Frances Stark deftly deploys text, image and literary sources in her drawings, collages, paintings and video works that reflect on her roles as artist, mother, woman and teacher. Throughout her career she has experimented with alternative modes of expression, as in her critically acclaimed video, My Best Thing; her PowerPoint work Structures that fit my opening (and other parts considered in relation to their whole); and the performance Put a Song in Your Thing. Companion to an exhibition that documents Stark's 25-year long career, this book contains 125 works in which Stark employs words and images to create provocative and self-referential works that speak to the complexities of daily life. This book includes full-page detailed images that provide an insight into the highly tactile and complex nature of Stark's work. Also included are newly commissioned essays and a collection of brief reflections by a variety of prominent artists and writers whom Stark asked to revisit specific topics they've discussed or written about previously.Filled with high-quality reproductions and thoughtful commentary, this book is the definitive resource on Stark's accomplished, varied and affecting body of work. Published in association with Hammer Museum, Los Angeles

Discover, or return to, the world's greatest heroic fantasy artist, Frank Frazetta in this landmark art collection entitled, Fantastic Paintings of Frazetta. The New York Times said, "Frazetta helped define fantasy heroes like Conan, Tarzan and John Carter of Mars with signature images of strikingly fierce, hard-bodied heroes and bosomy, callipygian damsels" Frazetta took the sex and violence of the pulp fiction of his youth and added even more action, fantasy and potency, but rendered with a panache seldom seen outside of major works of Fine Art. Despite his fantastic subject matter, the quality of Frazetta's work has not only drawn comparisons to the most brilliant of illustrators, Maxfield Parrish, Frederic Remington, Norman Rockwell, N.C. Wyeth but, even to the most brilliant of fine artists including Rembrandt and Michelangelo and, major Frazetta works sell for millions of dollars, breaking numerous records. This innovator's work has not only inspired generations of artists, but also movies and directors including the Conan films, John Carter of Mars, the sensationally successful Lord of the Rings trilogy, Robert Rodriguez' films including From Dusk Till Dawn, Ralph Bakshi films, the epic, award-winning Game of Thrones series, Tim Burton's Sleepy Hollow, Disney's animated Tarzan films, Francis Ford Coppola's Apocalypse Now and George Lucas' Star Wars series. The Forbes magazine article Schwarzenegger's Sargent led with the line, "Which artist helped make Arnold governor? Frank Frazetta, the Rembrandt of barbarians." J. David Spurlock started crafting this book by reviving the original million-selling 1970s mass market art book, Fantastic Art of Frank Frazetta. But, he expanded and revised to include twice as many images and, presents them at a much larger coffee-table book size of 10.5 x 14.625"! The collection is brimming with both classic and previously unpublished works of the subjects Frazetta is best remembered for including barbarians, beasts, and buxom beauties. Game of Thrones creator George R. R. Martin said, "Though he bears only a passing resemblance to the Cimmerian as Robert E. Howard described him, Frazetta's covers of the Conan paperback collections became the definitive picture of the character... still is." Schwarzenegger said, "I have not been intimidated that often in my life. But when I looked at Frazetta's paintings, I tell you, it was intimidating." Game of Thrones, Conan and Aquaman film star Jason Momoa said, "I am a huge Frank Frazetta fan. Both of my parents are painters, so I'd known Frazetta's paintings, that's what I wanted to bring to life." See the revolutionary art that helped inspire Schwarzenegger, Momoa, the Lord of the Rings films and Game of Thrones: FRAZETTA!

A fascinating journey through Western art from the 1910s to the 1960s, charting how artists wrestled with the headlong changes of a turbulent and conflict-ridden world From the chaos of the First World War to the ravages of the Second, from the Great Depression to the rise of consumer culture, artists we call "modern" faced the challenge of responding imaginatively to utterly new circumstances of life. Original thought, startling artistic techniques, and new attitudes to experimentation were required to produce exceptional and timely work. Make It Modern guides the reader through the art of the modern world. Works of celebrated artists, from Pablo Picasso and Wassily Kandinsky to Frida Kahlo, Jackson Pollock, and Yayoi Kusama, alongside a panoply of undervalued or less-known figures, populate this decade-by-decade narrative. Make It Modern tells an unforgettable story of how art was changed forever.

