Emerging amid the brutality of World War I, the revolutionary Dada movement took disgust with the establishment as its starting point. From 1916 until the mid-1920s, artists in Zurich, Cologne, Hanover, Paris, and New York launched a radical assault on the politics, social values, and cultural conformity which they regarded as complicit in the devastating conflict. Dada artists shared no distinct style but rather a common wish to upturn societal structures as much as artistic standards and to replace logic and reason with the absurd, chaotic, and unpredictable. Their practice encompassed experimental theater, games, guttural sound-making, collage, photomontage, chance-based procedures, and the "readymade," most notoriously Marcel Duchamp's urinal, Fountain (1917). Throughout, the Dadaists considered the visual appearance of their work secondary to the ideas and critiques it expressed. In this sense, Dada may be seen as a fundamental precursor to conceptual art. With a selection of key works from some of the most famous proponents of Dada such as Tristan Tzara, Marcel Duchamp, Hannah Hoech, Kurt Schwitters, Francis Picabia, and Man Ray, this book introduces this urgent, subversive, and determined 20th-century movement and its lasting influence on modern art. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art History series features: approximately 100 color illustrations with explanatory captions a detailed, illustrated introduction a selection of the most important works of the epoch, each presented on a two-page spread with a full-page image and accompanying interpretation, as well as a portrait and brief biography of the artist

This book is a retrospective volume on Latin American new media arts, arising from the Cities in Dialogue exhibition that was held in in FACT in conjunction with the University of Liverpool and the Liverpool Independents Biennial in 2014. There is also plenty of detail about the other events that were held during 2014 and into 2015, including workshops, artist talks, Twitter galleries and the Artist in Residence and his activities. One chapter is dedicated to each artist and the works they presented at the exhibition: Brian Mackern from Uruguay, Barbara Palomino from Chile, Marina Zerbarini from Argentina, and Ricardo Miranda Zuniga from the US. There is also an extensive chapter about the exciting new residence artwork created by Artist in Residence Brian Mackern. Entitled This Too Shall Pass// Affective Cartographies, this work is based on footage obtained through a series of unplanned journeys along Liverpool's urbanscape. The gathering of information and recording of sound and visual material during these journeys is then remixed in this artwork by different parameters (volume levels, transparencies, zooms, fragmentations, crossfadings, speeds of timelines, etc.) controlled by Liverpool's "socio economic historic curve" of the last century. In this book you can find out about all of these works, and other pieces by these artists. The book includes full colour images throughout, including exclusive images of works in progress, as well as excerpts of interviews with the artists. At the back of the book you can find links to online resources, including the art works themselves, audio interviews with the artists, image galleries, and more.

Traces the feminist icon Carolee Schneemann's prolific six-decade output, spanning her remarkably diverse, transgressive, and interdisciplinary expression Carolee Schneemann (1939-2019) was one of the most experimental artists of the twentieth and early twenty-first centuries. This book traces six decades of the feminist icon's diverse, transgressive and interdisciplinary expression through Schneemann's experimental early paintings, sculptural assemblages and kinetic works; rarely seen photographs of her radical performances; her pioneering films; and groundbreaking multi-media installations. Contributors shed new light on Schneemann's work, which addressed urgent topics from sexual expression and the objectification of women to human suffering and the violence of war. An artist who was concerned with the precarious lived experience of both humans and animals, this book positions Schneemann as one of the most relevant, provocative and inspiring artists in recent years. Published in association with Barbican Art Gallery Exhibition Schedule: Barbican Art Gallery, London (September 8, 2022-January 8, 2023)

This volume offers a concise guide to the teaching and philosophy of one of the most significant figures in twentieth century actor training. Jacques Lecoq's influence on the theatre of the latter half of the twentieth century cannot be overestimated. Now reissued Jacques Lecoq is the first book to combine: an historical introduction to his life and the context in which he worked an analysis of his teaching methods and principles of body work, movement, creativity, and contemporary theatre detailed studies of the work of Theatre de Complicite and Mummenschanz practical exercises demonstrating Lecoq's distinctive approach to actor training.

