Baroquemania explores the intersections of art, architecture and criticism to show how reimagining the Baroque helped craft a distinctively Italian approach to modern art. Offering a bold reassessment of post-unification visual culture, the book examines a wide variety of media and ideologically charged discourses on the Baroque, both inside and outside the academy. Key episodes in the modern afterlife of the Baroque are addressed, notably the Decadentist interpretation of Gianlorenzo Bernini, the 1911 universal fairs in Turin and Rome, Roberto Longhi's historically grounded view of Futurism, architectural projects in Fascist Rome and the interwar reception of Adolfo Wildt and Lucio Fontana's sculpture. Featuring a wealth of visual materials, Baroquemania offers a fresh look at a central aspect of Italy's modern art. -- .

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. -- .

A global history of self-taught artists advocating for a nuanced understanding of modern and contemporary art often challenged by the establishment When the art world has paid attention to makers from outside the cultural establishment, including so-called outsider and self-taught artists, it has generally been within limiting categories. Yet these artists, including many women, people with disabilities, and people of color, have had a transformative effect on the history of modern art. Responding to growing interest in these artists, this book offers a nuanced history of their work and how it has been understood from the early twentieth century to the present day. Nonconformers includes work by Henry Darger, Hilma af Klint, and Bill Traylor alongside that of many other artists who deserve widespread recognition. The book reviews how self-taught artists influenced key movements of twentieth-century art and highlights the voices of contemporary practitioners, offering new interviews with William Scott, Mamadou Cisse, and George Widener. An international group of contributors addresses topics such as the development of the Black Folk Art movement in America and l'Art Brut in France, the creative process of self-taught artists working outside of traditional studios, and the themes of figuration, landscape, and abstraction. Global in scope and with chronological breadth, this alternative narrative is an essential introduction to the genre long known as "Outsider Art."

Address book companion to the exciting and luxurious Flame Tree Notebooks. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed, then foil stamped. And they're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use and make a dazzling gift. This example features Bodleian Libraries: A Readers' Delight. The Bodleian Library is one of the oldest libraries in Europe and is the main research library of the University of Oxford. It holds over 13 million printed items and this handsome trio of spines are just three examples of the beautiful objects in the Library's collection. With colourful illustrations and charming tales, these story anthologies showcase the sports and hobbies young people could enjoy during the 1930s.

This book demonstrates that numerous prominent artists in every period of the modern era were expressing spiritual interests when they created celebrated works of art. This magisterial overview insightfully reveals the centrality of an often denied and misunderstood element in the cultural history of modern art.

Over the past two decades contemporary African art has taken its rightful place on the world stage. Today, African artists work outside the confines of limiting categories and outdated perceptions; they produce art that is as much a reflection of Africa's tumultuous past as it is a vision of its boundless future. African Art Now is an expansive overview featuring some of the most interesting and innovative artists working today. Far-reaching in its scope, this book celebrates the diversity and dynamism of the contemporary African art scene across the continent today. Featuring the work of Njideka Akunyili Crosby, Michael Armitage, Amoako Boafo, Cassi Namoda, Cinga Samson, Zina Saro-Wiwa and many more.

The Crash Bandicoot(TM) series has remained a beloved staple of platform gaming ever since the first game's release in 1996. The Art of Crash Bandicoot(TM)4: It's About Time(TM)is a rich repository overflowing with interviews, quotes, observations and anecdotes, accompanied by a treasure trove of concept art detailing the characters and environments of the game. Gamers of every type will cherish this all-encompassing look into the zany, wild and unpredictable world of Crash Bandicoot(TM) .

A celebration of the richness of figurative painting over the last 100 years and a passionate critique of the accepted history of art in the 20th century. Figurative painting is due a reappraisal. In this passionately argued volume the distinguished writer and artist Timothy Hyman cuts a new path through the tangle of twentieth-century art. The World New Made explores the work of more than fifty individual painters, presenting a collective 'Resistance' who together offer a human-centred alternative to the dominance of the Abstract or the Conceptual in conventional narratives of modern art. Structured not as a survey but as in-depth studies of more than 130 specific artworks, this lavishly illustrated book brings these often marginalized artists centre-stage: not just Alice Neel and Balthus, Max Beckmann and Frida Kahlo, but also Marsden Hartley and Charlotte Salomon, Bhupen Khakhar and Jacob Lawrence. A rich cast is brought to life, partly through their own writings. As the author argues, 'All across the world, isolated artists found new idioms for human-centred painting in the midst of modern life.'

Through the early works of Andy Warhol and Eduardo Paolozzi, this book traces the development of their deep obsession with the machine. Looking at the way that both artists began in the late 1940s and the years following, the book illustrates their fascination with popular culture and the methods that they used in creating their art. Common to all their methods of making works was their hand-made quality. Only in the 1960s did the artists make the step to mechanical means to create their own artworks, resulting in the iconic images that are integral to our culture. As Warhol said of himself, there is only surface, with nothing underneath.

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. -- .

