This lushly illustrated book examines the cross-cultural influences and unique artistic dialogue between Hispano and Native American arts in the Southwest over the past 400 years since Spanish colonization. Insightful essays by historians, artists, and scholars including Estevan Rael-Galvez, Lane Coulter, Enrique R. Lamadrid, Marc Simmons, and others, explore the impact of cultural interaction on various art forms including painting, sculpture, metalwork, textiles, architecture, furniture and performance and ceremonial arts. Over 150 art works and photographs gathered from museums across the country are testimony to the unique Southwestern aesthetic that developed from this dynamic cultural exchange. Published as companion to an exhibition at the Museum of Spanish Colonial Art in Santa Fe, New Mexico on display through September 30, 2010.

The story Raven and the Box of Daylight, which tells how Raven transformed the world and brought light to the people by releasing the stars, moon, and sun, holds great significance to the Tlingit people of the Pacific Northwest Coast. A new body of work by artist Preston Singletary (American, born 1963) will immerse readers in Tlingit traditions by telling this story through his monumental glass works and installations. Primarily known for his celebration of Tlingit art and design, Singletary will explore new ways of working with glass inspired by Tlingit design principles. Tlingit objects were traditionally used to show wealth and tell stories by representing elements of the natural world, as well as the histories of individual families. By drawing upon this tradition, Singletary's art creates a unique theatrical atmosphere, in which the pieces follow and enhance a narrative. This book includes texts that place Singletary's work within the wider histories of both glass art and native arts traditions-especially the art of spoken-word storytelling. Also included are a biography and an interview with the artist.

A concise, reader-friendly illustrated survey of Western art and architecture from prehistory to the present day. Acknowledging how architecture, painting, sculpture and the decorative arts reflect the culture and society of their time, this latest addition to the Art Essentials series invites the reader to experience and appreciate the entirety of Western art from prehistory to today. Focusing on the 'history' in art history, each of the twelve chapters opens with a question to ponder, followed by a summary of the major historical developments of the period, touching on social structure, political organization, migration, race, religious beliefs, scientific advances and customs. An exploration of these themes in the visual arts reveals how architecture, sculpture and painting simultaneously shape, reflect, and document the culture of the time and place they were created. A secondary focus explores the constantly evolving aesthetic preferences that swing between naturalism and abstraction, with each era and style either rebelling against the previous or seeking to improve it. Antecedents and outside influences are also discussed.

The Davis Museum's groundbreaking curatorial project, Art__Latin__America: Against the Survey, reconsiders conventional frameworks for understanding, exhibiting, and discussing Latin American and Latinx art. This illustrated volume, published with the exhibition, features 70 essays by leading scholars and specialists from across the Americas on an exceptional selection of art works, many never before seen or published. The Davis collection includes more than 550 works connected to the region known as "Latin America"-as site of production, place of origin, or point of reference. The exhibition features 150 highlights, in all media, by over 100 artists from across the Americas, including the US. The works are organized into eight compelling themes that reveal particular strengths of the collection: Identity and Territory, City and Country, War and Loss, Protest and Resistance, Workers and Farmers, Models and Mothers, Saints and Rituals, and Geometry and Gesture. Contrary to familiar museological conventions of the chronological survey or geographic overview, Art__Latin__America includes works from radically different times and places, juxtaposing the familiar and the unknown, the expected and unexpected, generating new visual conversations and challenging viewers and readers to rethink preexisting canons and narratives. In fact, the project proposes an expansive definition of the very term "Latin American." The result is unlike any other book on the topic.

This fully revised and updated third edition offers students and artists valuable insights into traditional color theory and its practical application using today's cutting-edge technology. The text is lavishly illustrated, stressing issues of contemporary color use and examining how today's artists and designers are using color in a multitude of mediums in their work. It is the only book that has parity between the male and female artists and designers represented, while containing more multicultural and global examples of art and design than any other text. This book begins with how we see color and its biological basis, progressing to the various theories about color and delving into the psychological meaning of color and its use. There are individual chapters on color use in art and design, as well as global and multicultural color use. One chapter investigates cross cultural life events such as marriages and funerals, while examining the six major religions' conceptual and psychological underpinnings of color use. The final chapter explores the future of color. Contemporary Color is the ideal text for color theory courses, but also for beginning art and design students, no matter what their future major discipline or emphasis may be. It provides the foundation on which to build their career and develop their own personal artistic voice and vision.

