First published in 1993 Interviews-Artists is a body of thirty seven recorded conversations made since 1988. In considering their work, often in the context of a current exhibition, artists discuss their ideas in formation and the factors which have informed their development. Read together, another picture emerges of unexpected links between the makers, in the expression of their concerns, in the work and with the world beyond, that forms a unique and coherent overview of the developing art of our time.

In Luchino Visconti and the Fabric of Cinema, Joe McElhaney situates Visconti's films as privileged and deeply expressive instances of a trope that McElhaney identifies as the ""cinema of fabric"": a reoccurrence in film in which textiles-clothing, curtains, tablecloths, bedsheets-determine the filming process. An Italian neorealist, Visconti emerges out of a movement immediately following WWII wherein fabric assumes crucial functions, yet Visconti's use of fabric surpasses his colleagues in many ways, including its fluid, multifaceted articulations of space and time. Visconti's homosexuality is central to this theory in that it assumes metaphoric potential in addressing ""forbidden"" sexual desires that are made visible in the films. Visconti's cinema of fabric gives voice to desires not simply for human bodies draped in fabric but also for entire environments, a world of the senses in which fabric becomes a crucial method for giving form to such desires. McElhaney examines Visconti's neorealist origins in Ossessione, La terra trema, and Rocco and His Brothers, particularly through fabric's function within literary realism and naturalism. Neorealist revisionism through the extravagant drapings of the diva film is examined in Bellissima and Senso whereas White Nights and The Stranger are examined for the theatricalizing through fabric of their literary sources. Visconti's interest in German culture vis-?a-vis The Damned, Death in Venice, and Ludwig, is articulated through a complex intertwining of fabric, aesthetics, politics, and transgressive sexual desire. Finally, Visconti's final two films, Conversation Piece and The Innocent, assess through fabric both the origins of Italian fascism and the political tensions contemporaneous with the films' productions. Fabric in Visconti is often tied to the aesthetic impulse itself in a world of visionaries attempting to dominate their surrounding environments and where a single piece of fabric may come to represent the raw material for creation. This book will tantalize any reader with a keen eye and strong interest in film and queer studies.

What makes a woman 'bad' is commonly linked to certain 'qualities' or behaviours seen as morally or socially corrosive, dirty and disgusting. In Bad Girls, Dirty Bodies, Gemma Commane critically explores the social, sexual and political significance of women who are labelled 'bad', sluts or dirty. Through a variety of case studies drawn from qualitative and original ethnographic research, she argues that 'Bad Girls' disrupt heterosexual normativity and contribute new embodied knowledge. From neo-burlesque, sex-positive and queer performance art, to explicit entertainment and areas of popular culture; Commane situates 'bad' women as sites of power, possibility and success. Through the combination of case studies (Ms T, Empress Stah and RubberDoll, Mouse and Doris La Trine), Gemma Commane offers a challenge to those who think that sexual, slutty, bad, and dirty women are not worth listening to. Significantly, she unpicks the issues generated by women who are complicit in the subjugation, policing and marginalization of 'other' women, both in popular culture and in sites of subcultural resistance.

For two centuries, Gesamtkunstwerk-the ideal of the "total work of art"-has exerted a powerful influence over artistic discourse and practice, spurring new forms of collaboration and provoking debates over the political instrumentalization of art. Despite its popular conflation with the work of Richard Wagner, Gesamtkunstwerk's lineage and legacies extend well beyond German Romanticism, as this wide-ranging collection demonstrates. In eleven compact chapters, scholars from a variety of disciplines trace the idea's evolution in German-speaking Europe, from its foundations in the early nineteenth century to its manifold articulations and reimaginings in the twentieth century and beyond, providing an uncommonly broad perspective on a distinctly modern cultural form.

This book provides an informal biography of the wunderkind who became one of America's greatest living artists and most well-known architects. Many are familiar with the art and architectural design work of Maya Lin, but the compelling details of her personal background are less well known. This book not only focuses upon Lin's substantial achievements throughout her life, but also presents Maya Lin's "prehistory," describing family events in China that led to her parents' flight to the United States. Author Donald Langmead guides readers through Lin's ancestry and family connections in precommunist China; her childhood and youth in Athens, Ohio; the story behind the Vietnam Veterans Memorial in Washington, DC; her career after 1982 (by decades); and emphasis on environmental conservation. Written for a young adult and general readership, Maya Lin: A Biography provides an up-to-date description of how she became one of the most famous and respected artists in America. Provides a timeline of Maya Lin's significant life events, artworks, and exhibitions Includes various photographs to accompany the text Contains a bibliography organized by types of sources, including writings by Maya Lin, books, monographs and catalogues, transcripts of interviews, and videos Includes an index of important people and artworks

