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Books > Arts & Architecture > History of art / art & design styles > From 1900 > General
Based on original archival research, Early Cinema, Modernity and
Visual Culture: The Imaginary of the Balkans is the first study on
early cinema in the region from a transnational and cross-cultural
perspective. It investigates how the unique geopolitical
positioning of the Balkan space and its multiculturality influenced
and shaped visual culture and cinema. Countering Eurocentric
modernity paradigms and reframing hierarchical relations between
centres and peripheries, this book adopts an alternative
methodology for interstitial spaces. By deploying the notion of the
haptic, it establishes new connections between moving image
artefacts and print media, early film practitioners, the
socio-political context and cultural responses to the new visual
medium.
Visual representations are an essential but highly contested means
of understanding and remembering the Holocaust. Photographs taken
in the camps in early 1945 provided proof of and visceral access to
the atrocities. Later visual representations such as films,
paintings, and art installations attempted to represent this
extreme trauma. While photographs from the camps and later
aesthetic reconstructions differ in origin, they share goals and
have raised similar concerns: the former are questioned not as to
veracity but due to their potential inadequacy in portraying the
magnitude of events; the latter are criticized on the grounds that
the mediation they entail is unacceptable. Some have even
questioned any attempt to represent the Holocaust as inappropriate
and dangerous to historical understanding. This book explores the
taboos that structure the production and reception of Holocaust
images and the possibilities that result from the transgression of
those taboos. Essays consider the uses of various visual media,
aesthetic styles, and genres in representations of the Holocaust;
the uses of perpetrator photography; the role of trauma in memory;
aesthetic problems of mimesis and memory in the work of Lanzmann,
Celan, and others; and questions about mass-cultural
representations of the Holocaust. David Bathrick is Emeritus
Professor of German at Cornell University, Brad Prager is Associate
Professor of German at the University of Missouri, and Michael D.
Richardson is Associate Professor of German at Ithaca College.
In this latest addition to Oxford's Modernist Literature &
Culture series, renowned modernist scholar Michael North poses
fundamental questions about the relationship between modernity and
comic form in film, animation, the visual arts, and literature.
Machine-Age Comedy vividly constructs a cultural history that spans
the entire twentieth century, showing how changes wrought by
industrialization have forever altered the comic mode. With keen
analyses, North examines the work of a wide range of artists -
including Charlie Chaplin, Walt Disney, Marcel Duchamp, Samuel
Beckett, and David Foster Wallace - to show the creative and
unconventional ways the routinization of industrial society has
been explored in a broad array of cultural forms. Throughout, North
argues that modern writers and artists found something inherently
comic in new experiences of repetition associated with, enforced
by, and made inevitable by the machine age. Ultimately, this rich,
tightly focused study offers a new lens for understanding the
devlopment of comedic structures during periods of massive social,
political, and cultural change to reveal how the original promise
of modern life can be extracted from its practical disappointment.
The first monograph and only substantial publication on the work of
Patrick George (born 1923), this book will reveal to a largely
unsuspecting public the lyrical paintings of a rare and original
talent. George is better known as a teacher; he taught for forty
years at the Slade School of Fine Art, University College, London
before eventually becoming Director there. He has only shown his
work infrequently, yet perceptive commentators have identified him
as a School of London painter, to be viewed in the same context as
Lucian Freud (a friendly rival), Frank Auerbach (a strong supporter
of George's work), and Euan Uglow (George's close friend and
colleague). For too long dismissed as a follower of Coldstream,
Patrick George is in fact very much his own man, a Northern
European landscape and figure painter, working in the tradition of
Gainsborough and Constable. In this book, his unique contribution
to the development of contemporary landscape painting is for the
first time examined and evaluated.
"Art+ NYC" is anart-lover s guide to New York City that combines a
crash course in 20th- and 21st-centuryarthistory with in-depth bios
of nine celebrated New York City artists: Jackson Pollock, Andy
Warhol, Cindy Sherman, Yoko Ono, Mark Rothko, Jeff Koons, Donald
Judd, Roy Lichtenstein, and Robert Rauschenberg. Each segment is
written by a leading art writer from publications such as "Art in
America," "Flaunt," and the "New York Times." Filled with useful
information for both locals and tourists, "Art + NYC" includes
comprehensive neighborhood-by-neighborhood gallery and museum
listings, along with studios and other artsy places of interest. In
addition, sidebars include the hotels and restaurants that are
steeped with history artist hangouts, residences, and events of
infamy. Also included is an extensive index of paintings,
sculptures, and public art by New York City artists; detailed maps
for 13 neighborhoods; a Q&A with a curator, gallerist, or
artist for each NYC neighborhood; and a museum, gallery, and studio
directory."
