In Do You Remember? Celebrating Fifty Years of Earth, Wind & Fire, Trenton Bailey traces the humble beginning of Maurice White, his development as a musician, and his formation of Earth, Wind & Fire, a band that became a global phenomenon during the 1970s. By the early 1980s, the music industry was changing, and White had grown weary after working constantly for more than a decade. He decided to put the band on hiatus for more than three years. The band made a comeback in 1987, but White's health crisis soon forced them to tour without him. During the twenty-first century, the band has received numerous accolades and lifetime achievement and hall of fame awards. The band remains relevant today, collaborating with younger artists and maintaining their classic sound. Earth, Wind & Fire stood apart from other soul bands with their philosophical lyrics and extravagant visual art, much of which is studied in the book, including album covers, concerts, and music videos. The lyrics of hit songs are examined alongside an analysis of the band's chart success. Earth, Wind & Fire has produced twenty-one studio albums and several compilation albums. Each album is analyzed for content and quality. Earth, Wind & Fire is also known for using ancient Egyptian symbols, and Bailey thoroughly details those symbols and Maurice White's fascination with Egyptology. After enduring many personnel changes, Earth, Wind & Fire continues to perform around the world and captivate diverse audiences.

Pottery tells us about religion, daily life, humour, trade, sex, folklore and creativity. Bearing the imprint of their maker more than any other crafted object, ceramics give us a unique physical link to the past, often the only evidence of long-forgotten civilizations that have otherwise crumbled to dust. From ancient Egyptian canopic death jars to ethereally beautiful porcelain, and from lewd Renaissance novelties to sleek contemporary vessels, Around the World in 80 Pots is an eclectic journey across time and cultures. Expertly selected from the unrivalled collection of the University of Oxford's Ashmolean Museum, this compendium shows that humankind's oldest craft is the perfect prism through which to view human history.

Islamic Art and Beyond is the third in a set of four volumes of studies on Islamic art by Oleg Grabar. Between them they bring together more than eighty articles, studies and essays, work spanning half a century by a master of the field. Each volume takes a particular section of the topic, the three other volumes being entitled: Early Islamic Art, 650-1100; Islamic Visual Culture, 1100-1800; and Jerusalem. Reflecting the many incidents of a long academic life, they illustrate one scholar's attempt at making order and sense of 1400 years of artistic growth. They deal with architecture, painting, objects, iconography, theories of art, aesthetics and ornament, and they seek to integrate our knowledge of Islamic art with Islamic culture and history as well as with the global concerns of the History of Art. In addition to the articles selected, each volume contains an introduction which describes, often in highly personal ways, the context in which Grabar's scholarship developed and the people who directed and mentored his efforts. The articles in the present volume illustrate how the author's study of Islamic art led him in two directions for a further understanding of the arts. One is how to define Islamic art and what impulses provided it with its own peculiar forms and dynamics of growth. Was it a faith or a combination of social, historical, and cultural events? And how has 'Islamic art' impacted on the contemporary arts of the Islamic world? The other issue is that of the meanings to be given to forms like domes, so characteristic of Islamic art, or to terms like symbol, signs, or aesthetic values in the arts, especially when one considers the contemporary world. The Islamic examples allow for the development of new intellectual positions for the history and criticism of the arts everywhere.

Theorizing vision and power at the intersections of the histories of psychoanalysis, media, scientific method, and colonization, "Scenes of Projection" poaches the prized instruments at the heart of the so-called scientific revolution: the projecting telescope, camera obscura, magic lantern, solar microscope, and prism. From the beginnings of what is retrospectively enshrined as the origins of the Enlightenment and in the wake of colonization, the scene of projection has functioned as a contraption for creating a fantasy subject of discarnate vision for the exercise of "reason."