Celebrating the best drawings by contemporary artists! The celebrated Strokes of Genius series follows the beautiful, ongoing story of contemporary drawing through the work and words of some of today's top artists. Focusing on the theme "Creative Discoveries," this thoughtfully curated 9th edition features the artists' most compelling aha! moments. Triggers for these artistic epiphanies are wide ranging--from experiments with new materials, to private meanderings in a little notebook, to fleeting moments of magical light, and one particularly charismatic pelican. Artists and art lovers alike are sure to be inspired by the resulting energy and expressiveness showcased on these pages. 140 modern-day masterpieces in charcoal, pencil, pastel, colored pencil, scratchboard, pen and ink, and more A breathtaking diversity of styles and approaches Subject-themed chapters include animals, the human figure, still life, outdoor scenes, and portraits Comments from the artists offer fresh-from-the-studio advice, insights, and anecdotes not found anywhere else "The greatest creative discoveries are those that find you." --Carolyn Judson, p73

Critical essays on 20th-century female artists of color focus on how these distinguished artists achieved success, what makes their work important both to the art world and to their specific communities, and what influences their work is likely to have in the future. The artists are representative of four ethnic groups: African American, Asian Pacific American, Latin American, and Native American. Parallels drawn explore the similarities and differences among the artists. The early feminist art movement of the 1970's concentrated on gender with less consideration given to race or class, yet to many artists of color, ethnicity factors significantly into the shaping of their identities and to the content of their art. Women artists of color have expanded the scope of protest art, fusing the past and current history with gender and race and deconstructing stereotypical mainstream representations of their gender and ethnic identities. This presentation of artists balances older and deceased artists with the younger, emerging artists. The artistic mediums span the gamut from traditional painting and sculpture to newer forms such as video, conceptual, and performance art.

These essays will appeal to a wide audience of scholars and artists interested in women's studies, art history, cultural studies, multicultural art, and art criticism. Grouped by ethnicity, artists are presented in alphabetical order. Entries include biographical information and a listing of each artist's exhibitions. Numerous photographs enhance the text.

Hierdie publikasie gee ’n volledige beeld van die kunstenaar Frans David Oerder (1867–1944) se oeuvre – sy Anglo-Boereoorlogtekeninge, landskappe, genrestukke, portrette, blomstudies en stillewes, interieurs, dierestudies en grafiese werk. Geen moeite is ontsien om hierdie boek so volledig en betroubaar moontlik te maak nie. Argivale bronne in die Kunsargief van die Universiteit van Pretoria, die Argief van die Johannesburg Kunsmuseum en die Nasionale Argief van Suid-Afrika in Pretoria het grootliks bygedra tot die toevoeging van inligting oor hierdie kunstenaar wat nie voorheen bekend was nie. Dieplakboek van Gerda Oerder en ’n lang lesing met detailinligting oor Oerder se vroee lewe deur mev. Lorimer in die Kunsargief van die Universiteit van Pretoria het bygedra tot ’n nuwe vertolking van die lewe en werk van hierdie belangrike Suid-Afrikaanse kunstenaar. Tydens die Anglo-Boereoorlog was Oerder die enigste amptelike kunstenaar aan Boerekant, maar tot dusver is nog geen volledige geskiedenis van sy deelname aan die oorlog geskryf nie. In hierdie boek word Oerder se Anglo-Boereoorlogtekeninge nou vir die eerste keer so volledig moontlik afgedruk en beskryf.

Film World brings together key interviews with cinema's leading directors. The directors chosen represent many of the most influential film-makers of the last 50 years. All have been selected because of their cinematic vision, because they have a particular way of seeing the world and of filming it. All have created a body of work which is both hugely popular and critically acclaimed. This truly global range of directors hails from Australia, Britain, China and Hong Kong, Denmark, Finland, France, Germany, India, Iran, Ireland, Italy, Japan, Korea, North America, Poland, and Russia. Together, these illuminating interviews reveal how these visionary directors create images which speak to audiences the world over. The interviews are with: Bernardo Bertolucci, John Boorman, Robert Bresson, Jane Campion, John Cassavetes, David Cronenberg, Atom Egoyan, Federico Fellini, Jean-Luc Godard, Peter Greenaway, Werner Herzog, Hou Hsiao-hsien, Wong Kar-wei, Aki Kaurismaki, Abbas Kiarostami, Krzysztof Kieslowski, Takeshi Kitano, Im Kwon-taek, Mike Leigh, Manoel de Oliveira, Satyajit Ray, Martin Scorsese, Andrei Tarkovsky, Lars von Trier, Zhang Yimou

