The first English-language monograph on Il Fronte Nuovo delle Arti, this study explores the rise and fall of this postwar Italian artists' group as a representative instance of the tensions facing Italian painting during the transition out of two decades of Fascism and into the global divisions of the Cold War. Adrian Duran argues that the binary structures of the era - realism vs. abstraction, Communism vs. democracy, conformism vs. freedom - have monopolized the discourse surrounding the Fronte Nuovo and, with it, the historiography of Italian painting during this period, 1944-50. Beginning with the dialogues that framed the formation of the Fronte Nuovo, this book reconsiders artists' works, correspondence, critical writings, and manifestos. These are married to examinations of specific exhibitions, the most important of which are the group's 1947 inaugural exhibition and the 1948 and 1950 Venice Biennali. The critical responses to these exhibitions are reconsidered in light of their groundings in the heated political debates of the period. In total, these diverse sources reveal the vast divide between the internal discourse of the arts, generated by the participant artists and their works, and the surrounding politics of Cold War Italy.

"Taken as a trilogy, consent not to be a single being is a monumental accomplishment: a brilliant theoretical intervention that might be best described as a powerful case for blackness as a category of analysis."-Brent Hayes Edwards, author of Epistrophies: Jazz and the Literary Imagination In Black and Blur-the first volume in his sublime and compelling trilogy consent not to be a single being-Fred Moten engages in a capacious consideration of the place and force of blackness in African diaspora arts, politics, and life. In these interrelated essays, Moten attends to entanglement, the blurring of borders, and other practices that trouble notions of self-determination and sovereignty within political and aesthetic realms. Black and Blur is marked by unlikely juxtapositions: Althusser informs analyses of rappers Pras and Ol' Dirty Bastard; Shakespeare encounters Stokely Carmichael; thinkers like Kant, Adorno, and Jose Esteban Munoz and artists and musicians including Thornton Dial and Cecil Taylor play off each other. Moten holds that blackness encompasses a range of social, aesthetic, and theoretical insurgencies that respond to a shared modernity founded upon the sociological catastrophe of the transatlantic slave trade and settler colonialism. In so doing, he unsettles normative ways of reading, hearing, and seeing, thereby reordering the senses to create new means of knowing.

In Collective Situations scholars, artists, and art collectives present a range of socially engaged art practices that emerged in Latin America during the Pink Tide period, between 1995 and 2010. This volume's essays, interviews, and artist's statements-many of which are appearing in English for the first time-demonstrate the complex relationship between moments of political transformation and artistic production. Whether addressing human rights in Colombia, the politics of urban spaces in Brazil, the violent legacy of military dictatorships in the region, or art's intersection with public policy, health, and the environment, the contributors outline the region's long-standing tradition of challenging ideas about art and the social sphere through experimentation. Introducing English-language readers to some of the most dynamic and innovative contemporary art in Latin America, Collective Situations documents new possibilities for artistic practice, collaboration, and creativity in ways that have the capacity to foster vibrant forms of democratic citizenship. Contributors Gavin Adams, Mariola V. Alvarez, Gustavo Buntinx, Maria Fernanda Cartagena, David Gutierrez Castaneda, Fabian Cereijido, Paloma Checa-Gismero, Kency Cornejo, Raquel de Anda, Bill Kelley Jr., Grant H. Kester, Suzanne Lacy, Ana Longoni, Rodrigo Marti, Elize Mazadiego, Annie Mendoza, Alberto Muenala, Prerana Reddy, Maria Reyes Franco, Pilar Riano-Alcala, Juan Carlos Rodriguez

Once the US was the only country in the world to offer a doctorate for studio artists, however the PhD in fine art disappeared after pressures established the MFA as the terminal degree for visual artists. Subsequently, the PhD in fine art emerged in the UK and is now offered by approximately 40 universities. Today the doctorate is offered in most English-speaking nations, much of the EU, and countries such as China and Brazil. Using historical, political, and social frameworks, this book investigates the evolution of the fine art doctorate in the UK, what the concept of a PhD means to practicing artists from the US, and why this degree disappeared in the US when it is so vigorously embraced in the UK and other countries. Data collected through in-depth interviews examine the perspectives of professional artists in the US who teach graduate level fine art. These interviews disclose conflicting attitudes toward this advanced degree and reveal the possibilities and challenges of developing a potential doctorate in studio art in the US.