Jill H. Casid demonstrates across a range of sites that the scene of projection is neither a static diagram of power nor a fixed architecture but rather a pedagogical setup that operates as an influencing machine of persistent training. Thinking with queer and feminist art projects that take up old devices for casting an image to reorient this apparatus of power that produces its subject, "Scenes of Projection" offers a set of theses on the possibilities for felt embodiment out of the damaged and difficult pasts that haunt our present.

Mel Katz is a highly regarded Portland sculptor and teacher whose work is firmly rooted in the principles of geometric abstraction. He moved to Portland, Oregon, in 1964 to teach at Portland State University, where he taught for the next thirty-two years. He helped found the Portland Center for the Visual Arts in 1971, one of the first alternative artist spaces in the country. Originally trained as a painter, Katz has produced a remarkable body of work over the past fifty years that reflects his unique journey from painter to sculptor, working in many different media, including polyurethane, fiberglass, wood, formica, steel, and aluminum. Katz has been featured in numerous one-person and group exhibitions throughout the United States, including the First Western States Biennial. He was the subject of a major retrospective exhibition at the Portland Art Museum in 1988 and was included in the traveling exhibition, Still Working, in 1994. His work is included in the collections of the Hallie Ford Museum of Art, Portland Art Museum, the Jordan Schnitzer Museum of Art, the Seattle Art Museum, the Tacoma Art Museum, the Oregon Arts Commission, the City of Seattle, and many national corporations.

This lively, lavishly illustrated volume presents rare decorative arts from Asia - all of exceptional quality - from ornate handled daggers and exquisite silver fi ligree boxes to diamond-studded jewels, magnifi cent embroidered silk and divination bowls by master craftsmen. The decorative arts of South and Southeast Asia, and especially those of the 18th and 19th centuries, and trade items produced during the same period, constitute a much neglected area. Such items, which in a Europeanized context tend to be labelled objets de vertu, are under-represented in public and private collections. While the decorative arts of later Western Europe and North America might be strongly represented, when it comes to South and Southeast Asia, there is a bias towards the ancient, the religious and the sculptural. And yet the decorative arts of Asia of recent centuries is a more accessible and tangible fi eld for many. The relative attractiveness of more recent Asian decorative arts, for which provenance issues need not be so acute, grows as the movement of archaeological and other early material across international borders becomes evermore complex and problematic, be it for commercial or for exhibition purposes. Seeking to redress the balance, this volume presents objects of exceptional quality that are often incredibly rare - ranging from ornate handled daggers and exquisite silver fi ligree boxes to diamond-studded jewels and magnifi cent embroidered silk. Only some of these objects were made for religious reasons, and, though old, few are ancient. Instead, they are the product of cultural infl uences that have crossed borders, produced in the quest for beauty. The catalogue also includes a selection of items usually designated as 'tribal' art. Many of these have a decorative as much as a ritualistic component. Among the objects from Nigeria are a stunning 19th-century processional staff , topped with the figure of a queen, two museum-quality divination bowls carved by master craftsmen, and a striking and possibly unique fi ve-headed dance costume. Most have been sourced from old UK and European collections, and most are likely to have been collected during the colonial era. This is important. Overwhelmingly, most 'tribal' art items available commercially today are reproduction pieces and have no place in serious collections. Michael Backman is widely published on Asian culture, art and politics. He is the author of six books that cover all aspects of Asia. His Asian Eclipse was named by The Economist among its 'Books of the Year' and appeared on several bestseller lists. His gallery in central London specializes in works of art from India, Southeast Asia, Central Asia, the Himalayas, the Islamic World, and Colonial and Tribal art. The gallery sells to museums and important private collections across the world.

As both an activist and the dynamic editor of Negro Digest, Hoyt W. Fuller stood at the nexus of the Black Arts Movement and the broader black cultural politics of his time. Jonathan Fenderson uses historical snapshots of Fuller's life and achievements to rethink the period and establish Fuller's important role in laying the foundation for the movement. In telling Fuller's story, Fenderson provides provocative new insights into the movement's international dimensions, the ways the movement took shape at the local level, the impact of race and other factors, and the challenges--corporate, political, and personal--that Fuller and others faced in trying to build black institutions. An innovative study that approaches the movement from a historical perspective, Building the Black Arts Movement is a much-needed reassessment of the trajectory of African American culture over two explosive decades.