Although Pablo Picasso spotted Dora Maar at a cafe in January 1936 it is highly likely that she had come to his attention prior. As Brassai, a Hungarian-French photographer, recalled, It was at Les Deux-Magots that, one day in autumn 1935, [he] met Dora On an earlier day, he had already noticed the grave, drawn face of the young woman at a nearby table, the attentive look in her light-colored eyes, sometimes disturbing in its fixity. When Picasso saw her in the same cafe in the company of the surrealist poet Paul Eluard, who knew her, the poet introduced her to Picasso (Brassai, a.k.a. Gyula Halasz, Conversations with Picasso [University of Chicago Press, 1999]). Tinged with a seductive mix of violence and dark eroticism, this first meeting has attained mythical status in the story of the artists life. It reads like an unreal fantasy. A mysterious and feline beauty, which Man Ray had captured in the pictures he took of her, a companion of Georges Bataille, Dora was an accomplished photographer, close to the Surrealists revolutionary aesthetics. Picasso addressed her in French, which he assumed to be her language; she replied in Spanish, which she knew to be his. For the next decade, the painter would translate not just his fascination with the woman who had seduced him on the spot, but also his desire to escape the grip of someone who, for the first time, could intellectually aspire to be his equal. Dora would appear in his works as a female Minotaur, a Sphinx, a lunar goddess and a muse. Because of her intense artistic sensibility, her poetic gifts and her ability to participate in suffering, she was especially qualified to resonate Picassos own inner torments during these troubled years.

Dramaturgy of Migration: Staging Multilingual Encounters in Contemporary Theatre examines the function of dramaturgy and the role of the dramaturg in making a theatre performance situated at the crossroads of multiple theatre forms and performative devices. This book explores how these forms and devices are employed, challenged, experimented with, and reflected upon in the work of migrant theatre by performance and dance artists. Meerzon and Pewny ask: What impact do peoples' movement between continents, countries, cultures, and languages have on the process of meaning production in plays about migration created by migrant artists? What dramaturgical devices do migrant artists employ when they work in the context of multilingual production, with the texts written in many languages, and when staging performances that target multicultural and multilingual theatregoers? And, finally, how do the new multilingual practices of theatre writing and performance meet and transform the existing practices of postdramatic dramaturgies? By considering these questions in a global context, the editors explore the overlapping complexities of migratory performances with both range and depth. Ideal for scholars, students, and practitioners of theatre, dramaturgy, and devising, Dramaturgy of Migration expresses not only the practicalities of migratory performances but also the emotional responses of the artists who stage them.

A History of Romanian Theatre from Communism to Capitalism analyses the last three decades of Romanian theatre and connects it to the international stage. Cristina Modreanu questions the relationship between artists and power, both before 1989, behind the Iron Curtain, and in the current global political context, with nationalism manifesting itself in Eastern Europe, as seen in the critical work of Romanian theatre makers. This study covers the complex cases of theatre makers such as Lucian Pintilie, Liviu Ciulei and Andrei Serban, who built their international careers in exile, and the most innovative Romanian artists of today, such as Silviu Purcarete, Mihai Maniutiu, Gianina Carbunariu, Radu Afrim, and Bogdan Georgescu, who reached the status of transglobal artists. Filling a considerable gap in Romanian theatre discourse, this book will be of a great interest to students and scholars of contemporary theatre and history.

Cybernetic-Existentialism: Freedom, Systems, and Being-for-Others in Contemporary Arts and Performance offers a unique discourse and an original aesthetic theory. It argues that fusing perspectives from the philosophy of Existentialism with insights from the 'universal science' of cybernetics provides a new analytical lens and deconstructive methodology to critique art. In this study, Steve Dixon examines how a range of artists' works reveal the ideas of Existentialist philosophers including Kierkegaard, Camus, de Beauvoir, and Sartre on freedom, being and nothingness, eternal recurrence, the absurd, and being-for-others. Simultaneously, these artworks are shown to engage in complex explorations of concepts proposed by cyberneticians including Wiener, Shannon, and Bateson on information theory and 'noise', feedback loops, circularity, adaptive ecosystems, autopoiesis, and emergence. Dixon's groundbreaking book demonstrates how fusing insights and knowledge from these two fields can throw new light on pressing issues within contemporary arts and culture, including authenticity, angst and alienation, homeostasis, radical politics, and the human as system.

