This volume commemorates the 100th anniversary of Vincent van Gogh's death. Major van Gogh scholars present essays that reexamine the painter's place in the art world of his time, the phenomenal growth in his reputation, and his influence on later art movements and individual artists. At the time of his death and for some years after, there was a question as to whether van Gogh's approach would gain recognition. Today, he is seen as one of the most popular and recognized of the world's artists, and his impact on 20th-century art is unquestioned. How and why this occurred is a major theme throughout this essay collection.

Among the topics examined are iconography; van Gogh's poetry as well as the literature that influenced him and that he, in turn, influenced; psychological and religious aspects of van Gogh's painting and self-imaging; and how van Gogh has been interpreted. A section on his legacy in art concludes this major reassessment of van Gogh's place in art history. An important collection for art scholars and researchers as well as public library patrons.

After the 1917 revolution, Russian and Soviet avant-garde theatre attempted to create a new art for post-revolutionary society. This reconsideration of the Russian avant-garde theatre investigates the burgeoning new drama/theatre forms of the period. Kleberg considers assumptions made about the audience and by the audience, and seeks to determine whether discrepancies existed between the two. Offering fresh insights into the modernist period of Russian theatre, Theatre as Action provides a new typology of the stage/audience relationship in modernist Russian theatre. Constructivism of the 1920's is discussed on light of the plays of Meyerhold, Eisenstein, and Treytykov. The relation of the Soviet Russian avant-garde to the aesthetics of Bertold Brecht is also examined. This original, comprehensive work is a major contribution to our understanding of the confrontation of the ideal and the reality of Soviet 1920's, revealing the Wagnerian and Symbolist utopia beneath, and its crisis. It will be of particular interest to students of literature and drama.

This book contains an extraordinary collection of paintings and drawings of Pretoria since its founding. It is a fascinating record of Pretoria from a little hamlet on the banks of the Apies River to its development into one of the capitals of the world. The stories behind the paintings and the painters are a laudable contribution to the recording of the history of art in Pretoria. With this work, Eric Bolsmann has made a valuable contribution to Pretoriana and to Africana in general.

Focusing on the impact of the Cultural Revolution on the development of contemporary art in China, this anthology of essays and images present fresh and critical perspectives on how one of the most disturbing periods of modern Chinese history has affected the creativity of contemporary Chinese artists.

The effort to go beyond given knowledge in different domains - artistic, scientific, political, metaphysical - is a characteristic driving force in modernism and the avant-gardes. Since the late 19th century, artists and writers have frequently investigated their medium and its limits, pursued political and religious aims, and explored hitherto unknown physical, social and conceptual spaces, often in ways that combine these forms of critical inquiry into one and provoke further theoretical and methodological innovations. The fifth volume of the EAM series casts light on the history and actuality of investigations, quests and explorations in the European avant-garde and modernism from the late 19th century to the present day. The authors seek to answer questions such as: How have modernism and the avant-garde appropriated scientific knowledge, religious dogmas and social conventions, pursuing their investigation beyond the limits of given knowledge and conceptions? How have modernism and avant-garde created new conceptual models or representations where other discourses have allegedly failed? In what ways do practises of investigation, quest or exploration shape artistic work or the formal and thematic structures of artworks?

This text summarizes and contextualizes the ideas that have formed visual arts practices in the 20th century. Art, design and architecture are located in their social and political contexts, and the ideas of modernism are traced from the development of industrialized Europe at the turn of the century to the post-industrial, post-colonial present. The complex relationship between modernism and postmodernism in the visual arts is examined and the book concludes with a review of the global impact of the new technologies on art and design production.

This book traces the history of 'girls' aesthetics,' where adult Japanese women create art works about 'girls' that resist motherhood, from the modern to the contemporary period and their manifestation in Japanese women's theatrical and dance performance and visual arts including manga, film, and installation arts.

This reference provides biographical, historical, and critical information on Neo-Impressionist painting and its most significant painters. Neo-Impressionism, also called Divisionism and Pointillism, was one of the most innovative and startling late 19th-century French avant-garde styles. Over 2,000 books, articles, manuscripts, and audiovisual materials as well as chronologies, biographical sketches, and exhibition lists are cited. Also provided are both primary and secondary bibliographies for each artist. Secondary bibliographies capture details about each artist's life and career, relationships with other artists, work in various media, iconography, critical reception and interpretation, archival sources and more.