Living through the Covid-19 global pandemic has changed the way that we experience our lives, the way that we relate to one-another, and the way that we engage with the world. Focusing contextually on the initial lockdowns of the pandemic in 2020, this book proposes that art-based research has a central, illuminative role to play in our understanding of unfolding crises. The changes brought on by the global event may not be readily accessible or expressible through traditional academic research. Art-based research offers the opportunity to explore, document, and reflect on the emerging and often ineffable qualities of transformed lives by drawing on emotional, bodily, and interactive aspects of experience. Such an approach allows for meaning-making that makes room for reflexive, interpersonal, and dialogical engagement. The contributions aim to capture and explore lived experiences of the pandemic, as well as begin a discussion about how meaning-making is changing through and beyond the pandemic. This book further explores how the nature and practice of art-based research in itself has been challenged and transformed. The book will be of interest to scholars working in art education, art psychotherapy, consumer research, visual studies, cultural studies, and sociology.

The institution of the pantheon has come a long way from its classical origins. Invented to describe a temple dedicated to many deities, the term later became so far removed from its original meaning, that by the twentieth century, it has been able to exist independently of any architectural and sculptural monument. This collection of essays is the first to trace the transformation of the monumental idea of the pantheon from its origins in Greek and Roman antiquity to its later appearance as a means of commemorating and enshrining the ideals of national identity and statehood. Illuminating the emergence of the pantheon in a range of different cultures and periods by exploring its different manifestations and implementations, the essays open new historical perspectives on the formation of national and civic identities.

With the words 'A new manifestation of art was ... expected, necessary, inevitable,' Jean Moreas announced the advent of the Symbolist movement in 1886. When Symbolist artists began experimenting in order to invent new visual languages appropriate for representing modern life in all its complexity, they set the stage for innovation in twentieth-century art. Rejecting what they perceived as the superficial descriptive quality of Impressionism, Naturalism, and Realism, Symbolist artists delved beneath the surface to express feelings, ideas, scientific processes, and universal truths. By privileging intangible concepts over perceived realities and by asserting their creative autonomy, Symbolist artists broke with the past and paved the way for the heterogeneity and penchant for risk-taking that characterizes modern art. The essays collected here, which consider artists from France to Russia and Finland to Greece, argue persuasively that Symbolist approaches to content, form, and subject helped to shape twentieth-century Modernism. Well-known figures such as Kandinsky, Khnopff, Matisse, and Munch are considered alongside lesser-known artists such as Fini, Gyzis, Koen, and Vrubel in order to demonstrate that Symbolist art did not constitute an isolated moment of wild experimentation, but rather an inspirational point of departure for twentieth-century developments.

First published in 1965, Mannerism is the rediscovery and revaluation of Mannerism, that long misjudged artistic style which came into its own during the crisis of the Renaissance. Expressionism, Surrealism and Abstract Art prepared the ground for a new understanding of Mannerism, and Dr. Hauser shows how this revaluation signifies an even deeper caesura in intellectual history than the crisis of the Renaissance itself in which Mannerism arose. These propositions however, only touch on the problem which is exhaustively treated by Hauser in all its historical and thematical variations. The author does not confine himself to the observation of development from the point of view of the history of art. In Part One he considers the emergence of the scientific worldview during the Renaissance, the economic and social revolution, religious movements and political ideas, the problem of alienation, and narcissism as keys to the understanding of Mannerism. Part Two, which deals with the history of Mannerism both in Italy and abroad, gives not only remarkable analyses of works of art with the aid of 322 reproductions, but also considers leading representatives of the literature of the Mannerism in Italy, Spain, France, and England. Again, in Part Three, parallel and connecting lines are drawn between art and literature to make the rules of form and the contents clearly recognisable. The book will be of interest to students of art history and literature.

