"Ancestral Connections unlocks the inner meaning of Australian Aboriginal bark painting. Drawing on more than ten years of fieldwork among the Yolngu--an Aboriginal people of Northeast Arnhem Land--and applying both anthropological and art historical methods, Howard Morphy explores systematically the graphic representation of traditional knowledge in Yolngu art. He also charts the role that art has played in Aboriginal society both present and past.
The rich symbolism of Yolngu art links the Yolngu directly with the "Dreaming," the time of world-creation that continues as the spiritual dimension of the present. Morphy shows how a complex dialectic of "inside" and "outside" interpretations of painting structures the system of knowledge in Yolngu society, and how European interest in this art has caused certain changes in the conditions of its production. The "inside" significance of the art, however, has not changed; it retains its dual ability to represent and to constitute relationships between things.
"Ancestral Connections is a major contribution to the anthropology of art. A subtle commentary on the colonial encounter in northern Australia, the book demonstrates how the Yolngu have used their art--against all odds--as an instrument of cultural survival and as a component of the economic and political transformation of their society.

"Our first encounter with these Tibetan medical paintings is filled with delight, wonder, and pleasure. Their boisterous colors, their exquisite detail, their marvelous array of subject matter, the often playful and energetic figures that people them - all these perceptions strike us at once. We are drawn to the paintings instantly but at the same time are beset with questions." - Janet Gyatso, from the Introduction The first full set of Tibetan medical paintings, or medical tangkas, were painted between 1687 and 1703 and were inspired by Sangye Gyatso, Regent of the Fifth Dalai Lama, who was a great patron of medical learning. In a beautiful and unique artistic style, the paintings illustrate Tibetan medical knowledge that drew on medical traditions from India, ancient Greece, Persia, pre-Buddhist Tibet, and China, while remaining firmly rooted in Buddhism. Copies of the iconic images have been created in meticulous detail through the centuries and Body and Spirit focuses on a set of contemporary paintings in the traditional technique by the Nepalese artist Romio Shrestha and his assistants in Kathmandu. The tangkas illuminate human anatomy and the causes and effects of illness, as well as their diagnosis and treatment. Most of the paintings consist of rows of small human figures, animals, plants, minerals, houses, landscapes, and demons and deities, depicting the rich complexity of human endeavor: farming, animal husbandry, personal hygiene, marriage, sex, birthing, fighting, sleeping, studying, and meditating. The thousands of small and large images were designed to add visual form to the technical information: an eye-pleasing teaching aid for medical students.

Cynthia Freeland explains why innovation and controversy are valued in the arts, weaving together philosophy, art theory, and many engrossing examples. She discusses blood, beauty, culture, money, sex, web sites, and research on the brain's role in perceiving art. This clear, lively book will engage the public, introductory students, and teachers in the arts.

Newly revised and expanded, this second edition of Timon Screech's definitive "Sex and the Floating World" offers a real assessment of the genre of Japanese paintings and prints today known as shunga. Changes in Japanese law in the 1990s enabled erotic images to be published without fear of prosecution, and many shunga picture-books have since appeared. There has, however, been very little attempt to situate the imagery within the contexts of sexuality, gender or power. Questions of aesthetics, and of whether shunga deserve a place in the official history of Japanese art, have dominated, and the question of the use of these images has been avoided. Timon Screech seeks to re-establish shunga in a proper historical frame of culture and creativity. Shunga prints are not like any other form of picture for the simple fact that they are overtly about sex. And once we begin to examine them first and foremost as sexual apparatus, then we must be prepared for some surprises. The author opens up for us the strange world of sexual fantasy in the Edo culture of eighteenth-century Japan, and investigates the tensions in class and gender of those that made and made use of shunga.

Written by anthropologist Dianne Johnson, Night Skies of Aboriginal Australia has been in demand since its publication in 1998. It is a record of the stars and planets which pass across the night-time skies. This noctuary holds not only a record of what appears in the skies and how Aboriginal people see them, but also offers an appreciation of the Aboriginal stories that are tied to the night skies and the ideas and beliefs behind them.