Mary Fedden (1915-2012) is one of Britain's most popular artists. The focus of this acclaimed book, newly available in paperback in celebration of her life's achievement, is the artist's creative process in various different media - oil, gouache, pencil and collage.While Fedden is often considered almost exclusively a still-life painter, still life was far from being her only preoccupation, as this book shows. Fantasy and imagination always also played a strong part, as is particularly evident in her small gouaches. A quietly surreal, enigmatic streak runs through much of her work.Fedden's collages are a witty and affectionate homage to the work of her husband, Julian Trevelyan. They lived, worked and travelled together from 1949 to 1988. The book re-emphasises her debt to him, but also her independence, even during their early life together when he stimulated her move into Modernism. In an engaging text, which draws on numerous conversations with the artist during her final years, Christopher Andreae considers why Fedden has always had such a popular following, looks at the English quality of her work, and talks about the commercialisation of her art and her attitudes to the art market. Fedden is shown to be an original, serious and prolific artist, a draftsman of unusual sensitivity and prowess, and a colourist of power and subtlety.Profusely illustrated with works from private and public collections, this is a book for Mary Fedden's existing devotees as well as newcomers to her work.

A groundbreaking and essential survey of the art of Lynette Yiadom-Boakye, offering an in-depth discussion of the development of the artist and positioning her work within a wider history of portraiture. Lynette Yiadom-Boakye: Fly In League With The Night celebrates the work of one of the most significant and acclaimed figurative painters of her generation. Fact and fiction fuse in Yiadom-Boakye's paintings: they appear to be portraits, yet the people she depicts are not real but invented. Created from a composite of found images and her own imagination, her characters seem to exist outside of a specific time or place: they feel at once familiar yet mysterious. This ambiguity resonates again in the enigmatic titles she gives to her artworks. The artist is also a writer of poetry and prose, and for her, the two forms of creativity complement each other: 'The things I can't paint, I write, and the things I can't write, I paint.' This perceptive and engaging publication provides a comprehensive account of Yiadom-Boakye's practice over the past two decades. With contributions by the celebrated poet Elizabeth Alexander and curators Andrea Schlieker and Isabella Maidment, alongside new writing by Yiadom-Boakye, Fly In League With The Night reflects the dual aspects of the artist's career as both a painter and a writer and offers an intimate insight into her creative process.

Seeing the Apocalypse: Essays on Bird Box is the first volume to explore Josh Malerman's best-selling novel and its recent film adaptation, which broke streaming records and became a cultural touchstone, emerging as a staple in the genre of contemporary horror. The essays in this collection offer an interdisciplinary approach to Bird Box, one that draws on the fields of gender studies, cultural studies, and disability studies. The contributors examine how Bird Box provokes questions about a range of issues including the human body and its existence in the world, the ethical obligations that shape community, and the anxieties arising from technological development. Taken together, the essays of this volume show how a critical examination of Bird Box offers readers a guide for thinking through human experience in our own troubled, apocalyptic times.

This book is the first monograph on the paintings of Lois Dodd. It provides invaluable analysis and contextualisation of her work alongside such New York City contemporaries as Alex Katz, Philip Pearlstein and other denizens of the Tenth Street milieu of the 1950s. Emerging from the shadow of Abstract Expressionism, Dodd and this circle cleaved to an observational painting based in the early modernist tradition. Beginning in the 1950s, Lois Dodd has steadfastly pursued her observational painting, remaining aloof from passing trends. She is widely admired as a 'painter's painter' whose landscapes and city scenes display subtle effects of place, light and weather within graphically distilled compositions. Dodd's works capture the intangible character of changing seasons or particular hours of day in locations throughout New York City, rural New Jersey and Maine, but the paintings betray no mark of era. They are curiously timeless.Through extensive studio visits and interviews, Faye Hirsch considers the processes, places and impulses behind Dodd's paintings and reveals her outwardly peaceful, reflective canvases to be the product of an alert and forceful eye and a powerfully efficient execution.

A unique exploration of the culinary imagination and creativity of a stellar array of international contemporary artists - a host of intriguing personal recipes shown through the artists' own words and images Creativity doesn't stop at an artist's studio door - for many, it continues into the kitchen. For the first time, more than 70 artists, including Ghada Amer, Jimmie Durham, Studio Olafur Eliasson, Subodh Gupta, Nikolai Haas, Jeppe Hein, Carsten Hoeller, Dorothy Iannone, Ragnar Kjartansson, John Lyons, Philippe Parreno, Nicolas Party, Zina Saro-Wiwa, Tiffany Sia, and Rirkrit Tiravanija, and others, have been invited to share and illustrate a recipe of their own. These are either the best culinary concoctions they have ever invented, or an especially meaningful dish. The result is an exciting range of contributions spanning all manner of meals and drinks, both savory and sweet, from around the globe, brilliantly brought to life by a wealth of sketches, photographs, collages, paintings, and personal snaps. Many of the culinary creations included are achievable by adventurous home cooks, but the pages include an incredibly diverse array of dishes from the conceptual to the personal, the elaborate to the simple, the sweet to the savory, and from the serious to the funny to the downright bizarre. With an introduction by the globally celebrated chef and art enthusiast Massimo Bottura, this is an intriguing and entertaining gift for food lovers and contemporary art enthusiasts alike.

