Polymer Photogravure: A Step-by-Step Manual Highlighting Artists and Their Creative Practice is a three-part book on the non-toxic process of making ink-on-paper intaglio prints from continuous-tone photographs using water-etched photopolymer plates. Author Clay Harmon provides clear and easy to understand instructions that will enable anyone to successfully make a photogravure print. By quantifying the sensitometric behavior of polymer plates, Harmon has developed a methodical approach which will enable a new printmaker to produce plates in their own studio with a minimum of time and wasted materials. Section One provides a straightforward guide to setting up the polymer photogravure studio. Section Two covers a step-by-step method of making the print from start to finish. Section Three showcases contemporary artists' works, illustrating the variety and artistic breadth of contemporary polymer intaglio printmaking. The works in these pages range from monochrome to full color, and represent a variety of genres, including still lifes, portraits, nudes, landscapes, urban-scapes and more. Featuring over 30 artists and 200 full-color images, Polymer Photogravure is a most comprehensive overview of this printmaking process in print. Key topics covered include: Studio safety Equipment and supplies, evaluated from both a cost and utility point of view A brief discussion of the types of ink-based printing Aquatint screen considerations Image preparation and positive printing on inkjet printers Paper preparation A simple and efficient polymer plate calibration process that minimizes wasted time and materials A straightforward inking, wiping and printing method Advanced printing techniques such as chine colle, a la poupee, and printing on wood Troubleshooting guide to platemaking and printing problems Tips on editioning and portfolios A visual survey of the range of artistic expression practiced by contemporary artists Sources for supplies and recommended reading Polymer photogravure plates enable an artist to use an almost-infinite range of image color and papers to make a print. The finished prints are extremely archival, consisting of only ink and paper. With Harmon's instructions, continuous tone intaglio prints are within the reach of all.

Founded in 1925 in Santa Fe, the Spanish Colonial Arts Society has become central to the collection and promotion of traditional Hispanic arts in New Mexico. Its extraordinary collection of some twenty-five hundred objects, both secular and religious, comprises the finest of its kind. Serving as the Society's 'museum on paper' this exceptional two-volume set includes vividly illustrated essays on New World santos, furniture, straw applique, tinwork, and textiles. Essays on historical arts, the revival period, Spanish Market, and contemporary masters of traditional Spanish arts record the development of this historic collection from the early Spanish New Mexicans to today's working craftsman. Books with slipcase.

Islamic Art and Visual Culture is a collection of primary sources in translation accompanied by clear and concise introductory essays that provide unique insights into the aesthetic and cultural history of one of the world's major religions. * Collects essential translations from sources as diverse as the Qur'an, court chronicles, technical treatises on calligraphy and painting, imperial memoirs, and foreign travel accounts * Includes clear and concise introductory essays * Situates each text and explains the circumstances in which it was written--the date, place, author, and political conditions * Provides a vivid window into Islamic visual culture and society * An indispensable tool for teachers and students of art and visual culture

Flowers have been a popular motif in art for centuries. As the epitome of natural beauty and earthly mortality since the Baroque era, flowers have lost none of their fascination for artists in the 20th and 21st centuries. Why does modern and contemporary art turn so frequently to this multi-faceted subject?

The 1876 events known as Custer's Last Stand, Battle of Little Big Horn, or Battle of Greasy Grass have been represented over 1000 times in various artistic media, from paintings to sculpture to fast food giveaways. Norman Denzin shows how these representations demonstrate the changing perceptions--often racist--of Native America by the majority culture, juxtaposed against very different readings shown in works composed by Native American artists. Consisting of autobiographical reminiscences, historical description, artistic representations, staged readings, and snippets of documents, this multilayered performance ethnography examines questions of memory, race, and violence against Native America, as symbolized by the changing interpretations of General Custer and his final battle.