A Financial Times Book of the Year 2022 A landmark volume
presenting the history of Indian art across the subcontinent and
South Asia from the late 19th century to the present day, published
in association with Art Alive. Recent decades have seen significant
growth in the interest, acquisition and exhibition of modern Indian
and South Asian art and artists by major international museums.
This essential textbook, primarily aimed at students, presents an
engaging, informative history of modern art from the subcontinent
as seen through the eyes of prominent Indian academics. Illustrated
throughout with strong narrative content, key experts contribute
multiple perspectives on modernism, modernity and plurality, and
expansive ideas about contemporary art practices. A range of
subjects and topics feature including Group 1890, the Madras Art
Movement, Regional Modern and Dalit art, as well as artists such as
Amrita Sher-Gil and Raqs Media Collective. This book also has
sections devoted to the art of Pakistan, Nepal, Bangladesh and
other parts of South Asia. Together with lively academic
discussions and a selection of absorbing interviews with artists,
this title meets a clear demand for a comprehensive and
authoritative sourcebook on modern, postmodern and contemporary
Indian art. It is the definitive reference for anyone with an
interest in Indian art and non-Western art histories. Published in
association with Art Alive
This monograph brings together the work of artist David Medalla.
Born in Manila, in the Philippines in 1942, and based since 1960
mainly in London, Medalla has distinguished himself internationally
as an innovator of the avant-garde. His work has embraced a
multitude of enquiries and enthusiasms, forms and formats, to
express a singular yet deeply coherent vision of the world.
Life of Newlyn/St Ives artist famed for his paintings of animals
and birds.
Jao Tsung-i was China's last great traditional man of letters,
polymath, and pioneer of comparative humanistic inquiry during Hong
Kong's global heyday. Dunhuang is China's traditional northwest
frontier and overland conduit of exchange with the Old World. In
this volume, Jao proposes an entirely new school of Chinese
landscape painting, reconsiders Dunhuang's oldest manuscripts as
its newest research field, and explores topics ranging from
comparative religion to medieval multimedia.
This co-edited volume offers new insights into the complex
relations between Brussels and Vienna in the turn-of-the-century
period (1880-1930). Through archival research and critical methods
of cultural transfer as a network, it contributes to the study of
Modernism in all its complexity. Seventeen chapters analyse the
interconnections between new developments in literature (Verhaeren,
Musil, Zweig), drama (Maeterlinck, Schnitzler, Hofmannsthal),
visual arts (Minne, Khnopff, Masereel, Child Art), architecture
(Hoffmann, Van de Velde), music (Schoenberg, Ysaye, Kreisler,
Kolisch), as well as psychoanalysis (Varendonck, Anna Freud) and
cafe culture. Austrian and Belgian artists played a crucial role
within the complex, rich, and conflictual international networks of
people, practices, institutions, and metropoles in an era of
political, social and technological change and intense
internationalization. Contributors: Sylvie Arlaud, Norbert
Bachleitner, Anke Bosse, Megan Brandow-Faller, Alexander Carpenter,
Piet Defraeye, Clement Dessy, Aniel Guxholli, Birgit Lang, Helga
Mitterbauer, Chris Reyns-Chikuma, Silvia Ritz, Hubert Roland, Inga
Rossi-Schrimpf, Sigurd Paul Scheichl, Guillaume Tardif, Hans
Vandevoorde.
Although recently more studies have been devoted to the
representations of Biblical heroines in modern European art, less
is known about the contribution to the portrayals of Biblical women
by modern Jewish artists. This monograph explores why and how
heroines of the Scripture: Judith, Esther and the Shulamite
received a particular meaning for acculturated Jewish artists
originating from the Polish lands in the last decades of the
nineteenth century and the first two decades of the twentieth
century. It convincingly proves that artworks by Maurycy Gottlieb,
Wilhem Wachtel, Ephraim Moses Lilien, Maurycy Minkowski, Samuel
Hirszenberg and Boris Schatz significantly differed from renderings
of contemporary non-Jewish artists, adopting a "Jewish
perspective", creating complex and psychological portrayals of the
heroines inspired by Jewish literature and as well as by historical
and cultural phenomena of Jewish revival and the cultural Zionism
movement.