Finalist for The Barnard Hewitt Award for Outstanding Research in Theatre History, given by the American Society for Theatre Research. Silver Medal Winner of The Victor Villasenor Best Latino Focused Non-Fiction Book Award, given by the International Latino Book Awards. Honorable Mention for the Best LGBTQ+ Themed Book, given by the International Latino Book Awards. A queer genealogy of the famous performance space and the nuyorican aesthetic One could easily overlook the Nuyorican Poets Cafe, a small, unassuming performance venue on New York City's Lower East Side. Yet the space once hosted the likes of Victor Hernandez Cruz, Allen Ginsberg, and Amiri Baraka and is widely credited as the homespace for the emergent nuyorican literary and aesthetic movement of the 1990s. Founded by a group of counterculturalist Puerto Rican immigrants and artists in the 1970s, the space slowly transformed the Puerto Rican ethnic and cultural associations of the epithet "Nuyorican," as the Cafe developed into a central hub for an artistic movement encompassing queer, trans, and diasporic performance. The Queer Nuyorican is the first queer genealogy and critical study of the historical, political, and cultural conditions under which the term "Nuyorican" shifted from a raced/ethnic identity marker to "nuyorican," an aesthetic practice. The nuyorican aesthetic recognizes and includes queer poets and performers of color whose writing and performance build upon the politics inherent in the Cafe's founding. Initially situated within the Cafe's physical space and countercultural discursive history, the nuyorican aesthetic extends beyond these gendered and ethnic boundaries, broadening the ethnic marker Nuyorican to include queer, trans, and diasporic performance modalities. Hip-hop studies, alongside critical race, queer, literary, and performance theories, are used to document the interventions made by queer and trans artists of color-Miguel Pinero, Regie Cabico, Glam Slam participants, and Ellison Glenn/Black Cracker-whose works demonstrate how the Nuyorican Poets Cafe has operated as a queer space since its founding. In focusing on artists who began their careers as spoken word artists and slam poets at the Cafe, The Queer Nuyorican examines queer modes of circulation that are tethered to the increasing visibility, commodification, and normalization of spoken word, slam poetry, and hip-hop theater in the United States and abroad.

David Hockney introduces his two dachshunds, Stanley and Boodgie, in this delightful new book. The result of both sharp observation and affection, these paintings and drawings are lyrical studies in form and color. A text by the artist himself gives a behind-the-scenes glimpse of how to work with models who don't necessarily want to sit still. Hockney has provided additional drawings made specially on the page, and has been largely involved in the layout of the book, creating a charming and unified whole.

Explore Kerby Rosanes's intricate and vibrant world in this striking jigsaw puzzle. Piece together shape-shifting creatures as they morph into a magnificent tiger in the night, featured in his bestselling book, Animorphia.

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.

Pop Art and the Contest over American Culture examines the socially and aesthetically subversive character of pop art. Providing a historically contextualized reading of American pop art, Sara Doris locates the movement within the larger framework of the social, cultural and political transformations of the 1960s. She demonstrates how pop art's use of discredited mass-cultural imagery worked to challenge established social and cultural hierarchies. At the same time, its affinities with marginalized forms of taste - gay Camp and youth culture - allied it with the proto-political changes foreshadowing the radical politics that emerged late in the decade. Pop art's subversive critique of consumer culture also served as a crucial precedent for postmodernist practices. By analyzing pop art within the context of the broader social upheavals of the 1960s, this study establishes that it was both a significant participant in those transformations and that it profoundly shaped today's postmodern culture.

Abstract Expressionism was the defining movement in American art during the years following World War II, making New York City the centre of the international art scene. But what the heck did it mean! The drips, the spills, the splashes, the blotches of colour, the wild spontaneous energy signifying what?

ABSTRACT EXPRESSIONISM FOR BEGINNERS will not only help you understand, but, also, appreciate the art of some of the most iconic figures in modern art Jackson Pollock, Willem de Kooning, Mark Rothko, Helen Frankenthaler and others. Explore their lives and artistic roots, the heady world of Greenwich Village in the 1940s and 1950s, the influence of jazz, the voices of critics and the enduring legacy of a uniquely inspired group of artists.

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.

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.

This exhibition catalogue has been published with an essay by Mark Westmoreland about Akram Zaatari's artistic practice and his relationship with the AIF, a conversation between Chad Elias and Akram Zaatari, and a selection of annotated and illustrated collection entries from the archive by Ian B. Larson. The book also includes a selection of new work by the artist. Far from presenting a historical account of the Arab Image Foundation (AIF), this book presents an artist's perspective, which is critical for understanding the organisation's practice. Through Akram Zaatari, one of AIF's founding members who played a key role in its development, the publication reflects on AIF's 20-year history and the multiple statuses of the photograph, as descriptive document, as object, as material value, as aesthetics and as memory. Zaatari's expansive work on photography and the practice of collecting, takes an archaeological approach to the medium, digging into the past, resurfacing with new narratives and resituating them in the contemporary. Beyond showcasing a wide spectrum of visual representations of the Arab world, artists who constituted or used AIF's collection addressed radical questions about photographic documents and their function in our times. Projects engaged the writing of histories concerning the practice of ordinary people, small events and a society in general, resulting in new discourses related to the medium. The exhibition will look at the dual status of the AIF itself, as an archive of photographic and collecting practices and as an artist-led initiative that left a visible mark on the artistic landscape of its times, signalling significant moments in its history and the critical debates generated throughout its evolution. Past projects and new artist productions related to the collection will be presented

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.

"I am Jugoslovenka" argues that queer-feminist artistic and political resistance were paradoxically enabled by socialist Yugoslavia's unique history of patriarchy and women's emancipation. Spanning performance and conceptual art, video works, film and pop music, lesbian activism and press photos of female snipers in the Yugoslav wars, the book analyses feminist resistance in a range of performative actions that manifest the radical embodiment of Yugoslavia's anti-fascist, transnational and feminist legacies. It covers celebrated and lesser-known artists from the 1970s to today, including Marina Abramovic, Sanja Ivekovic, Vlasta Delimar, Tanja Ostojic, Selma Selman and Helena Janecic, along with music legends Lepa Brena and Esma Redzepova. "I am Jugoslovenka" tells a unique story of women's resistance through the intersection of feminism, socialism and nationalism in East European visual culture. -- .

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.