Documents and editions in Cv/Visual Arts Research archive, classified as: Interviews-Artists, Curators & Collections, Small Histories, Social Studies and Studio Work.CD contains interview-transcripts with seventy artists recorded between 1989 and 2010, ranging from Arman and Anthony Caro to Yinka Shonibare and Jonathan Yeo. Curator interviews include Directors and senior curators of The Art Fund, CAS and Yorkshire Sculpture Park.

With 101 "Life" magazine covers to his credit, Philippe Halsman (1906-1979) was one of the leading portrait photographers of his time. In addition to his distinguished career in photojournalism, Halsman was one of the great pioneers of experimental photography, motivated by a profound desire to push this youngest of art forms toward new frontiers by using innovative and unorthodox photographic techniques.
One of Halsman's favorite subjects was Salvarod Dali, the glittering and controversial painter and theorist with whom the photographer shared a unique friendship and extraordinary professional collaboration that spanned over thirty years. Whenever Dali imagined a photograph so strange that its production seemed impossible, Halsman tried to find the solution, and invariably succeeded.
As Halsman explains in his postface, "Dali's Mustache" is the fruit of this marriage of the minds. The jointly conceived and seemingly nonsensical questions and answers reveal the gleeful humor and assumed cynicism for which Dali is famous, while the marvelous and inspired images of Dali's mustache brilliantly display Halsman's consummate skill and extraordinary inventiveness as a photographer.
This combination of wit, absurdity, and the offhandedly profound is irresistible and has contributed to the enduring fascination inspired by this unique photographic interview, which has become a cult classic and valuable collector's item since its original publication in 1954. The present volume faithfully reproduces the first edition and will introduce a new generation to the irreverent humor and imaginative genius of two great artists.

A leading figure of the postwar avant-garde, Danish artist Asger Jorn has long been recognized for his founding contributions to the Cobra and Situationist International movements - yet art historical scholarship on Jorn has been sparse, particularly in English. This study corrects that imbalance, offering a synthetic account of the essential phases of this prolific artist's career. It addresses his works in various media alongside his extensive writings and his collaborations with various artists' groups from the 1940s through the mid-1960s. Situating Jorn's work in an international, post-Second World War context, Karen Kurczynski reframes our understanding of the 1950s, away from the Abstract-Expressionist focus on individual expression, toward a more open-ended conception of art as a public engagement with contemporary culture and politics. Kurczynski engages with issues of interest to twenty-first-century artists and scholars, highlighting Jorn's proposition that the sensory address of art and its complex relationship to popular media can have a direct social impact. Perhaps most significantly, this study foregrounds Jorn's assertion that creativity is crucial to subjectivity itself in our increasingly mediated 'Society of the Spectacle.'

Art. Art Criticism. This monograph traces Sonia Boyce's trajectory from early graphic work to her recent mixed-media pieces which draw on elements of British popular culture and cinema to address society's positioning of individuals in terms of race, class and gender. Unquestionably serious and with an unquestionable sense of humor, Boyce's work, ranging from photography to painting and installations, is here widely represented, and well-complemented by three intelligent essays by Gilane Tawadros, a biography of the artist, and, alongside the essays, excellently chosen excerpts from Boyce's working diaries. Tawadros' essays address cultural, racial, gender and visual/art historical issues raised over the trajectory of Boyce's artistic development, using such theorists as Homi Bhabha, Frantz Fanon, Italo Calvino, and Stuart Hall to contextualize the artist's magnificent and provocative work.