While there have been monographs on British artist-travellers in
the eighteenth and early nineteenth centuries, there has been no
equivalent survey of what the writer, Henry Blackburn, described as
'artistic travel' a hundred years later. By 1900, the 'Grand
Tourist' became a 'globe-trotter' equipped with a camera, and
despite the development of 'knapsack photography', visual recording
by the old media of oil and watercolour on-the-spot sketching
remained ever-popular. Kenneth McConkey's exciting new book
explores the complex reasons for this in a series of chapters that
take the reader from southern Europe to north Africa, the Middle
East, India and Japan revealing many artist-travellers whose lives
and works are scarcely remembered today. He alerts us to a
generation of painters, trained in academies and artists' colonies
in Europe that acted as creches for those would go on to explore
life and landscape further afi eld. The seeds of wanderlust were
sown in student years in places where tuition was conducted in
French or German, and models were often Spanish, Italian, or North
African. At fi rst the countries of western Europe were explored
afresh and cities like Tangier became artists' haunts. Training
that prioritized plein air naturalism led to the common belief that
a well-schooled young painter should be capable of working
anywhere, and in any circumstances. At the height of British
Imperial power, and facilitated by engineering and technological
advance, the burgeoning tourism and travel industry rippled into
the production of specialist goods and services that included a
dedicated publishing sector. Essential to this phenomenon, the
artist-traveller was often commissioned by London dealers to supply
themed exhibitions that coincided with contracts for
colour-illustrated books recording those exotic parts of the world
that were newly available to the tourist, traveller, explorer,
emigrant, or colonial civil servant. These works were not, however,
value-neutral, and in some instances, they directly address
Orientalism, Imperialism, and the Post-Colonial, in pictures that
hybridize, or mimic indigenous ways of life. Behind each there is a
range of interesting questions. Does experience live up to
expectation? Is the street more desirable than the ancient ruin or
sacred site? How were older ideas of the 'picturesque' reborn in an
age when 'Grand Tours' once confi ned to Italy, now encompassed the
globe? McConkey's wideranging survey hopes to address some of these
issues. This richly illustrated book explores key sites visited by
artist-travellers and investigates artists including Frank
Brangwyn, Mary Cameron, Alfred East, John Lavery, Arthur Melville,
Mortimer Menpes, as well as other under-researched British artists.
Drawing the strands together, it redefi nes the picturesque, by
considering issues of visualization and verisimilitude,
dissemination and aesthetic value.
Phenomenal Difference grants new attention to contemporary black
British art, exploring its critical and social significance through
attention to embodied experience, affectivity, the senses and
perception. Featuring attention to works by the following artists:
Said Adrus, Zarina Bhimji, Sonia Boyce, Vanley Burke, Chila Burman,
Mona Hatoum, Bhajan Hunjan, Permindar Kaur, Sonia Khurana, Juginder
Lamba, Manjeet Lamba, Hew Locke, Yeu-Lai Mo, Henna Nadeem, Kori
Newkirk, Johannes Phokela, Keith Piper, Shanti Thomas, Aubrey
Williams, Mario Ybarra Jr. Much before scholars in the arts and
humanities took their recent 'ontological turn' toward the new
materialism, black British art had begun to expose cultural
criticism's overreliance on the concepts of textuality,
representation, identity and difference. Illuminating that original
field of aesthetics and creativity, this book shows how black
British artworks themselves can become the basis for an engaged and
widely-reaching philosophy. Numerous extended descriptive studies
of artworks spell out the affective and critical relations that
pertain between individual works, their viewers and the world at
hand: intimate, physically-involving and visceral relations that
are brought into being through a wide range of phenomena including
performance, photography, installation, photomontage and digital
practice. Whether they subsist through movement, or in time,
through gesture, or illusion, black British art is always an
arresting nexus of making, feeling and thought. It celebrates
particular philosophical interest in: - the use of art as a place
for remembering the personal or collective past; - the fundamental
'equivalence' of texture and colour, and their instances of
'rupture'; - figural presence, perceptual reversibility and the
agency of objects; - the grounded materialities of mediation; - and
the interconnections between art, politics and emancipation.
Drawing first hand on the founding, historical texts of early and
mid-twentieth century phenomenology (Heidegger; Merleau-Ponty), and
current advances in art history, curating and visual anthropology,
the author transposes black British art into a freshly expanded and
diversified intellectual field. What emerges is a vivid
understanding of phenomenal difference: the profoundly material
processes of interworking philosophical knowledge and political
strategy at the site of black British art.
Celebrated children's book illustrator Fritz Wegner (b.Vienna 15th
September 1924, d. London 15th March 2015,). Early work included
assignments for Lilliput, Dorothy L.Sayers and Enid Blyton, with
book covers for Raymond Chandler and J.D.Salinger. In the late
1950s he moved away from advertising and commercial art to focus on
children's literature. Significant titles include The Hamish
Hamilton Book of Princes and Princesses (1963), The Marvellous
Adventures and Travels of Baron Munchausen (1967), Fatipuffs and
Thinifers (Andre Maurois), to books by Alan Ahlberg, Michael Rosen
and Brian Alderson in the 1980s and '90s. He also created over
thirty stamp designs for the Royal Mail.The Fritz Wegner Archive
documents phases of his work from the 1950s to the 2000s, and
includes comprehensive images scanned from the originals kept ion
seventeen folders in his studio. The publication is authorised by
executors of the estate of the artist.