The rural idyll is a powerful force in the British national imagination. This highly original and vibrant study will examine how key moments in art history have shaped the concept of the idyll and how contemporary artists continue to access and often challenge this concept. From High Art to propaganda, garden centres to air fresheners, contemporary art to computer games - a constellation of powerful images and ideas contribute to our understandings of the rural. This publication offers new ways of thinking about the rural idyll and the countryside more broadly, through the innovative integration of a wide range of art and visual cultures. These include classic landscapes by artists such as Blake, Claude, Constable and Turner, works of modern British art, and contemporary works by artists who present new perspectives on the rural idyll. Crucially, this volume will enter these familiar and unfamiliar art works into a productive dialogue with an extensive range of visual cultures which populate everyday life now and in the past, for instance Frank Newbould's iconic wartime recruitment posters of 1942-44 and rural-themed video games. In the contemporary art world the rural is seriously under-represented as an arena of critical inquiry and artistic production. This publication will make a significant contribution towards redressing this situation. In addition to the new scholarship on the rural idyll - by academic experts from a wide range of disciplines, encompassing the spheres of art history, contemporary art, poetry, literature, rural history, agriculture, and everyday life - it will include interviews with ten key contemporary artists who are working with the rural in innovative ways. It will also contain newly commissioned material from leading artists and writers which articulate the themes of the publication in ways that differ from the traditional catalogue essay. It will include a specially commissioned visual essay by Jeremy Deller. Deller will select a series of images from the exhibition and elsewhere and combine them with short pieces of text that develop the questions and themes discussed throughout the book in creative and open-ended visual dialogue. There will also be a new commission from the Scottish poet and writer Kathleen Jamie, whose moving observations on the relationships between nature and everyday life, articulate the embeddedness of the rural idyll into the mundane and the quotidian.

The second of three volumes charting the history of the Modernist Magazine in Britain, North America, and Europe, this collection offers the first comprehensive study of the wide and varied range of 'little magazines' which were so instrumental in introducing the new writing and ideas that came to constitute literary and cultural modernism.
This book contains forty-four original essays on the role of periodicals in the United States and Canada. Over 120 magazines are discussed by expert contributors, completely reshaping our understanding of the construction and emergence of modernism. The chapters are organised into thirteen sections, each with a contextual introduction by the editors, and consider key themes in the landscape of North American modernism such as: 'free verse'; drama and criticism; regionalism; exiles in Europe; the Harlem Renaissance; and radical politics. In incisive critical essays we learn of familiar 'little magazines' such as Poetry, Others, transition, and The Little Review, as well as less well-known magazines such as Rogue, Palms, Harlem, and The Modern Quarterly. Of particular interest is the placing of 'little magazines' alongside pulps, slicks, and middlebrow magazines, demonstrating the rich and varied periodical field that constituted modernism in the United States and Canada.
To return to the pages of these magazines returns us to a world where the material constraints of costs and anxieties over censorship and declining readerships ran alongside the excitement of a new poem or manifesto. This collection therefore confirms the value of magazine culture to the field of modernist studies; it provides a rich and hitherto under-examined resource which both brings to light the debate and dialogue out of which modernism evolved and helps us recover the vitality and potential of that earlier discussion.

Step back into the fabulous world of the 1950s! Popular culture was stimulated as products were mass produced and the middle class emerged. After World War II, America prospered and took the lead in popular culture as people rebuilt their lives by looking forward. Designs of whimsy and abstract patterns jump along the pages in bright and exhilarating colors. From furniture and textiles to Hawaiian shirts, poodle skirts, vinyl handbags, gabardine jackets, rayon dresses and more, nearly every aspect of modern living in the 1950s is shown in full color. Over 770 color photographs display this lively period in all its fantastic glory. Never before has such an expansive volume been published from the collector's point of view. Whether a dealer, collector, historian, or just someone interested in the 1950s, you will be delighted as these 224 pages unfold to tell the story of this popular and fun-filled decade.

