider's view upon San rock art that had dominated studies of rock art for nearly a century. The title, an account of the rock art of the San of the Drakensberg Range, was also about the mountain San themselves: their lives, their beliefs, their culture and their history during colonisation. The book not only brought an extraordinary and dynamic body of art to the attention of a global audience, but also helped to lay the foundations for a new generation of research into the meaning of prehistoric art. People of the Eland aimed to gain an insider's view of the rock art using San understandings of the world. While following this approach, it quickly became clear to Vinnicombe that the art was very far from simple depictions of daily life as had once seemed likely, but instead reflected the most deeply held San beliefs and symbols. This approach and this understanding has now become the standard for all those working with San rock art. Whilst this early knowledge of San art has been built upon considerably since 1976, People of the Eland remains a cornerstone of our current understanding. Reprinted here in full colour, with the original artwork and photographs, People of the Eland remains a seminal work, the impact of which cannot be underestimated.
This catalogue presents one of the largest collections of Swiss contemporary art in print forthe rst time. In the early 1970s, Peter and Elisabeth Bosshard, collectors and patrons of the arts, began to bring together works by Swiss artists. Over the years, with great passion, they built upa valuable collection, encompassing works by famous names such as Annelies Strba, Adrian Schiess, Ueli Berger, and Miriam Cahn, as well as gems by lesser-known artists such as Niklaus Ruegg or Maureen Kaegi.The year 2018 marks the museum's tenth anniversary, and will see the publication of the collection catalog From Anselm to Zilla, documenting the Peter and Elisabeth Bosshard Collection of the Stiftung Kunst(Zeug)Haus. The catalog makes a signi cant portion of the over 6,000 artworks by Swiss artists held at the Kunst(Zeug)Haus Rapperswil-Jona accessible in this format for the rst time.Texts addressing selective, representative artists from the collection are framed by essays that underscore the collection's characteristics, its importance for the Swiss art scene and the unique architecture of the Kunst(Zeug)Haus. In addition, an interview with Peter and Elisabeth Bosshard addresses questions about the couple's collecting activities and gives an insight into their personal passion for collecting art.
From rock art to Australian modernism, from bark paintings to the Heidelberg School, The Cambridge Companion to Australian Art provides a wide-ranging overview of the movements, themes and media found in Australian art. This Companion features essays that explore the influence of different cultures on Australian art, written by some of the leading scholars and professionals working in the field. Generously illustrated with over 200 colour images, from more than 40 collections and sites throughout Australia, this Companion provides a comprehensive exploration of the artistic identity of past and present Australia.
Capturing the spoor describes and discusses the virtually unknown rock art of the northern most reaches of South Africa, in the area of the Central Limpopo Basin. The title of the publication comes from the belief held by some traditional Bantu-speakers that the San can 'capture' animal spoor and bewitch it in order to ensure hunting success. The authors use this as an analogy for understanding the behaviour of people in the past through the traces they leave behind. This title discuss the rock art of cultural groups other than the San. It describes the work of four distinct cultural groups - the San; Khoekhoen (Khoikhoin or 'Hottentots'), Venda and Northern Sotho, and, most recently, people of European descent. Further, it discusses the interaction and connection between the four groups. It is the first substantial body of work from South Africa to focus on an area outside the Drakensberg, which has become synonymous with 'southern African rock art'. Although the title focuses on a specific region, it introduces anthropological information from the Cape to the greater Kalahari region. The text is interspersed with first-hand accounts of Kalahari and Okavango San beliefs and rites and discussions with traditional Bantu-speaking peoples. A distillation of 14 years of field surveying and research in the Central Limpopo Basin, it targets the general reader who would like to know more about southern Africa's rock art traditions, but at the same time addresses many academic concerns. A simple narrative line and copious end notes, respectively, ensure that both 'lay' and academic readers will find the subject interesting.