The complete and unabridged full-color edition First published in 1856, The Grammar of Ornament remains a design classic. Its inspiration came from pioneering British architect and designer Owen Jones (1809-1874), who produced a comprehensive design treatise for the machine age, lavishly illustrated in vivid chromolithographic color. Jones made detailed observations of decorative arts on his travels in Europe, the Middle East, and in his native London, where he studied objects on display at the Great Exhibition of the Works of Industry of All Nations in 1851 and at local museums. His aim was to improve the quality of Western design by changing the habits of Victorian designers, who indiscriminately mixed elements from a wide variety of sources. Jones's resulting study is a comprehensive analysis of styles of ornamental design, presenting key examples ranging from Maori tattoos, Egyptian columns, and Greek borders to Byzantine mosaic, Indian embroidery, and Elizabethan carvings. At once splendidly Victorian and insistently modern, The Grammar of Ornament celebrates objects of beauty from across time periods and continents, and remains an indispensable sourcebook today.

'Even a seasoned art history buff will find new things to discover in this book.' - Hyperallergic 'Fascinating facts and illuminating anecdotes.' - The Art Newspaper The perfect miscellany for every art lover - an essential and engaging collection of facts, figures, and findings about art, artists, and the art world, past and present This extraordinary compendium of compelling facts, figures, and findings gathers and distils obscure and fascinating information about art, artists, and the art world. Fun, surprising, and compelling, in this covetable book you will learn: - which artist's work is stolen most often (Picasso) - names of artists' pets: Fat Fat & Cous-Cous (Louise Nevelson's cats), Giotto and Goya (John Baldessari's dogs) - artist couples (Nancy Rubins and Chris Burden; Niki de Saint Phalle and Jean Tinguely; Dorothea Tanning and Max Ernst) - things artists collect: prosthetic arms and legs (Sophie Calle), glass eyes (Hiroshi Sugimoto) - odd jobs and side hustles: telephone marketer (Tomma Abts), crop duster (James Turrell) - artists who were rejected from art school (Francisco Goya, Auguste Rodin) ... and hundreds of other miscellaneous details. Thoughtfully and thoroughly researched, this intriguing book offers refreshing and surprising perspectives on the world of art. The five page-turning chapters cover: - Artists - Art School - Art Studio - Art Museum - Art World

This edited volume maps dialogues between science and technology studies research on the arts and the emerging field of artistic research. The main themes in the book are an advanced understanding of discursivity and reasoning in arts-based research, the methodological relevance of material practices and things, and innovative ways of connecting, staging, and publishing research in art and academia. This book touches on topics including studies of artistic practices; reflexive practitioners at the boundaries between the arts, science, and technology; non-propositional forms of reasoning; unconventional (arts-based) research methods and enhanced modes of presentation and publication.

The most exciting rising stars in contemporary art - who's who and what's next - featuring 107 artists born since 1980, as chosen by a new generation of art experts and leaders This stunningly illustrated survey brings together more than 100 of the most innovative and interesting contemporary artists working across all media and spanning the globe. These are tomorrow's art superstars as chosen by the future leaders of the art world: the curators, writers, and academics with their fingers on the pulse of contemporary art and culture. Artists featured include: Lawrence Abu Hamdan; Farah Al Qasimi; Korakrit Arunanondchai; Firelei Baez; Meriem Bennani; Amoako Boafo; Danielle Brathwaite-Shirley; Jordan Casteel; Jesse Darling; Jade Fadojutimi; Louis Fratino; Lauren Halsey; Kudzanai-Violet Hwami; Joy Labinjo; Lina Lapelyte; Carolyn Lazard; Ad Minoliti; Tyler Mitchell; Toyin Ojih Odutola; Ima-Abasi Okon; Thao Nguyen Phan; Christina Quarles; Tschabalala Self; Paul Mpagi Sepuya; Shen Xin; Avery Singer; Martine Syms; Salman Toor; Zadie Xa The 100+ nominators originate from institutions including: Baltimore Museum of Art; Bellas Artes Projects (Manila); ESPAC (Mexico City); The Factory Contemporary Arts Centre (Ho Chi Minh City); KW Institute for Contemporary Art (Berlin); MoMA (New York); Museo de Arte Moderno (Medellin); Museums Victoria (Melbourne); RAW Material Company (Dakar); Sharjah Art Foundation; Studio Museum in Harlem (New York); Tai Kwun Contemporary (Hong Kong); Tate Modern (London); Whitechapel Gallery (London); Whitney Museum of American Art (New York); and X Museum (Beijing)

This volume explores the relationship between oneiric and historical episodes of atrocity as depicted in transnational twentieth- and twenty-first-century art, film, literature and theatre. Examining the political and aesthetic power harnessed by dreams in increasingly 'dark times', it takes as its starting point the overlooked significance granted to the oneiric beyond Freudian psychoanalysis. By reading the oneiric within variously known cultural texts - including Holocaust fiction, world cinema, Bronx theatre, surrealist art and two collections of wartime dream transcriptions - the volume also offers a renewed perspective on modern and contemporary trauma. In so doing, it demonstrates the relevance of the oneiric, beyond the interpretative framework of psychoanalysis, as an aesthetic and political tool with which to alert us and respond to the violence of our contemporary world. -- .