Drawing on primary and secondary materials, this is a sociological interpretation of the rise of metropolitan art institutions and their role in modernism and the modernization of art in England. It explores the complex relationships between the artist as creator, notions of class and taste, and the power of institutions (academies, museums, workshops, exhibitions, art dealers and publishing houses) to enable or constrain creativity, and to reflect and shape artistic expression. In particular, it looks at the experiences of submerged artists (for example, reproductive engravers and the Chantrey artists) and their interpretations of the changing art world. The radicalism of engravers and their claim to be artists is an important and neglected aspect of the 19th-century art world; and the aesthetic dispute over the Chantrey Bequest epitomized conflicts of taste, cultural dependence and interdependence between opposed art institutions and the Treasury.

Technological advancements have influenced many fields of study, and the visual arts are no exception. With the development of new creative software and computer programs, artists and designers are free to create in a digital context, equipped with precision and efficiency. Analyzing Art, Culture, and Design in the Digital Age brings together a collection of chapters on the digital tools and processes impacting the fields of art and design, as well as related cultural experiences in the digital sphere. Including the latest scholarly research on the application of technology to the study, implementation, and culture of creative practice, this publication is an essential reference source for researchers, academicians, and professionals interested in the influence of technology on art, design, and culture. This publication features timely, research-based chapters discussing the connections between art and technology including, but not limited to, virtual art and design, the metaverse, 3D creative design environments, cultural communication, and creative social processes.

Notions of crisis have long charged the study of the European avant-garde and modernism, reflecting the often turbulent nature of their development. Throughout their history, the avant-garde and modernists have both confronted and instigated crises, be they economic or political, aesthetic or philosophical, collective or individual, local or global, short or perennial. The seventh volume in the series European Avant-Garde and Modernism Studies addresses the myriad ways in which the avant-garde and modernism have responded and related to crisis from the late nineteenth to the twenty-first century. How have Europe's avant-garde and modernist movements given aesthetic shape to their crisis-laden trajectory? Given the many different watershed moments the avant-garde and modernism have faced over the centuries, what common threads link the critical points of their development? Alternatively, what kinds of crises have their experimental practices and critical modes yielded? The volume assembles case studies reflecting upon these questions and more from across all areas of avant-garde and modernist activity, including visual art, literature, music, architecture, photography, theatre, performance, curatorial practice, fashion and design.

LAND ART IN THE U.S.A.

A study of land art in America, featuring all of the well-known land artists from the 'golden age' of land art - the 1960s - to the present day.

This book explores all of the major American land, environmental and earthwork artists of the past 40 years, as well as European land artists working in North America. The book includes chapters on James Turrell and his vast volcano site Michael Heizer's Mid-West earthworks Robert Smithson and his giant spiral, entropic earthworks Robert Morris's environments and observatories Walter de Maria's Romantic Lightning Field and Earth Room Dennis Oppenheim's concentric snow circles Alice Aycock's mysterious underground mazes Mary Miss's sunken pools and pavilions Nancy Holt and her observation sculptures and the enigmatic floor sculptures of Carl Andre. And Europeans such as: Hans Haacke's Conceptual art Richard Long and his art of walking Andy Goldsworthy's natural, spontaneous, eco-friendly sculptures and Christo's wrapped buildings and islands.

EXTRACT FROM THE CHAPTER ON ROBERT SMITHSON

Robert Smithson is the key land artist, the premier artist in the world of land art. And he's been a big favourite with art critics since the early Seventies. Smithson was the chief mouthpiece of American earth/ site aesthetics, and is probably the most important artist among all land artists.

For Robert Smithson, Carl Andre, Walter de Maria, Michael Heizer, Dennis Oppenheim and Tony Smith were 'the more compelling artists today, concerned with 'Place' or 'Site''. Smithson was impressed by Tony Smith's vision of the mysterious aspects of a dark unfinished road and called Smith 'the agent of endlessness'. Smith's aesthetic became part of Smithson's view of art as a complete 'site', not simply an aesthetic of sculptural objects. Smithson was not inspired by ancient religious sculpture, by burial mounds, for example, so much as by decayed industrial sites. He visited some in the mid-1960s that were 'in some way disrupted or pulverized'. He said he was looking for a 'denaturalization rather than built up scenic beauty'.

Robert Smithson said he was concerned, like many land (and contemporary artists with the thing in itself, not its image, its effect, its critical significance: 'I am for an art that takes into account the direct effect of the elements as they exist from day to day apart from representation'. Smithson's theory of the 'non-site' was based on 'absence, a very ponderous, weighty absence'. Smithson proposed a theory of a dialectic between absence and presence, in which the 'non-site' and 'site' are both interacting. In the 'non-site' work, presence and absence are there simultaneously. 'The land or ground from the Site is placed in the art (Non-Site) rather than the art is placed on the ground. The Non-Site is a container within another container - the room'.