A new survey of the contribution of Polish-born artists to British visual culture based on Ben Uri's 2017 exhibition of the same title. The publication celebrates Poland as the homeland of the second largest migrant group in Britain, with over one million citizens (and with Polish as the most widely spoken second language), and its recent centenary in 2018 as an independent nation state. It narrates the story of the Polish community in Britain and Poland's recent turbulent history through the lens of art, tracing the complex stories of Polish-born artists - both Jews and non-Jews - who fled successive occupations, were variously persecuted, imprisoned and interned, crossed continents - or, today, have made positive choices to come to Britain to study or develop professionally. It brings together a century of artworks and archival material by both celebrated and lesser-known Polish-born artists from the Ben Uri Collection and from Polish institutions and private collectors in Britian. Paintings, posters, prints, drawings, cartoons, book illustrations, film and sculpture explore issues of identity and migration, whilst intersecting with formal art historical developments across the 20th century, ranging from expressionism to Pop Art. Text in English with essays also in Polish.

Once seen as a collection of artifacts and ritual objects, African art now commands respect from museums and collectors. Bennetta Jules-Rosette and J.R. Osborn explore the reframing of African art through case studies of museums and galleries in the United States, Europe, and Africa. The authors take a three-pronged approach. Part One ranges from curiosity cabinets to virtual websites to offer a history of ethnographic and art museums and look at their organization and methods of reaching out to the public. In the second part, the authors examine museums as ecosystems and communities within communities, and they use semiotic methods to analyze images, signs, and symbols drawn from the experiences of curators and artists. The third part introduces innovative strategies for displaying, disseminating, and reclaiming African art. The authors also propose how to reinterpret the art inside and outside the museum and show ways of remixing the results. Drawing on extensive conversations with curators, collectors, and artists, African Art Reframed is an essential guide to building new exchanges and connections in the dynamic worlds of African and global art.

"With this guide, students and scholars can locate the impressive plaster casts made from classical Greek and Roman statues and other pieces that were brought to Cornell by A. D. White. They can also search out sculptures, pottery, coins, and functional objects from the ancient world that have been added to Cornell's collections over the years. Many of these antiquities are of high quality and significance. They are invaluable for research and scholarship and for teaching present-day students in fields from classics to art history to Near Eastern studies, anthropology, and city and regional planning." from the Foreword by Hunter R. Rawlings III

A Guide to the Classical Collections of Cornell University gives an overview of the Cornell Classical collections and discusses the history and instructional role played by the H. W. Sage Collection of Casts, an epitome of nineteenth-century scholarship and attitudes toward classical antiquity in the American university. It goes on to illustrate and discuss a selection of pottery, ceramics, sculpture, inscriptions, and Greek and Roman coinage in the Cornell collections. A chapter on "Life and Death in Antiquity" shows how humble objects provide an insight into this aspect of the Greek and Roman world."

Drawing Imagining Building focuses on the history of hand-drawing practices to capture some of the most crucial and overlooked parts of the process. Using 80 black and white images to illustrate the examples, it examines architectural drawing practices to elucidate the ways drawing advances the architect's imagination. Emmons considers drawing practices in the Renaissance and up to the first half of the twentieth century. Combining systematic analysis across time with historical explication presents the development of hand-drawing, while also grounding early modern practices in their historical milieu. Each of the illustrated chapters considers formative aspects of architectural drawing practice, such as upright elevations, flowing lines and occult lines, and drawing scales to identify their roots in an embodied approach to show how hand-drawing contributes to the architect's productive imagination. By documenting some of the ways of thinking through practices of architectural handdrawing, it describes how practices can enrich the ethical imagination of the architect. This book would be beneficial for academics, practitioners, and students of architecture, particularly those who are interested in the history and significance of hand-drawing and technical drawing.

