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Books > Arts & Architecture > History of art / art & design styles > From 1900
Mass-Observation and Visual Culture: Depicting Everyday Lives in
Britain critically analyses the role that visual culture played in
the early development of Mass-Observation, the innovative British
anthropological research group founded in 1937. The group's
production and use of painting, collage, photography, and other
media illustrates not only the broad scope of Mass-Observation's
efforts to document everyday life, but also, more specifically, the
centrality of visual elements to its efforts at understanding
national identity in the 1930s. Although much interest has
previously focused on Mass-Observation's use of written reports and
opinion surveys, as well as diaries that were kept by hundreds of
volunteer observers, this book is the first full-length study of
the group's engagement with visual culture. Exploring the paintings
of Graham Bell and William Coldstream; the photographs of Humphrey
Spender; the paintings, collages, and photographs of Julian
Trevelyan; and Humphrey Spender's photographs and widely recognized
'Mass-Observation film', Spare Time, among other sources,
Mass-Observation and Visual Culture: Depicting Everyday Lives in
Britain positions these works as key sources of information with
regard to illuminating the complex character of British identity
during the Depression era.
Humankind: Ruskin Spear is the first book on the painter Ruskin
Spear RA (1911-1990) since a brief monograph in 1985. It uses
Spear's career to unlock the coded standards of the 20th-century
art world and to look at class and culture in Britain and at
notions of 'vulgarity'. The book takes in popular press debates
linked to the annual Royal Academy Summer Exhibition; the changing
preferences of the institutionalized avant-garde from the Second
World War onwards; the battles fought within colleges of art as a
generation of post-war students challenged the skills and
commitment of their tutors; and the changing status of figurative
art in the post-war period. Spear was committed to a form of social
realism but the art he produced for left-wing and pacifist
exhibitions and causes had a sophistication, authenticity and
humour that flowed from his responses to bravura painting across a
broad historical swathe of European art, and from the fact that he
was painting what he knew. Spear's geography revolved around the
working class culture of Hammersmith in West London and the
spectacle of pub and street life. This was a metropolitan life
little known to, and largely unrecorded by, his contemporaries.
Tracking Spear also illuminates the networks of friendship and
power at the Royal College of Art, at the Royal Academy of Arts and
within the post-war peace movement. As the tutor of the generation
of Kitchen Sink and of future Pop artists at the Royal College of
Art, and with friendships with figures as diverse as Sir Alfred
Munnings and Francis Bacon, Spear's interest in non-elite culture
and marginal groups is of particular interest. Spear's biting
satirical pictures took as their subject matter political figures
as diverse as Khrushchev and Enoch Powell, the art of Henry Moore
and Reg Butler and, more generally, the structures of leisure and
pleasure in 20th-century Britain. Humankind: Ruskin Spear has an
obvious interest for art historians, but it also functions as a
social history that brings alive aspects of British popular culture
from tabloid journalism to the social mores of the public house and
the snooker hall as well as the unexpected functions of official
and unofficial portraiture. Written with general reader in mind, it
has a powerful narrative that presents a remarkable rumbustious
character and a diverse series of art and non-art worlds.
Barbara Whitehead is one of the few artists in Texas who regularly
work in woodcuts and linoleum prints. This book showcases the best
of her work. Whitehead began her career as an illustrator in 1969
for Bill Wittliff's Encino Press. Her work soon became widely known
among collectors and lovers of fine printing. With her late
husband, Fred, she established Whitehead and Whitehead Publishing
Services, providing book and poster illustrations as well as book
production and design. Such Austin-area book printers as David
Lindsey, Thomas W. Taylor, and David Holman, and university presses
at TCU, SMU, the University of New Mexico, the University of
Oklahoma, the University of Texas, and others used their designs.
Barbara Whitehead's work has a boldness and assertiveness about it
that is peculiarly Texan, even when her subject matter is not
Texas. Among her favorite projects are ""Growing Up in Texas"", a
collection of reminiscences, David L. Lindsey's ""The Wonderful
Chirrionera"" and ""Other Tales from Mexican Folklore"", and R. G.
Vliet's long poem, ""Clem Maverick: The Life and Death of a Country
Singer"". After research, she says, ""I go off in another world
somewhere and concentrate on the subject I'm working on, and while
I'm driving off to the grocery store or something it comes to me.""
