No less versatile in his writing than in his installations, films, architecture, and sculpture, Liam Gillick unites his critical essays in this collection, most of which were originally printed in art magazines or exhibition catalogues. Lauded for his ingenious reinterpretation of Conceptual and Minimalist art, Liam Gillick has often used language, whether in type on a wall or on a page, as a site of artistic, theoretical, and political intervention. He reveals himself here as a witness of and major actor in the largely European 1990s art scene that included Philippe Parreno, Pierre Huyghe, Carsten H ller, Angela Bulloch, Douglas Gordon, and Rirkrit Tiravanija. A key publication of discussions, references, and artistic engagements of the 1990s, the book also allows an examination of the renewed importance at this time of Felix Gonzalez-Torres, John Baldessari, and Allen Ruppersberg.

After the stunning success of ""Classic New Zealand Poets in Performance AUP"" and editors Jack Ross and Jan Kemp now present readings on two CDs from a later generation of 27 poets born from 1944 to 1958. These are the great poets of the 1960s and 1970s such as Ian Wedde, Bill Manhire, Sam Hunt, Jan Kemp, Alan Brunton, as well as some whose names were made more recently such as Bernadette Hall, Stephanie de Montalk, Anne French and Keri Hulme. The CDs of the poets reading their own work are accompanied by a book of the texts of the poems reproducing them exactly as read, as well as brief biographies and bibliographies of each poet. The poets are arranged chronologically by date of birth and each reads for approximately five minutes in recordings made chiefly in 1974 and/or 2004. They were chosen for the quality and significance of their work and their commitment to voice and performance as an integral part of their poetry.

The power of the image of the nude--the expressivity of the flesh--has inspired artists from the beginning. An understanding of human form is essential for artists to be able to express themselves with the figure. Anatomy makes the figure. Human Anatomy for Artists: The Elements of Form is the definitive analytical work on the anatomy of the human figure.
No longer will working artists have to search high and low to find the information they need. In this, the most up-to-date and fully illustrated guide available, Eliot Goldfinger--sculptor, illustrator, scientific model-maker, and lecturer on anatomy--presents a single, all-inclusive reference to human form, capturing everything artists need in one convenient volume. Five years in the making, and featuring hundreds of photos and illustrations, this guide offers more views of each bone and muscle than any other book ever published: every structure that creates or influences surface form is individually illustrated in clear, carefully lit photographs and meticulous drawings. Informed by the detailed study of both live models and cadavers, it includes numerous unique presentations of surface structures--such as fat pads, veins, and genitalia--and of some muscles never before photographed. In addition, numerous cross sections, made with reference to CT scans, magnetic resonance imaging, and cut cadavers, trace the forms of all body regions and individual muscles. Information on each structure is placed on facing pages for ease of reference, and the attractive two-color format uses red ink to direct readers rapidly to important points and areas. Finally, an invaluable chapter on the artistic development of basic forms shows in a series of sculptures the evolution of the figure, head, and hands from basic axes and volumes to more complex organic shapes. This feature helps place the details of anatomy within the overall context of the figure.
Certain to become the standard reference in the field, Human Anatomy for Artists will be indispensable to artists and art students, as well as art historians. It will also be a useful aid for physical and dance therapists, athletes and their trainers, bodybuilders, and anyone concerned with the external form of the human body. With the renewed interest in figurative art today, this will be an especially welcome volume.

Contents Introduction vii Abbreviations xi List of Illustrations xiii 1. The Setting 1 2. The Puy Doors: Description and Style 11 3. Description and Iconography of the Scenes 35 4. The Place of the Doors in the History of the Cathedral 59 5. Chamalières 84 6. Blesle 117 7. Lavoûte-Chilhac 132 8. Gauzfredus and His Workshop 144 Appendix I. Epigraphy 155 Appendix II. The Lost South Transept Doors of the Cathedral 160 Index 163 Illustrations 169

Every material has an active presence and every material is susceptible to change. The task of the sculptor is to understand the natural properties of a chosen material, to know in the process of creation how best to work with, or against, its characteristics. In this generously illustrated studio manual, sculptor Oliver Andrews takes a new approach to sculpture, focusing on how the innate assertiveness of materials affects the complex act of making a sculpture.