Drawing is not a crime! (TM) The bold and brash ARTtitude is back with another look at some of the most iconic and unusual artists of the moment. Representing countries as far-reaching and distinct as Colombia, Germany, Canada, Italy, France, and the U.S. (to name a few), the 36 international artists featured in this collection reveal the richness and diversity of contemporary graphic arts. The artists again pay tribute to the muses of their creativity, with appreciative nods to their predecessors and track lists of the music that inspires their work. ARTtitude 2 highlights some of the unique and diverse artists working today: Amanda Mocci, Jim Phillips, Conrad Roset, Cricket Press, Robert Proch, Ron Guyatt, T-Bone & Ajax, The Arcade Company, and many more.

Unlimited action concerns the limits imposed upon art and life, and the means by which artists have exposed, refused, or otherwise reshaped the horizon of aesthetics and of the practice of art, by way of performance art. It examines the 'performance of extremity' as practices at the limits of the histories of performance and art, in performance art's most fertile and prescient decade, the 1970s. Dominic Johnson recounts and analyses game-changing performance events by six artists: Kerry Trengove, Ulay, Genesis P-Orridge, Anne Bean, the Kipper Kids, and Stephen Cripps. Through close encounters with these six artists and their works, and a broader contextual milieu of artists and works, Johnson articulates a counter-history of actions in a new narrative of performance art in the 1970s, to rethink and rediscover the history of contemporary art and performance. -- .

This groundbreaking book surveys the shifts in the aesthetic discourse and artistic practises that decisively influenced the shaping of the avant-garde during Franco's dictatorship (1939-1975). On the basis of extensive, so far unpublished, archival material, it discusses the intellectual and cultural field as an important battlefield for fighting the regime from within. The study opens with a comprehensive historical overview on the cultural world from the end of the Spanish Civil War throughout Francoism and reveals for the first time the broader intellectual and cultural context of vanguard art considering the special relations and negotiation processes between artist, critics and institutions during a major gap in the historiography of post-war Spanish culture: the late Franco dictatorship (1959-1975). It then analyses in depth the important role that a group of art critics played as theoreticians and peers in key artistic movements from the 1950s onwards. Using their extensive international networks in the midst of the Cold War period, they decisively influenced the aesthetic and cultural debates of their time and very concretely helped shaping a completely new discourse for the avant-garde in Spain. This book discusses the creation of this new discourse that linked culture and ethics/politics and analyses its impact on the intellectual and artistic landscape (visual, print and exhibition culture) during the last decades of Franco's regime. It is indebted to a cultural historic approach that takes high culture, popular culture, politics as well as the history of ideas in account studying the reciprocal transfer processes within these fields and across European and American geographies. This study and its interdisciplinary approach will be of interest to scholars in art history, visual, cultural and museum studies of modern Spain in particular and Europe in general.

History, Opera, Music, Stage, Voice, Theatre, Performance

Early twentieth-century Germany was a site of extremes, in which cultural production was entangled in the swiftly changing political and economic landscape. Radical utopias and pragmatic solutions for life and culture were proposed, modernism embraced and dramatically rejected. Britain in the same period can seem comparatively stable, a nation wedded to established cultural forms in the face of social change. Yet throughout the period, there remained a lively interchange between the two countries. This collection of essays, by scholars working between Britain and Germany, elsewhere in Europe and in North America, looks anew at the complicated cultural relationship between Britain and Germany in the years between 1919 and 1955. It sets out to explore the connections between the two countries during this time in the fields of fine art and arts institutions, architecture, design and craft, photography, art history and criticism. It explores how practitioners in the two countries learned from and influenced each other, seeking to highlight the relevance of these interchanges today.