The Southwestern Writers Collection at Texas State University-San
Marcos houses the Fred and Barbara Whitehead Collection, donated by
the Whiteheads and Bill and Sally Wittliff. The collection contains
posters, woodblocks and woodblock and linoleum prints, and work
from Encino Press. A member of the Texas Institute of Letters,
Barbara Whitehead is a three-time winner of TIL's design award.
A new understanding of Francis Bacon’s art and motivations.
The second in a series of books that seeks to illuminate Francis
Bacon’s art and motivations, and to open up fresh and stimulating ways
of understanding his paintings.
Francis Bacon is one of the most important artists of the 20th century.
His works continue to puzzle and unnerve viewers, raising complex
questions about their meaning. Over recent decades, two theoretical
approaches to Bacon’s work have come to hold sway: firstly, that Bacon
is an existentialist painter, depicting an absurd and godless world;
and secondly, that he is an anti-representational painter, whose
primary aim is to bring his work directly onto the spectator’s ‘nervous
system’.
Francis Bacon: Painting, Philosophy, Psychoanalysis brings together
some of today’s leading philosophers and psychoanalytic critics to go
beyond established readings of Bacon and to open up radically new ways
of thinking about his art. The essays bring Bacon into dialogue with
figures such as Aristotle, Hegel, Freud, Lacan, Adorno and Heidegger,
as well as situating his work in the broader contexts of modernism and
modernity. The result is a timely and thought-provoking collection that
will be essential reading for anyone interested in Bacon, modern art
and contemporary aesthetics.
This book examines how China’s new generation of avant-garde
writers and artists are pushing the boundaries of vernacular
culture, creatively appropriating artistic and literary languages
from global cultures to reflect on reform-era China’s
transformation and the Maoist heritage. It explores the vortex of
cultural change from the launch of Deng Xiaoping’s reforms in
1978 to Xi Jinping establishing his leadership for life in 2018.
The book argues that China’s new avant-garde adopt transcultural
forms of expression while challenging the official discourse of Xi
Jinping’s regime, which promotes cultural nationalism and demands
that cultural production in China embodies the essence of the
"Chinese nation". The topics range from body art, women’s poetry
and boys’ love literature to Tibetan fiction and ceramic art. The
book shows how the avant-garde use the new digital media to bypass
government censorship, transcending China’s virtual frontiers
while breaking new ground for an emerging public sphere. Overall,
the book provides a rich picture of the nature of China’s
avant-garde art and literature and the challenges it poses for the
Chinese government. The introduction and chapter 10 of this book
are freely available as downloadable Open Access PDFs at
http://www.taylorfrancis.com under a Creative Commons
Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0
license.
This first major retrospective of Amalia Mesa-Bains unearths her
significant contributions to Chicanx/Latinx art and feminism. Best
known for her pioneering altar installations, Amalia Mesa-Bains is
one of the most innovative feminist and Latinx artists of her
generation. In her forty-year career as an artist, activist,
educator, and scholar, she has explored the experiences, spiritual
practices, and histories of Mexican American women and addressed
the colonial erasure and recovery of Mexican, African American, and
Indigenous Californians. Appropriately called an "archaeological"
practice, Mesa-Bains's art creates sacred spaces imbued with
cultural memory, leading viewers on a magical journey of discovery
through what might otherwise be lost to existing canons of history.
