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Books > Arts & Architecture > Art forms, treatments & subjects > Art treatments & subjects > Art techniques & materials > Art techniques & principles
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Genio
(Paperback)
Morris Berman
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R562
Discovery Miles 5 620
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Ships in 18 - 22 working days
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Im Rahmen der aktuellen Diskussion zur asthetischen und kulturellen
Bildung gehen Autorinnen und Autoren unterschiedlicher
kulturwissenschaftlicher Disziplinen der Frage nach, was
asthetische Erfahrungen sind. Indem sie interdisziplinar sowie
asthetisch-transformatorisch arbeiten, koennen sie eroertern, wie
sich etwas derart Fluchtiges und der Subjektivitat Verhaftetes
empirisch fassen und in Bildungsinstitutionen initiieren und
vermitteln lasst. In den Projekten verlassen die Teilnehmerinnen
und Teilnehmer den gewohnten Lernort, ubersetzen Materialien in
Sprache und Schrift, Texte in Film oder Literatur in Tanz oder
werden dazu angehalten, ihre eigenen Wahrnehmungsmuster zu
hinterfragen.
This book deals with the critical nature and crucial role of
architectural drawings. A manual which is essentially not a manual;
it is an elucidation of an elegant manner for practising
architecture. Organized around eleven exercises, the book does not
emphasize speed, nor incorporate many timesaving tricks typical of
drawing books, but rather proposes a slow, meditative process for
construing drawings and for drawing constructing thoughts. This is
an indispensable reference text and an effective textbook for
students seeking to advance their appreciation of the nature and
exercise of architectural drawings.
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The Gift
(Paperback)
Kochouseph Chittilappilly
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R359
R111
Discovery Miles 1 110
Save R248 (69%)
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Ships in 10 - 15 working days
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Known as the master of French Romanticism for his energetic
paintings, Eugene Delacroix (1798-1863) was also a consummate
draftsman. This handsome book, one of the few to explore this topic
in depth, provides new insight into Delacroix's drawing practice,
paying particular attention to his materials and techniques and the
ways in which the artist pushed the boundaries of the medium. The
remarkable group of nearly 130 drawings featured here, many of
which have been rarely seen, include academic and anatomical
studies, sketches from nature, and preparatory drawings related to
many of Delacroix's most renowned canvases, among them The Massacre
at Chios and Liberty Leading the People.
Italian futurism visualized diverse types of motion, which had been
rooted in pervasive kinetic and vehicular forces generated during a
period of dramatic modernization in the early 20th century. Yet, as
David Mather's sweeping intellectual and art historical scholarship
demonstrates, it was the camera-not the engine-that proved to be
the primary invention against which many futurist ideas and
practices were measured. Overturning several misconceptions about
Italian futurism's interest in the disruptive and destructive
effects of technology, Futurist Conditions provides a refreshing
update to the historical narrative by arguing that the formal and
conceptual approaches by futurist visual artists reoriented the
possibly dehumanizing effects of mechanized imagery toward more
humanizing, spiritual aims. Through its sustained analysis of the
artworks and writings of Umberto Boccioni, Giacomo Balla, and the
Bragaglia brothers, dating to the first decade after the movement's
founding in 1909, Mather's account of their obsession with kinetic
motion pivots around a 1913 debate on the place and relative import
of photography among traditional artistic mediums-a debate
culminating in the expulsion of the Bragaglias, but one that also
prompted a range of productive responses by other futurist artists
to world-changing social, political, and economic conditions.
Das Buch nimmt die Eickstedt-Sammlung aus Sudindien zum
Ausgangspunkt und verbindet ethnologische Forschung im Museum mit
postkolonialer Kritik an der Aneignung von Objekten und
Fotografien. Dabei vermittelt die Sammlung als ethnohistorische
Quellen ein Bild der Gesellschaft Sudindiens in den 1920er-Jahren.
Gleichzeitig stellt sich die Frage nach "anderen" Wahrnehmungen:
Wer stand mit welcher Intension hinter der Kamera? Und wie
interpretiert man die Fotografien und Objekte im heutigen
Sudindien? Katja Muller stellt verschiedene Narrative aus Indien
und Deutschland nebeneinander und macht damit deutlich, welche
theoretischen Zusammenhange und praktischen Machtstrukturen
zwischen Objekten, Fotografien und menschlichen Akteuren damals wie
heute bestehen.
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