The classic game of Loter a drew a lot of inspiration from the ancient practice of Tarot. This deck explores the similarities between these two timeless traditions with a modern twist finally reuniting these long lost primos to help you reconnect with your Latinx magic. One common misconception is that Tarot is a practice used only to predict the future, but this Millennial Loter a Tarot Deck is specifically designed to help you better understand your present and get in touch with your heritage. The only person in charge of your future is you, so the guidebook accompanying this 78-card tarot deck focuses on self-reflection and inspiration for your goals, all done with a sprinkle of Millennial Loter a humour.

This is volume 3: L-K, of a four-volume set. The complete four-volume set presents the careers of 320 women artists working in California, with more than 2,000 images, over the course of a century. Their work encompasses a broad range of styles-from the realism of the nineteenth century to the modernism of the twentieth-and of media, including painting, sculpture, drawing, illustration and print-making. While some of the profiled artists are already well known, others have been previously ignored or largely forgotten. Yet all had serious careers as artists: they studied, exhibited, and won awards. These women were trailblazers, each one essential to the momentum of a movement that opened the door for heartfelt expression and equality. Much of the information and many of the images in the book have never before been published. Artists are presented alphabetically; also included are additional primary sources that put the artists' work in context.

1) This book presents a comprehensive narrative of North Indian Folk theatre as a counter culture. 2) Rich in empirical material, it shows how North Indian Folk theatres are challenging the cultural hegemony. 3) This book will be of interest to departments of South Asian studies and Cultural studies across UK and USA.

This book is focused on the transcultural memory of the Mediterranean region and the different ways it is articulated by contemporary art practices and museum projects linked to migrations, exile, diaspora and transnationality. The artistic and curatorial examples analysed in this study articulate a critical relationship between the cultural representations and the sense of heritage, property and belonging, offering the opportunity of a more problematic and stimulating vision of the preservation of the European arts, traditions and histories. Artists and projects examined include the project Porto M in Lampedusa, Zineb Sedira, Ursula Biemann, Lara Baladi, Mona Hatoum, Emily Jacir, Kader Attia and Walid Raad.

Performing Home is the first sustained study of the ways in which artists create artworks in, and in response to, domestic dwellings. In the context of growing interest in ideas and practices that cross between architecture, arts practice and performance, it is valuable to understand what happens when artists make work in and about specific buildings. This is particularly important with domestic dwellings, which can be bound up with experiences, issues, practices and understandings of home. The book focuses on a range of recent artistic projects to identify and investigate critical ways by which artists practise domestic dwellings. In doing so, it addresses the ways in which artists enquire into a dwelling, are resident in a dwelling, adapt the form of a dwelling, practise a mobile dwelling, and make a dwelling. By considering these practices together, Andrews demonstrates the breadth and significance of recent artistic engagement in and with domestic dwellings and highlights the contribution that artistic practice can make to the ways in which we understand the form and practice of a building. Performing Home will be of particular relevance to scholars, students and practitioners in architecture, art and performance, to those in geography, material culture and cultural studies, and to anyone seeking to make sense of the place in which they live.

This book explores the interrelation of contemporary French theatre and poetry. Using the pictorial turn in the various branches of art and science, its observable features, and the theoretical framework of the conceptual metaphor, this study seeks to gather together the divergent manners in which French poetry and theatre address this turn. Poetry in space and theatricality of poetry are studied alongside theatre, especially to the performative aspect of the originally theological concept of "kenosis". In doing so the author attempts to make use of the theological concept of kenosis, of central importance in Novarina's oeuvre, for theatrical and dramatological purposes. Within poetic rituals, kenotic rituals are also examined in the book in a few theatrical practices - Janos Pilinszky and Robert Wilson, Jerzy Grotowski and Eugenio Barba - facilitating a better understanding of Novarina's works. Accompanied by new English translations in the appendices, this is the first English language monograph related to the French essayist, dramaturg and director Valere Novarina's theatre, and will be of great interest to students and scholars in theatre and literature studies.