The notion that the practice of abstraction was confined to Western Europe while a stereotyped form of figuration defined the art of the Eastern bloc continues to dominate art historical accounts of public sculpture of the post-war period. This book offers a number of alternative readings, and demonstrates strategic uses of figuration and abstraction across East and West. Encompassing sites of memory (including war memorials and Holocaust memorials), state, civic and corporate sculpture, as well as temporary and unexecuted projects, the book shows that persuasive advocates of figuration were to be found in the West, while in the East imaginative experiments in abstraction were proposed in the name of Social Realism. Presenting fresh insights into sculptural practice in the period between 1945 and 1968, this book brings together a wide range of authors, some of whom have never before been published in English. Their essays are complemented by extracts from documentary texts, which give a flavour of contemporary debates, and a biographical section includes entries on many sculptors who will be unfamiliar to an English-speaking audience.

Presenting a radically different picture of Egon Schiele's work, this study documents (in one-to-one comparisons) the extent of the artist's visual borrowings from the Viennese humoristic journal, Die Muskete. Claude Cernuschi analyzes each comparison on a case-by-case basis, primarily because the interpretation of cartoons and caricatures is highly contingent on their specific historical and cultural context. Although this connection has gone unnoticed in the literature, in retrospect, this correlation makes perfect sense. Not only was Schiele's artistic production frequently compared to caricature (and derided for being "grotesque"), but Expressionism and caricature are natural allies. One may belong to "high" art and the other to "popular" culture, yet both presuppose similar assumptions and deploy a similar rhetorical position: namely, that the exaggeration of human physiognomy allows deeper psychological "truths" to emerge. The book will be of interest to scholars working in art history, visual culture, popular culture, and politics.

Vitrines and glass cabinets are familiar apparatuses that have in large part defined modern modes of display and visibility, both within and beyond the museum. They separate objects from their contexts, group them with other objects, both similar and dissimilar, and often serve to reinforce their intrinsic or aesthetic values. The vitrine has much in common with the picture frame, the plinth and the gallery, but it has not yet received the kind of detailed art historical and theoretical discussion that has been brought to these other modes of formal display. The twelve contributions to this volume examine some of the points of origin of the vitrine and the various relations it brokers with sculpture, first in the Wunderkammer and cabinet of curiosities and then in dialog with the development of glazed architecture beginning with Paxton's Crystal Palace (1851). The collection offers close discussions of the role of the vitrine and shop window in the rise of commodity culture and their apposition with Constructivist design in the work of Frederick Kiesler; as well as original readings of the use of vitrines in Surrealism and Fluxus, and in work by Joseph Beuys, Paul Thek, Claes Oldenburg and his collaborators, Jeff Koons, Mike Kelley, Dan Graham, Vito Acconci, Damien Hirst and Josephine Meckseper, among others. Sculpture and the Vitrine also raises key questions about the nature and implications of vitrinous space, including its fronts onto desire and the spectacle; transparency and legibility; and onto ideas and practices associated with the archive: collecting, preserving and ordering.

Art and Public History: Approaches, Opportunities, and Challenges examines the relationship between art and public history, outlining opportunities, challenges, and insights drawn from recent initiatives. With a special eye towards audience engagement and challenging historical narratives, all of the case studies and projects combine historical interpretation with contemporary and historical forms of visual art in unique and insightful ways. In addition to emphasizing the kind of practical advice found in the best case studies, this volume also offers a critical discussion of the concepts, tools, skills and technologies that contribute to fruitful interdisciplinary collaboration. These issues are addressed through sections on projects related to historical artworks; contemporary art and artists; and public art and the built environment. It addresses how public historians can incorporate art into their practice by outlining opportunities, challenges, and insights drawn from recent projects in the United States and Britain. These projects have taken place across a variety of platforms, including local and national history museums; art galleries; digital archives; classrooms; historical markers; and public art projects. The case studies incorporate the perspectives of different stakeholders, including public historians, artists, and audiences. The book will provide both public history practitioners and academics with useful guidance on how art can be integrated into public history initiatives, through critical discussion of tools, strategies, and technologies that contribute to fruitful collaboration and audience engagement across a variety of platforms. Readers will walk away with new ideas, strategies, and practical considerations for interdisciplinary projects to attract audiences in new ways.