Following current developments in contemporary art history, historians of Jewish art increasingly redefine themselves as studying Jewish visual culture and also distance themselves from any single definition of 'Jewish'. Focusing instead on the range and flexibility of both individual and collective Jewish self-identification, the trend today is to consider artistic creativity, messages, and reception in multiple intracultural settings. Reflecting this trend, the volume presents a round-table discussion and selected papers from Constructing and Deconstructing Jewish Art, an international symposium held at Bar-Ilan University in 2015. Accordingly, Steven Fine questions the role of ideologies and the limits of semantic analysis in contemporary readings of ancient Jewish art. Sergey Kravtsov traces the transmission of legends about the Jewish past through cultures and artistic practices. Larry Silver proposes that in modern societies, all artists of Jewish origin are marked by their Jewishness and develop a minority self-consciousness. Ben Schachter notes how criticism of religious art has neglected the material and artistic process and focused only on spirituality and theology. Kathrin Pieren discusses the role of public displays in negotiating the relationship between art and identities. The volume also includes two articles on the effects of displacement on the art of twentieth-century Jewish artists of Russian origin; description of a forgotten masterpiece by Hermann Struck; and book reviews. Ars Judaica is an annual publication of the Department of Jewish Art at Bar-Ilan University. It showcases the Jewish contribution to the visual arts and architecture from antiquity to the present from a variety of perspectives, including history, iconography, semiotics, psychology, sociology, and folklore. As such it is a valuable resource for art historians, collectors, curators, and all those interested in the visual arts. Contributors: Ziva Amishai-Maisels, Hebrew University of Jerusalem, Maya Balakirsky Katz, Touro College, New York, Samantha Baskind, Cleveland State University, Asher Biemann, University of Virginia, Monika Czekanowska-Gutman, University of Warsaw, Marina Dmitrieva, Leibniz-Institut fur Geschichte und Kultur des OEstlichen Europa, Leipzig, Steven Fine, Yeshiva University, New York, Eva Frojmovich, University of Leeds, Batsheva Goldman-Ida, Tel Aviv Museum of Art, William L. Gross, collector, Tel Aviv, Felicitas Heiman-Jelinek, independent scholar and curator, Vienna, Ahuva Klein, independent researcher, Tel Aviv, Rudolf Klein, Szent Istvan University, Budapest, Lola Kantor Kazovsky, Hebrew University of Jerusalem, Katrin Kogman-Appel, Westfalische Wilhelms-Universitat, Munster, Sergey R. Kravtsov, Hebrew University of Jerusalem, Shulamit Laderman, Schechter Institute for Jewish Studies, Jerusalem, Irit Miller, University of Haifa, Kathrin Pieren, University of Southampton, Mirjam Rajner, Bar-Ilan University, Ramat-Gan, Ilia Rodov, Bar-Ilan University, Ramat-Gan, Ben Schachter, Saint Vincent College, Pennsylvania, Larry Silver, University of Pennsylvania, Daniel Sperber, Bar-Ilan University, Ramat-Gan, Annette Weber, Hochschule fur Judische Studien, Heidelberg, Gil Weissblei, National Library of Israel, Jerusalem, Bracha Yaniv, Bar-Ilan University, Ramat-Gan Volumes of Ars Judaica are distributed by the Littman Library of Jewish Civilization throughout the world, except Israel. Orders and enquiries from Israeli customers should be directed to: Ars Judaica Department of Jewish Art Bar-Ilan University Ramat-Gan 52900 telephone 03 5318413 fax 03 6359241 email [email protected]

"Black People Are My Business": Toni Cade Bambara's Practices of Liberation studies the works of Bambara (1939-1995), an author, documentary filmmaker, social activist, and professor. Thabiti Lewis's analysis serves as a cultural biography, examining the liberation impulses in Bambara's writing, which is concerned with practices that advance the material value of the African American experience and exploring the introspection between artist production and social justice. This is the first monograph that focuses on Bambara's unique approach and important literary contribution to 1970s and 1980s African American literature. It explores her unique nationalist, feminist, Marxist, and spiritualist ethos, which cleared space for many innovations found in black women's fiction. Divided into five chapters, Lewis's study relies on Bambara's voice (from interviews and essays) to craft a "spiritual wholeness aesthetic"-a set of principles that comes out of her practices of liberation and entail family, faith, feeling, and freedom-that reveals her ability to interweave ethnic identity, politics, and community engagement and responsibility with the impetus of balancing black male and female identity influences and interactions within and outside the community. One key feature of Bambara's work is the concentration on women as cultural workers whereby her notion of spiritual wholeness upends what has become a scholarly distinction between feminism and black nationalism. Bambara's fiction situates her as a pivotal voice within the Black Arts Movement and contemporary African American literature. Bambara is an understudied and important artistic voice whose aversion to playing it safe both personified and challenged the boundaries of black nationalism and feminism. "Black People Are My Business" is a wonderful addition to any reader's list, especially those interested in African American literary and cultural studies.

