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.

Mere decades after the dissolution of Yugoslavia, the promise of European democracy seems to be out of joint. What has become of the once-shared memory of victory over fascism? Historical revisionism and nationalist propaganda in the post-Yugoslav context have tried to eradicate the legacy of partisan and socialist struggles, while Yugonostalgia commodifies the partisan/socialist past. It is against these dominant 'archives' that this book launches the partisan counter-archive, highlighting the symbolic power of artistic works that echo and envision partisan legacy and rupture. It comprises a body of works that emerged either during the people's liberation struggle or in later socialist periods, tracing a counter-archival surplus and revolutionary remainder that invents alternative protocols of remembrance and commemoration. The book covers rich (counter-)archival material - from partisan poems, graphic works and photography, to monuments and films - and ends by describing the recent revisionist un-doing of the partisan past. It contributes to the Yugoslav politico-aesthetical "history of the oppressed" as an alternative journey to the partisan past that retrieves revolutionary resources from the past for the present.

Film World brings together key interviews with cinema's leading directors. The directors chosen represent many of the most influential film-makers of the last 50 years. All have been selected because of their cinematic vision, because they have a particular way of seeing the world and of filming it. All have created a body of work which is both hugely popular and critically acclaimed. This truly global range of directors hails from Australia, Britain, China and Hong Kong, Denmark, Finland, France, Germany, India, Iran, Ireland, Italy, Japan, Korea, North America, Poland, and Russia. Together, these illuminating interviews reveal how these visionary directors create images which speak to audiences the world over. The interviews are with: Bernardo Bertolucci, John Boorman, Robert Bresson, Jane Campion, John Cassavetes, David Cronenberg, Atom Egoyan, Federico Fellini, Jean-Luc Godard, Peter Greenaway, Werner Herzog, Hou Hsiao-hsien, Wong Kar-wei, Aki Kaurismaki, Abbas Kiarostami, Krzysztof Kieslowski, Takeshi Kitano, Im Kwon-taek, Mike Leigh, Manoel de Oliveira, Satyajit Ray, Martin Scorsese, Andrei Tarkovsky, Lars von Trier, Zhang Yimou

Although contemporary American crafts are widely exhibited and appreciated, very little information is available about the artists themselves, their training, careers, inspirations, and feelings about their work, and place in society. As part of a large oral history and survey project of the Research Center for Arts and Culture of Columbia University, ten personal narrative interviews with craftspeople were edited and collected for The Craftsperson Speaks. The selected artists represent a variety of disciplines and media, including ceramics, glass, jewelry, metalwork, and fiber, and also exhibit a balance of age, ethnicity, regionalism, and stage of career development. Each interview is prefaced by brief life and career data and followed by information on exhibit sources and professional affiliations and honors and a photographic illustration of a representative piece of work. The volume's introduction, written by the project coordinator, Mary Greeley, offers an overview of the history of the craftsperson in the United States, and a final bibliography provides sources for further reference. This combination of information and insights will be of interest and value to artists, teachers, students, art professionals, and the general public. Greenwood Press is pleased to publish it in time to help inaugurate 1993 and the Year of the American Craft.

The Night Life of Trees is an exquisite hand-bound and screen-printed book of paintings by three of the finest artists of the Gond tribal art tradition. The Gonds, a tribe of central India, are traditionally forest dwellers. They believe that trees are hard at work during the day providing shelter and nourishment to all. Only when night falls can they finally rest, and their spirits reveal themselves. These luminous spirits are captured in The Night Life of Trees, a fascinating and haunting foray into the Gond imagination. Each painting is accompanied by its own poetic tale, myth or lore, narrated by the artists themselves, which recreate the familiarity and awe with which the Gond people view the natural world. Screen-printed by hand on black paper, every page of this book is an original print. Each book in this limited second edition of 1,000 is individually numbered.

"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."

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.

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.

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

Drawing on primary and secondary materials, this is a sociological interpretation of the rise of metropolitan art institutions and their role in modernism and the modernization of art in England. It explores the complex relationships between the artist as creator, notions of class and taste, and the power of institutions (academies, museums, workshops, exhibitions, art dealers and publishing houses) to enable or constrain creativity, and to reflect and shape artistic expression. In particular, it looks at the experiences of submerged artists (for example, reproductive engravers and the Chantrey artists) and their interpretations of the changing art world. The radicalism of engravers and their claim to be artists is an important and neglected aspect of the 19th-century art world; and the aesthetic dispute over the Chantrey Bequest epitomized conflicts of taste, cultural dependence and interdependence between opposed art institutions and the Treasury.