Art scholars will appreciate the comprehensive bibliographic research contained in this one volume. Entries on Neo-Impressionism in general, on exhibitions, and the primary and secondary bibliographies of artists follow an introduction about Neo-Impressionism and a Neo-Impressionism chronology that spans the years 1881 to 1905. An index of art works and an index of personal names complete the volume.

Although contemporary American crafts are widely exhibited and appreciated, very little information is available about the artists themselves, their training, careers, inspirations, and feelings about their work, and place in society. As part of a large oral history and survey project of the Research Center for Arts and Culture of Columbia University, ten personal narrative interviews with craftspeople were edited and collected for The Craftsperson Speaks. The selected artists represent a variety of disciplines and media, including ceramics, glass, jewelry, metalwork, and fiber, and also exhibit a balance of age, ethnicity, regionalism, and stage of career development. Each interview is prefaced by brief life and career data and followed by information on exhibit sources and professional affiliations and honors and a photographic illustration of a representative piece of work. The volume's introduction, written by the project coordinator, Mary Greeley, offers an overview of the history of the craftsperson in the United States, and a final bibliography provides sources for further reference. This combination of information and insights will be of interest and value to artists, teachers, students, art professionals, and the general public. Greenwood Press is pleased to publish it in time to help inaugurate 1993 and the Year of the American Craft.

Stephen Kern has discovered in Pre-Raphaelite and impressionist art a recurring pattern for arranging the sexes: a profiled man gazing at a woman who looks away from him and toward the viewer, while she ponders an apparent offer. Kern draws on such images to challenge the claim of some feminist critics and historians that gazing men monopolize subjectivity and turn women into sex objects. So intent are these writers on viewing women as victims, who in fact reveal a commanding subjectivity. Compared with the eyes of men, women's eyes are more visible, consider more varied thoughts, and convey more profound, if not more intense, emotions.

An authoritative and highly original survey of European art and literature, Eyes of Love also challenges another widely held belief - that a double standard has clearly governed how society judged the sexes. Kern supports these startling interpretations of Renoir, Manet, Degas, Rossetti, Gauguin, Millais, Hunt, Burne-Jones, and Tissot with every evidence from novels by Hugo, Flaubert, Zola, Dickens, C. Bronte, Gaskell, Eliot, Hardy, and H. James.

In this remarkable, inspiring collection of essays, acclaimed writer and critic Olivia Laing makes a brilliant case for why art matters, especially in the turbulent political weather of the twenty-first century. Funny Weather brings together a career's worth of Laing's writing about art and culture, examining their role in our political and emotional lives. She profiles Jean-Michel Basquiat and Georgia O'Keeffe, reads Maggie Nelson and Sally Rooney, writes love letters to David Bowie and Freddie Mercury, and explores loneliness and technology, women and alcohol, sex and the body. With characteristic originality and compassion, she celebrates art as a force of resistance and repair, an antidote to a frightening political time. We're often told that art can't change anything. Laing argues that it can. Art changes how we see the world. It makes plain inequalities and it offers fertile new ways of living.