This book is a unique study which offers new perspectives on contemporary Islamic iconography and the use of imageries in ritual contexts. The representation of prophets and saints in Islam is erroneously considered nonexistent by many scholars of Islam, Muslims, and the general public. The issue is often dealt with superficially without attention to its deep roots in piety and religiosity. "Visualizing Belief and Piety in Iranian Shiism" offers new understanding of Islamic iconography and Muslim perspectives on the use of imageries in ritual contexts and devotional life. Combining iconographic and ethnographic approaches, Ingvild Flaskerud introduces and analyzes imageries (tile-paintings, posters and wall-hangings), ritual contexts and interviews with male and female local viewers to discuss the representation, reception and function of imageries in contemporary Iranian Shia environments. This book presents the argument that images and decorative programmes have stimulating qualities to mentally evoke the saints in the minds of devotees and inspire their recollection, transforming emotions and stimulating cultic behaviours. Visualization and seeing are significant to the dissemination of religious knowledge, the understanding of spiritual and ethical values, the promotion of personal piety, and functions as modes of venerating God and the saints.

What is the significance of the visual representation of revolution? How is history articulated through public images? How can these images communicate new histories of struggle? Imprints of Revolution highlights how revolutions and revolutionary moments are historically constructed and locally contextualized through the visual. It explores a range of spatial and temporal formations to illustrate how movements are articulated, reconstituted, and communicated. The collective work illustrates how the visual serves as both a mobilizing and demobilizing force in the wake of globalization. Radical performances, cultural artefacts, architectural and fashion design as well as social and print media are examples of the visual mediums analysed as alternative archives that propose new understandings of revolution. The volume illustrates how revolution remains significant in visually communicating and articulating social change with the ability to transform our contemporary understanding of local, national, and transnational spaces and processes.

A new, updated and expanded edition of this classic survey on the history of Caribbean art, featuring the work of over 100 artists from the period of colonialism to the present day. Caribbean Art presents and discusses the diverse, fascinating and highly accomplished work of Caribbean artists, whether indigenous or from the diaspora, popular or 'high' culture, rural or urban based, politically radical or religious. This expanded edition has a new preface, and has been updated to reflect on recent challenges to the ideological premises and institutions of conventional art-historical practice and their connections to histories of colonialism, Eurocentricity and race. Two new chapters focus on public monuments linked to the history of the Caribbean, and the intersections between art and tourism, raising important questions about cultural representation. Featuring the work of internationally recognized artists such as Sonia Boyce, Christopher Cozier, Wifredo Lam, Ana Mendieta, Ebony G. Patterson, Herve Telemaque, and more than 100 others working across a variety of media, this new edition makes an important contribution to the understanding of Caribbean art and its context, in ways that invite and encourage further explorations on the subject.

While much has been achieved in understanding and managing weather effects and erosion phenomena affecting ancient imagery within the relatively protected environments of caves and rock-shelters, the same cannot be said of rock-art panels situated in the open-air. Despite the fact that the number of known sites has risen dramatically in recent decades there are few examples in which the weathering and erosion dynamics are under investigation with a view to developing proposals to mitigate the impact of natural and cultural processes. Most of the work being done in different parts of the world appears to be ad-hoc, with minimal communication on such matters between teams and with the wider archaeological community. This richly illustrated book evaluates rock-art conservation in an holistic way, bringing together researchers from across the world to share experiences of work in progress or recently completed. The chapters focus on a series of key themes: documentation projects and resource assessments; the identification and impact assessment of weathering/erosion processes at work in open-air rock-art sites; the practicalities of potential or implemented conservation interventions; experimentation and monitoring programs; and general management issues connected with public presentation and the demands of ongoing research investigations. Consideration is given to the conservation of open-air rock-art imagery from many periods and cultural traditions across the Old and New Worlds. This timely volume will be of interest to conservators, managers, and researchers dealing with aesthetic and ethical issues as well as technical and practical matters regarding the conservation of open-air rock-art sites.

