Celebrate 45 women artists, and gain inspiration for your own practice, with this beautiful exploration of contemporary creators from the founder of The Jealous Curator. Walk into any museum, or open any art book, and you'll probably be left wondering: where are all the women artists? A Big Important Art Book (Now with Women) offers an exciting alternative to this male-dominated art world, showcasing the work of dozens of contemporary women artists alongside creative prompts that will bring out the artist in anyone! This beautiful book energizes and empowers women, both artists and amateurs alike, by providing them with projects and galvanizing stories to ignite their creative fires. Each chapter leads with an assignment that taps into the inner artist, pushing the reader to make exciting new work and blaze her own artistic trail. Interviews, images, and stories from contemporary women artists at the top of their game provide added inspiration, and historical spotlights on art "herstory" tie in the work of pioneering women from the past. With a stunning, gift-forward package and just the right amount of pop culture-infused feminism, this book is sure to capture the imaginations of aspiring women artists.

Through the 1940s and 1950s, PAGON (Progressive Architects Group Oslo Norway) was an alliance of young CIAM-affiliated Norwegian architects known for their innovative joint projects. As a group, PAGON went on to become largely overlooked in the history of modern architecture, even though its individual members – which included Sverre Fehn, Jørn Utzon, Arne Korsmo, and Christian Norberg-Schulz – became defining figures in Scandinavian and international modernism. This book tells the story of PAGON for the first time, offering a definitive account of the group’s projects, buildings, and approach, and demonstrating why PAGON’s projects are ripe for reappraisal in the international history of modern architecture. It shows how PAGON’s architecture constitutes a unique continuity between the Scandinavian functionalism of the late 1930s and the modern movement in the US, and an important transitional stage before the emergence of the better-known neo-avant-garde groups within CIAM and Team 10. Published as part of the Bloomsbury Studies in Modern Architecture series, which brings to light the work of significant yet overlooked modernist architects, this bookfills a gap in our understanding of mid-century modern architecture and highlights the internationally diverse nature of the modern movement.

The extraordinary story behind Manet's portrait of his only pupil Eva Gonzales, placed within the broader context of women painters of the period Edouard Manet (1832-1883) only ever had one formal pupil, Eva Gonzales (1849-1883). The daughter of a prominent writer, she entered Manet's studio aged 19. He portrayed her the year they met and exhibited the ambitious full-length portrait at the Paris Salon of 1870, at which Gonzales also displayed her own work, for the first time, to positive reviews. The first in a new series of Discover titles, in which a single work of art in the National Gallery's collection is reconsidered from a fresh perspective, this book reveals the extraordinary story behind Manet's portrait by examining it in the context of women's artistic practice in nineteenth-century Paris, Gonzales's development as a professional painter, and Manet's career in 1870. Combining new art historical research with engaging essays on women artists and their representation in visual culture, Discover Manet & Eva Gonzales provides a richly illustrated, in-depth study of Manet's portrait and offers a groundbreaking viewpoint on both artists. Published by National Gallery Global/Distributed by Yale University Press Exhibition Schedule: Hugh Lane Gallery, Dublin June 1-September 18, 2022 The National Gallery, London October 21, 2022-January 15, 2023

Taking citizenship as a political position, cultural process, and intertwining of both, this edited volume examines the role of visual art and visual culture as sites for the construction and contestation of both state-sanctioned and cultural citizenships from the late 1970s to today. Contributors to this book examine an assortment of visual media-painting, sculpture, photography, performance, the built environment, new media, and social practice-within diverse and international communities, such as the United States, South Africa, Turkey, and New Zealand. Topics addressed include, but are not limited to, citizenship in terms of: nation building, civic practices, border zones, transnationalism, statelessness, and affects of belonging as well as alternate forms of, or resistance to, citizenship.

Artist Eduardo Paolozzi (1924-2005) was a unique cultural figure. His varied yet instantly recognisable work chronicles the significant changes in British art from the austere 1950s to the post-post-modern late 1990s. This highly illustrated and visually exciting book provides the first comprehensive overview of the career of a major, prolific and complex artist, exploring Paolozzi's work from all periods and across all media: collage, sculpture, printmaking, ceramics, tapestry and film. An Italian Scot, Paolozzi studied first at Edinburgh College of Art, before moving on to the Ruskin Drawing School and the Slade. He was a founding member of the Independent Group in the early 1950s but steadfastly resisted the 'Pop' label, preferring instead to see his pioneering interdisciplinarity as an extension and an expansion of radical Surrealism. Dedicating a chapter to each facet of Paolozzi's wide-ranging practice - including, in turn, his bronze, aluminium and public sculptures, as well as his early collages and his innovative screenprints - this book offers the definitive, illustrated, art-historical appraisal of an artist whose work continues to fascinate and inspire. Published with support from the Paul Mellon Centre for Studies in British Art.

