"Art and Social Movements "offers a comparative, cross-border analysis of the role of visual artists in three social movements from the late 1960s through the early 1990s: the 1968 student movement and related activist art collectives in Mexico City, a Zapotec indigenous struggle in Oaxaca, and the Chicano movement in California. Based on extensive archival research and interviews, Edward J. McCaughan explores how artists helped to shape the identities and visions of a generation of Mexican and Chicano activists by creating new visual discourses.

McCaughan argues that the social power of activist artists emanates from their ability to provoke people to see, think, and act in innovative ways. Artists, he claims, help to create visual languages and spaces through which activists can imagine and perform new collective identities and forms of meaningful citizenship. The artists' work that he discusses remains vital today--in movements demanding fuller democratic rights and social justice for working people, women, ethnic communities, immigrants, and sexual minorities throughout Mexico and the United States. Integrating insights from scholarship on the cultural politics of representation with structural analyses of specific historical contexts, McCaughan expands our understanding of social movements.

"Governing by Design" offers a unique perspective on twentieth-century architectural history. It disputes the primacy placed on individuals in the design and planning process and instead looks to the larger influences of politics, culture, economics, and globalization to uncover the roots of how our built environment evolves.

In these chapters, historians offer their analysis on design as a vehicle for power and as a mediator of social currents. Power is defined through a variety of forms: modernization, obsolescence, technology, capital, ergonomics, biopolitics, and others. The chapters explore the diffusion of power through the establishment of norms and networks that frame human conduct, action, identity, and design. They follow design as it functions through the body, in the home, and at the state and international level.

Overall, Aggregate views the intersection of architecture with the human need for what Foucault termed "governmentality"--societal rules, structures, repetition, and protocols--as a way to provide security and tame risk. Here, the conjunction of power and the power of design reinforces governmentality and infuses a sense of social permanence despite the exceedingly fluid nature of societies and the disintegration of cultural memory in the modern era.

Henry Darger (1892-1973) was a hospital janitor and an immensely productive artist and writer. In the first decades of adulthood, he wrote a 15,145-page fictional epic, In the Realms of the Unreal. He spent much of the rest of his long life illustrating it in astonishing drawings and watercolors. In Darger's unfolding saga, pastoral utopias are repeatedly savaged by extreme violence directed at children, particularly girls. Given his disturbing subject matter and the extreme solitude he maintained throughout his life, critics have characterized Darger as eccentric, deranged, and even dangerous, as an outsider artist compelled to create a fantasy universe. Contesting such pathologizing interpretations, Michael Moon looks to Darger's resources, to the narratives and materials that inspired him and often found their way into his writing, drawings, and paintings. Moon finds an artist who reveled in the burgeoning popular culture of the early twentieth century, in its newspaper comic strips, pulp fiction, illustrated children's books, and mass-produced religious art. Moon contends that Darger's work deserves and rewards comparison with that of contemporaries of his, such as the "pulp historians" H. P. Lovecraft and Robert Howard, the Oz chronicler L. Frank Baum, and the newspaper cartoonist Bud Fisher.

"Art and Social Movements "offers a comparative, cross-border analysis of the role of visual artists in three social movements from the late 1960s through the early 1990s: the 1968 student movement and related activist art collectives in Mexico City, a Zapotec indigenous struggle in Oaxaca, and the Chicano movement in California. Based on extensive archival research and interviews, Edward J. McCaughan explores how artists helped to shape the identities and visions of a generation of Mexican and Chicano activists by creating new visual discourses.

McCaughan argues that the social power of activist artists emanates from their ability to provoke people to see, think, and act in innovative ways. Artists, he claims, help to create visual languages and spaces through which activists can imagine and perform new collective identities and forms of meaningful citizenship. The artists' work that he discusses remains vital today--in movements demanding fuller democratic rights and social justice for working people, women, ethnic communities, immigrants, and sexual minorities throughout Mexico and the United States. Integrating insights from scholarship on the cultural politics of representation with structural analyses of specific historical contexts, McCaughan expands our understanding of social movements.

Doing Research in Design presents new ways of thinking about the relationship between design and research by positioning design as a social as well as a material practice. This approach emphasises the social consequences of design decisions as well as the importance of the efficient functioning of a design. Doing Research in Design argues that design promotes social change and that, in order to understand that change, designers must turn to social science research methods. The book outlines the relationships between thinking and doing in design - and makes explicit links between design, research, philosophy and sociology - and then examines four central social research methodologies in practice. The aim of Doing Research in Design is to provide anyone involved in the field of design with the knowledge and understanding of the best methods to plan and conduct their research.

