Reading Siva is an illustrated bibliography on the Hindu god Siva in the arts, crafts, coins, seals and inscriptions from South and Southeast Asia. It results from a century of ABIA bibliographic work and covers over 1500 academic publications since 1672. This scholarly and multi-disciplinary volume offers keyword-indexed annotations. The detailed indices on authors, geographic terms and subjects enable an easy search through the data. Links with the entries to resource repositories (such as JSTOR, Persee, Project MUSE, Academia.edu, ResearchGate and the Internet Archive) and links added to the sumptuous illustrations immediately take you to these resource sites.

Making Hip Hop Theatre is the essential, practical guide to making hip-hop theatre. It features detailed techniques and exercises that can guide creatives from workshops through to staging a performance. If you were inspired by Hamilton, Barber Shop Chronicles, Misty, Black Men Walking or Frankenstein: How to Make a Monster, this is the book for you. Covering vocal technique, use of equipment, mixing, looping, sampling, working with venues and dealing with creative challenges, this book is a bible for both new and experienced artists alike. Additionally, with links to online video material demonstrating and elaborating on the exercises included, it offers countless useful tools for teachers and facilitators of drama, music and other creative arts. Alongside this practical guidance is an overview of hip hop history, giving theoretical and historical context for the practice. From documentation of Conrad Murray’s major productions, to commentary from leading practitioners including Lakeisha Lynch-Stevens, David Jubb, Emma Rice, Tobi Kyeremateng and Paula Varjack, readers are treated to a detailed insight into the background of hip hop theatre. Edited by scholar Katie Beswick and genre pioneer Conrad Murray, Making Hip Hop Theatre is a vital teaching tool and provides a much-needed account of a burgeoning aspect of contemporary theatre culture.

Insists on the importance of embodiment and movement to the creation of Black sociality Linking African diasporic performance, disability studies, and movement studies, Falling, Floating, Flickering approaches disability transnationally by centering Black, African, and diasporic experiences. By eschewing capital’s weighted calculus of which bodies hold value, this book centers alternate morphologies and movement practices that have previously been dismissed as abnormal or unrecognizable. To move beyond binaries of ability, Hershini Bhana Young traverses multiple geohistories and cultural forms stretching from the United States and the Mediterranean to Sierra Leone, Nigeria, and South Africa, as well as independent and experimental film, novels, sculptures, images, dance, performances, and anecdotes. In doing so, she argues for the importance of differential embodiment and movement to the creation and survival of Black sociality, and refutes stereotypic notions of Africa as less progressive than the West in recognizing the rights of disabled people. Ultimately, this book foregrounds the engagement of diasporic Africans, who are still reeling from the violence of colonialism, slavery, poverty, and war, as they gesture toward a liberatory Black sociality by falling, floating, and flickering.

Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such. Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Muller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image.

In some post-industrial areas, re-designing structural interiors in an attractive way is becoming increasingly important to community members, as it helps promote local pride and a higher quality of life. Design Innovations for Contemporary Interiors and Civic Art examines novel techniques in structural designs in various cultural and social scenarios. Featuring innovative application methods, emergent trends, and research on tools being utilized in the field, this publication is a pivotal reference source for designers, researchers, practitioners, and professionals interested in interior design, urban culture, and structural aesthetics.

View the Table of Contents. Read the Introduction.

a[Duranteas] guidebook is a perfect walking-tour accompaniment to help New Yorkers and visitors find, identify and better appreciate statues famous and obscure (honoring, among others, the afather of gynecologya and the general who had an unremarkable military and business career but composed taps, the bugle call). . . . Durante winsomely places 54 monuments in historical and artistic perspective. We learn that a trumpet is an allegory for announcing fame, that the monument to Admiral Farragut in Madison Square Park altered the course of American sculpture, that the figure with the winged hat atop Grand Central Terminal is Mercury and that the statue of Atlas at Rockefeller Center was reviled when it was unveiled in 1937 because it supposedly resembled Mussolini. Letas hope Ms. Durante follows up in the other four boroughs.a
--"The New York Times"