An edited collection of essays exploring the work and legacy of the academic and theatre-maker Clive Barker. Together, the essays trace the development of his work from his early years as an actor with Joan Littlewood's company, Theatre Workshop, via his career as an academic and teacher, through the publication of his seminal book, Theatre Games (Methuen Drama). The book looks beyond Barker's death in 2005 at the enduring influence of his work upon contemporary theatre training and theatre-making. Each writer featured in the collection responds to a specific aspect of Barker's work, focusing primarily on his early and formative career experiences with Theatre Workshop and his hugely influential development of Theatre Games. The collection as a whole thereby seeks to situate Clive Barker's work and influence in an international and multi-disciplinary context, by examining not only his origins as an actor, director, teacher and academic, but also the broad influence he has had on generations of theatre-makers.

In the first comprehensive study of the interactions between fashion, performance and performativity, a group of international experts explore fashion as the ideal ‘complex space’ – or, in other words, the ideal space where performance and performativity come together, according to the works of seminal theorists Eve Kosofsky Sedgwick and Andrew Parker. Bringing together western and non-western, historical and contemporary case studies and theories, the book explores the magazines, photography, exhibitions, global colonial divides, digital media, and more, which have become key markers of the fashion industry as we know it today. Using existing literature as a springboard and incorporating perspectives from fashion studies, art history, media studies and gender studies, as well as from artists and practitioners, Fashion, Performance, and Performativity is an innovative and essential work for students, scholars and practitioners across multiple disciplines.

This book considers arousal as a mode of theoretical and artistic inquiry to encourage new ways of staging and examining bodies in performance across artistic disciplines, modern history, and cultural contexts. Looking at traditional drama and theatre, but also visual arts, performance activism, and arts-based community engagement, this collection draws on the complicated relationship between arousing images and the frames of their representability to address what constitutes arousal in a variety of connotations. It examines arousal as a project of social, scientific, cultural, and artistic experimentation, and discusses how our perception of arousal has transformed over the last century. Probing “what arouses� in relation to the ethics of representation, the book investigates the connections between arousal and pleasures of voyeurism, underscores the political impact of aroused bodies, and explores how arousal can turn the body into a mediated object.

"The collection of seventeenth- and eighteenth-century French silver at the J. Paul Getty Museum is of exceptional quality and state of preservation. Each piece is remarkable for its beauty, inventive form, skillful execution, illustrious provenance, and the renown of its maker. This volume is the first complete study of these exquisite objects, with more than 250 color photographs bringing into focus extraordinary details such as minuscule makers' marks, inscriptions, and heraldic armorials. The publication details the formation of the Museum's collection of French silver, several pieces of which were selected by J. Paul Getty himself, and discusses the regulations of the historic Parisian guild of gold- and silversmiths that set quality controls and consumer protections. Comprehensive entries catalogue a total of thirty-three pieces with descriptions, provenance, exhibition history, and technical information. The related commentaries shed light on the function of these objects and the roles they played in the daily lives of their prosperous owners. The book also includes maker biographies and a full bibliography. "

This important book offers a thematic collection of critical essays, ideal for undergraduate courses on modern British theatre, on Harold Pinter’s theatrical works, alongside new interviews with contemporary theatre practitioners. The life and works of Harold Pinter (1930–2008), a pivotal figure in twentieth- and twenty-first century British theatre, have been widely discussed, debated and celebrated internationally. For over five decades, Pinter’s work traversed and redefined various forms and genres, constantly in dialogue with, and often impacting the work of, other writers, artists and activists. He is today considered one of the most important British playwrights ever to have lived. Through combining a reconsideration of key Pinter scholarship with new contexts, voices and theoretical approaches, it opens up fresh insights into the author’s work, politics, collaborations and his enduring status as one of the world’s foremost twentieth-century dramatists. Divided into three parts, the book is compiled of a collection of chapters that re-contextualize Pinter as a cultural figure; explore and interrogate his influence on contemporary British playwriting; and offer a series of original interviews with theatre-makers engaging in the staging of Pinter’s work today. Reconsiderations of Pinter’s relationship to literary and theatrical movements such as Modernism and the Theatre of the Absurd; interrogations of the role of class, elitism and religious and cultural identity sit alongside chapters on Pinter’s personal politics, specifically in relation to the Middle East.