How do you rationally connect the diverse literature, music, and painting of an age? Throughout the modernist era-which began roughly in 1872 with the Franco-Prussian War, climaxed with the Great War, and ended with a third catastrophe, the Great Depression-there was a special belligerence to this question. It was a cultural period that envisioned many different models of itself: to the Cubists, it looked like a vast jigsaw puzzle; to the Expressionists, it resembled a convulsive body; to the Dadaists, it brought to mind a heap of junk following an explosion. In Putting Modernism Together, Daniel Albright searches for the center of the modernist movement by assessing these various artistic models, exploring how they generated a stunning range of creative work that was nonetheless wound together aesthetically, and sorting out the cultural assumptions that made each philosophical system attractive. Emerging from Albright's lectures for a popular Harvard University course of the same name, the book investigates different methodologies for comparing the evolution and congruence of artistic movements by studying simultaneous developments that occurred during particularly key modernist years. What does it mean, Albright asks, that Joseph Conrad's Heart of Darkness, published in 1899, appeared at the same time as Claude Debussy's Nocturnes-beyond the fact that the word "Impressionist" has been used to describe each work? Why, in 1912, did the composer Arnold Schoenberg and the painter Vassily Kandinsky feel such striking artistic kinship? And how can we make sense of a movement, fragmented by isms, that looked for value in all sorts of under- or ill-valued places, including evil (Baudelaire), dung heaps (Chekhov), noise (Russolo), obscenity (Lawrence), and triviality (Satie)? Throughout Putting Modernism Together, Albright argues that human culture can best be understood as a growth-pattern or ramifying of artistic, intellectual, and political action. Going beyond merely explaining how the artists in these genres achieved their peculiar effects, he presents challenging new analyses of telling craft details which help students and scholars come to know more fully this bold age of aesthetic extremism.

Selected papers from the 16th Conference of the InternationalAssociation for Ladakh Studies (Heidelberg 17-20 April, 2013)1. Alchi Tsatsapuri: Notes on the History of an Early Monumentby Andre Alexander;2. Lost and Gone Forever: Notes on the Demolition of the Red Temple of Hunderby Noor Jahan Chunka and Gerald Kozicz;3. Fortifications of Ladakh: A Brief Chrono-Typology by Quentin Devers;4. The Munshi House in Leh: A Building History by John Harrison;5. Castles and Defensive Architecture in Purig: An Introduction, Survey andPreliminary Analysis by Neil Howard;6. The Old Stupa of Matho by Gerald Kozicz;7. Visual Representation of Ladakh and Zangskar in the British Library's WiseCollection by Diana Lange;8. Siddhas and Sociality: A Seventeenth-Century Lay Illustrated; Buddhist Manuscriptin Kumik Village, Zangskar (A Preliminary Report) by Rob Linrothe;9. Trees-of-Life, Aquatic Creatures and Other Enigmatic Motifs on Ladakhi WoodArt: What They Tell Us About Art History by Heinrich Poll;10. The Life of Buddha Sakyamuni in the Byams pa lha khang of Basgo, Ladakh byVerena Ziegler.

This engaging exploration of the Maya pantheon introduces readers to the complex stories of Mesoamerican divinity through the stunning carvings, ceramics, and metalwork of the Classic period Focusing on the period between A.D. 250 and 900, Lives of the Gods reveals that ancient Maya artists evoked a pantheon as rich and complex as the more familiar Greco-Roman, Hindu-Buddhist, and Egyptian deities. The authors show how this powerful cosmology informed some of the greatest creative achievements of Maya civilization, represented here from the monumental to the miniature through more than 140 works in jade, stone, and clay. Thematic chapters supported by new scholarship on recent archaeological discoveries detail the different types of gods and their domains, the role of the divine in the lives of the ancient Maya, and the continuation of these traditions from the colonial period through the present day. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (November 21, 2022-April 2, 2023) Kimbell Art Museum, Fort Worth, TX (May 7-September 3, 2023)

