Cybernetic-Existentialism: Freedom, Systems, and Being-for-Others in Contemporary Arts and Performance offers a unique discourse and an original aesthetic theory. It argues that fusing perspectives from the philosophy of Existentialism with insights from the 'universal science' of cybernetics provides a new analytical lens and deconstructive methodology to critique art. In this study, Steve Dixon examines how a range of artists' works reveal the ideas of Existentialist philosophers including Kierkegaard, Camus, de Beauvoir, and Sartre on freedom, being and nothingness, eternal recurrence, the absurd, and being-for-others. Simultaneously, these artworks are shown to engage in complex explorations of concepts proposed by cyberneticians including Wiener, Shannon, and Bateson on information theory and 'noise', feedback loops, circularity, adaptive ecosystems, autopoiesis, and emergence. Dixon's groundbreaking book demonstrates how fusing insights and knowledge from these two fields can throw new light on pressing issues within contemporary arts and culture, including authenticity, angst and alienation, homeostasis, radical politics, and the human as system.

Lucas Cranach the Elder (1472-1553) is the most influential painter of the German Reformation. In collaboration with Martin Luther (1483-1546), Cranach produced innovative paintings which made the complex ideas of Lutheran Christianity understandable to a wide range of viewers and inspired later generations of artists. Despite Cranach's crucial role as an interpreter of Lutheran ideas, his Reformation paintings remain unfamiliar to many American scholars. Lucas Cranach the Elder: Art and Devotion of the German Reformation presents Cranach's Reformation painting to a broader audience and explains the pictorial strategies Cranach devised to clarify and interpret Lutheran thought. For specialists in Reformation history, this study offers an interpretation of Cranach's art as an agent of religious change. For historians and students of Renaissance art, this study explores the defining work of a major sixteenth-century artist. The broad implications of the Reformation and Cranach's role in transforming religious art make this study suitable for readers with a general interest in history, religion, or art history.

Contents:
Introduction 1. Antiquity; Attitudes of the Bible; Classical Antiquity; Causes of blindness; Blindness and guilt; The blind seer; Ate 2. The Blind in the Early Christian World; The healing of the blind; Blindness and revelation; the story of Paul; A concluding observation 3. The Middle Ages; The Antichrist; Allegorical blindness; The blind beggar; The blind and his guide 4. The Renaissance and its Sequel; The blind beggar; Metaphocial blindness; The revival of the blind seer; Early secularization of the blind; The blind beggar in the seventeenth century 5. The Disenchantment of Blindness: Diderot's Lettre sur les aveugles

While information science draws distinctions between 'information', signals and data, artists from the 1960s to the present have questioned the validity and value of such boundaries. Artists have investigated information's materiality, in signs, records and traces; its immateriality, in hidden codes, structures and flows; its embodiment, in instructions, social interaction and political agency; its overload, or uncontrollable excess, challenging utopian notions of networked society; its potential for misinformation and disinformation, subliminally altering our perceptions; and its post-digital unruliness, unsettling fixed notions of history and place. This anthology provides the first art-historical reassessment of information-based art in relation to data structures and exhibition curation, examining landmark exhibitions and re-examining work by artists of the 1960s to early 1980s, from Les Levine and N.E.Thing Co. to General Idea and Jenny Holzer.David Askewold, Iain Baxter, Guy Bleus, Heath Bunting, CAMP (Shaina Anand & Ashok Sukumaran), Ami Clarke, Richard Cochrane, Rod Dickinson, Hans Haacke, Graham Harwood, Jenny Holzer, Joseph Kosuth, Christine Kozlov, Steve Lambert and the Yes Men, Oliver Laric, Les Levine, Laszlo Moholy-Nagy, Muntadas, Erhan Muratoglu, Raqs Media Collective, Erica Scourti, Stelarc, Thomson & Craighead, Angie Waller, Stephen Willats, Young-Hae Chang Heavy Industries, Elizabeth Vander Zaag. Writers include James Bridle, Matthew Fuller, Francesca Gallo, Lizzie Homersham, Antony Hudek, Eduardo Kac, Friedrich Kittler, Arthur and Marilouise Kroker, Scott Lash, Alessandro Ludovico, Jean-Francois Lyotard, Charu Maithani, Suhail Malik, Armin Medosch, Srinivas Aditya Mopidevi, Craig Saper, Jorinde Seijdel, Tom Sherman, Felix Stalder, McKenzie Wark, Benjamin Weil.