A comprehensive look at an important member of the artistic vanguard of late 19th- and early 20th-century Europe In this beautifully illustrated book, Michel Draguet, an internationally recognized authority on fin-de-siecle art, offers an enlightening examination of the life and art of Belgian Symbolist painter Fernand Khnopff (1858-1921). Khnopff achieved widespread acclaim during his lifetime for his moody, dreamlike paintings, as well as his numerous commissioned portraits, designs for costumes and sets for the theater and opera, photography, sculpture, book illustrations, and writings. Khnopff was a reclusive personality, and in 1900 he focused his attention on the design and construction of a lavish, secluded home and studio in Brussels, a structure that became deeply entwined with the artist's work and sense of self. Although the house was demolished in 1936, Draguet uses new archival research to reconstruct its spaces and explore the home as emblematic of the artist, guiding the reader through Khnopff's very personal world and analyzing his art in the context of its generative surroundings. Distributed for Mercatorfonds

The work of Robert Rauschenberg has had a profound impact on avant-garde art from the 1950s onwards. A pioneer of multimedia are, this book explores his experimentations from his Combines (works melding painting and sculpture), prints, silkscreen paintings to his use of technology and his collaborations with choreographers such as Merce Cunningham and Trisha Brown. This book explores his work.

By what means did so much beauty and ingenuity appears in articles of everyday rural life in Portugal? How did the shape of these objects balance necessity and formal perfection so skillfully? This book explores the effect that generations of trial and error, individual craftsmanship, and an instinct to carve out the essential with the slenderest of means brought to objects that made life both livable and meaningful to a pre-industrial society. The objects photographed and described by designer Jasper Morrison may be appreciated both for their beauty and for the example they set of design at its purest.

From woodblock prints and porcelains to Hello Kitty, Issey Miyake and the Honda Civic, Japanese design has indelibly marked our everyday life for the past 150 years. This comprehensive history, the rst of its kind in English, explains the emergence, development and social, political and economic impact of areas including fashion, graphic, product and automotive design. From Japan's renewed internationalism in the nineteenth century to the present day, modern Japanese design is at once a local phenomenon, forged from speci c historical conditions in Japan and East Asia, and one with international in uences and implications. How did Japanese designers and manufacturers become world leaders in their elds? Designing Modern Japan demonstrates how geopolitics, the global market and new technologies led the Japanese government to identify design as an economic and diplomatic strategy in the 1860s. Colonial expansion and rising militarism affected design practice and material culture before 1945, and designers are inseparable from post-war Japan's remarkable economic growth.This book also explores design's potential to mitigate such contemporary challenges as an ageing population, economic stagnation and environmental crisis. Presenting source texts and images never before available in English, Designing Modern Japan offers unparalleled insight into the factors shaping design development in Japan, and indeed how design helped create the country as it is today. It will be essential reading for anyone interested in Japanese design, history and society, and in design's role in society and the economy more broadly.

This sophisticated artist's book, with custom-cut cover and partially exposed binding, documents John Bock's 2006 action, "Maltreated Frigate"--the height as well as the culmination of this rising German artist's performative work. Here, Bock's vision comes to life in a multitude of color illustrations composed and collaged by the artist. The libretto, printed in its entirety, explodes in linguistic fireworks and tumbles down the printed page, solid in its earthiness and ready to be constructed into a jumble of bizarre and whimsical neologisms--vivid testimony to the artist's zest for expression. "Maltreated Frigate" was performed as a spectacle in 10 scenes, a collision course of rock opera, Theater of the Absurd, animated sculpture and puppet show. This raucous volume invites the reader to accompany the artist and his protagonists along their tour-de-force, stream-of-consciousness action. It is a violent ride on a machine from hell, steered by an idiosyncratic inner logic.

The revelation of a misidentified face in a photograph-once thought to be Vincent, now known to be Theo van Gogh-leads to a novelesque story of revised art history Full of surprising anecdotes, this book tells the story of the discovery in 2018 that one of only two known photographs of Vincent van Gogh (1853-1890) is, in fact, of his brother, Theo. The detective-style narrative continues from there to Samuel Delsaut, who found two drawings attributed to Van Gogh in 1958. The archives of the Delsaut family revealed details casting doubt on the authenticity of these drawings, along with abundant correspondence between Samuel's son and the son of Dr. Paul Gachet, who cared for Van Gogh in Auvers-sur-Oise. A real-life lesson in historical criticism, this book, beautifully illustrated with reproductions of Van Gogh's work, has resonance with our contemporary predicament distinguishing information from rumor, journalism from propaganda. Distributed for Mercatorfonds