By examining how female characters speak and act during coming of age, engagement, marriage, and intimacy, Consent in Shakespeare will enhance understanding about how and why women spoke, remained silent, or acted as they did in relation to their intimate partners in Early Modern and contemporary private and public situations in and around the Mediterranean. Consent in intimate relationships is front and center in today's conversations. This book re-examines the verbal and physical interactions of female-identified characters in Early Modern and contemporary cultures in Shakespeare's Mediterranean comedies and the sources from which he derived his plays. This re-examination of the words that women say or do not say, and actions that women do or do not take, in Shakespeare's Mediterranean plays and his probable sources sheds light on how Shakespeare's audiences might have perceived Mediterranean cultural mores and norms. Assessment of source materials for Shakespeare's comedies set in the Balkans, France, Italy, the Near East, North Africa, and Spain suggests how women of diverse backgrounds communicated in everyday life and peak life experiences in the Early Modern era. Given Shakespeare's impact worldwide, this initiative to shift the conversation about the power of consent of female protagonists and supporting characters in Shakespeare's Mediterranean plays will further transform conversations about consent in class, board and conference rooms, and the international stage.

- Spectatorship is a topic of increased relevance in theatre and performance studies and has been so for a while. Spectatorship is undergoing a huge transformation and its activation is hotly debated: participation, interactivity (including digital) and immersion are only some of the current trends.

Dada formed in 1916, embedded in a world of rational appearances that belied a raging confusion - in the middle of the First World War, in the neutral centre of a warring continent, fundamentally at the heart of Western art. This book sets out new coordinates in revision of a formation that Western art history routinely exhausts through its characterisation as a 'revolutionary movement' of anarchic cultural dissent, and does so in order to contest the perpetuated assumptions about Dada that underlie the popular myth. Dada is difficult and the response to it is not easy, and what emerge from the theoretical readings developed here are profoundly rational bases to the Dada non-sense that pitted itself against its civilised age, critically and implicitly to propose that Dada courses as vitally today as it did in 1916. The Zurich Dada formation initiated deliberate and strategic cultural engagements that struggled then, as they do now, to cohere in any sense as a 'movement', extreme in their ranges as diametrically hostile oppositionalities. Dada may be given art historically as identifiable along a trajectory of sustained ruptures and seizures, but it confounds all attempts at defined or definitive readings. This book duly offers not a history of Dada in Zurich but theoretical engagements of the emergencies and now the residue of the years 1916-19 - from 'lautgedichte' to laughter, masks to manifestos, chance to chiasmata - rounding to the 'permanent' Dada by which the formation ultimately breaks the containment and deep peace of art historical chronology.

This book provides a thorough analysis of terpsichorean lexis in Renaissance drama. Besides considering not only the Shakespearean canon but also the Bard's contemporaries (e.g., dramatists as John Marston and Ben Jonson among the most refined Renaissance dance aficionados), the originality of this volume is highlighted in both its methodology and structure. As far as methods of analysis are concerned, corpora such as the VEP Early Modern Drama collection and EEBO, and corpus analysis tools such as #LancsBox are used in order to offer the widest range of examples possible from early modern plays and provide co-textual references for each dance. Examples from Renaissance playwrights are fundamental for the analysis of connotative meanings of the dances listed and their performative, poetic and metaphoric role in sixteenth- and seventeenth-century drama. This study will be of great interest to Renaissance researchers, lexicographers and dance historians.

Art forms tend to mirror themselves in each other. In order to understand literature and fine arts better, we often turn to music, speaking of the 'tone' in a book and of the 'rhythm' in a painting. In attempts to understand music better, we turn instead to the narrative arts, speaking of the 'story' of a musical piece. This book focuses on two examples of such conceptual mirror reflexivity: narrativity in jazz music and musicality in spoken theatre. These intermedial metaphors are shown to be significant to the practice and reflection of performing artists through their ability to mediate holistic views of what is considered to be of crucial importance in artistic practice, analysis, and education. This exploration opens up possibilities for new theoretical and practical insights with regard to how the borderland between temporal art forms can be conceptualized. The book will be of interest not only to scholars of music and theatre, but also to those who work in the fields of aesthetics, intermedial studies, cognitive linguistics, arts theory, communication theory, and cultural studies.