Human Rights and the Arts: Perspectives on Global Asia approaches human rights issues from the perspective of artists and writers in global Asia. By focusing on the interventions of writers, artists, filmmakers, and dramatists, the book moves toward a new understanding of human rights that shifts the discussion of contexts and subjects away from the binaries of cultural relativism and political sovereignty. From Ai Wei Wei and Michael Ondaatje, to Umar Kayam, Saryang Kim, Lia Zixin, and Noor Zaheer, among others, this volume takes its lead from global Asian artists, powerfully re-orienting thinking about human rights subjects and contexts to include the physical, spiritual, social, ecological, cultural, and the transnational. Looking at a range of work from Tibet, Indonesia, Sri Lanka, India, China, Bangladesh, Japan, Korea, Vietnam, and Macau as well as Asian diasporic communities, this book puts forward an understanding of global Asia that underscores "Asia" as a global site. It also highlights the continuing importance of nation-states and specific geographical entities, while stressing the ways that the human rights subject breaks out of these boundaries. Many of these works are included in the companion volume Human Rights and the Arts in Global Asia: An Anthology, also published by Lexington Books.

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.

This intriguing book examines how material objects of the 20th century—ranging from articles of clothing to tools and weapons, communication devices, and toys and games—reflect dominant ideas and testify to the ways social change happens. Objects of everyday life tell stories about the ways everyday Americans lived. Some are private or personal things—such as Maidenform brassiere or a pair of patched blue jeans. Some are public by definition, such as the bus Rosa Parks boarded and refused to move back for a white passenger. Some material things or inventions reflect the ways public policy affected the lives of Americans, such as the Enovid birth control pill. An invention like the electric wheelchair benefited both the private and public spheres: it eased the lives of physically disabled individuals, and it played a role in assisting those with disabilities to campaign successfully for broader civil rights. Artifacts from Modern America demonstrates how dozens of the material objects, items, technologies, or inventions of the 20th century serve as a window into a period of history. After an introductory discussion of how to approach material culture—the world of things—to better understand the American past, essays describe objects from the previous century that made a wide-ranging or long-lasting impact. The chapters reflect the ways that communication devices, objects of religious life, household appliances, vehicles, and tools and weapons changed the lives of everyday Americans. Readers will learn how to use material culture in their own research through the book's detailed examples of how interpreting the historical, cultural, and social context of objects can provide a better understanding of the 20th-century experience.

How to Read Modern Buildings is an indispensable pocket-sized guide to understanding the architecture of the modern era. It takes the reader on a guided tour of modern architecture through its most iconic and significant buildings, showing how to read the hallmarks of each architectural style and how to recognise them in the buildings all around. From Art Deco and Arts and Crafts, through the International Style and Modernism to today's environmental architecture and the rise and fall of the icon, all the major architectural movements from the 1900s to the present day are traced through their classic buildings. Examining the key architectural elements and hidden details of each style, we learn what to look out for and where to look for it. Packed with detailed drawings, plans, and photographs, this is both a fascinating architectural history and an effective I-spy guide, it is a must-read for anyone with an interest in modern design and architecture.

Stephanie J. Smith brings Mexican politics and art together, chronicling the turbulent relations between radical artists and the postrevolutionary Mexican state. The revolution opened space for new political ideas, but by the late 1920s many government officials argued that consolidating the nation required coercive measures toward dissenters. While artists and intellectuals, some of them professed Communists, sought free expression in matters both artistic and political, Smith reveals how they simultaneously learned the fine art of negotiation with the increasingly authoritarian government in order to secure clout and financial patronage. But the government, Smith shows, also had reason to accommodate artists, and a surprising and volatile interdependence grew between the artists and the politicians. Involving well-known artists such as Frida Kahlo, Diego Rivera, and David Alfaro Siqueiros, as well as some less well known, including Tina Modotti, Leopoldo Mendez, and Aurora Reyes, politicians began to appropriate the artists' nationalistic visual images as weapons in a national propaganda war. High-stakes negotiating and co-opting took place between the two camps as they sparred over the production of generally accepted notions and representations of the revolution's legacy-and what it meant to be authentically Mexican.