Rooted in the study of objects, British Art in the Nuclear Age addresses the role of art and visual culture in discourses surrounding nuclear science and technology, atomic power, and nuclear warfare in Cold War Britain. Examining both the fears and hopes for the future that attended the advances of the nuclear age, nine original essays explore the contributions of British-born and emigre artists in the areas of sculpture, textile and applied design, painting, drawing, photo-journalism, and exhibition display. Artists discussed include: Francis Bacon, John Bratby, Lynn Chadwick, Prunella Clough, Naum Gabo, Barbara Hepworth, Peter Lanyon, Henry Moore, Eduardo Paolozzi, Peter Laszlo Peri, Isabel Rawsthorne, Alan Reynolds, Colin Self, Graham Sutherland, Feliks Topolski and John Tunnard. Also under discussion is new archival material from Picture Post magazine, and the Festival of Britain. Far from insular in its concerns, this volume draws upon cross-cultural dialogues between British and European artists and the relationship between Britain and America to engage with an interdisciplinary art history that will also prove useful to students and researchers in a variety of fields including modern European history, political science, the history of design, anthropology, and media studies.

This volume is a unique contribution to Latin American studies because it underscores the essential role that women have played in the arenas of modern and contemporary art. [This book] provides valuable and much-needed assistance to the researcher. (From the foreword by Elizabeth Ferrer) With more than 1,500 references on nearly 800 women Latin American Women Artists, Kahlo and Look Who Else pays tribute to the rich and multifaceted artistic accomplishments of women in and from 20th-century Latin America. Frida Kahlo has until recently dominated the interest of scholars, curators, and the public to the point of almost eclipsing the achievements of other artists from the region. This selectively annotated bibliography begins systematically to identify other women - painters, sculptors, printmakers, photographers, performance artists, and others - who have made significant contributions to the history of art in the region. The first section, the main part of the work, consists of individual artists grouped in an alphabetical country arrangement. Artists in each country are listed A-Z, as are the citations about them. Annotations are descriptive and highlight, among other details, the presence of biographical and professional development information in the analyzed materials. A section of general works arranged by country follows, consisting principally of periodical and monographic literature that deals with numerous women, and a listing of the women mentioned in the cited materials. The volume has two appendices. The first is an analyzed list of 77 collective exhibitions in which works by these women have been presented. The second appendix groups the artists by country, allowing for an in-brief look at all of the artists identified in the bibliography. The name index references artists to the main section by country code and also includes entries for authors, curators, and exhibition catalogue essayists.

The first comprehensive research guide and bibliography to the large literature surrounding the life and work of one of the 20th century's greatest artists, this volume includes information on more than 1,100 books and articles as well as a chronology, biographical sketch, and list of exhibitions. The secondary bibliography is arranged by topic and includes citations on the artist's life and career, his relationships with contemporary artists (notably Picasso), his influence on subsequent artists, his work in diverse artistic media as well as his oeuvre in general, iconography, and more. While concentrating on printed materials, this guide also includes selected manuscripts and audio-visual materials. Following a biographical sketch and chronology, the primary bibliography lists articles, essays, letters, interviews, manuscripts, and sketchbooks of Braque. The main part of the secondary bibliography lists monographs, catalogues, dissertations, theses, periodical articles, films, and selected newspaper articles. Substantial book reviews and exhibition reviews are also cited. Arranged by topic, this bibliography includes citations on Braque's career and development as an artist, his relationships with contemporary artists, a section on Braque/Picasso, his influence on other artists, his work in various media including paintings, drawings, prints, illustrated books, papiers decoupes, sculpture, jewelry, theatre designs, and other commissions. Georges Braque first came to world attention as Picasso's friend during the formative years of Cubism. Long overshadowed by his more famous contemporary, in the quarter-century after his death Braque is beginning to be evaluated accurately. Major retrospective exhibitions over the past decade, accompanied by a considerable body of new criticism and scholarship, have brought Braque into the spotlight.