aOutdoor Monuments of Manhattan is a primer on getting to know our city's monuments. . . . Each entry has a uniform structure. It contains a photo, vital stats (year dedicated, size, materials), an aAbout the Sculpturea section, and an aAbout the Subjecta section, as well as a carefully chosen boxed quotation culled from an old book or newspaper that pertains to the subject. . . . Outdoor Monuments of Manhattan is well written, well researched, well thought-out, funny, and often refreshingly original, and will help any interested New Yorker know about the wondrous monuments that dot the city.a
--"New York Sun"

aAnyone whose curiosity has ever been piqued by the peculiar mixture of historical statues that ornament the grounds of Central Park will find Outdoor Monuments byDianne Durante a satisfying read. . . . The entries provide background on each workas origin, explaining, for example, how a statue of the medieval Polish king Jagiello came to be in New York alongside more predictable allegorical and American patriotic figures. A brief history of the subject is also provided, including enough lively anecdotes and obscure facts to entice all readers.a
--"Sculpture Magazine"

a[Durante] tackles her task in the manner of a walking tour. . . . The language of the book is friendly and chatty, as if the author were in front of you, conducting an on-site lecture. . . . The purpose of the book is to encourage people to go and see the wealth of outdoor sculpture in Manhattan, and the book treats this purpose with the enthusiasm the subjects deserve.a
--"The Art Book"

Stop, look, and discover--the streets and parks of Manhattan are filled with beautiful historic monuments that will entertain, stimulate, and inspire you. Among the 54 monuments in this volume are major figures in American history: Washington, Lincoln, Lafayette, Horace Greeley, and Gertrude Stein; more obscure figures: Daniel Butterfield, J. Marion Sims, and King Jagiello; as well as the icons of New York: Atlas, Prometheus, and the Firemen's Memorial. The monuments represent the work of some of America's best sculptors: Augustus Saint Gaudens' Farragut and Sherman, Daniel Chester French's Four Continents, and Anna Hyatt Huntington's Jose Marti and Joan of Arc.

Each monument, illustrated with black-and-white photographs, is located on a map of Manhattan and includes easy-to-follow directions. All the sculptures are considered both as historical mementos and as art. We learn offurious General Sherman court-martialing a civilian journalist, and also of exasperated Saint Gaudens' proposing a hook-and-spring device for improving his assistants' artistic acuity as they help model Sherman. We discover how Lincoln dealt with a vociferous Confederate politician from Ohio, and why the Lincoln in Union Square doesn't rank as a top-notch Lincoln portrait. Sidebars reveal other aspects of the figure or event commemorated, using personal quotes, poems, excerpts from nineteenth-century periodicals ("New York Times," "Harper's Weekly"), and writers ranging from Aeschylus, Washington Irving, and Frederic-Auguste Bartholdi to Mark Twain and Henryk Sienkiewicz.

As a historical account, Outdoor Monuments of Manhattan: A Historical Guide is a fascinating look at figures and events that changed New York, the United States and the world. As an aesthetic handbook it provides a compact method for studying sculpture, inspired by Ayn Rand's writings on art. For residents and tourists, and historians and students, who want to spend more time viewing and appreciating sculpture and New York history, this is the start of a unique voyage of discovery.

In this compelling book Nigel Saul opens up the world of medieval gentry families, using the magnificent brasses and monuments of the Cobham family as a window on to the social and religious culture of the middle ages.

The Last Laugh is the first and only book to take readers deep into the bizarre universe of the standup comic, from the classic years of Milton Berle, Sid Caesar, and Shecky Greene, to today's comedy superstars. Phil Berger shows how styles and trends in standup have changed over the past fifty years, but how taking the stage in a comedy club is as tough as it's always been. Performers profiled in the book include Woody Allen, Lenny Bruce, George Carlin, Elaine Boosler, Robert Klein, Bill Cosby, Billy Crystal, Dick Gregory, Andy Kaufman, Steve Martin, Cheech and Chong, Eddie Murphy, and a host of others. Filled with comics' hilarious routines and anecdotes, this substantially updated edition also chronicles the lives and careers of more recent artists, including Richard Lewis and Jay Leno.

This book deals with the use of archaistic stylistic elements (i.e., those which revive or imitate features of Greek Archaic art) in free standing statuary dating from the second century B.C. to the third century A.C. The main objective of the study is to determine how the archaistic style was used, what prototypes were imitated, what subjects were represented, how the replicas of statue types were distributed, how these statues were displayed, and what prompted such stylistic anachronism.
The introductory chapter deals with general problems of archaism in ancient art and the specific questions pertaining to statuary in the round. The body of material, nearly three hundred pieces in all, is organized by type on the basis of pose and garment arrangement.
In a concluding chapter, evidence from the body of the study is collected and possible answers are suggested for the questions outlined above.
This study contributes to the currently widespread scholarly interest in stylistic revivals (especially classicism and archaism) which occurred not only in Roman times, but in earlier and later periods as well.