Why have some of the most interesting artists of our time committed themselves to some of the most devastating conflicts on Earth? Why are some of the most interesting artists of our time committed to engaging with conflict and exploitation around the world? Beautiful, Gruesome, and True tells the stories of three of them: Amar Kanwar makes riveting films about the destruction of rural India in the drive to extract natural resources. Teresa Margolles creates haunting installations from the traces of crime scenes and drug-related violence in Mexico. The anonymous collective Abounaddara has produced more than four hundred short films chronicling the uprising and civil war in Syria. Drawing on years of research and extensive reporting, Kaelen Wilson-Goldie vividly recounts how a group of "political" artists found ways to produce remarkable works of art that demand deliberate and methodical ways of thinking-works that are contemplative, thoughtful, even redemptive. "A gifted critic and a compelling journalist, Wilson-Goldie offers many important insights into the challenges these artists face in their confrontation with authority, repressive regimes, death, and violence. The story she tells could not be more timely." -Glenn D. Lowry, David Rockefeller Director, Museum of Modern Art

A collection of essays by art historians, anthropologists and commentators on contemporary visual culture on the theme of 'Location'.
Explores the theme of 'Location', including transatlantic exchanges and global connections, and the nature of hospitality that arises in acknowledging migration and diaspora
Questions how important location is in producing, understanding and curating art.
Contributors consider such topics as site-specificity, examinations of the trans-national/trans-cultural, how images/visual forms migrate, and the repositioning of ownership

The first book in over twenty-five years devoted solely to allegory and personification in art history, this anthology complements current literary and cultural studies of allegory. The volume re-examines early modern allegorical imagery in light of crucial material, contextual and methodological questions: how are allegories conceived; for whom; and for what purposes? Contributors consider a wide range of allegorical representations in the visual arts and material culture, of both early modern Europe and the colonial "New World" 1400-1800. Essays included here examine paintings, sculpture, prints, architecture and the spaces of public ritual while discussing the process and theory of interpretation, formation of audiences, reception history, appropriation and censorship. A special focus on the medium of the body in visual allegory unites the volume's diverse materials and methods.

Iago Triumphalis: The Function and Significance of Triumphal Imagery for Renaissance Rulers examines how independent rulers in fifteenth-century Italy used the motif of the Roman triumph for self-aggrandizement and personal expression. Triumphal imagery, replete with connotations of victory and splendor, was recognized during the Renaissance as a reflection of the glory of classical antiquity. Its appeal as a powerful visual bearer of meaning is evidenced by its appearance as a dominant theme in literature, architecture, and art. Rulers such as Alfonso of Aragon, Federico da Montefeltro, Sigismondo Malatesta, and Borso d'Este chose to incorporate the triumphal motif in major artistic commissions in which they were represented. They recognized that the image of the triumph could retain its classical associations while functioning as a highly personalized commentary.

Signs of Power in Habsburg Spain and the New World explores the representation of political, economic, military, religious, and juridical power in texts and artifacts from early modern Spain and her American viceroyalties. In addition to analyzing the dynamics of power in written texts, chapters also examine pieces of material culture including coats of arms, coins, paintings and engravings. As the essays demonstrate, many of these objects work to transform the amorphous concept of power into a material reality with considerable symbolic dimensions subject to, and dependent on, interpretation. With its broad approach to the discourses of power, Signs of Power brings together studies of both canonical literary works as well as more obscure texts and objects. The position of the works studied with respect to the official center of power also varies. Whereas certain essays focus on the ways in which portrayals of power champion the aspirations of the Spanish Crown, other essays attend to voices of dissent that effectively call into question that authority.

This books strength lies in its combination of approaches: Symbolism is viewed as a set of concepts and as an artistic climate. Its structure allows for the inclusion of artists not normally found in most Symbolist anthologies.