Richard Demarco co-founded the Traverse Theatre in Edinburgh in 1963 and ran the vibrant Richard Demarco Gallery in Edinburgh for almost 30 years. He promotes crosscultural dialogues and was the first person to introduce Joseph Beuys in the UK. Joseph Beuys was a German sculptor and creator of action performances, political activist and teacher. This book explores the works, lectures and 'Actions' which resulted from the mutual hopes, inspirations and shared values of Richard Demarco and Joseph Beuys, the innovative and inspirational German postwar artist, from 1970 until Beuys' death in 1986. Demarco, an avant-garde gallerist in Edinburgh, was an early proponent of Scotland taking its place within the European art world; Demarco recognised the visionary quality of Beuys' work and visited him in Oberkassel in January 1970. In the hope of focusing Beuys' attention on Scotland, he presented him with a set of postcards depicting typical Scottish scenes. Beuys responded with, 'I see the land of Macbeth, so when shall we two meet again, in thunder, lightning or in rain?' They reunited in thundery Edinburgh later that year and Demarco led him northwards along the ancient track he calls 'The Road to Meikle Seggie'. This initial experience of the Scottish landscape inspired Beuys, who felt a strong connection with Celtic culture, and laid the foundation for a remarkable artistic friendship which enriched the work of both men. With photos from Demarco's personal collection and essays spanning from 1970 to the present, this is an intimate and intellectually rigorous look at a friendship seminal to the development of art in Scotland over the last 40 years.

Awarded an Honourable Mention by the Association for Israeli Studies. Exploring the politics of the image in the context of Israeli militarized visual culture, Civic Aesthetics examines both the omnipresence of militarism in Israeli culture and society and the way in which this omnipresence is articulated, enhanced, and contested within local contemporary visual art. Looking at a range of contemporary artworks through the lens of "civilian militarism", Roei employs the theory of various fields, including memory studies, gender studies, landscape theory, and aesthetics, to explore the potential of visual art to communicate military excesses to its viewers. This study builds on the specific sociological concerns of the chosen cases to discuss the complexities of visuality, the visible and non-visible, arguing for art's capacity to expose the scopic regimes that construct their visibility. Images and artworks are often read either out of context, on purely aesthetic or art-historical ground, or as cultural artefacts whose aesthetics play a minor role in their significance. This book breaks with both traditions as it approaches all art, both high and popular art, as part of the surrounding visual culture in which it is created and presented. This approach allows a new theory of the image to come forth, where the relation between the political and the aesthetic is one of exchange, rather than exclusion.

Visual Propaganda, Exhibitions, and the Spanish Civil War is a history of art during wartime that analyzes images in various media that circulated widely and were encountered daily by Spaniards on city walls, in print, and in exhibitions. Tangible elements of the nation's past"monuments, cultural property, and art-historical icons"were displayed in temporary exhibitions and museums, as well as reproduced on posters and in print media, to rally the population, define national identity, and reinvent distant and recent history. Artists, political-party propagandists, and government administrators believed that images on the street, in print, and in exhibitions would create a community of viewers, brought together during the staging of public exhibitions to understand their own roles as Spaniards. This book draws on extensive archival research, brings to light unpublished documents, and examines visual propaganda, exhibitions, and texts unavailable in English. It engages with questions of national self-definition and historical memory at their intersections with the fine arts, visual culture, exhibition history, tourism, and propaganda during the Spanish Civil War and immediate post-war period, as well as contemporary responses to the contested legacy of the Spanish Civil War. It will be of interest to scholars in art history, visual and cultural history, history, and museum studies.

In this volume, Portuguese multimedia artist Juliao Sarmento (born 1948) showcases the archive of the film critic Rui Pedro Tendinha, which features indefinably odd photos of Tendinha posing awkwardly (and often with the same hand gestures) with celebrities such as Christian Bale, Joan Cusack, Mike Myers, Will Smith, Kevin Spacey, Jon Voigt and Emily Watson.

This book draws upon cognitive and affect theory to examine applications of contemporary performance practices in educational, social and community contexts. The writing is situated in the spaces between making and performance, exploring the processes of creating work defined variously as collaborative, participatory and socially engaged.