This beautifully produced, richly detailed, and comprehensive survey of fifty influential women artists from the Renaissance to the Post-Modern era details their vast contributions to the art world. From the Early Baroque painter Artemisia Gentileschi and the seventeenth-century illustrator Maria Sibylla Merian to Impressionist Mary Cassatt and Berthe Morisot, and to modern icons such as Frida Kahlo, Georgia O'Keeffe and Louise Bourgeois, the most important female artists are profiled in this book in chronologically arranged double-page spreads. There is a succinct biography for each artist, together with information outlining her accomplishments and influence, additional resources for further study, and, best of all, brilliant full-color reproductions of the artist's works. Packed with information, this stunning and absorbing book showcases the remarkable artistic contributions of women throughout history

Greeting cards today are an extension of the person giving the card, a way to express personal style and taste. This book profiles over 160 beautiful color images of artwork from 52 contemporary greeting card and stationery designers, complete with contact information so you too can enjoy their innovative work firsthand without searching far and wide. Each artist has a unique and modern approach to designing for handwritten correspondence. They are trendsetters in the stationery arena. These designs will truly inspire and delight all who enjoy letter writing and keeps a "stash" of greeting cards on hand waiting for the perfect occasion to give them.

Spanning seven centuries, this selection of fifty iconic paintings offers readers a crash course in art history while presenting gorgeous color reproductions that are a pleasure to contemplate. Starting with Giotto's Arena Chapel frescoes and continuing through Botticelli's The Birth of Venus, da Vinci's Mona Lisa, Vermeer's Girl with a Pearl Earring, as well as works by Monet, van Gogh, Cassatt, Cezanne, Dali, Kahlo, Hopper, Pollock, Rothko, and O'Keeffe, nearly every important painter is represented in this book. It features works that may be familiar to the eye, but whose histories are even more fascinating. Readers will learn about the painters who created them, the reasons for their importance and the places the paintings can be found. As entertaining as it is informative, this beautiful book is the perfect introduction to great paintings that have stood the test of time.

First published in 1991. Routledge is an imprint of Taylor & Francis, an informa company.

This text presents a holistic view of the ways that art, ritual and performance interrelate within the seamless fabric of Balinese life.

James B. Thompson: Fragments in Time explores the development of Thompson's work over the past two decades, from his Certain Situations series of the mid-1990s to his more recent Forgotten Biography of Tools series from 2015. Bob Hicks best describes Thompson's work: "[it] grapples with the perplexing issues of cultural and geological change. [Thompson] ranges freely through ancient and forgotten forms to confront the mysteries and fractures of the universe, investigating not just the abandoned and the unknown, but the limits and possibilities of the art forms, often with understated wit." James B. Thompson was born in Chicago in 1951 and received his MFA from Washington University in 1977. Since 1986, Thompson has been a member of the art faculty at Willamette University in Salem, Oregon, where he teaches courses in painting, printmaking, drawing, and design. His art has appeared in numerous solo and group exhibitions throughout the United States and is included in public and private collections throughout the United States and Europe. Thompson is recognized as one of the most interesting and innovative artists in Oregon, and the Hallie Ford Museum of Art is proud to honor him with this twenty-year retrospective.