Silvio Gaggi's survey of the vast terrain of twentieth century arts and ideas is unique not only for its scope but also for the clarity and cohesiveness it brings to wide-ranging, seemingly disparate works. By identifying underlying epistemological, aesthetic, and ethical issues. Gaggi draws connections among such modern and postmodern masterpieces as Pirandello's and Brecht's theater, Fowles's and Barth's fiction, Warhol's paintings, Godard's and Bergman's films, and Derrida's literary theory. Modern/Postmodern begins with a discussion of the profound skepticism-about traditional beliefs and about our ability to know the self-that lies at the heart of both modernism and postmodernism. Gaggi identifies the modernist response to this doubt as the rejection of mimesis in favor of a purely formalistic or expressionistic art. The postmodern response, on the other hand, is above all to create art that is self-referential (concerned with art itself, the history of art, or its processes). Drawing from the work of Piranadello and Brecht, paradigms that can be applies to many different art works, Gaggi emphasizes how these works from diverse media relate to one another and what their relationships are to the contemporary artistic and philosophical climate. He concentrates on the works themselves, but examines theory as a parallel manifestation of the same obsessions that inform recent literature and art. Gaggi asks, finally, if self-referential art can also be politically and ethically engaged with the reality outside it. He concludes that the postmodern obsession with language, narrativity, and artifice is not necessarily a decadent indulgence but is, at its best, an honest inquiry into the problems, questions, and paradoxes of language. Modern/Postmodern is a lively approach to postmodern art that will interest all students and scholars of contemporary art and literature.

Numerous American women artists built successful professional careers in the mid-twentieth century while confronting challenging cultural transitions: shifts in stylistic avant-gardism, harsh political transformations, and changing gender expectations for both women and men. These social and political upheavals provoked complex intellectual and aesthetic tensions. Critical discourses about style and expressive value were also renegotiated, while still privileging masculinist concepts of aesthetic authenticity. In these contexts, women artists developed their careers by adopting innovative approaches to contemporary subjects, techniques, and media. However, while a few women working during these decades have gained significant recognition, many others are still consigned to historical obscurity. The essays in this volume take varied approaches to revising this historical silence. Two focus on evidence of gender biases in several exhibitions and contemporary critical writings; the rest discuss individual artists' complex relationships to mainstream developments, with attention to gender and political biases, cultural innovations, and the influence of racial/ethnic diversity. Several also explore new interpretative directions to open alternative possibilities for evaluating women's aesthetic and formal choices. Through its complex, nuanced approach to issues of gender and female agency, this volume offers valuable and exciting new scholarship in twentieth-century American art history and feminist studies.

Science and art are both manifestations of beauty and creativity. Both are related to nature and are products of evolution. Understanding natural phenomena and the appreciation of beauty has conferred an evolutionary advantage to the human species. As mankind has evolved intellectually and socially and as science has progressed, artistic creations by humans have tended towards increasing harmony with nature and they have become more abstract - like mathematics, which is the abstraction of all sciences. The authors of this unusual work postulate some critical ideas on science, art and aesthetics, and establish that we need both, a scientific temper and the temper of art. Evidence to support these theses is drawn from mathematics, physics, studies in molecular biology, and also from music, fine art and design. Readers are taken through lucid prose with the help of illustrations of natural phenomenon such as spiral galaxies, spider web, the Fibonacci series and fractals in lightning, and of products of human creativity such as paintings of masters like Picasso, Husain and Escher, musical pieces, textile fragments and Ajanta caves frescoes.

In 1954, following her death, Frida Kahlo's possessions were locked away in the Casa Azul in Mexico City, her lifelong home. Half a century later, her collection of clothing, jewellery, cosmetics and other personal items was rediscovered. Frida Kahlo: Making Her Self Up offers a fresh perspective on the life story of this extraordinary artist, whose charisma and entirely individual way of dressing made her one of the most photographed women of her time. Specially-commissioned photographs show her distinctive Mexican outfits alongside her self-portraits, an unprecedented pairing that is enriched by iconic images taken in her lifetime.

Few creative alliances flourished as productively as that of the artist Georgia O'Keeffe and the photographer Alfred Stieglitz. Author Peter-Cornell Richter examines the lives of these artists to reveal the roads they took together and independently. Alternating biographical chapters interweave their stories. More than fifty exquisite reproductions of their paintingsand photographs illustrate how the two artists inspired and influenced each other, producing masterpieces of lasting relevance.