Over six decades of brilliant prints and paintings from the most prominent Northwest Coast artist of his generation. Since leaving Haida Gwaii to study art in Vancouver-where he carved argillite with Bill Reid in a department store and hand-sold prints on the UBC campus-Guud sans glans, Robert Davidson has moved between two worlds. As a host of Potlatches, carver of masks and totem poles, and performer and teacher of traditional Haida songs and dances, he has been one of the driving forces in the resurgence of Haida culture in the aftermath of colonization. As an artist working in serigraphs, acrylic, wood, silver, and aluminum to preserve and breathe new life into Haida formline, he has become among the most respected, celebrated, and thrilling artists in the country, if not the world. Echoes of the Supernatural is the first publication in over forty years to offer a comprehensive visual retrospective of his astonishing career. It includes new photography of over 150 prints, as well as images of over fifty paintings; numerous painted woven hats, painted and carved sculptures, jewellery, aluminum sculpture; and dozens of archival photos. His long-time gallerist Gary Wyatt, who worked closely with Davidson in shaping the book and received full access to his archives, details the artist's life and career, and offers insights on the work based on extensive new interviews. A foreword by Karen Duffek situates the contours of Davidson's practice within the broader Northwest Coast art world.

This edited volume maps dialogues between science and technology studies research on the arts and the emerging field of artistic research. The main themes in the book are an advanced understanding of discursivity and reasoning in arts-based research, the methodological relevance of material practices and things, and innovative ways of connecting, staging, and publishing research in art and academia. This book touches on topics including studies of artistic practices; reflexive practitioners at the boundaries between the arts, science, and technology; non-propositional forms of reasoning; unconventional (arts-based) research methods and enhanced modes of presentation and publication.

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.

This vibrant reference guide profiles 50 major artists alongside their representative works. The entries are presented in an eye-catching format that includes brief biographies and critical analyses, alongside illustrations of the artists' most famous works. Featuring 200 full colour illustrations this book also includes a glossary of important terms, information about relevant movements and techniques, and a timeline that puts the artists in context. Arranged chronologically, the selection of artists includes every major artistic movement and development since the Gothic period, giving readers a clear understanding of the evolution of the visual arts. Perfect for casual reading or easy reference, this accessible overview is a fun and practical art history lesson that everyone can enjoy.

The essays in this book trace a rich continuum of artistic exchange that occurred between successive Islamic dynasties from the twelfth through nineteenth centuries as well as the influence of Islamic art during that time on cultures as far away as China, Armenia, India, and Europe. Taking advantage of recent technologies that allow new ways of peering into the pasts of art objects, the authors break new ground in their exploration of the art and architecture of the Islamic world. The essays range across a variety of topics. These include a look at tile production during the reign of the Qaytbay, the book bindings associated with Qansuh al-Ghuri, and the relationship between Mamluk metalwork and that found in Rasulid Yemen and Italy. Several essays examine inscriptions found on buildings of the Fatimid, Mamluk, and Ottoman periods, and others look at the debt of European lacquer works to Persian craftsmen, the Armenian patrons of eighteenth-century Chinese exports, and the influences of Islam on art and architecture found all across India. The result is a sweeping but deeply researched look at one of the richest networks of artistic traditions the world has ever known. "