This text provides coverage of the history of the Japanese philosophy of art, from its inception in the 1870s to modern day. In addition to the historical information and discussion of aesthetic issues that appear in the introductions to each of the chapters, the book presents English translations of otherwise inaccessible major works on Japanese aesthetics, beginning with a complete and annotated translation of the first work in the field, Nishi Amane's ""Bimyogaku Setsu"" (""The Theory of Aesthetics""). The text is divided into four sections: the subject of aesthetics; aesthetic categories; poetic expression; postmodernism; and aesthetics. It examines the momentous efforts made by Japanese thinkers to master, assimilate and originally transform Western philosophical systems to discuss their own literary and artistic heritage.

James Cahill presents a review of a new exhibition by the renowned artist Francesco Clemente,(b.1952) exploring his first show in London for seven years. The monograph includes a conversation recorded with the artist in which he discusses the new paintings, and the ideas which grounded their development. Clemente embodies a binding of different cultures: the Western Italian Renaissance, Eastern philosophy of Buddhism and the Mandala; formed in a life divided between New York and India. The exhibition of fourteen works at Blain|Southern, Hanover Square, is entitled 'Mandala for Crusoe' and runs until 26th January 2013. Francesco Clemente (b. 1952, Naples, Italy) is a renowned artist from the Neo-Expressionist movement of the late 1970s and early 1980s. From 1970 he studied architecture at the University of Rome, and began to exhibit his drawings, photographs and conceptual works in Europe. From 1973, he travelled regularly to India, and in 1981 he moved to New York. He collaborated with close friends, notably the poets Allen Ginsberg and Robert Creeley, and reacting against a wave of anti-painting sentiment among critical circles, Clemente initiated a series of collaborative paintings with Jean-Michel Basquiat and Andy Warhol. Since the mid-1980s, Clemente's work has been the subject of many international solo exhibitions, including; Nationalgalerie, Berlin (1984 - 5); Kunstmuseum Basel (1987); Philadelphia Museum of Art (1990); Royal Academy of Arts, London (1990); Centre Georges Pompidou, Paris (1994 - 5); Guggenheim Museum, New York (1999 - 2000); Irish Museum of Modern Art, Dublin (2004); Museo MAXXI, Rome (2006); Museum MADRE, Naples (2009); and more recently at the Schirn Kunsthalle, Frankfurt (2011) and the Uffizi Gallery, Florence (2011). His works have also been included in notable group exhibitions including Documenta 7 in 1982 and the Venice Biennale in 1988 and 1995. Clemente is a member of the American Academy of Arts and Letters. (Blain|Southern)

Ellen Gallagher (b.1965) is one of the most celebrated painters of her generation, coming to prominence in the mid-1990s in the wake of the so-called 'culture wars' and the art world's controversial embrace of identity-politics and multiculturalism. In this in-depth look at her oeuvre, Caoimhin Mac Giolla Leith unpacks the complexities of her richly layered paintings, examining themes such as identity, race, displacement and the ecological environment, which Gallagher has explored throughout her work. The author takes the reader from Gallagher's early years - looking at her formative influences - through her engagement, from the late 1990s on, with the inherited modernist forms of the monochrome and the grid and with the violence and division at the root of modernism itself. Also explored are her phantasmagoric explorations of oceanic life, which draw on the discoveries of natural science, the traumatic history of the Atlantic slave trade and the speculative fictions of Afrofuturism. For anyone interested in contemporary art and the ways particular artists are expanding its borders, in form and content, this is essential reading.

Falling After 9/11 investigates the connections between violence, trauma, and aesthetics by exploring post 9/11 figures of falling in art and literature. From the perspective of trauma theory, Aimee Pozorski provides close readings of figures of falling in such exemplary American texts as Don DeLillo's novel, Falling Man, Diane Seuss's poem, "Falling Man," Jonathan Safran Foer's Extremely Loud and Incredibly Close, Frederic Briegbeder's Windows on the World, and Richard Drew's famous photograph of the man falling from the World Trade Center. Falling After 9/11 argues that the apparent failure of these texts to register fully the trauma of the day in fact points to a larger problem in the national tradition: the problem of reference-of how to refer to falling-in the 21st century and beyond.

