Some artists have an inclination towards violence, with art helping to mitigate or redirect their destructive energy. For others, their art helps them gain power over or make sense of violent environs. Finally, for some violent perpetrators, art simply mirrors and even perpetuates their psychopathic cycles. Through it all, The Frenzied Dance of Art and Violence explores - and seeks to understand - these interrelated paths of destruction and creation. To inform this dynamic, Dr. David E. Gussak relies on various psychological and sociological perspectives of violence and aggression. Beginning with brief psychobiographies of violent artists, such as Caravaggio, Cellini, Pollock, and Dali, and those whose work emerged from violence, such as Goya, Beckmann, Picasso, and Vann Nath, among others, Gussak illustrates a potent dual nature of art-making: as a way to mitigate violent inclinations and as a tool to regain control amidst turmoil. From here, the book provides an in-depth look at our society's fascination with the products of violent perpetrators in the form of murderabilia, as the art of serial killers such as Gacy, Manson, and Rolling finds its way to art collections, feeding into perpetrators' narcissism and psychopathy. The book concludes with Gussak's reflections from his thirty years as an art therapist working with violent offenders on how art can be used as a therapeutic tool to assuage violence and aggression and promote peace in volatile situations. The Frenzied Dance of Art and Violence is a far-reaching and thought-provoking examination of the competing and complex impulses motivating artwork and those who make it.

Kosher USA follows the fascinating journey of kosher food through the modern industrial food system. It recounts how iconic products such as Coca-Cola and Jell-O tried to become kosher; the contentious debates among rabbis over the incorporation of modern science into Jewish law; how Manischewitz wine became the first kosher product to win over non-Jewish consumers (principally African Americans); the techniques used by Orthodox rabbinical organizations to embed kosher requirements into food manufacturing; and the difficulties encountered by kosher meat and other kosher foods that fell outside the American culinary consensus. Kosher USA is filled with big personalities, rare archival finds, and surprising influences: the Atlanta rabbi Tobias Geffen, who made Coke kosher; the lay chemist and kosher-certification pioneer Abraham Goldstein; the kosher-meat magnate Harry Kassel; and the animal-rights advocate Temple Grandin, a strong supporter of shechita, or Jewish slaughtering practice. By exploring the complex encounter between ancient religious principles and modern industrial methods, Kosher USA adds a significant chapter to the story of Judaism's interaction with non-Jewish cultures and the history of modern Jewish American life as well as American foodways.

More than mere entertainment, German theater was a crucial component of culture-often influencing society and politics in German-speaking countries-whose influence gradually reached much further with the emergence of outstanding playwrights like Goethe, Schiller, Hauptmann, and Brecht, as well as exceptional dramas such as Faust and The Threepenny Opera. The A to Z of German Theater covers the field of theater performance in the German language, concentrating on German-speaking Europe, through a chronology, an introductory essay, a bibliography, and several hundred cross-referenced dictionary entries on significant playwrights, directors, producers, designers, actors, plays, theaters, cities, dramatic genres, and movements such as the Sturm und Drang, Naturalism, and Expressionism.

War has always been close to the centre of British culture, but never more so than in the period since 1850. "Warrior Nation" explores the way in which images of battle, both literary and visual, have been constructed in British fiction and popular culture since this time. The rise of war reporting has helped to shape a society fascinated by conflict, and the development of mass communications has aided in the creation of mass-produced martial heroes and the relation of epic adventures for political ends. To achieve national goals, the notion of war has been promoted as an activity of high adventure and chivalrous enterprise and as a rite of passage to manhood. Using a wide range of media, Michael Paris focuses on how war has been "sold" to boys and young men and examines the "warrior" as a masculine ideal.

"Nature, thou art my goddess"-Edmund's bold assertion in King Lear could easily inspire and, at the same time, function as a lamentation of the inadequate respect of nature in culture. In this volume, international experts provide multidisciplinary exploration of the insubordinate representations of nature in modern and contemporary literature and art. The work foregrounds the need to reassess how nature is already, and has been for a while, striking back against human domination. From the perspective of literary studies, art, history, media studies, ethics and philosophy, and ethnology and anthropology, Avenging Nature highlights the need of assessing insurgent discourses that-converging with counter-discourses of race, gender or class-realize the empowerment of nature from its subaltern position. Acknowledging the argument that cultural representations of nature establish a relationship of domination and exploitation of human discourse over nonhuman reality and that, in consequence, our regard for nature as humanist critics is instrumental and anthropocentric, the present volume advocates for the view that the time has come to finally perceive nature's vengeance and to critically probe into nature's ongoing revenge against the exploitation of culture.