The MFA's holdings of Japanese art make up the finest and most comprehensive collection outside of Japan. This stunning overview features many of the collection's best-known and most beloved works, including such rare paintings as the eighth-century Buddhist panel "Shaka, the Historical Buddha, Preaching on Vulture Peak" and the thirteenth-century narrative hand-scroll "Night Attack on the Sanjo Palace" (the most exciting section of the celebrated Heiji monogatari scrolls), along with fine examples from the Museum's unsurpassed grouping of woodblock prints, magnificent sculptures such as a gilt-wooden statue of the bodhisattva Miroku by the twelfth-century master Kaikei, plus a representative selection of postcards, textiles, ceramics, lacquer wares, sword-fittings and other decorative arts. In all, more than 160 highlights from the museum's staggering collection are illustrated and discussed, divided into four themes--Art of the Temple, The Town, The Ruling Classes and Japanese Art in the World. Ranging from the seventh century to the present day, this engaging volume introduces readers to the complex variety and renowned brilliance of Japanese arts.

As both an activist and the dynamic editor of Negro Digest, Hoyt W. Fuller stood at the nexus of the Black Arts Movement and the broader black cultural politics of his time. Jonathan Fenderson uses historical snapshots of Fuller's life and achievements to rethink the period and establish Fuller's important role in laying the foundation for the movement. In telling Fuller's story, Fenderson provides provocative new insights into the movement's international dimensions, the ways the movement took shape at the local level, the impact of race and other factors, and the challenges--corporate, political, and personal--that Fuller and others faced in trying to build black institutions. An innovative study that approaches the movement from a historical perspective, Building the Black Arts Movement is a much-needed reassessment of the trajectory of African American culture over two explosive decades.

Photographic subjects examines photography at royal celebrations during the reign of Queens Wilhelmina (1898-1948) and Juliana (1948-80), a period spanning the zenith and fall of Dutch rule in Indonesia. It is the first monograph in English on the Dutch monarchy and the Netherlands' modern empire in the age of mass and amateur photography. Photographs forged imperial networks, negotiated relations of recognition and subjecthood between Indonesians and Dutch authorities, and informed cultural modes of citizenship at a time of accelerated colonial expansion and major social change in the East Indies/Indonesia. This book advances methods in the uses of photographs for social and cultural history, reveals the entanglement of Dutch and Indonesian histories in the twentieth century, and provides a new interpretation of Queens Wilhelmina and Juliana as imperial monarchs. -- .

In Collective Situations scholars, artists, and art collectives present a range of socially engaged art practices that emerged in Latin America during the Pink Tide period, between 1995 and 2010. This volume's essays, interviews, and artist's statements-many of which are appearing in English for the first time-demonstrate the complex relationship between moments of political transformation and artistic production. Whether addressing human rights in Colombia, the politics of urban spaces in Brazil, the violent legacy of military dictatorships in the region, or art's intersection with public policy, health, and the environment, the contributors outline the region's long-standing tradition of challenging ideas about art and the social sphere through experimentation. Introducing English-language readers to some of the most dynamic and innovative contemporary art in Latin America, Collective Situations documents new possibilities for artistic practice, collaboration, and creativity in ways that have the capacity to foster vibrant forms of democratic citizenship. Contributors Gavin Adams, Mariola V. Alvarez, Gustavo Buntinx, Maria Fernanda Cartagena, David Gutierrez Castaneda, Fabian Cereijido, Paloma Checa-Gismero, Kency Cornejo, Raquel de Anda, Bill Kelley Jr., Grant H. Kester, Suzanne Lacy, Ana Longoni, Rodrigo Marti, Elize Mazadiego, Annie Mendoza, Alberto Muenala, Prerana Reddy, Maria Reyes Franco, Pilar Riano-Alcala, Juan Carlos Rodriguez

The second colouring book in the "Northwest Native Arts" Series. Learn about some of the real and legendary creatures revered by the natives of the west coast by using these templates to create spectacular pictures.

In the series Collection of Ancient Calligraphy and Painting Handscrolls: Calligraphy, 10 masterpieces from famous masters of different dynasties are collected, covering mainstream scripts such as regular script, semi-cursive script, cursive script and so on. These treasured copybooks for calligraphy lovers are presented in the traditional format of a handscroll, which can be opened in sequence.