Featuring exclusive concept art, character and costume sketches, and vehicle and creature designs by the Lucasfilm art department, this official companion to Star Wars: The High Republic (Phase One) offers fans a definitive, behind-the-scenes look at an ambitious new era of Star Wars storytellingThe Art of Star Wars: The High Republic takes fans behind the scenes of Phase I of Lucasfilm Publishing's massive crossover story. Collecting the very best concept art of the new characters, worlds, ships, and creatures of The High Republic-designed jointly by the Lucasfilm Visualists and a team of legendary comic book and Star Wars artists, including Phil Noto, Iain McCaig, and Ryan Church, among many others-and presented alongside development materials and interviews with High Republic architects Claudia Gray (Star Wars The High Republic: Into the Dark), Justina Ireland (Star Wars The High Republic: A Test of Courage), Daniel Jose Older (Star Wars The High Republic: Race to Crashpoint Tower), Cavan Scott (Marvel Comics's The High Republic), and Charles Soule (Star Wars The High Republic: Light of the Jedi), The Art of Star Wars: The High Republic is an essential guide to the creation, design, and realization of a new era of Star Wars storytelling.The High Republic Phase I: Light of the Jedi finds the Jedi Order and the Galactic Republic at the height of their respective powers, but following the events of "The Great Disaster," the Jedi, led by Jedi Knights Avar Kriss, Loden Greatstorm, Keeve Trennis, and Stellan Gios and joined by a diverse group of Padawans and Jedi Masters, are confronted by the looming threat of the Nihil-a marauding group of Outer Rim anarchists who stand opposed to all the Galactic Republic represents. In The Art of Star Wars: The High Republic, readers will discover the origins of the fan-favorite new characters taking on this threat, as well as exciting new Lightsaber and weapon designs, beautifully rendered environments, and detailed models of Starlight Beacon-the shining symbol of hope in the Republic.The Art of Star Wars: The High Republic is the only book to explore all facets of the design and artistic direction of a story that spans comic books, novels, and young adult books, taking Star Wars fans of all ages on a deep dive into the development of the New York Times bestselling series.

"Art Deco Complete "is the last word in Art Deco, the most glamorous decorative arts style, and the one that shaped popular ideas of modern luxury. It covers furniture and interior decoration, sculpture, paintings, graphics, posters and bookbinding, glass, ceramics, lighting, textiles, metal work, and jewelry. It includes the work of all of the important Art Deco designers, from high-style French furniture makers to the creators of the popular "Streamline Moderne" style. And it is, in the spirit of Art Deco, a lavish and attractive book, as well as being authoritative and thorough. This 544-page volume includes more than 1,000 color images of classic Art Deco objects and spaces.
Its author is the colorful and experienced Alastair Duncan, who was for many years the expert who ran the twentieth-century decorative arts department at Christie's in New York. Duncan is the author of many well-known books on Art Deco and Art Nouveau. This book will stand as his monument to Art Deco.

McClean examines the way in which digital tools and forms have been challenging the established norms in art, film and performance, and looks at the way in which story has extended its boundaries by being taken up and explored in new forms and means of expression. She describes how she overcame her own reluctance to embrace the unknown, confronts the question of how well we are nurturing these exciting developments, challenges the entrenched position of status quo practitioners and looks ahead to the opportunities awaiting the makers and custodians of story.

John Castagno's Artists' Signatures and Monograms have become the standard reference source for galleries, museums, libraries, and collectors around the world. Whether used to identify, authenticate, or verify signatures and works of both well-known and little-known artists, Castagno's work has no equal. In the first volume of European Artists Signatures and Monograms, 1800-1990 (Scarecrow, 1990), Castagno provided identification for more than 4,800 artists' signatures, along with biographical information and reference sources. The second volume, published by Scarecrow in 2007, identified an additional 2,100 artists and featured 3,000 signature examples. This third volume features an additional 2,800 artists and signatures. In addition to the standard signature entries, the book features sections for monograms and initials, common surname signatures, alternative surname signatures, and illegible signatures. Less than five percent of the entries in this volume are listed in the original volumes and these are included to provide additional information about the artists. The use of European Artists III: Signatures and Monograms From 1800, A Directory provides the researcher a reference tool not duplicated elsewhere one that will save many hours of research."

The notion of a person--or even an object--having a "double" has been explored in the visual arts for ages, and in myriad ways: portraying the body and its soul, a woman gazing at her reflection in a pool, or a man overwhelmed by his own shadow. In this edited collection focusing on nineteenth- and twentieth-century western art, scholars analyze doppelgangers, alter egos, mirror images, double portraits and other pairings, human and otherwise, appearing in a large variety of artistic media. Artists whose works are discussed at length include Richard Dadd, Salvador Dali, Egon Schiele, Frida Kahlo, the creators of Superman, and Nicola Costantino, among many others.

Over the past three decades, guidance on the selection of art in hospitals has suggested realistic art that depicts soothing and comforting images such as tranquil waters, green vegetation, flowers, and open spaces. Based on these findings, curators have been cautioned to avoid art with uncertain meaning that risks upsetting viewers in stressful states. However, some hospitals exhibit ambiguous or abstract art and cite anecdotal evidence of its appropriateness for healthcare settings. More recent research is going beyond anecdotal evidence, and indicates that the ambiguity of meaning in abstract compositions can have positive effects. 'Purpose-built' Art in Hospitals is built on an international study of artwork in hospitals around the globe. Exploring 'purpose-built' (specially commissioned) artwork in hospitals through the dual lens of an artist and healthcare professional, Rollins identifies 15 specific 'purposes' of visual artwork in hospitals and presents a compelling case for their use that is grounded in research. The book builds the reader's understanding of the many functions of artwork in hospitals, with the goal of encouraging greater variety in art offerings to better serve the many diverse needs of patients, families, visitors and staff within the hospital environment.

