Art = New Vision. This formula shaped the avant-garde. With moving images abruptly expanding the boundaries of the visible world, new printing techniques triggering a pictorial turn in graphic art, and literature becoming almost inseparable from visual media, we still regard the avant-garde as heyday for modernism's obsession with the eye. But what are the blind spots of this optocentrism? Focusing on the gestures of giving, touching, showing, and handcrafting, this study examines key scenes of tactile interaction between subject and artifact. Hand movements, manual maneuvers and manipulations challenge optics and expose the crises of a visually dominated perspective on the arts. The readings of this book call for a revision of an optically obscured aesthetics and poetics to include haptic experience as an often overlooked but pivotal part of the making, as well as the perception, of literature and the arts.

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?

The postsocialist contemporary joins a growing body of scholarship debating the definition and nature of contemporary art. It comes to these debates from a historicist perspective, taking as its point of departure one particular art programme, initiated in Eastern Europe by the Hungarian-American billionaire George Soros. First implemented in Hungary, the Soros Center for Contemporary Art (SCCA) expanded to another eighteen ex-socialist countries throughout the 1990s. Its mission was to build a western 'open society' by means of art. This book discusses how network managers and artists participated in the construction of this new social order by studying the programme's rise, evolution, impact and broader ideological and political consequences. Rather than recounting a history, its engages critically with 'contemporary art' as the aesthetic paradigm of late-capitalist market democracy. -- .

Art + Archive provides an in-depth analysis of the connection between art and the archive at the turn of the twenty-first century. The book examines how the archive emerged in art writing in the mid-1990s and how its subsequent ubiquity can be understood in light of wider social, technological, philosophical and art-historical conditions and concerns. Deftly combining writing on archives from different disciplines with artistic practices, the book clarifies the function and meaning of one of the most persistent artworld buzzwords of recent years, shedding light on the conceptual and historical implications of the so-called archival turn in contemporary art. -- .

This collection of essays explores activist performances, all connected to theater or performance training, that have changed the Americas-from Canada to the Southern Cone. Through the study of specific examples from numerous countries, the authors of this volume demonstrate a crucial, shared outlook: they affirm that ordinary people change the direction of history through performance. This project offers concrete, compelling cases that emulate the modus operandi of people like historian Howard Zinn. In the same spirit, the chapters treat marginal groups whose stories underscore the potentially unstoppable and transformative power of united, embodied voices. This book will be of great interest to students and scholars of theatre, performance, art and politics.

David Hockney is possibly the world's most popular living painter, but he is also something else: an incisive and original thinker on art. Here are the fruits of his lifelong meditations on the problems and paradoxes of representing a three-dimensional world on a flat surface. How does drawing make one `see things clearer, and clearer, and clearer still', as Hockney suggests? What significance do different media - from a Lascaux cave wall to an iPad - have for the way we see? What is the relationship between the images we make and the reality around us? How have changes in technology affected the way artists depict the world? The conversations are punctuated by wise and witty observations from both parties on numerous other artists - Van Gogh or Vermeer, Caravaggio, Monet, Picasso - and enlivened by shrewd insights into the contrasting social and physical landscapes of California, where Hockney lives, and Yorkshire, his birthplace. Some of the people he has encountered along the way - from Henri Cartier-Bresson to Billy Wilder - make entertaining appearances in the dialogue.

The ultimate monograph on one of the most important artists of the twentieth century - a key figure in Arte Povera

This book is the final, most comprehensive book ever made by Greek-born Jannis Kounellis, one of the key artists in the Arte Povera movement. Following his breakthrough in the late 1960s in Rome, when he questioned the traditionally sterile environment of the gallery by exhibiting live animals within its walls, Kounellis went on to include diverse materials in his work, including fire, earth, gold, wood, and charcoal, quickly establishing himself as one of the most innovative sculptors of our time.

Writings by the artist and a collection of tributes from people who have known and worked with him over the years, such as Pierre Audi, David Hammons, Gloria Moure, Giulio Paolini, Vassili Vassilikos, and many others, are included.

Jannis Kounellis is the latest addition to the acclaimed Phaidon Contemporary Artists Series.