Amalia Mesa-Bains: The Archaeology of Memory is the exhibition
catalog accompanying the first major retrospective of her work,
bringing her installations from the 1970s to the present together
for the first time. Featuring an essay by the artist and an
interview with her, the book also brings together top-tier scholars
who explore the ecofeminism, migrant histories, spirituality, and
politics of erasure that ground her interdisciplinary practice. As
a whole, the book cements Mesa-Bains's place as a trailblazing
artist within the history of art. Published in association with the
Berkeley Art Museum and Pacific Film Archive. Exhibition dates:
Berkeley Art Museum and Pacific Film Archive. February 4-July 23,
2023
The fascinating untold story of how Nazi architects and planners
envisioned and began to build a model "Aryan" society in Norway
during World War II Between 1940 and 1945, German occupiers
transformed Norway into a vast construction zone. This remarkable
building campaign, largely unknown today, was designed to extend
the Greater German Reich beyond the Arctic Circle and turn the
Scandinavian country into a racial utopia. From ideal new cities to
a scenic superhighway stretching from Berlin to northern Norway,
plans to remake the country into a model "Aryan" society fired the
imaginations of Hitler, his architect Albert Speer, and other Nazi
leaders. In Hitler's Northern Utopia, Despina Stratigakos provides
the first major history of Nazi efforts to build a Nordic
empire-one that they believed would improve their genetic stock and
confirm their destiny as a new order of Vikings. Drawing on
extraordinary unpublished diaries, photographs, and maps, as well
as newspapers from the period, Hitler's Northern Utopia tells the
story of a broad range of completed and unrealized architectural
and infrastructure projects far beyond the well-known German
military defenses built on Norway's Atlantic coast. These ventures
included maternity centers, cultural and recreational facilities
for German soldiers, and a plan to create quintessential National
Socialist communities out of twenty-three towns damaged in the
German invasion, an overhaul Norwegian architects were expected to
lead. The most ambitious scheme-a German cultural capital and naval
base-remained a closely guarded secret for fear of provoking
Norwegian resistance. A gripping account of the rise of a Nazi
landscape in occupied Norway, Hitler's Northern Utopia reveals a
haunting vision of what might have been-a world colonized under the
swastika.
The talent behind Radiohead's iconic artwork reveals in his own
words and for the first time the creative process that has driven
his career and earned him a cult reputation. A restless and
prolific figure, Stanley Donwood is widely regarded as one of the
most important visual artists of his generation. His influential
work for Radiohead spans many practices and ever-evolving
aesthetics over a 23-year period, from music packaging to
installations to print-making. Here, for the very first time, he
reveals his personal notebooks, photographs, sketches and abandoned
routes to iconic Radiohead artworks. Arranged chronologically,
chapters are each dedicated to a major work - be it an album cover,
promotional piece or a personal project - presented as a
step-by-step working case study, from speculative ideas and
sketches right through to Photoshop experiments and the finished
piece. Accompanying narratives by Donwood explain the inspirations
and stories behind his creative process and what it is like to work
with the band, told with his typical razor-sharp humour and
generosity of spirit. Featuring a treasury of archive material,
this is the first deep dive into Donwood's creative practice and
the artistic freedom afforded to him by working for a major music
act. There Will Be No Quiet is essential reading, and viewing, for
fans of the band and anyone interested in the explosive mix of
artistic accident, musical ingenuity and creative originality.
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Bisa Butler
- Portraits
(Hardcover)
Erica Warren; Contributions by Bisa Butler, Jordan Carter, Isabella Ko, Michele Wije
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R793
Discovery Miles 7 930
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Ships in 12 - 17 working days
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A beautifully illustrated look at the work of one of today's most
unique and exciting artists Bisa Butler (b. 1973) is an American
artist who creates arresting and psychologically nuanced portraits
composed entirely of vibrantly colored and patterned fabrics that
she cuts, layers, and stitches together. Often depicting scenes
from African American life and history, Butler invites viewers to
invest in the lives of the people she represents while
simultaneously expanding art-historical narratives about American
quiltmaking. Situating her interdisciplinary work within the
broader history of textiles, photography, and contemporary art,
contributions by a group of scholars-and entries by the artist
herself-illuminate Butler's approach to color, use of African-print
fabrics, and wide-ranging sources of inspiration. Offering an
in-depth exploration of one of America's most innovative
contemporary artists, this volume will serve as a primary resource
that both introduces Butler's work and establishes a scholarly
foundation for future research. Distributed for the Art Institute
of Chicago Exhibition Schedule: Katonah Museum of Art, New York
(March 15-October 4, 2020) Art Institute of Chicago (November 14,
2020-September 6, 2021)
Between 1955 and 1975 music theatre became a central preoccupation
for European composers digesting the consequences of the
revolutionary experiments in musical language that followed the end
of the Second World War. The 'new music theatre' wrought multiple,
significant transformations, serving as a crucible for the
experimental rethinking of theatrical traditions, artistic genres,
the conventions of performance, and the composer's relation to
society. This volume brings together leading specialists from
across Europe to offer a new appraisal of the genre. It is
structured according to six themes that investigate: the relation
of new music theatre to earlier and contemporaneous theories of
drama; the use of new technologies; the relation of new music
theatre to progressive politics; the role of new venues and
environments; the advancement of new conceptions of the performer;
and the challenges that new music theatre lays down for music
analysis. Contributing authors address canonical works by composers
such as Berio, Birtwistle, Henze, Kagel, Ligeti, Nono, and
Zimmermann, but also expand the field to figures and artistic
developments not regularly represented in existing music histories.