Finalist for The Barnard Hewitt Award for Outstanding Research in Theatre History, given by the American Society for Theatre Research. Silver Medal Winner of The Victor Villasenor Best Latino Focused Non-Fiction Book Award, given by the International Latino Book Awards. Honorable Mention for the Best LGBTQ+ Themed Book, given by the International Latino Book Awards. A queer genealogy of the famous performance space and the nuyorican aesthetic One could easily overlook the Nuyorican Poets Cafe, a small, unassuming performance venue on New York City's Lower East Side. Yet the space once hosted the likes of Victor Hernandez Cruz, Allen Ginsberg, and Amiri Baraka and is widely credited as the homespace for the emergent nuyorican literary and aesthetic movement of the 1990s. Founded by a group of counterculturalist Puerto Rican immigrants and artists in the 1970s, the space slowly transformed the Puerto Rican ethnic and cultural associations of the epithet "Nuyorican," as the Cafe developed into a central hub for an artistic movement encompassing queer, trans, and diasporic performance. The Queer Nuyorican is the first queer genealogy and critical study of the historical, political, and cultural conditions under which the term "Nuyorican" shifted from a raced/ethnic identity marker to "nuyorican," an aesthetic practice. The nuyorican aesthetic recognizes and includes queer poets and performers of color whose writing and performance build upon the politics inherent in the Cafe's founding. Initially situated within the Cafe's physical space and countercultural discursive history, the nuyorican aesthetic extends beyond these gendered and ethnic boundaries, broadening the ethnic marker Nuyorican to include queer, trans, and diasporic performance modalities. Hip-hop studies, alongside critical race, queer, literary, and performance theories, are used to document the interventions made by queer and trans artists of color-Miguel Pinero, Regie Cabico, Glam Slam participants, and Ellison Glenn/Black Cracker-whose works demonstrate how the Nuyorican Poets Cafe has operated as a queer space since its founding. In focusing on artists who began their careers as spoken word artists and slam poets at the Cafe, The Queer Nuyorican examines queer modes of circulation that are tethered to the increasing visibility, commodification, and normalization of spoken word, slam poetry, and hip-hop theater in the United States and abroad.

Futurism Studies in its canonical form has followed in the steps of Marinetti's concept of Futurisme mondial, according to which Futurism had its centre in Italy and a large number of satellites around Europe and the rest of the globe. Consequently, authors of textbook histories of Futurism focus their attention on Italy, add a chapter or two on Russia and dedicate next to no attention to developments in other parts of the world. Futurism Studies tends to sees in Marinetti's movement the font and mother of all subsequent avant-gardes and deprecates the non-European variants as mere 'derivatives'. Vol. 7 of the International Yearbook of Futurism Studies will focus on one of these regions outside Europe and demonstrate that the heuristic model of centre - periphery is faulty and misleading, as it ignores the originality and inventiveness of art and literature in Latin America. Futurist tendencies in both Spanish and Portuguese-speaking countries may have been, in part, 'influenced' by Italian Futurism, but they certainly did no 'derive' from it. The shift towards modernity took place in Latin America more or less in parallel to the economic progress made in the underdeveloped countries of Europe. Italy and Russia have often been described as having originated Futurism because of their backwardness compared to the industrial powerhouses England, Germany and France. According to this narrative, Spain and Portugal occupied a position of semi-periphery. They had channelled dominant cultural discourses from the centre nations into the colonies. However, with the rise of modernity and the emergence of independence movements, cultural discourses in the colonies undertook a major shift. The revolt of the European avant-garde against academic art found much sympathy amongst Latin American artists, as they were engaged in a similar battle against the canonical discourses of colonial rule. One can therefore detect many parallels between the European and Latin American avant-garde movements. This includes the varieties of Futurism, to which Yearbook 2017 will be dedicated. In Europe, the avant-garde had a complex relationship to tradition, especially its 'primitivist' varieties. In Latin America, the avant-garde also sought to uncover and incorporate alternative, i.e. indigenous traditions. The result was a hybrid form of art and literature that showed many parallels to the European avant-garde, but also had other sources of inspiration. Given the large variety of indigenous cultures on the American continent, it was only natural that many heterogeneous mixtures of Futurism emerged there. Yearbook 2017 explores this plurality of Futurisms and the cultural traditions that influenced them. Contributions focus on the intertextual character of Latin American Futurisms, interpret works of literature and fine arts within their local setting, consider modes of production and consumption within each culture as well as the forms of interaction with other Latin American and European centres. 14 essays locate Futurism within the complex network of cultural exchange, unravel the Futurist contribution to the complex interrelations between local and the global cultures in Latin America and reveal the dynamic dialogue as well as the multiple forms of cross-fertilization that existed amongst them.

In the 1930s, the exciting urban environment of Montreal provided the perfect venue for a varied group of people who came together to form a kind of “salon� in the turmoil of the Great Depression. For ten years, these friends and acquaintances met each week at the home of the artist John Lyman. They saw themselves as “modern,� a part of the avant-garde that was then busily changing the world. These Canadian modernists supported left-wing causes, advocated a more stable social order, and heralded a more inclusive culture. More than anything, they searched for a way in which their lives wouldhave meaning. In The Last Ulysseans, Molly Pulver Ungar describes this dynamic group’s private and public activities of the group from the beginning of the Great Depression through the outbreak of the Spanish Civil War to the final years of the 1930s. In face of the ominous certainty of another war in Europe, these individuals reached a new understanding of what it meant to live a modern, meaningful life. Their conscious pursuit of new directions in outlook, attitude, and lifestyle influenced many of the changes in post-war North American society.