This book traces the history of engagements between dance and the visual arts in the mid-twentieth century and provides a backdrop for the emerging field of contemporary, intermedial art practice. Exploring the disciplinary identity of dance in dialogue with the visual arts, this book unpacks how compositional methods that were dance-based informed visual art contexts. The book provokes fresh consideration of the entangled relationship between, and historiographic significance of, visual arts and dance by exploring movements in history that dance has been traditionally mapped to (Neo-Avant Garde, Neo-Dada, Conceptual art, Postmodernism, and Performance Art) and the specific practices and innovations from key people in the field (like John Cage, Anna Halprin, and Robert Rauschenberg). This book also employs a series of historical and critical case studies which show how compositional approaches from dance-breath, weight, tone, energy-informed the emergence of the intermedial. Ultimately this book shows how dance and choreography have played an important role in shaping visual arts culture and enables the re-imagination of current art practices through the use of choreographic tools. This unique and timely offering is important reading for those studying and researching in visual and fine arts, performance history and theory, dance practice and dance studies, as well as those working within the fields of dance and visual art. Chapter 1 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at http://www.taylorfrancis.com

The Ashmolean is fortunate in having the finest collection of Indian art in Britain outside London, one which includes many works of great beauty and expressive power. For this we are indebted above all to the generosity, knowledge and taste of our benefactors and donors from the 17th century to the present. This book offers a short account of how the collection developed and a selection of some of its more outstanding or interesting works of art. While it is written mainly for the general reader and museum visitor, it includes many fine objects or pictures, some of them unpublished, that should interest specialist scholars and students. Since 1987, the Ashmolean has made many significant new acquisitions of Indian art and these are highlighted in this collection. As the book's title implies, it also ventures beyond the bounds of the Indian subcontinent by including works from Afghanistan and Central Asian Silk Road sites as well as many from Nepal, Tibet and Southeast Asia. From the early centuries AD, Indian trading links with these diverse regions of Asia led to a widespread cultural diffusion and regional adoptions of Buddhism and Hinduism along with their related arts. Local reinterpretations of such Indic subjects, themes and styles then grew into flourishing and enduring artistic traditions which are also part of the story of this book. The selection of works ends around 1900. By the 16th century and the early modern period in India, growing European interventions and Western artistic influences under Mughal rule saw a significant shift in sensibility and the practice of more secular and naturalistic forms of court art such as portraiture. By the late 19th century, fundamental cultural changes under British rule and the advent of new technologies brought about a gradual decline in many of India's traditional arts.

"A Singular Voice" brings together essays by the controversial and popular Australian art and architecture scholar, Joan Kerr, that have appeared over the past 30 years. The Joan Kerr story is as much a history of changing attitudes to Australian art and architecture as it is a record of the remarkable academic career of a woman distinguished by her open mind, her infectious enthusiasm for everthing from colonial architecture to contemporary Aboriginal art, and her generosity to her peers.

From the ancient remains of a dinosaur in an outback museum display to the importance of art in our everday lives, Joan Kerr always had an interesting and different point of view. Whether she wrote about 19th-century Tasmanian painting, the architecture of imprisonment, or the forgotten and marginalized of Australian art, her writing crackles with energy. Her voice was unlike any other--a singular voice.

Joan Kerr (1938-2004) was an art and architectural historian, critic, curator of historical and contemporary exhibitions, lecturer and prolific writer, a witty and erudite public speaker, and a committed feminist. Her major publications include "The Dictionary of Australian Artists: Painters, Sketchers, Photographers and Engravers to 1870" and "Heritage: The National Women's Art Book. "

"A Singular Voice" is part of the four-book series Australian Studies in Art and Art Theory and is published with the assistance of the Getty Foundation, the Gordon Darling Foundation, and the Nelson Meers Foundation.

A woman wearing a ballgown singing in the snow for returning ski troops; a technician's tears ruining a master recording of a new wartime song; fresh recruits spontaneously standing and doffing their caps to a new song, thereby creating the new wartime anthem. This well researched, multi-faceted book depicts the relationship between song and society during WWII in the USSR. Chapter topics range from the creation and distribution of the songs to how the public received and shaped them. The body of song that came out of that era created a true cultural legacy which reflected both the hearts of the individuals fighting as well as the narrative of the party and state in bringing the nation to victory.