Particular attention is given to new music theatre as a site of
intense exchange - between practitioners of different art forms,
across national borders, and with diverse mediating institutions.
This book investigates Jimmie Durham's community-building process
of making and display in four of his projects in Europe: Something
... Perhaps a Fugue or an Elegy (2005); two Neapolitan nativities
(2016 and ongoing); The Middle Earth (with Maria Thereza Alves,
2018); and God's Poems, God's Children (2017). Andrea Feeser
explores these artworks in the context of ideas about connection
set forth by writers Ann Lauterbach, Franz Rosenzweig, Pamela Sue
Anderson, Vinciane Despret, and Hirokazu Miyazaki, among others.
Feeser argues that the materials in Durham's artworks; the method
of their construction; how Durham writes about his pieces; how they
exist with respect to one another; and how they address viewers,
demonstrate that we can create alongside others a world that
embraces and sustains what has been diminished. The book will be of
interest to scholars working in contemporary art, animal studies,
new materialism research, and eco-criticism.
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Theatre in Towns
(Hardcover)
Helen Nicholson, Jenny Hughes, Gemma Edwards, Cara Gray
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R1,415
Discovery Miles 14 150
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Ships in 9 - 15 working days
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The only academic study of the role of theatre in towns, focusing
on post-industrial, market and seaside towns. Written for theatre
academics and students, with a secondary readership in cultural
geography and cultural/social policy. Draws on historical and
existing experiences of volunteer-led, community, professional
theatre in towns, and offers ways in which the relationship between
theatre and towns can continue to be assessed in the future.
In this pioneering study, Marion Arnold explores the connections,
hitherto hidden or neglected, between women and art in South
Africa. By doing so, she recovers the rich histories of South
African women artists and celebrates their creativity in the visual
arts. In a series of related essays teeming with fresh insights,
Marion Arnold asks new questions about the ways women have
portrayed themselves, depicted landscapes, painted images of plants
and sculpted the body. She examines, too, portraits of women (both
black and white) in service and the long history of representations
(usually by men) of the female 'other'. Throughout the book, the
connections Marion Arnold makes between ideas, artists and their
works are always illuminating and often unexpected. Here are not
only familiar names viewed afresh - such as Maggie Laubser, Irma
Stern, Helen Sebidi and Jane Alexander - but lesser-known artists
who are rediscovered and brought to life.
Told in his own words, in response to questions from the writer and
art critic Andrew Lambirth, this book chronicles Andrew Logan's
life and work through expressive anecdote and factual recollection.
Reflections is a look back, but also a look at the present and a
look forward: it is about the meaning of Andrew's world and the
sculpture he has made to fill it, and about his approach to art, to
friendship and to living in London and Wales. The Alternative Miss
World, founded by Andrew in 1972, is at the heart of his
philosophy, not just the world's greatest drag act (though it is
this too), but an exhilarating celebration of the transformative
power of the imagination. Andrew's work, which is all about joy and
beauty, is inspiring and uplifting. This book, based upon
discursive interviews dealing with all periods of his career,
explains and contextualises it fully for the first time.
Western Theatre in Global Contexts explores the junctures,
tensions, and discoveries that occur when teaching Western
theatrical practices or directing English-language plays in
countries that do not share Western theatre histories or in which
English is the non-dominant language. This edited volume examines
pedagogical discoveries and teaching methods, how to produce
specific plays and musicals, and how students who explore Western
practices in non-Western places contribute to the art form.
Offering on-the-ground perspectives of teaching and working outside
of North American and Europe, the book analyzes the importance of
paying attention to the local context when developing theatrical
practice and education. It also explores how educators and artists
who make deep connections in the local culture can facilitate
ethical accessibility to Western models of performance for
students, practitioners and audiences. Western Theatre in Global
Contexts is an excellent resource for scholars, artists, and
teachers that are working abroad or on intercultural projects in
theatre, education and the arts.