The New Cinematic Weird argues that weird fiction is rising also in audiovisual culture. Presenting several detailed analyses of weird cinematic works, the book shows how the new cinematic weird is best understood as atmospheric worldings - affective intensities that suffuse the experience of the cinematic weird. The weird exists as an experiential field, an inflation of the world. These worldings disclose a variety of experiences. The book engagingly shows how creepy, unsettling, ominous, uneasy, and eerie atmospheres provide a way into the weird experience. This book is important to anyone interested in the audiovisual weird, cinematic atmospheres, how audiovisual media produce worlds, and how weird fiction challenges our conception of the way the world is.

The experiences of a diverse range of progressive theater and performance makers in their own words. Curated stories from over 75 interviews and informal exchanges offer insight into the field and point out limitations due to discrimination and unequal opportunity for performance artists in the United States over the past 55 years. In this work, performers, often unknown beyond their immediate audience, articulate diverse influences. They also reflect on how artists are educated and supported, what content is deemed valuable and how it is brought to bear, as well as which audiences are welcome and whether cross-community exchange is encouraged. The book's voices bring the reader from 1965 through the first wave of the covid-19 pandemic in 2020. They point to more diverse and inclusive practices and give hope for the future of the art.

An extraordinary and inventive graphic biography, Steffen Kverneland's Munch explores the relationships and obsessions that drove the artist behind 'The Scream'. Using text drawn from the writings of Edvard Munch and his contemporaries, this extensively researched and beautifully drawn graphic novel debunks the familiar myth of the half-mad expressionist painter - anguished, starving and ill-treated - to reveal the artist's neglected sense of humour and optimism. Born out of a life-long fascination with all things Munch, Kverneland's award-winning seven-year project is the funniest and most entertaining portrait yet of a complex man and a pioneering artist. "Munch is a dazzling use of sequential storytelling... Rarely have I read a more entertaining biography." The Comics Journal

The Oxford Encyclopedia of Theatre and Performance is an unparalleled resource, providing comprehensive, authoritative, and up-to-date information about theatre and performance from ancient Greek theatre to the latest developments in London, Paris, New York, and around the globe. Written in accessible language, it will appeal broadly to readers interested in theatre and performance, from occasional playgoers to newspaper critics, students, and scholars.

This book examines the use of image and text juxtapositions in conceptual art as a strategy for challenging several ideological and institutional demands placed on art. While conceptual art is generally identified by its use of language, this book makes clear exactly how language was used. In particular, it asks: How has the presence of language in a visual art context changed the ways art is talked about, theorised and produced? Image and Text in Conceptual Art demonstrates how artworks communicate in context and evaluates their critical potential. It discusses international case studies and draws resources from art history and theory, philosophy, discourse analysis, literary criticism and social semiotics. Engaging the critical and social dimensions of art, it proposes three methods of analysis that consider the work's performative gesture, its logico-semantic relations and the rhetorical operations in the discursive creation of meaning. This book offers a comprehensive method of analysis that can be applied beyond conceptual art.

Just as the AutoCAD software continues to be improved and perfected, so does the Beginning AutoCAD (R) Exercise Workbook. This work is truly the ideal package from which to learn AutoCAD, whether you're a complete beginner, or simply learning about the latest features. The new AutoCAD 2022 software includes features such as Installer, which reduces the number of steps needed for the initial install, Share Current Drawing, allowing other users to view or edit a drawing in the online AutoCAD Web application, and Trace, encouraging collaboration on drawing changes using the AutoCAD Web and Mobile apps. Readers can download the provided templates used for drawings in the book from the Industrial Press website. Expert author duo Shrock and Heather share their knowledge with students and instructors, including plenty of inside tips and dozens of exercises to help users get comfortable and see real progress. NEW AND/OR IMPROVED FEATURES IN BEGINNING AUTOCAD 2022: Redesigned Start Tab-There are three main sections that provide access to recent work, enabling users to carry on where they left off, and offering them access to online saved drawing files. (Included in Lesson 1) Count-The new Count feature allows users to count the instances of objects and Blocks that are placed in their drawing. (Included in Lesson 29) Floating Drawing Tabs-Users can now drag a drawing file Tab from the main AutoCAD application window to make it a separate drawing file window. This is extremely useful for those with two or more monitors. (Included in Lesson 2)