George Pattison offers theological reflections on a range of works of art and films which have attracted wide discussion such as Anthony Gormley's 'Angel of the North'. Pattison takes seriously the modernist movement in art and constitutes an argument for its continuing relevance. The book centres on artists active in the mid- to late twentieth century, whose work reflects both the cultural and social crises of that era - Beuys, Rothko, Kiefer, Natkin and film directors such as Bergman and Tarkovksy. The studies are contextualized in broader reflections on modern art that suggest 'the death of God' as a motif that links theology and modern art itself. This enables a Christian theological engagement with works that often appear alien or even hostile to Christian faith. George Pattison takes the secular seriously in its own right, arguing that both secular art and theological reflection are often different but related responses to a common existential situation.

This absorbing biography, often conveyed through Peter Selz's own words, traces the journey of a Jewish-German immigrant from Hitler's Munich to the United States and on to an important career as a pioneer historian of modern art. Paul J. Karlstrom illuminates key historical and cultural events of the twentieth-century as he describes Selz's extraordinary career - from Chicago's Institute of Design (New Bauhaus), to New York's Museum of Modern Art during the transformative 1960s, and as founding director of the University Art Museum at UC Berkeley. Karlstrom sheds light on the controversial viewpoints that at times isolated Selz from his colleagues but nonetheless affirmed his conviction that significant art was always an expression of deep human experience. The book also links Selz's long life story - featuring close relationships with such major art figures as Mark Rothko, Dore Ashton, Willem de Kooning, Sam Francis, and Christo - with his personal commitment to political engagement.

Scandinavian design is still seen as democratic, functional and simple, its products exemplifying the same characteristics now as they have done since the 1950s. But both the essence and the history of Scandinavian design are much more complex than this. "Scandinavian Design: Alternative Histories" presents a radically new assessment, a corrective to the persistent mythologies and reductive accounts of Scandinavian design.
The book brings together case studies from the early twentieth century to today. Drawn from fields as diverse as transport, engineering, packaging, photography, law, interiors, and corporate identity, these studies tell new or unfamiliar stories about the production, mediation and consumption of design. An alternative history is created, one much more alive to national and regional differences and to types of product.
"Scandinavian Design" analyses a century of design culture from Denmark, Finland, Norway and Sweden and, in so doing, presents a sophisticated introduction to Scandinavian design.

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

The Albright-Knox Art Gallery in Buffalo is one of the oldest art museums in U.S., and its collection is one of the most prestigious American collections of modern and contemporary art.
This full-color catalog accompanies the first international tour ever organized by the gallery and features seventy paintings and sculptures that are icons of the twentieth century by more than sixty artists, including Salvador Dali, Edgar Degas, Paul Gauguin, Vincent van Gogh, Frida Kahlo, and many others.
Rich in illustrations, the volume emphasizes the remarkable vitality, salience, and subversiveness of the twentieth century's best art.
Insightful essays by leading scholars are illustrated with archival imagery and superb works from other areas of the Albright-Knox collection. A rich bibliography and an illustrated timeline complete the volume.

"Writing Design" provides a unique look at the process and consequences of converting the material properties of designed goods into verbal or textual description. It examines how we learn about the objects that surround us: we gather sensory information by viewing and using objects, but we also learn about objects through the written and spoken word, from product labels, store signage, and recommendations from friends, social media and traditional media.
Even as design commentators have become increasingly preoccupied with issues of mediation, the intersection of design and language has remained, heretofore, under-explored. Issues discussed in this book include the role of text in informing design consumption, designing with and through language, and the challenges and opportunities raised by design without language. Bringing together a wide range of scholars and practitioners, "Writing Design" reveals the difficulties, ethics and politics of writing about design.