The significant influence of the periodical Signature on fine art has long been overlooked. While few people nowadays will have read it, no journal has greater claim to have stimulated the taste that became British neo-romanticism in the mid-20th century. Oliver Simon, its editor, publisher, patron and printer was something of an enigma. Although shy, he somehow knew 'everyone' in the London literary and arts scene during the 1930s and 40s. So outwardly conservative to be dubbed 'the archbishop' by Ben Nicholson, Oliver elicited adventurous art from his artist contributors to Signature. The Signature artists were fellow travellers on a journey: young artists working in commercial art to pay the bills. Having mastered graphic techniques for applied purposes they then began to apply what they learned to their own artwork. Then they went off to War... Those interested in the work of Paul Nash, John Piper, Graham Sutherland, Edward Bawden, and Barnett Freedman will enjoy the story of the influence and fellowship of Oliver Simon, Signature, and the Curwen Press, on their art.

In Minor China Hentyle Yapp analyzes contemporary Chinese art as it circulates on the global art market to outline the limitations of Western understandings of non-Western art. Yapp reconsiders the all-too-common narratives about Chinese art that celebrate the heroic artist who embodies political resistance against the authoritarian state. These narratives, as Yapp establishes, prevent Chinese art, aesthetics, and politics from being discussed in the West outside the terms of Western liberalism and notions of the "universal." Yapp engages with art ranging from photography and performance to curation and installations to foreground what he calls the minor as method-tracking aesthetic and intellectual practices that challenge the predetermined ideas and political concerns that uphold dominant conceptions of history, the state, and the subject. By examining the minor in the work of artists such as Ai Weiwei, Zhang Huan, Cao Fei, Cai Guo-Qiang, Carol Yinghua Lu, and others, Yapp demonstrates that the minor allows for discussing non-Western art more broadly and for reconfiguring dominant political and aesthetic institutions and structures.

Mycket har skrivits om de charmiga artisterna i Rackstad. Fakta har blandats med fantasifulla bera ttelser, och allt har fa tt ett legendens skimmer. Ut ur detta myller av skildringar har jag framforskat, bekra ftat, samlat information och stoff till Rackstaddansen under 25 a r. Pa sa sa tt kan boken vara en resurs fo r konsta lskare fra n hela va rlden som la ser svenska eller engelska da den a ven ges ut som The Rackstad Dance. Som barnbarn till tva av skaparna, upplevde jag konstna rerna och hantverkarna och kan se framfo r mig hemmiljo er och situationer, ho ra ljudet av artisternas ro ster och minnas gester och kroppsspra k. Konstverket runt omslaget symboliserar den skickliga blandningen av konst och hantverk som Rackstadskonstna rskoloni stod fo r. Den enasta ende bonaden skapades i Sandstaberg vid Racken 1906 av syskonen Sahlstro m. Senapsfa rgen fo resta ller ljuset fra n brasan och de ro da figurerna a r va nnerna som byggde en dynamisk gemenskap av estetisk energi; la ngdansen a r det fantasirika samspelet av hantverksexpertis och konstna rlig inspiration vilket ta nde skapargnistan i kretsen runt Taserud, Myra, Rackstad, Perserud, La ngvak, Mangskog och la ngt vidare.

Provides a single-volume introduction to the important connection of Frankfurt School thought and modernist culture Tyrus Miller's book offers readers a focused introduction to the Frankfurt School's important attempts to relate the social, political, and philosophical conditions of modernity to innovations in twentieth-century art, literature, and culture. The book pursues this interaction of modernity and modernist aesthetics in a two-sided, dialectical approach. Not only, Miller suggests, can the Frankfurt School's penetrating critical analyses of the phenomena of modernity help us develop more nuanced, historically informed and contextually sensitive analyses of modernist culture; but also, modernist culture provides a field of problems, examples, and practices that intimately affected the formation of the Frankfurt School's theoretical ideas. The individual chapters, which include detailed discussions of Walter Benjamin, Theodor Adorno, Herbert Marcuse as well as a survey of later Frankfurt School influenced thinkers, discuss the ideas of a given figure with an emphasis on particular artistic media or contexts: Benjamin with lyric poetry and architecture as urban art forms; Adorno with music; Marcuse with the liberationist art performances and happenings of the 1960s. Key Features: Introduces well-studied major figures such as Benjamin and Adorno in a new light, while connecting their ideas with problems in modernist art and culture Offers a clear, thorough, and relevant survey of major ideas and figures Provides a revisionary view of the rigorous connection of Frankfurt School theory and modernist culture

This monograph of an innovative art installation documents not only the installation itself but also the visitors' interaction with it. The Wishing Ceremony consisted of six booths, each filled with wishing tokens and the wishes of past visitors; new viewers were encouraged to leave their wishes there as well, becoming part of the exhibit. The wishes, reproduced in this book, range from the mundane to the profound and allow an intimate glimpse at a common humanity.