With a body of work that explores a broad spectrum of subjects - from lesbianism and feminism to contemporary politics and the natural world - Nicole Eisenman (b.1965) challenges convention and encourages viewers to construe meanings from images that demand interrogation and debate. Illustrating paintings spanning the early 1990s to the present day, Dan Cameron unpacks the complexities of Eisenman's oeuvre via thematic chapters that address key ideas which emerge when drawing specific works together. As such, this first major account of Eisenman's painting career, presents a clear analysis of the primary motivators that have fuelled the imagination of one of the most interesting and original contemporary artists working today.

The architecture of social reform explores the fascinating intellectual origins of modern architecture's obsession with domesticity. Copiously illustrated, Rousset's revealing analysis demonstrates how questions over aesthetics, style, urbanization, and technology that gripped the modernist imagination were deeply ingrained in a larger concern to reform society through housing. The increasing demand for new housing in Germany's rapidly growing cities fostered critical exchanges between a heterogeneous group of actors, including architects, urban theorists, planners, and social scientists, who called for society to be freed from class antagonism through the provision of good, modest, traditionally-minded domestic design. Offering a compelling account of architecture's ability to act socially, the book provocatively argues that architectural theory underwent its most critical epistemological transformation in relation to the dynamics of modern class politics long before the arrival of the avant-garde. -- .

This multidisciplinary study focuses on the creative state as the nucleus of the work of numerous poets, artists, and philosophers from twentieth-century Spain. Beginning with cognitive science, Gala explores the mental processes and structures that underline creative thinking, for poets like Jose Maria Hinojosa, Clara Janes, and Jorge Guillen.

This is the first comprehensive scholarly bibliography/research guide/sourcebook on the major French Fauve painters (Henri Matisse and Georges Braque are treated in separate Greenwood bio-bibliographies). It includes information on 3,120 books and articles as well as chronologies, biographical sketches, and exhibition lists. Each artist receives a primary and secondary bibliography with many annotated entries. Secondary bibliographies include details about each artists' life and career, relationships with other artists, work in various media, iconography, and more. Designed for art historians, art students, museum and gallery curators, and art lovers alike, this volume organizes the vast literature surrounding this fascinating, revolutionary, 20th-century art group. Genuinely new art is always challenging, sometimes even shocking to those unprepared for it. In 1905, the paintings of Matisse, Derain, Vlaminck and their friends shocked conservative museum-goers; hence, the eventual popularity of art critic Louis Vauxcelles's tag les fauves, or "wild beasts" by which these artists became known. Although it lasted only three or four years, Fauvism is recognized as the first artistic revolution of international consequence in the 20th century. It was based on the glorification of pure saturated colors and the free expression of primitivism. It was a dynamic sensualism; an equilibrium of passion and order, fire and austerity that could not last. By the end of 1908, Fauvism collapsed in the face of Cubism, which, moreover, several Fauve artists helped to form.

Figure to Ground publishes a collection of studies from the nodel made between 2010 and 2014. These include works in pencil and watercolour, and oil on canvas of positions taken between five and fifteen minutes. They come to represent a conversation between artist and sitter, confirming the easy and natural grace of the human figure in focus.

The first book to devote serious attention to questions of scale in contemporary sculpture, this study considers the phenomenon within the interlinked cultural and socio-historical framework of the legacies of postmodern theory and the growth of global capitalism. In particular, the book traces the impact of postmodern theory on concepts of measurement and exaggeration, and analyses the relationship between this philosophy and the sculptural trend that has developed since the early 1990s. Rachel Wells examines the arresting international trend of sculpture exploring scale, including American precedents from the 1970s and 1980s and work by the 'Young British Artists'. Noting that the emergence of this sculptural trend coincides with the end of the Cold War, Wells suggests a similarity between the quantitative ratio of scale and the growth of global capitalism that has replaced the former status quo of qualitatively opposed systems. This study also claims the allegorical nature of scale in contemporary sculpture, outlining its potential for critique or complicity in a system dominated by quantitative criteria of value. In a period characterised by uncertainty and incommensurability, Wells demonstrates that scale in contemporary sculpture can suggest the possibility of, and even an unashamed reliance upon, comparison and external difference in the construction of meaning.