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

Emilio Vedova's artistic career began in Venice in the mid-1930s. He immediately felt the deep allure of grand Venetian painting and sculpture and, guided by the restless agitation and dynamic mobility of the baroque, was soon plunged into total and extreme three-dimensional involvement. The work in "Emilio Vedova Scultore" originates precisely from his feeling of being a living and breathing part of the beloved spaces he encountered along his way, inexhaustible sources of stimuli and incitement, which he transformed into volumetric works of sculpture, architecture, opera and theatre. In his 1958 exhibition in Warsaw, the geometrical work mounted on the ceiling of the Zachenta Palace confirms Vedova's interest in sculpture and his penchant for articulating spatial implications.
This is followed in 1959 in Venice by the L-shaped teleri in the painting/ambient of Palazzo Grassi and then by his opera Intolleranza '60 (Intolerance '60) at the Teatro La Fenice, in collaboration with Luigi Nono. With the Plurimi (1961-1965), foreshadowed by the Rilievi (Reliefs, 1960-1964), Vedova removes the painting from the wall and installs it in the space of a fragmented, intersected set of surfaces somewhere between painting, sculpture and architecture. In Berlin he creates the Plurimi of the Absurdes Berliner Tagebuch '64, which found their natural development a few years later in Spazio/Plurimo/Luce (Space/Plurimo/Light), executed for Expo 1967 in Montreal. In this work, fourteen glass slides produced by the artist on Murano are projected simultaneously up to a height of 16 metres in the asymmetrical space by an equal number of large-format projectors. In 1977-1978, he works on the Plurimi/Binari from his Lacerazione (Laceration) cycle, where sliding, superimposed surfaces and black and white paintings squeezed into massive steel frames create images in continual transformation. In the same period he also dedicates himself to the Frammenti/Schegge (Fragments/Splinters) cycle - precarious, solitary and asymmetrical presences - and to the ... Cosiddetti Carnevali... (... So-called Carnivals...). Lastly, in the 1980s Vedova began his large installations of the Dischi (Discs) and Tondi - refound, vital and aggressive repossessions of space.
This book addresses the artist's entire career as a sculptor and includes a study of his series of models - his way of taking notes in three dimensions - which mark out his tireless daily quest for expression of the total work, towards which Emilio Vedova was inexorably drawn.

"I am an object maker." Jim Dine Night Fields, Day Fields is a survey of Jim Dine's sculpture from 1959 to 2009. Dine is commonly seen as a prolific painter, printmaker and photographer whose central practice is drawing, but this book shows that sculpture is just as important in his oeuvre. Here we discover Dine's favourite and reoccurring motifs: hearts, tools, skulls, and Pinocchio, as well as Classical sculpture in the form of Venus de Milo and Winged Victory. Dine's media are as diverse as his themes and include bronze, wood, glass and found objects. His styles are similarly manifold, testament to an artist who has shrugged off the trappings of Pop Art to develop an eclectic body of styles that is unique and authoritative in contemporary art. Born in 1935 in Cincinnati, Ohio, Jim Dine completed a Bachelor of Fine Arts at the University of Ohio in 1957, and has since become one of the most profound and prolific contemporary artists. Dine's unparalleled career spans fifty years and his work is held in numerous private and public collections. His books at Steidl include Birds (2001), The Photographs, so far (2003), and Hot Dream (52 Books) (2008).

"Fertility Experiments in Auschwitz-Birkenau: The Perpetrators and Their Victims" offers a historical examination of fertility experiments conducted by the Nazis. This dissertation tells the story of both the victims and perpetrators, often in their own words. Drawing on material that has only recently become available, this dissertation emphasizes the subjective dimension of fertility experiments by focusing on how the victims experienced the procedures and on how the perpetrators justified their crimes. Through in-depth analysis of testimonies made over the last 60 years - from witness statements at the Nuremberg Doctors Trial in 1947 to statements made for compensation programs such as the Claims Conference's recently closed Fund for Victims of Medical Experiments and Other Injuries, as well interviews conducted specifically for this dissertation - "Fertility Experiments in Auschwitz-Birkenau" aims to portray the life of the victims and perpetrators of Nazi fertility experiments during and after Auschwitz.

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

New York is a centre of creative production for an exciting, emerging generation of women artists. Their work investigates themes such as the body as medium and subject matter; the deconstruction of the existing patriarchal order of the art world; the appropriation of earlier art historical references; and the use of so-called abject and everyday materials. New York New Wave investigates the relevance of earlier feminist practice for this 'new' generation, asking: Does gender difference still play a role in today's practice? How can younger women artists embrace a radical political ideology and yet remain market friendly? How far have these artists diverged from the established feminist "tradition"? Artists discussed include: Firelei Baez, EV Day, Ruby LaToya Fraser, Diana Al-Hadid, K8 Hardy, Valerie Hegarty, Cindy Hinant, Dawn Kasper, Anya Kielar, Liz Magic Laser, Narcissister, Alix Pearlstein, Aurel Schmidt, AL Steiner and W.A.G.E.