Cemeteries are the repositories of history and personal narrative, places of comfort and beauty. Beginning in 1994, photographer and installation artist Kathy T. Hettinga began a fourteen-year project to document an unknown body of funerary folk art displayed in the cemeteries of the San Luis Valley in southern Colorado. The book begins with the author's story of death and loss as a young widow living in the San Luis Valley. Years later, the beauty of the valley was relentless in calling her back to document the places and the ways people honor those that have died. Grave Images recounts Hettinga's spiritual and artistic journey to find meaning in the cemeteries of rural and largely Hispanic communities of the San Luis Valley. Her photographs of unique grave markers made of wood, concrete, metal, sandstone, glass and other materials by individuals or families to commemorate the passing of loved ones capture the ethereal beauty of the cemeteries and serve as a touchstone for our common understanding of loss, grief, and the need to memorialize and pay tribute. Hettinga's illuminating narrative articulates the meaning of this visual record from the perspective of an artist and provides religious and historical perspectives on the San Luis Valley as final resting place. This book will appeal to artists, art historians, ethnographers, historians, scholars of religion and general audiences interested in photography, folk art, and the history of the San Luis Valley.
Comprising thousands of islands and hundreds of cultural groups, Polynesia and Micronesia cover a large part of the vast Pacific Ocean, from the dramatic mountains of Hawaii to the small, flat coral islands of Kiribati. This new volume in the acclaimed Oxford History of Art series offers a superb introduction to the rich artistic traditions of these two regions, traditions that have had a considerable impact on modern western art through the influence of artists such as Gauguin. After an introduction to Polynesian and Micronesian art separately, the book focuses on the artistic types, styles, and concepts shared by the two island groups, thereby placing each in its wider cultural context. From the textiles of Tonga to the canoes of Tahiti, Adrienne Kaeppler sheds light on religious and sacred rituals and objects, carving, architecture, tattooing, personal ornaments, basket-making, clothing, textiles, fashion, the oral arts, dance, music and musical instruments--even canoe-construction--to provide the ultimate introduction to these rich and vibrant cultures. Each chapter begins with a quote from an indigenous person from one of the island areas covered in the book and features both historic and contemporary works of art. A timeline for migration into the Pacific includes the latest information from archaeology, as well as the influx of explorers and missionaries and important exhibitions and other artistic events. With more than one hundred illustrations--most in full color--this volume offers a stimulating and insightful account of two dynamic artistic cultures.
One of the largely untold stories of Orientalism is the degree to which the Middle East has been associated with "deviant" male homosexuality by scores of Western travelers, historians, writers, and artists for well over four hundred years. And this story stands to shatter our preconceptions of Orientalism. To illuminate why and how the Islamicate world became the locus for such fantasies and desires, Boone deploys a supple mode of analysis that reveals how the cultural exchanges between Middle East and West have always been reciprocal and often mutual, amatory as well as bellicose. Whether examining European accounts of Istanbul and Egypt as hotbeds of forbidden desire, juxtaposing Ottoman homoerotic genres and their European imitators, or unlocking the homoerotic encoding in Persian miniatures and Orientalist paintings, this remarkable study models an ethics of crosscultural reading that exposes, with nuance and economy, the crucial role played by the homoerotics of Orientalism in shaping the world as we know it today. A contribution to studies in visual culture as well as literary and social history, The Homoerotics of Orientalism draws on primary sources ranging from untranslated Middle Eastern manuscripts and European belles-lettres to miniature paintings and photographic erotica that are presented here for the first time.
While significant advances have been made in direct dating French and Spanish rock art, direct dates obtained by AMS for the New World are extremely scarce and existing stylistic chronologies cannot be trusted. These papers from the International Rock Art Congress held in Bolivia in 1997 focus in the dating problem. They also reflect discussion of the earliest art in the light of recent research and as seen from a world palaeo-art perspective.
This new interpretive history of Mexican art and architecture from the Spanish Conquest to the early decades of the 21st century is the most comprehensive introduction to the subject in fifty years. James Oles ranges widely across media and genres, offering new readings of paintings, murals, sculptures, buildings, prints and photographs. He interprets major works by such famous artists as Diego Rivera and Frida Kahlo, but also discusses less familiar figures who were equally important in the construction of national identity. The story of Mexican art is set in its rich historical context by the book's treatment of political and social change. The author draws on recent scholarship to examine crucial issues of race, class and gender, including an exploration of the work of indigenous artists during the colonial period, and of women artists in the 19th and 20th centuries. Throughout, Oles shows how artists in Mexico participated in local and international developments, and highlights the important role played by Mexicans in the art world of the last five centuries.
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