A Sourcebook of Performance Labor presents the views and
experiences of collaborators in other artists' works. This book
reorients well-known works of contemporary performance and social
practice around the workers who have shaped, enacted, and supported
them. It emerges from perspectives on maintenance, care, affective
labor, and the knowledges created and preserved through gesture and
intersubjectivity. This compilation of interviews is filled with
the voices of collaborators in notable works attributed to
established contemporary artists, including Francis Alys, Tania
Bruguera, Suzanne Lacy, Ernesto Pujol, Asad Raza, Dread Scott, and
Tino Sehgal. In the spirit of the artworks under discussion, this
book reinvests in the possibilities for art as a collective effort
to explore new ways of finding ourselves in others and others in
ourselves. The Sourcebook collection is a contribution for further
theorizing a largely unaddressed perspective in contemporary art.
This collection will be of great interest to students and scholars
in performance studies and art history.
This book brings together history and theory in art and media to
examine the effects of artificial intelligence and machine learning
in culture, and reflects on the implications of delegating parts of
the creative process to AI. In order to understand the complexity
of authorship and originality in relation to creativity in
contemporary times, Navas combines historical and theoretical
premises from different areas of research in the arts, humanities,
and social sciences to provide a rich historical and theoretical
context that critically reflects on and questions the implications
of artificial intelligence and machine learning as an integral part
of creative production. As part of this, the book considers how
much of postproduction and remix aesthetics in art and media
preceded the current rise of metacreativity in relation to
artificial intelligence and machine learning, and explores
contemporary questions on aesthetics. The book also provides a
thorough evaluation of the creative application of systematic
approaches to art and media production, and how this in effect
percolates across disciplines including art, design, communication,
as well as other fields in the humanities and social sciences. An
essential read for students and scholars interested in
understanding the increasing role of AI and machine learning in
contemporary art and media, and their wider role in creative
production across culture and society.
This book examines the performance of Bauls, 'folk' performers from
Bengal, in the context of a rapidly globalizing Indian economy and
against the backdrop of extreme nationalistic discourses.
Recognizing their scope beyond the musical and cultural realm,
Sukanya Chakrabarti engages in discussing the subversive and
transformational potency of Bauls and their performances.
In-Between Worlds argues that the Bauls through their musical,
spiritual, and cultural performances offer 'joy' and
'spirituality,' thus making space for what Dr. Ambedkar in his
famous 1942 speech had identified as 'reclamation of human
personality'. Chakrabarti destabilizes the category of 'folk' as a
fixed classification or an origin point, and fractures homogeneous
historical representations of the Baul as a 'folk' performer and a
wandering mendicant exposing the complex heterogeneity that
characterizes this group. Establishing 'folk-ness' as a performance
category, and 'folk festivals' as sites of performing 'folk-ness,'
contributing to a heritage industry that thrives on imagined and
recreated nostalgia, Chakrabarti examines different sites that
produce varied performative identities of Bauls, probing the limits
of such categories while simultaneously advocating for polyvocality
and multifocality. While this project has grounded itself firmly in
performance studies, it has borrowed extensively from fields of
postcolonial studies and subaltern histories, literature,
ethnography and ethnomusicology, and cosmopolitan studies.
Aus der Kunst kommend und notgedrungen zum Forscher geworden, hob
der vielseitig schaffende Oswald Wiener (1935—2021) in seiner
Denkpsychologie hervor: „Eine Synthese von Selbstbeobachtung und
Automatentheorie strebe ich nicht an. Es geht vielmehr um eine
Gegenüberstellung: Was an den in der Selbstbeobachtung
aufgefaßten Zusammenhängen läßt sich auf einigermaßen
befriedigende Weise als eine Realisierung von Zusammenhängen
innerhalb eines formalen Systems, z. B. des formalen Systems
Automatentheorie auffassen. Oder umgekehrt: Wie gut erfaßt das
Modell Automatentheorie (Computer-Metapher, ,Physical Symbol
System', künstliche Intelligenz auf dem heutigen Stand ...)
wesentliche Züge des menschlichen Denkens? Was würde hier als
eine ,einigermaßen befriedigende Weise' gelten? Wie sehr und was
abstrahiert das formale System?“   Drei Gespräche mit Wiener
über die historische Theorieentwicklung und vier Essays in diesem
Buch sollen diesen neuen und bislang zu wenig im akademischen
Diskurs beachteten Ansatz der Denktheorie ein- und fortführen.
Angelpunkt der Überlegungen ist Wieners letzter großer Aufsatz
„Kybernetik und Gespenster“.
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