The history of modern design and architecture has seen many attempts to embrace and merge different art forms, and to bring art into the framing of everyday life and the organisation of modern society, in a process understood as total design or total architecture. These attempts were historically based on the romanticist idea of merging all art forms into a uniting and transgressing work of art, mostly associated with – but certainly not limited to – Richard Wagner’s theoretical writings and musical dramas. This utopian dream of the Gesamtkunstwerk, or Total Work of Art, was intended both to bring unity to the people and to bring art into the everyday life of their homes, as well as into factories, cities and even modern media. As a result, the experiments ranged from music, poetry and drama to architecture, design, visual communication and city-planning. These ideas of merging art forms into more immersive and transgressive installations or design interventions to change everyday life are widespread today, but their complex and often problematic roots are mostly ignored. Design and architecture have delivered some of the broadest and most influential experiments with the Gesamtkunstwerk, from garden cities for workers and corporate identity design to the German AEG corporation.

The book investigates the aesthetic theology embedded in the Franciscan artistic tradition. The novelty of the approach is in applying concepts gleaned from Franciscan textual sources to create a deeper understanding of how art in all its sensual forms was foundational to the Franciscan milieu. Chapters range from studies of statements about aesthetics and the arts in theological textual sources to examples of visual, auditory, and tactile arts communicating theological ideas found in texts. The essays cover not only European art and textual sources, but also Franciscan influences in the Americas found in both texts and artifacts.

This volume explores works from Latin American literary and visual culture that question what it means to be human and examine the ways humans and nonhumans shape one another. In doing so, it provides new perspectives on how the region challenges and adds to global conversations about humanism and the posthuman. Contributors identify posthumanist themes across a range of different materials, including an anecdote about a plague of rabbits in Historia de las Indias by Spanish historian Bartolome de las Casas, photography depicting desert landscapes at the site of Brazil's War of Canudos, and digital and installation art portraying victims of state-sponsored and drug violence in Colombia and Mexico. The essays illuminate how these cultural texts broach the limits between life and death, human and animal, technology and the body, and people and the environment. They also show that these works use the category of the human to address issues related to race, gender, inequality, necropolitics, human rights, and the role of the environment.Latin American Culture and the Limits of the Human demonstrates that by focusing on the boundary between the human and nonhuman, writers, artists, and scholars can open up new dimensions to debates about identity and difference, the local and the global, and colonialism and power.

Dakota Sioux artist Mary Sully was the great-granddaughter of respected nineteenth-century portraitist Thomas Sully, who captured the personalities of America's first generation of celebrities (including the figure of Andrew Jackson immortalized on the twenty-dollar bill). Born on the Standing Rock reservation in South Dakota in 1896, she was largely self-taught. Steeped in the visual traditions of beadwork, quilling, and hide painting, she also engaged with the experiments in time, space, symbolism, and representation characteristic of early twentieth-century modernist art. And like her great-grandfather Sully was fascinated by celebrity: over two decades, she produced hundreds of colorful and dynamic abstract triptychs, a series of "personality prints" of American public figures like Amelia Earhart, Babe Ruth, and Gertrude Stein. Sully's position on the margins of the art world meant that her work was exhibited only a handful of times during her life. In Becoming Mary Sully, Philip J. Deloria reclaims that work from obscurity, exploring her stunning portfolio through the lenses of modernism, industrial design, Dakota women's aesthetics, mental health, ethnography and anthropology, primitivism, and the American Indian politics of the 1930s. Working in a complex territory oscillating between representation, symbolism, and abstraction, Sully evoked multiple and simultaneous perspectives of time and space. With an intimate yet sweeping style, Deloria recovers in Sully's work a move toward an anti-colonial aesthetic that claimed a critical role for Indigenous women in American Indian futures-within and distinct from American modernity and modernism.