Explores expressionlessness, inscrutability, and emotional withholding in Black cultural production Arguing that inexpression is a gesture that acquires distinctive meanings in concert with blackness, Deadpan tracks instances and meanings of deadpan-a vaudeville term meaning "dead face"-across literature, theater, visual and performance art, and the performance of self in everyday life. Tina Post reveals that the performance of purposeful withholding is a critical tool in the work of black culture makers, intervening in the persistent framing of African American aesthetics as colorful, loud, humorous, and excessive. Beginning with the expressionless faces of mid-twentieth-century documentary photography and proceeding to early twenty-first-century drama, this project examines performances of blackness's deadpan aesthetic within and beyond black embodiments, including Young Jean Lee's The Shipment and Branden Jacobs-Jenkins's Neighbors, as well as Buster Keaton's signature character and Steve McQueen's restitution of the former's legacy within the continuum of Black cultural production. Through this varied archive, Post reveals how deadpan aesthetics function in and between opacity and fugitivity, minimalism and saturation, excess and insensibility.

A Financial Times Book of the Year 2022 A landmark volume presenting the history of Indian art across the subcontinent and South Asia from the late 19th century to the present day, published in association with Art Alive. Recent decades have seen significant growth in the interest, acquisition and exhibition of modern Indian and South Asian art and artists by major international museums. This essential textbook, primarily aimed at students, presents an engaging, informative history of modern art from the subcontinent as seen through the eyes of prominent Indian academics. Illustrated throughout with strong narrative content, key experts contribute multiple perspectives on modernism, modernity and plurality, and expansive ideas about contemporary art practices. A range of subjects and topics feature including Group 1890, the Madras Art Movement, Regional Modern and Dalit art, as well as artists such as Amrita Sher-Gil and Raqs Media Collective. This book also has sections devoted to the art of Pakistan, Nepal, Bangladesh and other parts of South Asia. Together with lively academic discussions and a selection of absorbing interviews with artists, this title meets a clear demand for a comprehensive and authoritative sourcebook on modern, postmodern and contemporary Indian art. It is the definitive reference for anyone with an interest in Indian art and non-Western art histories. Published in association with Art Alive

What does a hemispheric Americas look like when done through the lens of punk music, visuals and literature? That is the core premise of this book, presented through a collage of analytical, aesthetic and experiential takes on punk across the continent. This book challenges the dominant vision of punk - particularly its white masculine protagonists and deep Anglocentrism - by analysing punk as a critical lens into the disputed territories of 'America', a term that hides the heterogeneous struggles, global histories, hopes and despairs of late twentieth and early twenty-first century experience. Compiling academic essays and punk paraphernalia (interviews, zines, poetry and visual segments) into a single volume, the book seeks to explore punk life through its multiple registers, through vivid musical dialogues, excessive visual displays and underground literary expression. The kaleidoscopic accounts include everything from sustained academic inquiry and photo portraits to anarchist manifestos and interview excerpts with notable punk figures. The result is a radically heterogenous mixture that seeks to reposition punk and las Americas as intrinsically bound up in each other's history: for better and for worse. Out of critical pasts, within an urgent present and toward many different possible futures. This volume critically refashions punk to suggest it emerges from within the long-term historical experience of las Americas in all their plurality and is useful as a mode of critique towards the hegemonic dimensions of America in its imperial singularity. The book is rooted in a theory of 'radical heterogeneity' and thus represents a collage-like juxtaposition of punk perspectives from across the entire hemisphere and via divergent contributions: academic, experiential and aesthetic. Readership for this collection will include both academic and general readers. Primary readership will be academic. It will appeal to researchers, scholars, educators and students in the following fields: American studies, Latin American studies, media and communication, cultural studies, sociology, history, music, ethnomusicology, anthropology, art, literature. General readership will be among those interested in the following areas - anarchism, music, subculture, literature, independent publishing, photography.