During the Victorian period there developed a new anxiety about male-female relations and roles in modern society, as described by a member of the Athenaeum in 1858, 'the distinction of man and woman, their separate as well as their joint rights, begins to occupy the attention of our whole community, and with no small effect'. These essays examine Victorian painting in the light of this 'woman question' by analysing the change in representation of the family, romance, social issues such as emigration and colonialism, the use of the female nude and the traditions of portraiture, history-painting and still life. The art and artists are considered in a socio-political context, and the connections between Victorian sexism, racism and classism are examined. These essays bring to light much previously unknown work (especially by women) and reappraise many well-known paintings.

Even before the upheaval of the Revolution, France sought a new formal language for a regenerated nation. Nowhere is this clearer than in its tombs, some among its most famous modern sculpture-rarely discussed as funerary projects. Unlike other art-historical studies of tombs, this one frames sculptural examples within the full spectrum of the material funerary arts of the period, along with architecture and landscape. This book further widens the standard scope to shed new and needed light on the interplay of the funerary arts, tomb cult, and the mentalities that shaped them in France, over a period famous for profound and often violent change. Suzanne Glover Lindsay also brings the abundant recent work on the body to the funerary arts and tomb cult for the first time, confronting cultural and aesthetic issues through her examination of a celebrated sculptural type, the recumbent effigy of the deceased in death. Using many unfamiliar period sources, this study reinterprets several famous tombs and funerals and introduces significant enterprises that are little known today to suggest the prominent place held by tomb cult in nineteenth-century France. Images of the tombs complement the text to underline sculpture's unique formal power in funerary mode.

Bringing together a broad range of contributors including art, architecture, and design academic theorists and historians, in addition to practicing artists, architects, and designers, this volume explores the place of the sketchbook in contemporary art and architecture. Drawing upon a diverse range of theories, practices, and reflections common to the contemporary conceptualisation of the sketchbook and its associated environments, it offers a dialogue in which the sketchbook can be understood as a pivotal working tool that contributes to the creative process and the formulation and production of visual ideas. Along with exploring the theoretical, philosophical, psychological, and curatorial implications of the sketchbook, the book addresses emergent digital practices by way of examining contemporary developments in sketchbook productions and pedagogical applications. Consequently, these more recent developments question the validity of the sketchbook as both an instrument of practice and creativity, and as an educational device. International in scope, it not only explores European intellectual and artistic traditions, but also intercultural and cross-cultural perspectives, including reviews of practices in Chinese artworks or Islamic calligraphy, and situational contexts that deal with historical examples, such as Roman art, or modern practices in geographical-cultural regions like Pakistan.

Just what do psychoanalysis and modern sculpture have to do with one another? The present collection of essays, unique in its field, shows how key metaphors of Freudian and Kleinian psychoanalysis - splitting, projection, sublimation, identification, the schizoid and reparative mechanisms - as well as Lacan's concepts of the stade du mirroir and the objet petit a, can be fruitfully applied to a range of modern three-dimensional art, from Surrealism to the present day. As these essays show, figures such as Barbara Hepworth, Eva Hesse, Jean-Jacques Lebel, Robert Morris, Donald Judd, Gilbert and George, Rebecca Horn and others have often approached the material of sculpture with something like these mechanisms in mind. The need to unlock the levels of psychoanalytic connection between artist, object and viewer in recent debate has fuelled the diverse proposals of this original and important book.

Our understanding of art has undergone several major upheavals in the past thirty years. Postmodernism and mass media began the process of disruption in the 1980s. The explosion in the use of digital technologies since the 1990s has radically altered the way in which art is now created, perceived and made available. The recent shift towards regarding art as part of a broader "visual culture" has torn art theory from its roots in art history and placed it in the context of anthropological, cultural and media theory. Art: Histories, Theories and Exceptions confronts these different ideas by examining a range of different approaches to art - as ritual, as a form of diagrammatic writing, as a symptom of a cultural moment, as a commodity, and as an agent of change. Art: Histories, Theories and Exceptions explores what art in its broadest sense - from Aboriginal work to the Western art market, from the role of museums to new media interactivity, from the mainstream to the radical - means today. This provocative book will be invaluable to students, practicing artists and general readers alike.