After retiring from a career as a small town businessman in Oklahoma, the late Mack Stanley spent almost twenty years writing a newspaper column titled "Hometown Tales." Every week Mack delighted readers with his collection of humorous, heart-felt short stories accounting his memories of small town life in Midwestern America during the first half of the 20th century. In Volume I Mack tells humorous stories of his friends and family from his youth, including some of his favorite Holiday Tales. Then in Volume II Mack updates us on "where they are now." Augmenting the stories for the books is Mack's long-time colleague, and career small town newspaper journalist John Clark. Together, Stanley & Clark have delivered a compilation of stories that take readers on an entertaining, nostalgic journey back to days past.

The Artwork of Shea Justice: Volume 1 is a compilation of twenty years of his work. It covers a variety of media that includes watercolor, drawing and collage. The book also is a celebration of important figures in African American History of which there are many portraits shown. Next to some of the illustrations there is information on some individuals that the readers may not be familiar with, including names, dates and their contributions to society. In addition to the portraits there are collaged images that deal with the political as well as the social impact black people have had on the American landscape. Along with being a book of art, it is also an historical document available for those interested in learning more about Black History.

Artist Raphael Soyer (1899-1987), whose Russian Jewish family settled in Manhattan in 1912, was devoted to painting people in their everyday urban lives. He came to be known especially for his representations of city workers and the down-and-out, and for his portraits of himself and his friends. Although Soyer never identified himself as a ""Jewish artist,"" Samantha Baskind, in the first full-length critical study of the artist, argues that his work was greatly influenced by his ethnicity and by the Jewish American immigrant experience. Baskind examines the painter's art and life in the rich context of religious, cultural, political, and social conditions in the twentieth-century United States. By promoting an understanding of Soyer as a Jewish American artist, she addresses larger questions about the definition and study of modern Jewish art. Whereas previous scholars have defined Jewish art simply as art produced by people who were born Jewish, Baskind stresses the importance of an artist's cultural identity when defining ethnic art. As Baskind explains how Soyer negotiated his Jewish identity in changing ways over his lifetime, she offers new strategies for identifying and interpreting Jewish art in general. Her analysis of Soyer's work places the artist in a necessary context and provides a valuable new approach to the study of modern Jewish art.

S i THOMAS MODERN ART THE MEN - Y . THE MOVEMENTS THE MEANING NEW YORK SIMLN AND SCHUSTER 4 ALL RIGHTS RESERVED COPYRIGHT, 1Q34, BY THOMAS CRAVEN PUBLISHED BY SIMON AND SCHUSTER, 386 FOURTH AVENUE, NEW YORK MANUFACTURED IN THE UNITED STATES OF AMERICA BY H. WOLFF ESTATE, NEW YORK, N. Y. Designed by Robert Josephy R J Jt 21 34 TO AILEEN CONTENTS INTRODUCTION XIX 1. BOHEMIA 1 The magic of Paris. The authors adventures in the Latin Quarter. The French spirit. Bohemianism an economic asset, a patriotic industry. Civiliz ing influence of the cafe. The Left Bank from Abelard to Murger. Villon. La Vie de Boheme, and the Golden Age. Montmartre, past and present. The Romantic Movement. Bohemia an anti-bourgeois world. Whistler and his snobbish Bohemian creed. The women. System of compulsory cohabitation. In praise of the girls of Paris. The mythical grisette. Effect of Bohemianism on art. Verlaine. Toulouse-Lautrec. Paris produces the stereotype. The arti ficial prolongation of youth. 2. THE NEW CENTURY 35 The little people violently unsettled. The bourgeois machine. Politics in France. Jew-baiting. Anti-Semitic feeling in art. A Frenchman writes a letter. Universal Exhibition of 1900. Architectural horrors. The exotic craze the belly dancers. Loie Fuller, idol of Paris. The new age. French taste. Fashions of 1900. The French monopoly on styles. Invention of lingerie. The well dressed gentleman. No baths. Home life in France. The sordid household. French writers. High-life. The cult of Proust. The artists. Not a decent artist in the Exhibition. Rodins strategy. The academic mills. The impending storm. Revolt in Montmartre. French intolerance. The State and the Bohemians. g . TWO KINDS OF ART 6 1France afraid of original art. All good men persecuted. The Academicians officially controlled. Old Bouguereau and his tribe. Impressionism its history and significance. Daumier. Courbet. Manet. Specialists in sunlight. Seurat. Renoir a real painter. Cezanne his life and work. His enormous influence. Cezanne and Poussin. Final estimate of Cezanne. The new men. 4. VAN GOGH 9 1 The home of Pastor Van Gogh. Vincents repugnant face. His youth in a boarding school. Spiritual agitations-. Assistant in an art gallery at The Hague. Model employee. Transferred to London. A painful love affair. Signs of lunacy. Escapes to Paris. London slums. Prepares for the Church. Evan gelist among the miners of Belgium. Terrible suffering. Turns to art. Un selfish devotion of his brother. In love again. Despised by women. He lives with a prostitute. Paints with maniacal industry. Studies in Paris. Mont martre and the skeptics. Drink and over-work. The South and the sun. The yellow house at Aries. Gauguin and the severed ear. The hospital and the asylum. Auvers and the final madness. He kills himself and is buried among the sunflowers. vii 5-GAUGUIN ll A study in abdication. Born with a grievance against the world. His bad blood Half-breed and half-artist. Strange childhood in Peru. Jesuit sem inary Three years before the mast. Prosperous banker for ten years. His marriage a failure. Restless and embittered, he turns to art as an escape from life Deserts wife and family, and retires to Brittany to paint. His many talents. His hatred of civilization. Fails to conquer Paris and sails to the South Seas. Life in Tahiti. The tropical paradise exposed. Marries a mulatto girl. A pseudo-savage. Makes a holy show ofhimself in Paris. The white mans curse. His Javanese mistress. Returns to Tahiti. Quarrels and degradation, disease and death. The cult of the primitive. 6. WILD ANIMALS 1 43 Van Gogh, his work, his influence, his limitations. Gauguin, his art a French instrument tattooed with savagery. The philosophy of escape. The impetus to pattern-making. Sensational uprising in art. Review of the forces precipitating Modernism. The new movement the culmination of anti bourgeois tendencies. A Bohemian revolt hatched in Montmartre. Picasso and his crew...