Peter Weibel, the long-standing CEO of the ZKM | Zentrum fur Kunst und Medien (Center for Art and Media) in Karlsruhe, and the recipient of the Lovis-Corinth-Preis in 2020, has influenced the international scene of media art as an artist as well as a theorist and curator. His artistic oeuvre comprises conceptual art, performance, experimental film, video, and computer art as well as his exploration of music. This publication offers insight into Weibel's diverse work. One main area consists of works in which the artist takes up core questions about Europe. For example, his computer-video installation Die Vertreibung der Vernunft (The Expulsion of Reason) of 1993 thematizes the forced emigration of artists and intellectuals from Austria between 1933 and 1945. In other works critical of the system, which always question the usual concept of art as well, Weibel addresses migration, expulsion, war, and terrorism as well as economic and ecological catastrophes. Languages: English and German

In late 19th century England, Oscar Wilde popularized aestheticism, also known as art-for-art’s-sake – the idea that art, that beauty, should not be a vehicle for morality or truth, but an end in-and-of-itself. Rothko and Jackson Pollock enthroned the idea, creating paintings that are barely graded panels of color or wild splashes. Today, pop culture is aestheticism’s true heir, from the perfect charismatic emptiness of Ocean’s Eleven to the hyper-choreographed essentially balletic movements in the best martial arts movies. But aestheticism has a dark core, one that Social Justice Activists are now gathering to combat, revealing the damaging ideology reflected in or concealed by our most beloved pop culture icons. Taking Bryan Fuller’s television version of Hannibal “The Cannibal� Lecter as its main text – and taking Žižek-style illustrative detours into Malcolm in the Middle, Dark Knight Rises, Harry Potter, Interview with a Vampire, Dexter and more – this book marshals Walter Pater, Camille Paglia, Nietzsche, the Marquis de Sade, Kant and Plato, as well as Dante, Shakespeare, Milton, Blake, Baudelaire, Beckett, Wallace Stevens and David Mamet to argue that Fuller’s show is a deceptively brilliant advance of aestheticism, both in form and content – one that investigates how deeply art-for-art’s-sake, and those of us who consciously or unconsciously worship at its teat, are necessarily entwined with evil.

Leading Australian curator Felicity Fenner profiles activity-based and pop-up contemporary public art projects from Australia and around the globe. Running the City explores art projects that bring together diverse disciplines and cultures – including running, cycling, architecture and guerilla gardening. From runners taking to the streets of Sydney’s CBD in Runscape to Work No. 850 where athletes sprinted through the corridors of Tate Britain, the book surveys recent art projects that utilise the city both as subject matter and a site for art. Participatory, temporary and permanent community-driven art projects reveal how public space can be activated in ways that are original, subversive, fun and unexpected. The theme of running – both in the context of athleticism and agency – underscores the artworks here. More than just site-specific public art, the art projects examined in Running the City change the way we think about and inhabit our cities. Sales Points The popularity of events such as Vivid and the Biennale show how much public art and participatory art is enjoyed by the community. It is an engaging account that will appeal to the art and design community as well as anyone interested in how our urban spaces are planned. Felicity Fenner is a well-respected and high-profile Australian curator. Foreword from City of Sydney Lord Mayor, Clover Moore.

Helga Zahn (1936-1985) was one of the leading jewellery artists in Britain during the 1960s and 1970s. The autodidact, who was raised in Schwarzenbach an der Saale, had a preference for silver and natural materials such as pebbles. Her one-off jewellery is made unique by the clarity of simple geometric forms, the lightness and simplicity of the combinations, and a reduced colour palette. With novel systematic thinking, in the mid 1960s she revolutionised the studio jewellery movement that was forming across the globe. With around a hundred jewellery objects, this comprehensive review invites you on a journey of rediscovery and reappraisal of this exceptional artist.

An old graveyard, writes Ruth Little, is a cultural encyclopedia--an invaluable source of insight and information about the families, traditions, and cultural connections that shape a community. But although graveyards and gravemarkers have long been recognized as vital elements of the material culture of New England, they have not received the same attention in the South. Sticks and Stones is the first book to consider the full spectrum of gravemarkers, both plain and fancy, in a southeastern state. From gravehouses to cedar boards to seashell mounds to tomb-tables to pierced soapstones to homemade concrete headstones, an incredibly rich collection of gravemarker types populates North Carolina's graveyards. Exploring the cultural, economic, and material differences that gave rise to such variation, Little traces three major parallel developments: a tradition of headstones crafted of native materials by country artisans; a series of marble monuments created by metropolitan stonecutters; and a largely twentieth-century legacy of wood and concrete markers made within the African American community. With more than 230 illustrations, including 120 stunning photographs by Tim Buchman, Sticks and Stones offers an illuminating look at an important facet of North Carolina's cultural heritage.