First published in 1917, On Collecting Japanese-Prints is meant to assist the amateur who has started a collection for the first time, or the person who, while not actually a collector, is sufficiently interested to read about the subject, yet finds the more exhaustive and advanced works thereon somewhat beyond them. How to distinguish forgeries and imitations; what prices should be given; what examples can still be obtained, are some of the questions which the writer has attempted to answer. The following chapters being primarily written for the beginner, artists whose work is very rare, or whose prints they are unlikely to come across in their search for examples, are not mentioned, unless where necessary from a historical or artistic point of view.

**SELECTED AS A BEST ART BOOK OF THE YEAR BY THE SUNDAY TIMES** 'Stonard traverses the sweep of human history, moving between cultures and hemispheres ... His book consists of myriad flashes of brilliance and inventiveness' LITERARY REVIEW 'A worthy and richly illustrated successor to Ernst Gombrich's fabled The Story of Art' SUNDAY TIMES 'This bountifully illustrated book is a history of connections ... Lucid and thoughtful' COUNTRY LIFE _____________________________________ A fully illustrated, panoramic world history of art from ancient civilisation to the present day, exploring the remarkable endurance of humankind's creative impulse. Fifty thousand years ago on an island in Indonesia, an early human used red ochre pigment to capture the likeness of a pig on a limestone cave wall. Around the same time in Europe, another human retrieved a lump of charcoal from a fire and sketched four galloping horses. It was like a light turning on in the human mind. Our instinct to produce images in response to nature allowed the earliest Homo sapiens to understand the world around them, and to thrive. Now, art historian John-Paul Stonard has travelled across continents to take us on a panoramic journey through the history of art - from ancient Anatolian standing stones to a Qing Dynasty ink handscroll, from a drawing by a Kiowa artist on America's Great Plains to a post-independence Congolese painting and on to Rachel Whiteread's House. Brilliantly illustrated throughout, with a mixture of black and white and full colour images, Stonard's Creation is an ambitious, thrilling and landmark work that leads us from Benin to Belgium, China to Constantinople, Mexico to Mesopotamia. Journeying from pre-history to the present day, it explores the remarkable endurance of humankind's creative impulse, and asks how - and why - we create.

Winner of the ASAA mid-career book prize in Asian Studies 2020 and joint winner of the 2020 Royal Studies Journal Book Prize Photographic subjects examines photography at royal celebrations during the reign of Queens Wilhelmina (1898-1948) and Juliana (1948-80), a period spanning the zenith and fall of Dutch rule in Indonesia. It is the first monograph in English on the Dutch monarchy and the Netherlands' modern empire in the age of mass and amateur photography. Photographs forged imperial networks, negotiated relations of recognition and subjecthood between Indonesians and Dutch authorities, and informed cultural modes of citizenship at a time of accelerated colonial expansion and major social change in the East Indies/Indonesia. This book advances methods in the uses of photographs for social and cultural history and provides a new interpretation of Queens Wilhelmina and Juliana as imperial monarchs. -- .

Less celebrated than their male counterparts, women have been vital contributors to the arts. Works by women of the colonial era represent treasured accomplishments of American culture and still impress us today, centuries after their creation. The breadth of creative expression is as impressive as the women themselves. In American Colonial Women and Their Art: A Chronological Encyclopedia, Mary Ellen Snodgrass follows the history of creative expression from the early 1600s to the late 1700s. Drawing upon primary sources-such as letters, diaries, travel notes, and journals-this timeline encompasses a wide variety of artistic accomplishment, such as: *Stitchery, quilting, and rug hooking *Painting, sculpture, and sketches *Essays, poems, and other writings *Dance, acting, and oratory *Musical composition and performance Individual talents highlighted in this volume include miniature portraits by Mary Roberts, pastel likenesses by Henrietta Dering Johnston, stagecraft by Elizabeth Sampson Sullivan Ashbridge, basketry by Namumpum Weetamoo, dance by Mary Stagg, metalwork by blacksmith Elizabeth Hager Pratt, calligraphy by Anna "Anastasia" Thomas Wuster, city planning by Deborah Dunch Moody, poems and essays by Phillis Wheatley, and fabric design by Anne Pogue McGinty. Featuring appendices that list individuals by skill and by state-as well as a glossary that clarifies the parameters of genres-this volume is essential to the study of Colonial women's art. Resurrecting the efforts of women to record, adorn, and illustrate the spirit of their times, American Colonial Women and Their Art is a valuable resource that will be of interest to students and scholars of gender and women's studies, art history, and American history.