Explore the world of all three Total War: WARHAMMER games in this stunning compendium, packed with concept art, final designs, storyboards, and artist commentary. Total War: WARHAMMER is the award-winning PC strategy game trilogy from Creative Assembly. Set in the world of Warhammer Fantasy Battles, it combines grand campaigns of epic empire-building with battles of breathtaking scale, brimming with the warriors, wizards, and monsters that fans know and love. Delve into the rich lore of Games Workshop's world of Warhammer Fantasy Battles, as viewed through the Total War lens. Total War: WARHAMMER - The Art of the Games offers Creative Assembly's insights into the development of the series. Pore over concept sketches, texture studies, character art, and fully rendered paintings, accompanied by commentary from the artists themselves. Featuring artwork of iconic characters and scenes from parts I and II, as well as never-before-seen art from the trilogy's thundering grand finale, this coffee-table tome is an essential collector's item for any Warhammer or Total War fan.

Projected-image art occupies an increasingly important place in the contemporary art-world. But does the projected image have its own specificity, beyond the histories of experimental film and video on the one hand, and installation art on the other? What is a projected image, and what is the history of projected-image art? These questions and others are explored in this thoughtful collection of nine essays by leading international scholars of film and projected-image art. Clearly structured in three sections - 'Histories', 'Screen', 'Space' - the book argues for recognition of the projected image as a distinctive category in contemporary art, which demands new critical and theoretical approaches. The contributors explore a range of interpretive perspectives, offering new insights into the work of artists including Michael Snow, Carolee Schneemann, Pipilotti Rist, Stan Douglas, Gillian Wearing, Tacita Dean, Jane and Louise Wilson, amongst others. The Introduction supplies a concise summary of the history of projected-image art and its interpretation, and there is a focus throughout the book on detailed analysis of individual artworks. -- .

The Art of Cosmic Spectrum features the characters, worlds, and stories created by artist Yana Bogatch aka Cosmic Spectrum. Previously, she has self-published a graphic novel and two art books. Now, The art of Cosmic Spectrum showcases the artist’s entire story and demonstrates the development of her style and career, as well as brand new art and tutorial content. With character art and comics being her specialty, the book features an array of tips and techniques for drawing anatomy, gesture, and character details.  Sketchbook pages reveal Yana’s experience in animation and storyboarding; her use of both traditional and digital tools reveals the artist’s versatility. Storytelling and connecting with other people are vital to the artist, and readers will be fascinated to discover how she infuses her art with these motivations. Another way in which she shares her art is through her shop, where creativity and commercial success meet.  Yana’s energy, enthusiasm, and entrepreneurial spirit will encourage readers looking for way to transform their passion for art into a viable career while staying true to their style. The Art of Cosmic Spectrum is the creative inspiration and springboard every character artist needs.

Exploring everything from company incorporation and marketing, to legal, finance and festivals, Starting a Theatre Company is the complete guide to running a low-to-no budget or student theatre company. Written by an experienced theatre practitioner and featuring on-the-ground advice, this book covers all aspects of starting a theatre company with limited resources, including how to become a company, finding talent, defining a style, roles and responsibilities, building an audience, marketing, the logistics of a production, legalities, funding, and productions at festivals and beyond. The book also includes a chapter on being a sustainable company, and how to create a mindset that will lead to positive artistic creation. Each chapter contains a list of further resources, key terms and helpful tasks designed to support the reader through all of the steps necessary to thrive as a new organisation. An eResource page contains links to a wide range of industry created templates, guidance and interviews, making it even easier for you to get up and running as simply as possible. Starting a Theatre Company targets Theatre and Performance students interested in building their own theatre companies. This book will also be invaluable to independent producers and theatre makers.