This publication aims to disseminate the MACBA Collection with a generous selection of 191 works by 131 artists that make up the lines of work and areas of interest pf the Museum. The works are reproduced in color and in large format. The design is by Filiep Tacq.The book further includes texts by Barenblit Ferran, Ainhoa Grandes, Ivo Mesquita, Chris Dercon and Antonia Ma Perello. Marello. It also incorporates a chronology about the history of the MACBA Collection and its different presentations, covering 1985 to present. All works reproduced are explained with short texts within the listed works.

With Artist as Author, Christa Noel Robbins provides the first extended study of authorship in mid-20th century abstract painting in the US. Taking a close look at this influential period of art history, Robbins describes how artists and critics used the medium of painting to advance their own claims about the role that they believed authorship should play in dictating the value, significance, and social impact of the art object. Robbins tracks the subject across two definitive periods: the "New York School" as it was consolidated in the 1950s and "Post Painterly Abstraction" in the 1960s. Through many deep dives into key artist archives, Robbins brings to the page the minds and voices of painters Arshile Gorky, Jack Tworkov, Helen Frankenthaler, Kenneth Noland, Sam Gilliam, and Agnes Martin along with those of critics such as Harold Rosenberg and Rosalind Krauss. While these are all important characters in the polemical histories of American modernism, this is the first time they are placed together in a single study and treated with equal measure, as peers participating in the shared late modernist moment.

What are the 100 most important masterpieces from the Netherlands and Flanders created between 1400 and 1750? In this well illustrated book, over 100 curators from CODART, an international network for museum curators of Dutch and Flemish art, has compiled a canon of the best works from museums around the world. Each painting, drawing, sculpture or print on the list is profiled, with commentary by the curators. Included are works by Rubens, Rembrandt, Bruegel, Van Eyck, Hals, Memling, Vermeer, Metsu, de Hooch, Steen, and many more.

What is the significance of the visual representation of revolution? How is history articulated through public images? How can these images communicate new histories of struggle? Imprints of Revolution highlights how revolutions and revolutionary moments are historically constructed and locally contextualized through the visual. It explores a range of spatial and temporal formations to illustrate how movements are articulated, reconstituted, and communicated. The collective work illustrates how the visual serves as both a mobilizing and demobilizing force in the wake of globalization. Radical performances, cultural artefacts, architectural and fashion design as well as social and print media are examples of the visual mediums analysed as alternative archives that propose new understandings of revolution. The volume illustrates how revolution remains significant in visually communicating and articulating social change with the ability to transform our contemporary understanding of local, national, and transnational spaces and processes.

The Other Transatlantic is attuned to the brief but historically significant moment in the postwar period between 1950 and 1970 when the trajectories of the Central and Eastern European art scenes on the one hand, and their Latin American counterparts on the other, converged in a shared enthusiasm for Kinetic and Op Art. As the axis connecting the established power centers of Paris, London, and New York became increasingly dominated by monolithic trends including Pop, minimalism, and conceptualism another web of ideas was being spun linking the hubs of Warsaw, Budapest, Zagreb, Buenos Aires, Caracas, and Sao Paulo. These artistic practices were dedicated to what appeared to be an entirely different set of aesthetic concerns: philosophies of art and culture dominated by notions of progress and science, the machine and engineering, construction and perception. This book presents a highly illustrated introduction to this significant transnational phenomenon in the visual arts.

A new interpretation of the development of artistic modernity in eighteenth-century France What can be gained from considering a painting not only as an image but also a material object? How does the painter's own experience of the process of making matter for our understanding of both the painting and its maker? The Painter's Touch addresses these questions to offer a radical reinterpretation of three paradigmatic French painters of the eighteenth century. In this beautifully illustrated book, Ewa Lajer-Burcharth provides close readings of the works of Francois Boucher, Jean-Simeon Chardin, and Jean-Honore Fragonard, entirely recasting our understanding of these painters' practice. Using the notion of touch, she examines the implications of their strategic investment in materiality and sheds light on the distinct contribution of painting to the culture of the Enlightenment. Lajer-Burcharth traces how the distinct logic of these painters' work-the operation of surface in Boucher, the deep materiality of Chardin, and the dynamic morphological structure in Fragonard-contributed to the formation of artistic identity. Through the notion of touch, she repositions these painters in the artistic culture of their time, shifting attention from institutions such as the academy and the Salon to the realms of the market, the medium, and the body. Lajer-Burcharth analyzes Boucher's commercial tact, Chardin's interiorized craft, and Fragonard's materialization of eros. Foregrounding the question of experience-that of the painters and of the people they represent-she shows how painting as a medium contributed to the Enlightenment's discourse on the self in both its individual and social functions. By examining what paintings actually "say" in brushstrokes, texture, and paint, The Painter's Touch transforms our understanding of the role of painting in the emergence of modernity and provides new readings of some of the most important and beloved works of art of the era.

