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?

Aimed to fashion students and designers, Palette Perfect is both a practical guide and an inspirational book that proposes a reflection on the universe of colour combinations, the moods and atmospheres they evoke and how we associate particular places and emotions to special colours. Each chapter explores a particular mood and describes the corresponding feelings and colour combinations, using as examples exquisite photographs of objects, still-lives, landscapes, interiors and fashion. At the end of each chapter, a wide variety of palettes representing the chapter's particular mood or atmosphere is included.

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.

Now available in paperback, this book remains the definitive survey of the life and work of Surrealist artist Leonora Carrington (1917-2011). Carrington burst onto the Surrealist scene in 1936, when, as a precocious nineteen-year-old debutante, she escaped the stultifying demands of her wealthy English family by running away to Paris with her lover Max Ernst. She was immediately championed by Andre Breton, who responded enthusiastically to her fantastical, dark and satirical writing style and her interest in fairy tales and the occult. Her stories were included in Surrealist publications, and her paintings in the Surrealists' exhibitions. After the dramas and tragic separations of the Second World War, Carrington ended up in the 1940s as part of the circle of Surrealist European emigres living in Mexico City. Close friends with Luis Bunuel, Benjamin Peret, Octavio Paz and a host of both expatriate Surrealists and Mexican modernists, Carrington was at the centre of Mexican cultural life, while still maintaining her European connections. Leonora Carrington: Surrealism, Alchemy and Art provides a fascinating overview of this intriguing artist's rich body of work. The author considers Carrington's preoccupation with alchemy and the occult, and explores the influence of indigenous Mexican culture and beliefs on her production.

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.

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.

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.

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.

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.

From its auspicious beginnings in the summer of 1966 to the present, the Chicago Surrealist Group-and the Surrealist Movement in the United States, which grew out of it-have continued to foment an exhilarating whirlwind of revolt while playfully igniting the sparks of Poetry, Freedom and Love in the crucible of the Unfettered Imagination. In so doing, it has brightly illuminated the pathways of absolute divergence that define the intrinsically anarchist trajectory of the surrealist adventure. Drawing on the full range of U.S. surrealist publications, from the original journal Arsenal/Surrealist Subversion to the very latest millennial communique from the front lines of the ongoing battle against miserabilism, this volume contains over 200 texts (more than two dozen appearing here for the first time) by more than fifty participants in the Surrealist Movement, making this the most comprehensive, diverse and lavishly illustrated compilation of American surrealist writings to have ever been assembled. Contributors include: Gale Ahrens, Jennifer Bean, Jen Besemer, Daniel C. Boyer, Paul Buhle, Ronnie Burk, Leonora Carrington, Laura Corsigilia, Jayne Cortez, Guy Ducornet, Rikki Ducornet, Schlechter Duvall, Alice Farley, J. Allen Fees, Beth Garon, Paul Garon, Eugenio F. Granell, Robert Green, Miriam Hansen, Diedra Harris-Kelley, Jan Hathaway, Corinna Jablonski, Joseph Jablonski, Ted Joans, Gerome Kamrowski, Robin D. G. Kelley, Don LaCoss, Philip Lamantia, Clarence John Laughlin, Mary Low, Herbert Marcuse, Tristan Meinecke, Casandra Stark Mele, Anne Olson, Nancy Joyce Peters, Charles Radcliffe, Myrna Bell Rochester, David Roediger, Franklin Rosemont, Penelope Rosemont, Ody Saban, Louise Simons, Martha Sonnenberg, Christopher Starr, Ivan Svitak, Cheikh Tidiane Sylla, Claude Tarnaud, Debra Taub, Dale Tomich, Patrick Turner, Darryl Lorenzo Wellington, Jordan West, Joel Williams, Marie Wilson, Haifa Zangana

An award-winning study of England's unique and peculiarly insular variant of modernism. While the battles for modern art and society were being fought in France and Spain, it has seemed a betrayal that John Betjeman and John Piper were in love with a provincial world of old churches and tea-shops. In this multi-award-winning book, Alexandra Harris tells a different story. In the 1930s and 1940s, artists and writers explored what it meant to be alive in England. Eclectically, passionately, wittily, they showed that 'the modern' need not be at war with the past. Constructivists and conservatives could work together, and even the Bauhaus emigre, Laszlo Moholy-Nagy, was beguiled into taking photographs for Betjeman's nostalgic Oxford University Chest. This modern English renaissance was shared by writers, painters, gardeners, architects, critics, tourists and composers. John Piper, Virginia Woolf, Florence White, Christopher Tunnard, Evelyn Waugh, E. M. Forster and the Sitwells are part of the story, along with Bill Brandt, Graham Sutherland, Eric Ravilious and Cecil Beaton.

New York-based Todd James (born 1969) pioneered a distinct cartoon-based graffiti style in New York in the 1980s, working under the name REAS and gaining the respect of both a street-culture audience and the art and design market. He has since produced work for the Beastie Boys, Eminem and Iggy Pop, among others. This unique artist's book is the first publication by James in half a decade, and collects 60 of his drawings, all created exclusively for this volume. Bearing close resemblance to his best-known graffiti work, each drawing is complete unto itself yet also represents a potential painting for the future. "Yield to Temptation" is of a piece with James' broader concerns: American excess as represented by the forms and fictions of sexuality and the ravages of war. James invites his audience to glamorize these issues, even as he undercuts any assumptions about them. His drawings have the expressive, minimal intensity of a cartoon Franz Kline and evoke the Day-Glo era of 1970s print culture, where "Schoolhouse Rock" crosses over into "Playboy" cartoons. "Yield to Temptation" is being published on the occasion of James' solo exhibition in Tokyo.