William Malpas has written books on Richard Long and land art, as well as three books on Andy Goldsworthy, including the forthcoming Andy Goldsworthy In America. Malpas's books on Richard Long and Andy Goldsworthy are the only full-length studies of these artists available.

Fully illustrated, with a newly revised text for this edition. Bibliography and notes. ISBN 9781861714060. 328 pages.

www.crmoon.com

Presentations of offerings to the emperor-king on anniversaries of his accession became an important imperial ritual in the court of Franz Joseph I. This book explores for the first time the identity constructions of Orthodox Jewish communities in Jerusalem as expressed in their gifts to the Austro-Hungarian Kaisers at the time of dramatic events. It reveals how the beautiful gifts, their dedications, and their narratives, were perceived by gift-givers and recipients as instruments capable of acting upon various social, cultural and political processes. Lily Arad describes in a captivating manner the historical narratives of the creation and presentation of these gifts. She analyzes the iconography of these gifts as having transformative effect on the self-identification of the Jewish communities and examines their reception by the Kaisers and in the Austrian and the Palestinian Jewish press. This groundbreaking book unveils Jewish cultural and political strategies aimed to create local Eretz-Israel identities, demonstrating distinct positive communal identification which at times expressed national sentiments and at the same time preserved European identification.

This book deals with the seminal surrealist. It explores Dali's grandiose and grotesque oeuvre. Picasso called Dali "an outboard motor that's always running." Dali thought himself a genius with a right to indulge in whatever lunacy popped into his head. Painter, sculptor, writer, and filmmaker, Salvador Dali (1904-1989) was one of the century's greatest exhibitionists and eccentrics - and was rewarded with fierce controversy wherever he went. He was one of the first to apply the insights of Sigmund Freud and psychoanalysis to the art of painting, approaching the subconscious with extraordinary sensitivity and imagination. This publication presents the entire painted oeuvre of Salvador Dali. After many years of research, Robert Descharnes and Gilles Neret finally located all the paintings of this highly prolific artist. Many of the works had been inaccessible for years - in fact so many that almost half the illustrations in this book had rarely been seen.

Inside The Performance Workshop: A Sourcebook for Rasaboxes and Other Exercises is the first full-length volume dedicated to the history, theory, practice, and application of a suite of performer training exercises developed by Richard Schechner and elaborated by the editors and contributors. This work began in the 1960s with The Performance Group, and has continued to evolve. Rasaboxes - a featured set of exercises - is an interdisciplinary approach for training emotional expressivity through the use of breath, body, voice, movement, and sensation. It brings together: the concept of rasa from classical Indian performance theory and practice research on emotion from neuroscience and psychology experimental performance practices theories of ritual, play, and performance This book combines both practical 'how-to' guidance, and applications in diverse contexts including undergraduate and graduate actor training, television acting, K-12 education, devising, and drama therapy. The book serves as an introduction to the work as well as an essential resource for experienced practitioners.

Grotesque Visions focuses on the radical avant-garde interventions of Salomo Friedländer (aka Mynona), Til Brugman, and Hannah Höch as they challenged the questionable practices and evidentiary claims of late-19th- and early-20th-century science. Demonstrating the often excessive measures that pathologists, anthropologists, sexologists, and medical professionals went to present their research in a seemingly unambiguous way, this volume shows how Friedländer/Mynona, Brugman, Höch, and other Berlin-based artists used the artistic grotesque to criticize, satirize, and subvert a variety of forms of supposed scientific objectivity. The volume concludes by examining the exhibition Grotesk!: 130 Jahre Kunst der Frechheit/Comic Grotesque: Wit and Mockery in German Arts, 1870-1940. In contrast to the ahistorical and amorphous concept informing the exhibition, Thomas O. Haakenson reveals a unique deployment of the artistic grotesque that targeted specific established and emerging scientific discourses at the turn of the last fin-de-siècle.

The Andy Warhol Soup Can Paint By Numbers Kit from Galison includes line-drawing of Warhol's iconic Campbell's Soup Can masterpiece. This paint by numbers piece is designed for anyone to replicate Warhol's famous work. * Box Size: 8.25 x 10.25 x 1.75", 210 x 260 x 45 mm * One Canvas: 8 x 10", 203 x 254 mm * Color guide / Instruction Sheet * One Wooden Easel, Two Paint Brushes * 6 Acrylic Paints