In 1978, Zofia Rydet (1911 97) began work on a monumental project that would come to be known as her "Sociological Record": photographing the people of Poland at their homes, she produced an extraordinary archive of around twenty thousand negatives. The images include faces, interiors, furnishings, and more. The undertaking consumed Rydet so completely that she was never able to give it final shape through a book or an art show.Object Lessons, a new volume of essays inspired by an exhibition at the Museum of Modern Art in Warsaw, helps to dispel the myths that have formed around the project in recent years and introduces the photographer to a new global audience. The essays here contextualize and interpret "Sociological Record" from different perspectives, opening up the work to further inquiry as both an object of interpretation and a subject of theoretical interest. Rydet herself remained unresolved over the matter of how to define her work, leaving the viewer to ponder whether her magnum opus is a piece of art or science. What does remain undisputed is that "Sociological Record" is a striking testimony of its time. A fascinating celebration of Rydet's work that is sure to spur on fresh debate about art as a social practice and a tool of knowledge, Object Lessons reminds us of photography's incredible power to provide a visual way of thinking and a provocative method for archiving the world.

'To know his work without his talk is "not to know him" ...only when they are side by side is the common origin and aim seen and the complete man displayed.' Thus Thomas Rooke, studio assistant to Burne-Jones, who over four years memorised and recorded much of his master's studio and lunch-table talk. The man revealed with startling freshness and immediacy is far from the familiar painter of knightly melancholy and abstract angels. Burne-Jones emerges as a loveable and charming man, far more practical and down-to-earth, far more witty and ironic than might have been expected. He may still regret that he was not born in the Middle Ages and reminisce about the golden years with William Morris and Dante Gabriel Rossetti in the 1850's and 60's. But he is still hard at work on his last great collaboration with Morris, the Kelmscott Chaucer, while not hesitating to fulminate about Britain's imperial pretensions and the hypocrisy that accompanied them. And he is unfailingly articulate when it comes to discussing the craft of painting in relation to himself, his contemporaries and the giants of the past. The conversations are edited by Mary Lago, Professor of English at the University of Missouri-Columbia, who also wrote extensively on William Rothenstein, Rabindranath Tagore and E. M. Forster.

A history of the evolving field of African art. This book examines the invention and development of African art as an art historical category. It starts with a simple question: What do we mean when we talk about African art? By confronting the historically shifting answers to this question, Peter Probst identifies "African art" as a conceptual vessel that manifests wider societal transformations. What Is African Art? covers three key stages in the field's history. Starting with the late nineteenth through the mid-twentieth centuries, the book first discusses the colonial formation of the field by focusing on the role of museums, collectors, and photography in disseminating visual cultures as relations of power. It then explores the remaking of the field at the dawn of African independence with the shift toward contemporary art and the rise of Black Atlantic studies in the 1970s and 1980s. Finally, it examines the post- and decolonial reconfiguration of the field driven by questions of representation, repair, and restitution.

The expansion of Marvel and DC Comics' characters such as Black Panther, Luke Cage, and Black Lightning in film and on television has created a proliferation of poetry in this genre-receiving wide literary and popular attention. This groundbreaking collection highlights work from poets who have written verse within this growing tradition, including Terrance Hayes, Lucille Clifton, Gil Scott-Heron, A. Van Jordan, Glenis Redmond, Tracy K. Smith, Teri Ellen Cross Davis, Joshua Bennett, Douglas Kearney, Tara Betts, Frank X Walker, Tyree Daye, and others. In addition, the anthology will also feature the work of artists such as John Jennings and Najee Dorsey, showcasing their interpretations of superheroes, Black comic characters, Afrofuturistic images from the African diaspora.

This book examines the domains of public space and the private, domestic realm and the interstices between them by focusing on ways that women enter the public arena while using the domestic politics of the private one to propel them forward in their cause for social justice, equality, and citizenship. The subject is unique not only in its focus on the visual culture of first-wave feminists in Edwardian England with a comparator analysis, where appropriate, on feminist developments in France, but also in its attention to women's movements into the public arena in the late 20th/21st century more globally in the context of how they continue to honor this first-wave suffrage history. Women's bodies were and are at the center of every debate on women's rights worldwide. The present study connects the hard work of women activists in the streets of London, Paris and beyond in making their desires known.