This volume explores the relationship between aesthetics and traditional multimodal communication to show how all semiotic resources, not just those situated within fine arts, have an aesthetic function. Bringing together contributions from an interdisciplinary group of researchers, the book meditates on the role of aesthetics in a broader range of semiotic resources, including urban spaces, blogs, digital scrapbooks, children's literature, music, and online learning environments. The result is a comprehensive collection of new perspectives on how communication and aesthetics enrich and complement one another when meaning is made with semiotic resources, making this key reading for students and scholars in multimodality, fine arts, education studies, and visual culture.

Books orient, intrigue, provoke and direct the reader while editing, interpreting, encapsulating, constructing and revealing architectural representation. Binding Space: The Book as Spatial Practice explores the role of the book form within the realm of architectural representation. It proposes the book itself as another three-dimensional, complementary architectural representation with a generational and propositional role within the design process. Artists' books in particular - that is, a book made as an original work of art, with an artist, designer or architect as author - have certain qualities and characteristics, quite different from the conventional presentation and documentation of architecture. Paginal sequentiality, the structure and objecthood of the book, and the act of reading create possibilities for the book as a site for architectural imagining and discourse. In this way, the form of the book affects how the architectural work is conceived, constructed and read. In five main sections, Binding Space examines the relationships between the drawing, the building and the book. It proposes thinking through the book as a form of spatial practice, one in which the book is cast as object, outcome, process and tool. Through the book, we read spatial practice anew.

A cultural history of the face in Western art, ranging from portraiture in painting and photography to film, theater, and mass media This fascinating book presents the first cultural history and anthropology of the face across centuries, continents, and media. Ranging from funerary masks and masks in drama to the figural work of contemporary artists including Cindy Sherman and Nam June Paik, renowned art historian Hans Belting emphasizes that while the face plays a critical role in human communication, it defies attempts at visual representation. Belting divides his book into three parts: faces as masks of the self, portraiture as a constantly evolving mask in Western culture, and the fate of the face in the age of mass media. Referencing a vast array of sources, Belting's insights draw on art history, philosophy, theories of visual culture, and cognitive science. He demonstrates that Western efforts to portray the face have repeatedly failed, even with the developments of new media such as photography and film, which promise ever-greater degrees of verisimilitude. In spite of sitting at the heart of human expression, the face resists possession, and creative endeavors to capture it inevitably result in masks--hollow signifiers of the humanity they're meant to embody. From creations by Van Eyck and August Sander to works by Francis Bacon, Ingmar Bergman, and Chuck Close, Face and Mask takes a remarkable look at how, through the centuries, the physical visage has inspired and evaded artistic interpretation.

The 16th century bronze plaques from the kingdom of Benin are among the most recognized masterpieces of African art, and yet many details of their commission and installation in the palace in Benin City, Nigeria, are little understood. The Benin Plaques, A 16th Century Imperial Monument is a detailed analysis of a corpus of nearly 850 bronze plaques that were installed in the court of the Benin kingdom at the moment of its greatest political power and geographic reach. By examining European accounts, Benin oral histories, and the physical evidence of the extant plaques, Gunsch is the first to propose an installation pattern for the series.

Conceptual art consisted of a loose collection of related practices that emerged worldwide during the 1960s and 1970s. This collection of essays offers readers a wealth of new research on the earliest international exhibitions of Conceptual art; new interpretations of some of its most important practitioners; and a reconsideration of the relationship between Conceptual art and the intellectual and social context of the 1960s and 1970s. Of special note are the contributions that focus on the explicitly social and political aspirations of this influential avant-garde artistic practice.

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

Drawing Parallels expands your understanding of the workings of architects by looking at their work from an alternative perspective. The book focuses on parallel projections such as axonometric, isometric, and oblique drawings. Ray Lucas argues that by retracing the marks made by architects, we can begin to engage more directly with their practice as it is only by redrawing the work that hidden aspects are revealed. The practice of drawing offers significantly different insights, not easily accessible through discourse analysis, critical theory, or observation. Using James Stirling, JJP Oud, Peter Eisenman, John Hejduk, and Cedric Price as case studies, Lucas highlights each architect's creative practices which he anaylses with reference to Bergson's concepts of temporality and cretivity, discussing ther manner in which creative problems are explored and solved. The book also draws on a range of anthropological ideas including skilled practice and enchantment in order to explore why axonometrics are important to architecture and questions the degree to which the drawing convention influences the forms produced by architects. With 60 black-and-white images to illustrate design development, this book would be an essential read for academics and students of architecture with a particular interest in further understanding the inner workings of the architectural creative process.