Women have consistently been left out of the official writing of Lebanese history, and nowhere is this more obvious than in writing on the Lebanese Civil War. As more and more histories of the war begin to circulate, few include any in-depth discussion of the multiple roles women played in wartime Lebanon. Fewer still address the essential issues of women's work and their creative production, such as literature, performance art, and filmmaking. Developed out of a larger oral history project collecting and archiving the ways in which women narrated their experiences of the Lebanese Civil War, this book focuses on a wide range of subjects, all framed as women telling their "war stories." Each of the six chapters centers on women who worked or created art during the war, revealing, in their own words, the challenges, struggles, and resistance they faced during this tumultuous period of Lebanese history.

Comparing the radical aesthetic and social experiments undertaken by two exile intellectuals, Experiments in Exile charts a desire in their work to formulate alternative theories of citizenship, wherein common reception of popular cultural forms is linked to a potentially expanded, non-exclusive polity. By carefully analyzing the materiality of the multiply-lined, multiply voiced writing of the “undocuments” that record these social experiments and relay their prophetic descriptions of and instructions for the new social worlds they wished to forge and inhabit, however, it argues that their projects ultimately challenge rather than seek to rehabilitate normative conceptions of citizens and polities as well as authors and artworks. James and Oiticica’s experiments recall the insurgent sociality of “the motley crew” historians Peter Linebaugh and Marcus Rediker describe in The Many-Headed Hydra, their study of the trans-Atlantic, cross-gendered, multi-racial working class of the seventeenth and eighteenth centuries. Reading James’s and Oiticica’s projects against the grain of Linebaugh and Rediker’s inability to find evidence of that sociality’s persistence or futurity, it shows how James and Oiticica gravitate toward and seek to relay the ongoing renewal of dissident, dissonant social forms, which are for them always also aesthetic forms, in the barrack-yards of Port-of-Spain and the favelas of Rio de Janeiro, the assembly lines of Detroit and the streets of the New York. The formal openness and performative multiplicity that manifests itself at the place where writing and organizing converge invokes that sociality and provokes its ongoing re-invention. Their writing extends a radical, collective Afro-diasporic intellectuality, an aesthetic sociality of blackness, where blackness is understood not as the eclipse, but the ongoing transformative conservation of the motley crew’s multi-raciality. Blackness is further instantiated in the interracial and queer sexual relations, and in a new sexual metaphorics of production and reproduction, whose disruption and reconfiguration of gender structures the collaborations from which James’s and Oiticica’s undocuments emerge, orienting them towards new forms of social, aesthetic and intellectual life.

This unique book presents an integrated approach to the chemistry of art materials, exploring the many chemical processes involved. The Chemistry and Mechanism of Art Materials: Unsuspected Properties and Outcomes engages readers with historical vignettes detailing examples of unexpected outcomes due to materials used by known artists. The book discusses artists' materials focusing on relevant chemical mechanisms which underlie the synthesis and deterioration of inorganic pigments in paintings, the ageing of the binder in oil paintings, and sulfation of wall paintings as well as the toxicology of these pigments and solvents used by artists. Mechanisms illustrate the stepwise structural transformation of a variety of art materials. Based on the author's years of experience teaching college chemistry, the approach is descriptive and non-mathematical throughout. An introductory section includes a review of basic concepts and provides concise descriptions of analytical methods used in contemporary art conservation. Additional features include: Illustrations of chemical reactivity associated with art materials Includes a review of chemical bonding principles, redox and mechanism writing Covers analytical techniques used by art conservation scientists Accessible for readers with a limited science background Provides numerous references for readers seeking additional information

Redraws the contours of Asian American art, attempting to free it from a categorization that stifles more than it reveals. Charting its historical conditions and the expansive contexts of its emergence, Susette Min challenges the notion of Asian American art as a site of reconciliation or as a way for marginalized artists to enter into the canon or mainstream art scene. Pressing critically on the politics of visibility and how this categorization reduces artworks by Asian American artists within narrow parameters of interpretation, Unnamable reconceives Asian American art not as a subset of objects, but as a medium that disrupts representations and embedded knowledge. By approaching Asian American art in this way, Min refigures the way we see Asian American art as an oppositional practice, less in terms of its aspirations to be seen-its greater visibility-and more in terms of how it models a different way of seeing and encountering the world. Uniquely presented, the chapters are organized thematically as mini-exhibitions, and offer readings of select works by contemporary artists including Tehching Hsieh, Byron Kim, Simon Leung, Mary Lum, and Nikki S. Lee. Min displays a curatorial practice and reading method that conceives of these works not as "exemplary" instances of Asian American art, but as engaged in an aesthetic practice that is open-ended. Ultimately, Unnamable insists that in order to reassess Asian American art and its place in art history, we need to let go not only of established viewing practices, but potentially even the category of Asian American art itself.