An award-winning study of England's unique and peculiarly insular
variant of modernism. While the battles for modern art and society
were being fought in France and Spain, it has seemed a betrayal
that John Betjeman and John Piper were in love with a provincial
world of old churches and tea-shops. In this multi-award-winning
book, Alexandra Harris tells a different story. In the 1930s and
1940s, artists and writers explored what it meant to be alive in
England. Eclectically, passionately, wittily, they showed that 'the
modern' need not be at war with the past. Constructivists and
conservatives could work together, and even the Bauhaus emigre,
Laszlo Moholy-Nagy, was beguiled into taking photographs for
Betjeman's nostalgic Oxford University Chest. This modern English
renaissance was shared by writers, painters, gardeners, architects,
critics, tourists and composers. John Piper, Virginia Woolf,
Florence White, Christopher Tunnard, Evelyn Waugh, E. M. Forster
and the Sitwells are part of the story, along with Bill Brandt,
Graham Sutherland, Eric Ravilious and Cecil Beaton.
Award winner: Best Book in Latin American Visual Culture Studies
from the Latin American Studies Association Dematerialization and
the Social Materiality of Art reconceptualizes
mid-twentieth-century avant-garde practices in Argentina with a
focus on the changing material status of the art object in relation
to the country's intense period of modernization. Elize Mazadiego
presents Oscar Masotta's notion of dematerialization as a concept
for interpreting experimental art practices that negated the
object's primacy, while identifying their promise within the
sociopolitical transformations of the 1950s and 1960s. She argues
that, in abandoning the traditional art object, the avant-garde
developed new materialities rooted in Buenos Aires' changing social
life. A critical examination of art's materiality and its social
role within Argentina, this important study paves the way for
broader investigations of postwar Latin American art.
In Expressionism and Poster Design in Germany 1905-1925, Kathleen
Chapman re-defines Expressionism by situating it in relation to the
most common type of picture in public space during the Wilhelmine
twentieth century, the commercial poster. Focusing equally on
visual material and contemporaneous debates surrounding art,
posters, and the image in general, this study reveals that
conceptions of a "modern" image were characterized not so much by
style or mode of production and distribution, but by a visual
rhetoric designed to communicate more directly than words. As
instances of such rhetoric, Expressionist art and posters emerge as
equally significant examples of this modern image, demonstrating
the interconnectedness of the aesthetic, the utilitarian, and the
commercial in European modernism.
Perceiving Dubuffet: Art, Embodiment, and the Viewer offers a
comprehensive reconsideration of Jean Dubuffet's work which
contextualizes it within contemporary developments in phenomenology
and examines the central role played by questions relating to
embodiment in the evolution of his aesthetic thinking and artistic
practice. Conceived as an interdisciplinary project and combining
phenomenological approaches with detailed visual and linguistic
analysis, elucidation of interpictorial and intertextual reference,
and extensive archival research, the study examines the development
across Dubuffet's work of a core set of cognate themes and formal
concerns, charts his many and various shifts in priority and
direction, and identifies the constants that drive his tireless
experimentation with materials, genre, dimensionality, viewer
involvement, visual-verbal interplay, and metareference. Topics
explored include: the affinities between Merleau-Ponty's account of
the phenomenological reduction and Dubuffet's conception of the
functioning of the artwork; Dubuffet's thematisation of the
experience of embodiment; the foregrounding of temporality and the
exploration of corporeal and associative memory; the testing and
transgression of generic boundaries; the experimentation with
unconventional materials and with dimensionality; the impact of
Dubuffet's reading of scientific theory and of Daoist and Buddhist
philosophy on his understanding of man's relationship with his
environment; and the central role given to the viewer's physical
interaction with the artwork. Perceiving Dubuffet: Art, Embodiment,
and the Viewer covers Dubuffet's lengthy career and examines the
full range of his pictorial and sculptural oeuvre and the large
corpus of aesthetic writings produced between the 1940s and the
1980s.
Histories, Practices, Interventions: A Reader in Singapore
Contemporary Art brings together key writings about ideas,
practices, issues and art institutions that shape the understanding
of contemporary art in Singapore. This reader is conceived as an
essential resource for advancing critical debates on
post-independence Singapore art and culture. It comprises a total
of thirty-three texts by art historians, art theorists, art
critics, artists and curators. In addition, there is an
introduction by the co-editors, Jeffrey Say and Seng Yu Jin,as well
as three section introductions contributed by Seng Yu Jin; artist,
curator and writer Susie Wong; and art educator and writer Lim Kok
Boon.
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