An illustrated study of traditional and figurative art of Africa that reflects the continent's rich artistic and cultural heritage. "African Art" explores the continent's marvelous artistic achievements which share its roots with humanities origins. Sculpture has historically been the chief means of artistic expression. The human figure, whether real or symbolic, is almost the exclusive subject of African art. This vast world of African sculpture is the result of an evolutionary process, based on humanity's rich history and diversity deriving from migrations, wars, and alliances. During the last century, the African continent has experienced radical transformations in the fields of social and political organizations, the economy and religions. Inevitably, new artistic forms are being established simultaneously with the globalization process and the creation of works for the art market, which retain less and less ties with those of the past. "African Art" is an exhaustive presentation of the traditional figurative arts of Africa and concisely explains their distinguishing historical, formal, symbolic and functional characteristics. A truly valuable source of inspiration for students, collectors, and travelers alike, this book is complete with a glossary and bibliography.

The story of artists in Western Canada, and how they changed the face of Canadian art“Listen to the visual voices of artists. They tell us so poignantly who we are, what we must cherish, and what we must address as a society.� Patricia Bovey Throughout her remarkable career as a gallery director, curator, and author, Patricia Bovey has tirelessly championed the work of Western Canadian artists. Western Voices in Canadian Art brings this lifelong passion to a crescendo, delivering the most ambitious survey of Western Canadian Art to date. Beginning with the earliest European-trained artists in Western Canada, and moving up to present day, Bovey amplifies the depth, scope, and importance of the diverse artists (both settler and Indigenous) whose distinct voices have contributed to the Western Canadian artistic tradition. Bovey then adopts a thematic approach, richly informed by her knowledge and experience, connecting art and artists through time and across provincial boundaries. Insights from Bovey’s studio visits and conversations with artists enhance our understandings of the history and trajectory of, and impetus for Canadian artistic creation. Lavishly illustrated with over 250 works reproduced in full colour, Western Voices in Canadian Art is a book that needs to be seen, and its artists and art celebrated.

Jewellery in Context is the doctoral dissertation, edited by Theo Smeets in its first English translation, by the Dutch art historian and design critic Marjan Unger (1946-2018). In this work she initially endeavours to formulate a general definition of jewellery. Yet above all she also analyses to what extent jewellery is associated, across the globe, with different, sometimes contrary issues: all human fears, but also desires, have, in a sense, materialised as objects of adornment, she postulates. This comprehensive approach aimed not least at developing a solid theoretical framework to aid the study of jewellery. Thus the text can already be seen as an outright standard reference work, indispensable for all students of jewellery. However, experts, too, will discover new perspectives on the phenomenon of jewellery. Contents: Foreword - Theorems; 1. Introduction; 2. Definitions and classifications; 3. Art history as foundation for the study of jewellery; 4. Man as measure; 5. Angles from other disciplines; 6. Symbolism in jewellery; 7. Evaluation; 8. Conclusion.

For more than four centuries, communities of maroons (men and women who escaped slavery) dotted the fringes of plantation America, from Brazil through the Caribbean to the United States. Today their descendants still form semi-independent enclaves- in Jamaica, Brazil, Colombia, Belize, Suriname, Guyane, and elsewhere-remaining proud of their maroon origins and, in some cases, faithful to unique cultural traditions forged during the earliest days of Afro-American history. In 1986, expelled by the military regime of Suriname, anthropologists Richard and Sally Price turned to neighboring Guyane (French Guiana), where thousands of Maroons were taking refuge from the Suriname civil war. Over the next fifteen years, their conversations with local people convinced them of the need to replace the pervasive stereotypes about Maroons in Guyane with accurate information. In 2003, Les Marrons became a local best seller. In 2020, after a series of further visits, the Prices wrote a new edition taking into account the many rapid changes. Available for the first time in English, Maroons in Guyane reviews the history of Maroon peoples in Guyane, explains how these groups differ from one another, and analyzes their current situations in the bustling, multicultural world of this far-flung outpost of the French Republic. A gallery of the magnificent arts of the Maroons completes the volume.