A leading figure in the world of networked culture explores the artists and events that defined the mass medium of our time Since 1989, the year the World Wide Web was born, the art world has grappled with the rise of networked culture. This unprecedented survey of the artists and innovators in this area from 1989 to today is interwoven with the personal narrative of one of the leading voices on the digital world. In this book, Omar Kholeif, whose prolific career parallels the growth of the internet, tells the story of this mass medium and how it has fostered new possibilities for artists, both analog and digital. The book showcases work spanning a range of media from legendary artists including Lawrence Abu Hamdan, Lynn Hershman Leeson, Nam June Paik, Heather Phillipson, and Wu Tsang. Tracing the key artists and innovators from the emergence of browser-based art to the dawn of NFTs, this is a tale for the present and the future.

This book elucidates the technical aspects of improvised dance performance and reframes the notion of labour in the practice from one that is either based on compositionally formal logic or a mysterious impulse, to one that addresses the (in)corporeal dimensions of practice. Mobilising the languages and conceptual frameworks of theories of affect, embodied cognition, somatics, and dance, this book illustrates the work of specialist improvisers who occupy divergent positions within the complex field of improvised dance. It offers an alternative narrative of the history and current practice of Western improvised dance centred on the epistemology of its (in)corporeal knowledges, which are elusive yet vital to the refinement of expertise. Written for both a disciplinary-specific and interdisciplinary audience, this book will interest dance scholars, students, and practising artists.

Combining brand-new interviews, never-before-seen images and fascinating ephemera from her personal archives, this book creates a visual landscape of Marina Abramovic's personal and artistic life. Illustrated with more than 600 photographs, Abramovic provides insight on her most important works and some of her most difficult personal experiences, conveying the story with her signature emotion and wit. Fittingly blurring the lines between artist and art, this book acts as a keystone in the life of one of the most important performance artists in the world.

An international team of experts explores how streaming services are disrupting traditional storytelling. The rise of streaming has dramatically transformed how audiences consume media. Over the last decade, subscription video-on-demand (SVOD) services, including Netflix, Prime Video, and Disney+, have begun commissioning and financing their own original movies and TV shows, changing the way and the rate at which content is produced across the globe, from Mexico City to Mumbai. Streaming Video maps this international production boom and what it means for producers, audiences, and storytellers. Through eighteen richly textured case studies, ranging from original Korean dramas on Netflix to BluTV’s experimental Turkish series, the book investigates how streaming services both disrupt and maintain storytelling traditions in specific national contexts. To what extent, and how, are streamers expanding norms of television and film storytelling in different parts of the world? Are streamers enabling the creation of content that would not otherwise exist? What are the implications for different viewers, in different countries, with different tastes? Together, the chapters critically assess the impacts of streaming on twenty-first century audiovisual storytelling and rethink established understandings of transnational screen flows.

This comprehensive international bibliography is the first to attempt documentation of this diverse field, covering the history of Artist's Performance. It focuses on its early twentieth-century antecedents in such movements as Futurism, Dada, Russian Constructivism, and the Bauhaus as well as its peak period in the 1950s, 1960s, and 1970s with such developments as Gutai, Fluxus, Viennese Actionism, Situationism, and Guerrilla Art Action. Major emphasis is also given to sources on 115 individual performance artists and groups. More than 3700 entries document print and media materials dating from 1914 to 1992. Organized for maximum accessibility, the sources are also extensively cross-referenced and are indexed by artist, subject, title, and author. Three appendices identify reference works, libraries, and archives, and addenda material not found in the book text, and two others list artists by country and by group or collective.

Performance in the Museum charts the main stages of the inclusion of performance in the museum from the 1970s to the present day. While performance emerged in the late 1960s as an anti-institutional form of art, it has recently gained an extraordinary visibility in contemporary art museums. This book focuses on three specific areas affecting museums: how to display performance art; conservation of performance art; and acquisition. What emerges from this study is that the museum, although rarely anticipating the specific issues raised by performance, has assumed a unique position in devising curatorial strategies adapted to this medium. Through close analysis of a selection of exhibitions and curatorial practices from many different parts of the world, and from specific periods from the past fifty years, this book identifies key moments of the integration of performance in the museum, thus filling a crucial gap both in the history of performance and curatorial studies. Despite the recent surge of exhibitions on performance and the part played by museums in this phenomenon, the history of the display, the conservation and the acquisition of live performance remains largely uncharted. This book offers a thought-provoking and highly readable assessment of some fundamental questions in contemporary curatorial practice.