'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

Armed with speakers, turntables, light systems, and records, Filipino American mobile DJ crews, such as Ultimate Creations, Spintronix, and Images, Inc., rocked dance floors throughout the San Francisco Bay Area from the late 1970s through the mid-1990s. In Legions of Boom noted music and pop culture writer and scholar Oliver Wang chronicles this remarkable scene that eventually became the cradle for turntablism. These crews, which were instrumental in helping to create and unify the Bay Area's Filipino American community, gave young men opportunities to assert their masculinity and gain social status. While crews regularly spun records for school dances, weddings, birthdays, or garage parties, the scene's centerpieces were showcases-or multi-crew performances-which drew crowds of hundreds, or even thousands. By the mid-1990s the scene was in decline, as single DJs became popular, recruitment to crews fell off, and aspiring scratch DJs branched off into their own scene. As the training ground for a generation of DJs, including DJ Q-Bert, Shortkut, and Mix Master Mike, the mobile scene left an indelible mark on its community that eventually grew to have a global impact.

Armed with speakers, turntables, light systems, and records, Filipino American mobile DJ crews, such as Ultimate Creations, Spintronix, and Images, Inc., rocked dance floors throughout the San Francisco Bay Area from the late 1970s through the mid-1990s. In Legions of Boom noted music and pop culture writer and scholar Oliver Wang chronicles this remarkable scene that eventually became the cradle for turntablism. These crews, which were instrumental in helping to create and unify the Bay Area's Filipino American community, gave young men opportunities to assert their masculinity and gain social status. While crews regularly spun records for school dances, weddings, birthdays, or garage parties, the scene's centerpieces were showcases-or multi-crew performances-which drew crowds of hundreds, or even thousands. By the mid-1990s the scene was in decline, as single DJs became popular, recruitment to crews fell off, and aspiring scratch DJs branched off into their own scene. As the training ground for a generation of DJs, including DJ Q-Bert, Shortkut, and Mix Master Mike, the mobile scene left an indelible mark on its community that eventually grew to have a global impact.

This book demonstrates that copper-alloy casting was widespread in southern Nigeria and has been practiced for at least a millennium. Philip M. Peek's research provides a critical context for the better-known casting traditions of Igbo-Ukwu, Ife, and Benin. Both the necessary ores and casting skills were widely available, contrary to previous scholarly assumptions. The majority of the Lower Niger Bronzes, which we know number in the thousands, are of subjects not found elsewhere, such as leopard skull replicas, grotesque bell heads, ritual objects, and humanoid figures. Important puzzle pieces are now in place to permit a more complete reconstruction of southern Nigerian history. The book will be of interest to scholars working in art history, African studies, African history, and anthropology.

This book focuses on the earliest surviving Christian icons, dated to the sixth and seventh centuries, which bear many resemblances to three other well-established genres of 'sacred portrait' also produced during late antiquity, namely Roman imperial portraiture, Graeco-Egyptian funerary portraiture and panel paintings depicting non-Christian deities. Andrew Paterson addresses two fundamental questions about devotional portraiture - both Christian and non-Christian - in the late antique period. Firstly, how did artists visualise and construct these images of divine or sanctified figures? And secondly, how did their intended viewers look at, respond to, and even interact with these images? Paterson argues that a key factor of many of these portrait images is the emphasis given to the depicted gaze, which invites an intensified form of personal encounter with the portrait's subject. The book will be of interest to scholars working in art history, theology, religion and classical studies.

Gain insight to the current world of Botanical Art and see the work of 65 top artists from throughout America. Gorgeous flowers, leaves, plants, roots, and vegetables have been beautifully drawn and painted and are displayed here. See 220 colorful images that bring modern techniques and a contemporary eye to this venerable tradition. Artwork values, artists' backgrounds, and contact information are included. Today's gardeners, nature lovers, graphic designers, collectors, and decorators will find much to absorb and enjoy. Let these images inspire your imagination and become a patron of this cherished and enduring art.

"By 1966, the composer Virgil Thomson would write, "Truth is, there is no avant-garde today." How did the avant garde dissolve, and why? In this thought-provoking work, Stuart D. Hobbs traces the avant garde from its origins to its eventual appropriation by a conservative political agenda, consumer culture, and the institutional world of art.