THE ART OF RICHARD LONG The central fact and act of Richard Long's art is walking. His work is founded on the art of walking, the act of walking, the actuality of walking, and on walking as art, as act, as experience. His walks become 'artwalks', artwalks which become artworks. Richard Long is a British land artist and sculptor who works with and in the natural world, but also with and within the highly sophisticated, artificial and humanmade world of art and culture. 'I too wanted to make nature the subject of my work, ' Long explained of his early work, 'but in new ways. I started working outside using natural materials like grass and water, and this evolved into the idea of making a sculpture by walking'. Richard Long is sometimes termed a 'Romantic' sculptor, and part of this book relates his art to British Romanticism, as found in the literature of William Wordsworth, Percy Bysshe Shelley, John Keats and others, and the British landscape tradition, as in J.M.W. Turner, John Constable, Thomas Girtin and other landscape painters. Aspects of British Romantic culture in 20th century and 21st century art also considered (such as the 'New Ruralists', 'New Romantics', 'New Arcadians' and 'Neo-Romantics'). Malpas also explore some of the aspects of Romantic culture in Europe as well as Britain. In the course of this book William Malpas references many of Richard Long's contemporary British sculptors (Tony Cragg, Bill Woodrow, David Nash, Barry Flanagan, Alison Wilding, Shirazeh Houshiary, Hamish Fulton, Anthony Caro, Anish Kapoor and Anthony Gormley). Further chapters include: one on women, feminist, body art and performance sculptors, as a comparison with Richard Long's art, which has a strong component of performance (even if it's nearly always private). In the chapter on Minimal, Conceptual, Process and other 1960s and post-1960s art and artists, I'm interested in the artists (primarily European and American) who have most in common with Long's art: the great Minimal and land artists, such as Donald Judd, Carl Andre, Dennis Oppenheim and James Turrell, and the important Conceptual artists, such as Bruce Nauman, Yves Klein and Lawrence Weiner. Fully illustrated, with a newly revised text. Bibliography and notes. www.crmoon.com AUTHOR'S NOTE: This is a revised edition of a book first published back in 1994. It includes information of the more recent exhibitions and artworks of Richard Long. The book has involved a good deal of research into Long's art over the years, which has been updated in further editions. I hope that readers will gain some new insights into the artist's work and that of his contemporaries. REVIEW ON AMAZON: Very satisfied with this book. It includes not only detailed information about Long's work, but also discusses other related artists, such as Barnett Newman, and other related topics, including sculpture, installation and text in art. All in all a very interesting book.

In this study, the author explores how Conrad, T.S. Eliot, Woolf, Joyce, Faulkner, Hemingway, Huxley and others responded to the immediate challenges of their time, to the implications of Freudian psychology, molecular theory, relativist theory, and the general weakening of religious faith. Assuming that artists and writers, in coping with those problems, would develop techniques in many ways comparable, even where there was no direct contact, he positions modernist literature within the context of contemporary painting, architecture and sculpture, thereby providing some interesting insights into the nature of the literary works themselves.

Defining over 400 terms and phrases that have recently entered discourse on the visual arts, this is the first reference book specializing in explaining and applying theoretical terminology in contemporary art. Since the early 1970s, the vocabulary used to discuss visual art has expanded radically, leaving many teachers, students, artists, and critics without the accurate definitions necessary for fruitful discourse on contemporary culture. This glossary not only serves as a dictionary but as a guide to current theory and criticism of visual art and culture. Terms can be accessed alphabetically or thematically; the significant cross referencing makes this an easy dictionary to use.

Many contemporary art terms have been borrowed from other disciplines or are traditionally employed in the visual arts but have been adapted for use in the contemporary art world and have therefore been assigned specific or specialized applications. These loan terms have increased the likelihood for confusion between old and new definitions, so where possible the authors have applied the terms to works of art or some aspect of visual culture. Most art glossaries and dictionaries concentrate primarily on artistic production in the visual arts--movements, styles, and names. As a complement to these types of works, this glossary of theoretical terms is essential for anyone studying contemporary visual arts and visual culture in general.

Includes 100 blank pages. Hardbound with gray cloth veneer.