Creating Improvised Theatre: Tools, Techniques, and Theories for Short Form and Narrative Improvisation is a complete guide to improvised theatre for performers and instructors. This book provides a modern view of improvised theatre based on the rapid evolution of this art form, shedding new light on classic theories as well as developing lesser known and emerging techniques, such as the Trance Mask. Instead of simply referencing classic theories, the book revisits them and places them in the context of contemporary improvisation techniques. Designed as a practical support, this guide contains over 130 exercises that allow its theories to come alive in workshops, rehearsals, and performance. The book is divided into four sections: Nuts and bolts: The fundamental tools of improvisation to explore how to be spontaneously creative, build with your partner, and learn from masks to discover your scene instant by instant. Short form: Techniques for scene work and short form performance, including how to get the most out of a scene, remain connected to the relational stakes, provoke change (physical, status, and emotional), and maintain a playful attitude. Narrative improvisation: Theories to help navigate long form narrative-based shows with "narrative waypoints," generate variety, develop protagonists, work on genres, and manipulate creative transitions. The bits box: Advice for warming-up before a rehearsal or a show with a collection of useful games. Written to inspire creativity and provide the tools to develop innovative improvised shows and experiences, Creating Improvised Theatre is an invaluable source book for anyone interested in the art of improvised theatre, whether a beginning student or experienced performer.

This monograph traces the history of Kazakh filmmaking from its conception as a Soviet cultural construction project to its peak as fully-fledged national cinema to its eventual re-imagining as an art-house phenomenon. The author's analysis places leading directors-Shaken Aimanov, Abdulla Karsakbaev, Sultan-Akhmet Khodzhikov, Mazhit Begalin-in their sociopolitical and cultural context.

In Mythic Imagination and the Actor, Marissa Chibas draws on over three decades of experience as a Latinx actor, writer, filmmaker, and teacher to offer an approach to acting that embraces collective imagination, archetypal work, and the mythic. The book begins with a comparative analysis between method acting and mythic acting, encouraging actors to push past the limits of singular life experience and move to a realm where imagination and metaphor thrive. In the context of mythic acting, the book explores awareness work, solo performance creation, the power of archetypes, character building exercises, creating a body/text connection, and how to be the detective of your own process. Through this inclusive guide for a new age of diverse performers traversing gender, ability, culture, and race, readers are able to move beyond their limits to a deep engagement with the infinite possibilities of rich imagination. The final chapter empowers and motivates artists to live healthfully within the practice and create a personal artistic vision plan. Written for actors and students of acting, American Drama, and film and theatre studies, Mythic Imagination and the Actor provides practical exercises and prompts to unlock and interpret an actor's deepest creative sources.

This book argues that Shakespeare and various cultures of celebrity have enjoyed a ceaselessly adaptive, symbiotic relationship since the final decade of the sixteenth century, through which each entity has contributed to the vitality and adaptability of the other. In five chapters, Jennifer Holl explores the early modern culture of theatrical celebrity and its resonances in print and performance, especially in Shakespeare's interrogations of this emerging phenomenon in sonnets and histories, before moving on to examine the ways that shifting cultures of stage, film, and digital celebrity have perpetually recreated the Shakespeare, or even the #shakespeare, with whom audiences continue to interact. Situated at an intersection of multiple critical conversations, this book will be of great interest to scholars and graduate students of Shakespeare and Shakespearean appropriations, early modern theater, and celebrity studies.

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.

From Spain comes this striking collection of paintings reflecting a sensibility lying at the core of Spanish gay culture. The artist excells at a photorealist style - homoerotic, thoughtful and moodful, these paintings with their blend of subtle coloration are totally about today.