For decades, artists and architects have struggled to relate to the Holocaust in visual form, resulting in memorials that feature a diversity of aesthetic strategies. In Memory Passages, Natasha Goldman analyzes both previously-overlooked and internationally-recognized Holocaust memorials in the United States and Germany from the postwar period to the present, drawing on many historical documents for the first time. From the perspectives of visual culture and art history, the book examines changing attitudes toward the Holocaust and the artistic choices that respond to it. The book introduces lesser-known sculptures, such as Nathan Rapoport's Monument to the Six Million Jewish Martyrs in Philadelphia, as well as internationally-acclaimed works, such as Peter Eisenman's Memorial to the Murdered Jews of Europe in Berlin. Other artists examined include Will Lammert, Richard Serra, Joel Shapiro, Gerson Fehrenbach, Margit Kahl, and Andy Goldsworthy.Archival documents and interviews with commissioners, survivors, and artists reveal the conversations and decisions that have shaped Holocaust memorials. Memory Passages suggests that memorial designers challenge visitors to navigate and activate spaces to engage with history and memory by virtue of walking or meandering. This book will be valuable for anyone teaching-or seeking to better understand-the Holocaust.

The first book in over twenty-five years devoted solely to allegory and personification in art history, this anthology complements current literary and cultural studies of allegory. The volume re-examines early modern allegorical imagery in light of crucial material, contextual and methodological questions: how are allegories conceived; for whom; and for what purposes? Contributors consider a wide range of allegorical representations in the visual arts and material culture, of both early modern Europe and the colonial "New World" 1400-1800. Essays included here examine paintings, sculpture, prints, architecture and the spaces of public ritual while discussing the process and theory of interpretation, formation of audiences, reception history, appropriation and censorship. A special focus on the medium of the body in visual allegory unites the volume's diverse materials and methods.

Used for self-exploration or divination, Tarot has, for more than a 500 years, been the most popular and accessible of all esoteric tools, looming large in today's mainstream culture. Why? Because the cards are inexpensive and easy to carry-a perfect traveling companion and, therefore, an invitation to a journey inward and out. Humans are drawn to playing games and feel driven to find meaning in the chaos of paradoxical signs. The vivid iconography of the "arcanas" speak to us like no other language, moving us to the core, weaving through each cards a universal story, a metaphorical pathway of transformation. This 400 page book presents for the first time a close look at 500 years of figurative card decks created or used for fortune telling, divinations, and oracle purposes and will explore, one card at the time, their iconographic roots at the cross-roads of the medieval imaginarium, Western esoteric wisdom, folklore, and also contemporary art and pop culture. With hundreds of images drawn from more than 100 decks, rarely published and often forgotten in library archives, it will offer the first visual history of tarot.

In these studies Gary Vikan has opened new perspectives on the daily life and material culture of Late Antiquity - more specifically, on icons and relics, and on objects revealing of the world of pilgrimage, the early cult of saints, and marriage. He contextualizes these familiar categories of object in the patterns of belief and ritual extracted from contemporary texts and the objects themselves, in order to understand their meaning within the everyday lives of those by whom and for whom they were made. The studies give a nuanced delineation of the inherently ambiguous boundary between conventional religion and magic, noting repeatedly those instances wherein the two are invoked in the same breath (and by way of the same art object), toward the same end. From this historically constructed matrix of art, belief, and ritual, the author derives an anthropologically defined paradigm of charisma and pilgrimage (applied in one essay, as an intriguing parallel, to deconstructing the world of a contemporary secular "saint," Elvis Presley).

Professor Slim deals here with the several roles that music can play in the artworks of the Renaissance, looking in particular at Italian painting of the 16th century. For understandable reasons, art historians sometimes neglect the role of music and, especially, that of musical notation when studying works of art. These studies not only identify musical compositions, wholly or partially inscribed in paintings - and tapestries, ceramics, prints as well - but also seek reasons why these particular musical compositions were included and analyse their relevance to the scene depicted. Furthermore, as many of these studies show, identifying a musical composition, especially if it has a text, leads to the formation of ideas about iconographical functions and thus augments interpretations of the visual art.