A representation of the principle styles and themes that emerges from Harry Bertoia's printmaking and structure work.

Starting from up-state New York, Klitgaard swings through the country in search of artists who interpret the American landscape; through Virginia, the Carolinas, and Georgia, then west along the Gulf to Texas, the Dust Bowl, the Grand Canyon, and finally to California-where he finds more artists than on any other part of his trip. Originally published in 1941. A UNC Press Enduring Edition - UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

An interdisciplinary reference source of the critical, cultural and political practices associated with modernismMuch of the literary and cultural theory developed throughout the twentieth century relied on modernist texts and artefacts as both example and paradigm. This Dictionary collects, categorises and intersects literary, aesthetic, political and cultural terms that in one way or another came into being through the debates, conflicts, co-operations, experiments individual and collective that characterised modernism. In concise entries from international experts, it presents the terms, categories, concepts, tropes, movements, forged through the modernist upheavals (at once aesthetic and political), highlighting their genealogy, their modernist 'newness', and their historical longevity.Key FeaturesProvides new and authoritative definitions of the revolutionary art, thinking and intellectual culture which flourished in the opening decades of the last centuryDemonstrates the ways in which modernism reconceptualised and realigned all twentieth- century art forms while also formulating the critical and cultural languages of that centuryShows that modernism, in unique ways, already entailed its self-definition and articulated its own critique

In the decades following World War II, the creation and expansion of massive domestic markets and relatively stable economies allowed for mass consumption on an unprecedented scale, giving rise to the consumer society that exists today. Many avant-garde artists explored the nexus between consumption and aesthetics, questioning how consumerism affects how we perceive the world, place ourselves in it, and make sense of it via perception and emotion. Delirious Consumption focuses on the two largest cultural economies in Latin America, Mexico and Brazil, and analyzes how their artists and writers both embraced and resisted the spirit of development and progress that defines the consumer moment in late capitalism. Sergio Delgado Moya looks specifically at the work of David Alfaro Siqueiros, the Brazilian concrete poets, Octavio Paz, and Lygia Clark to determine how each of them arrived at forms of aesthetic production balanced between high modernism and consumer culture. He finds in their works a provocative positioning vis-a-vis urban commodity capitalism, an ambivalent position that takes an assured but flexible stance against commodification, alienation, and the politics of domination and inequality that defines market economies. In Delgado Moya's view, these poets and artists appeal to uselessness, nonutility, and noncommunication-all markers of the aesthetic-while drawing on the terms proper to a world of consumption and consumer culture.

How does South Africa deal with public art from its years of colonialism and apartheid? How do new monuments address fraught histories and commemorate heroes of the struggle? Across South Africa, statues commemorating figures such as Cecil Rhodes have provoked heated protests, while new works commemorating icons of the liberation struggle have also sometimes proved contentious. In this lively volume, Kim Miller, Brenda Schmahmann and an international group of contributors explore how works in the public domain in South Africa serve as a forum in which important debates about race, gender, identity and nationhood play out. Examining statues and memorials as well as performance, billboards, and other temporal modes of communication, the authors of these essays consider the implications of not only the exposure, but also erasure of events and icons from the public domain. Revealing how public visual expressions articulate histories and memories, they explore how such works may serve as a forum in which tensions surrounding race, gender, identity, or nationhood play out.

A TLS Book of the Year 2017 In this, the first anthology of Russian contemporary art writing to be published outside Russia, many of the country's most prominent contemporary artists, writers, philosophers, curators and historians come together to examine the region's contemporary art, culture and and theory. With contributions from Ilya and Emilia Kabakov, Boris Groys, Dmitri Prigov, Anton Vidokle, Keti Chukhrov, Oxana Timofeeva, Pavel Pepperstein, Arseny Zhilyaev and Masha Sumnina amongst many others, this definitive collection reveals a compelling portrait of a vibrant and complex culture: one built on a contradicting dialectic between the material and the ideal, and battling its own histories and ideologies.

The Contextual Nature of Design and Everyday Things focuses on the history of industrial design beginning in the 18th century in principally in Europe and the United States but does so with a thematic twist. Instead of revealing the world of everyday things in a chronological manner as many books do, The Contextual Nature of Design and Everyday Things does so by way of different themes. This direction is taken for one principal reason: design never occurs out of context. In other words, the design of everyday things is a reflection of place, people and process. It cannot be otherwise. Consequently, these broader issues become the themes for the exploration of everyday things. There are ten themes in all. These are: World View of Design, which examines the very broad picture of industrial design as an everyday activity undertaken by everyone and throughout the world; Design and the Natural World, which explores the interdependence between the Natural World and the Artificial World; Design and Economics, which delves into industrial design as a force of both macro- and micro-economics; Design and Technology, which looks at the evolution of materials and processes and their impact on industrial design; Design and Transportation, which reviews the role that industrial design has played in the development of transportation, especially rail, road and air; Design and Communication, which situates the place of industrial design in communication, both human communication and technical innovations in communication; Design and Education, which covers the development of the teaching and training of industrial designers; Design and Material Culture, which considers several case studies in industrial design as contemporary examples of material culture; Design and Politics, which positions industrial design as an integral part albeit indirect of one political system or another; and Design and Society, in which the fruits of industrial design can be perceived as mirrors or reflections of societal values. The Contextual Nature of Design and Everyday Things is an ideal book for face-to-face courses in industrial design history as well as those offered as hybrid and online.

In July 1996, Edinburgh College of Art offered a Masterclass with the Italian-Scottish sculptor, Eduardo Paolozzi. He particularly wanted to run this course in his home city. Although born in Leith, the eldest son of Italian immigrants, Paolozzi left Scotland after studying at Edinburgh College of Art to pursue further studies in London and to establish an international reputation as a sculptor. Plans for two previous classes elsewhere had fallen through. The selection process chose 17 students with widely different backgrounds. Plunged into ten days of unconventional tutoring, each found widely differing responses. Paolozzi asked the members of the class to keep a diary of their time with him. Ann Shaw, a former journalist with The Glasgow Herald, documented her days and recorded scenes of chaos and progress. Her unabridged account is illustrated throughout with some of the photographs she took as the appointed 'official' class photographer. Paolozzi is seen as human, vulnerable, gracious and rude, inspiring and shy.

The second of three volumes charting the history of the Modernist Magazine in Britain, North America, and Europe, this collection offers the first comprehensive study of the wide and varied range of 'little magazines' which were so instrumental in introducing the new writing and ideas that came to constitute literary and cultural modernism. This book contains forty-four original essays on the role of periodicals in the United States and Canada. Over 120 magazines are discussed by expert contributors, completely reshaping our understanding of the construction and emergence of modernism. The chapters are organised into thirteen sections, each with a contextual introduction by the editors, and consider key themes in the landscape of North American modernism such as: 'free verse'; drama and criticism; regionalism; exiles in Europe; the Harlem Renaissance; and radical politics. In incisive critical essays we learn of familiar 'little magazines' such as Poetry, Others, transition, and The Little Review, as well as less well-known magazines such as Rogue, Palms, Harlem, and The Modern Quarterly. Of particular interest is the placing of 'little magazines' alongside pulps, slicks, and middlebrow magazines, demonstrating the rich and varied periodical field that constituted modernism in the United States and Canada. To return to the pages of these magazines returns us to a world where the material constraints of costs and anxieties over censorship and declining readerships ran alongside the excitement of a new poem or manifesto. This collection therefore confirms the value of magazine culture to the field of modernist studies; it provides a rich and hitherto under-examined resource which both brings to light the debate and dialogue out of which modernism evolved and helps us recover the vitality and potential of that earlier discussion.