Set to generate and influence discussions in the field for years to come, this is an encyclopaedic work on the ever-evolving genre of poetry film. It will set the benchmark for all subsequent works on the subject, being the first book of its kind. Poetry films are a genre of short film, usually combining the three main elements: the poem as verbal message; the moving film image and diegetic sounds; and additional non-diegetic sounds or music, which create a soundscape. This book examines the formal characteristics of the poetic in poetry film, film poetry and video poetry, particularly in relation to lyric voice and time. Provides an introduction to the emergence and history of poetry film in a global context, defining and debating terms both philosophically and materially. Examines the formal characteristics of the poetic in poetry film, particularly in relation to lyric voice and time. Includes interviews, analysis and a rigorous and thorough investigation of the poetry film from its origins to the present. This is a very important, groundbreaking work on film poetry. The ideas discussed here are of great importance, and the diversity and breadth of the volume is especially impressive and very useful. This book brings together in one place crucial ideas and information for practitioners, students and academics, and is clearly and accessibly written. Including over 40 contributors and showcasing the work of an international array of practitioners, this will be an industry bible for anyone interested in poetry, digital media, filmmaking, art and creative writing, as well as poetry filmmakers. It explores working practices, processes of collaboration and the mechanisms which make these possible. It also reveals the network of festivals disseminating and theorizing poetry film and presents a compelling bibliography. This is the most incisive and complete analysis of filmic poetry to date. It is poised to become a major text in the field. Essential reading for academics teaching poetry filmmaking, moving image, film, media and media poetry, writing and art. Undergraduate and postgraduate students in those fields. Great potential for textbook adoption. Also relevant to poets, filmmakers, visual artists, graphic artists and theorists, filmmakers, screenwriters, art historians, philosophers, cultural commentators, arts journalists.

This book applies ecolinguistics and psychoanalysis to explore how films fictionalising environmental disasters provide spectacular warnings against the dangers of environmental apocalypse, while highlighting that even these apparently environmentally friendly films can still facilitate problematic real-world changes in how people treat the environment. Ecological Film Theory and Psychoanalysis argues that these films exploit cinema's inherent Cartesian grammar to construct texts in which not only small groups of protagonist survivors, but also vicarious spectators, pleasurably transcend the fictionalised destruction. The ideological nature of the 'lifeboats' on which these survivors escape, moreover, is accompanied by additional elements that constitute contemporary Cartesian subjectivity, such as class and gender binaries, restored nuclear families, individual as opposed to social responsibilities for disasters, and so on. The book conducts extensive analyses of these processes, before considering alternative forms of filmmaking that might avoid the dangers of this existing form of storytelling. The book's new ecosophy and film theory establishes that Cartesian subjectivity is an environmentally destructive 'symptom' that everyday linguistic activities like watching films reinforce. This book will be of great interest to students and scholars of film studies, literary studies (specifically ecocriticism), cultural studies, ecolinguistics, and ecosophy.

Archaeologies of Presence is a brilliant exploration of how the performance of presence can be understood through the relationships between performance theory and archaeological thinking. Drawing together carefully commissioned contributions by leading international scholars and artists, this radical new work poses a number of essential questions: What are the principle signifiers of theatrical presence? How is presence achieved through theatrical performance? What makes a memory come alive and live again? How is presence connected with identity? Is presence synonymous with 'being in the moment'? What is the nature of the 'co-presence' of audience and performer? Where does performance practice end and its documentation begin? Co-edited by performance specialists Gabriella Giannachi and Nick Kaye, and archaeologist Michael Shanks, Archaeologies of Presence represents an innovative and rewarding feat of interdisciplinary scholarship.

Republics and empires provides transnational perspectives on the significance of Italy to American art and visual culture and the impact of the United States on Italian art and popular culture. Covering the period from the Risorgimento to the Cold War, it reveals the complexity of the visual discourses that bound two relatively new nations together. It also gives substantial attention to literary and critical texts that addressed the evolving cultural relationship between Italy and the United States. While American art history has tended to privilege French, British and German ties, these chapters highlight a rich body of contemporary research by Italian and American scholars that moves beyond a discussion of influence as a one-way directive towards a deeper understanding of cultural transactions that profoundly affected the artistic expression of both nations. -- .

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.