This sumptuously illustrated volume, edited by eminent war historian Joanna Bourke, offers a comprehensive visual, cultural and historical account of the ways in which armed conflict has been represented in art. Covering the last two centuries, the book shows how the artistic portrayal of war has changed, from a celebration of heroic exploits to a more modern, truthful depiction of warfare and its consequences. Featuring illustrations by artists including Paul Nash, Judy Chicago, Pablo Picasso, Melanie Friend, Francis Bacon, Kathe Kollwitz, Yves Klein, Robert Rauschenberg, Dora Meeson, Otto Dix and many others, as well as those who are often overlooked, such as children, women, non-European artists and prisoners of war, this extensive survey is a fitting and timely contribution to the understanding, memory and commemoration of war, and will appeal to a wide audience interested in warfare, art, history or politics. Introduction by Joanna Bourke, with essays by Jon Bird, Monica Bohm-Duchen, Joanna Bourke, Grace Brockington, James Chapman, Michael Corris, Patrick Crogan, Jo Fox, Paul Gough, Gary Haines, Clare Makepeace, Sue Malvern, Sergiusz Michalski, Manon Pignot, Anna Pilkington, Nicholas J. Saunders, John Schofield, John D. Szostak, Sarah Wilson and Jay Winter.

Alfred Orage was one of those mysterious figures in our cultural history who was in his lifetime extremely influential, and after his death almost forgotten. He was the man who co-founded the Leeds Arts Club, possibly the only genuine manifestation of Expressionism in pre-second world war Britain, which promoted the philosophy of Nietzsche, the mystical socialism of the early Labour movement and suffragette feminism, as well as literary and artistic modernism. He turned the weekly newspaper the New Age from a failing organ of the Christian Socialism movement into the British equivalent of Germany's Der Sturm, and the most widely read cultural periodical of its age. And he was the first mentor of one of the most important writers on modern art of the twentieth century, Herbert Read, helping to shape his philosophy of art, and through him the direction of international modernism. In this book Tom Steele follows Orage's career alongside the history of the Leeds Arts Club, showing that modernism in Britain was not wholly a London-centred affair. Whilst Roger Fry and Bloomsbury were following and promoting French modernism in the first two decades of the twentieth century, Orage and other figures associated with the Leeds Arts Club, including Holbrooke Jackson, Arthur Penty, Michael Sadler, Frank Rutter and of course Herbert Read, were engaged in the far more radical modernist ideas coming out of Germany, with Sadler even collecting paintings by Wassily Kandinsky in Leeds as early as 1913.

This unique series of paintings takes the viewer on a graphic, visionary journey through the physical, metaphysical, and spiritual anatomy of the self. From anatomically correct rendering of the body systems, Grey moves to the spiritual/energetic systems with such images as "Universal Mind Lattice," envisioning the sacred and esoteric symbolism of the body and the forces that define its living field of energy.

Includes essays on the significance of Grey's work by Ken Wilber, the eminent transpersonal psychologist, and by the noted New York art critic, Carlo McCormick.