Conservation of Easel Paintings, Second Edition provides a much-anticipated update to the previous edition, which has come to be known internationally as an invaluable and comprehensive text on the history, philosophy and methods of the treatment of easel paintings. Including 49 chapters written by more than 90 respected authors from around the world, this volume offers the necessary background knowledge in technical art history, artists' materials and scientific methods of examination and documentation. Later sections of the book provide information about the varying approaches and methods for treatment and issues of preventive conservation, as well as valuable reflections on storage, shipping, and exhibition. Including exciting developments that have taken place since the last edition was published, the book also covers new techniques of examination, especially MacroXRF scanning and Reflectance Transmission Imagery. Drawing on research presented at recent professional conferences, information about innovative methods for cleaning modern and contemporary paintings and insights into modern oil paints is also included. Incorporating the latest regulations and understanding of health and safety practices and integrating theory with practice throughout, Conservation of Easel Paintings, Second Edition will continue to be an indispensable reference for practicing conservators. It will also be an essential resource for students taking conservation courses around the world.

This book describes in a unique and personal manner the art treasures of the Vatican Museums, the Sistine Chapel, and the Basilica of Saint Peter. Professor Enrico Bruschini-an official guide of the Eternal City and formerly Fine Art Curator of the American Embassy in Rome - gives the fruit of his many years of experience in answering the questions of foreign art historians and curious tourists as they pass before the masterpieces of Rome.Professor Bruschini examines the paintings of the Pinacotheca, especially the pictures of Raphael, Leonardo da Vinci, and Caravaggio. He pays particular attention to the Greek and Roman statues admired by Michelangelo and demonstrates the influence of these ancient works on his creation of the Sistine Ceiling. Two brief sections are dedicated to the most significant works of the Egyptian Museum and the Etruscan Museum. The frescoes of Raphael in his celebrated "Stanze Vaticane" are fully explained, and the powerful daily influence of the contemporary frescoes by Michelangelo are also celebrated.A large section of the book discusses the Sistine Chapel. After the recent cleaning, the masterpiece of Michelangelo has reappeared in all its splendid luminosity. The technique and narrative of the frescoes are explained in clear language. Professor Bruschini finishes with a description of the masterpieces and curiosities-many previously unpublished-of the Basilica of St. Peter and its Square. Black-and-white illustrations run throughout the text, and a 16-page color insert brings to life some of the most beautiful works. There are two maps by the author completing the work.

Western Art and the Wider World explores the evolving relationship between the Western canon of art, as it has developed since the Renaissance, and the art and culture of the Islamic world, the Far East, Australasia, Africa and the Americas. * Explores the origins, influences, and evolving relationship between the Western canon of art as it has developed since the Renaissance and the art and culture of the Islamic world, the Far East, Australasia, Africa and the Americas * Makes the case for world art long before the fashion of globalization * Charts connections between areas of study in art that long were considered in isolation, such as the Renaissance encounter with the Ottoman Empire, the influence of Japanese art on the 19th-century French avant-garde and of African art on early modernism, as well as debates about the relation of contemporary art to the past. * Written by a well-known art historian and co-editor of the landmark Art in Theory volumes

This book offers the first-ever survey of artistic depictions of the legend of Saint George defeating the dragon. The earliest existing references to this episode in the hagiography of Saint George date from the 11th century, and the mythical conflict has entertained the imaginations of artists ever since. Copiously illustrated, this book includes varied representations in painting, sculpture, engraving, and more by artists from Raphael and Peter Paul Rubens to Odilon Redon and Andy Warhol. In addition, the artists David Claerbout, Giuseppe Penone, Luc Tuymans, and Angel Vergara Santiago have been invited to contribute their own interpretations of the story, and these new works are also featured. The contemporary perspective is further explored in the book through essays that trace the shifting resonance of the allegory, positing that it has evolved to become symbolic of man's internal struggle as he attempts to fulfill his destiny. Distributed for Mercatorfonds Exhibition Schedule: Musee des Arts Contemporains au Grand-Hornu (10/18/15-01/17/16)