This book provides high school and undergraduate students, and other interested readers, with a comprehensive survey of science fiction history and numerous essays addressing major science fiction topics, authors, works, and subgenres written by a distinguished scholar. This encyclopedia deals with written science fiction in all of its forms, not only novels and short stories but also mediums often ignored in other reference books, such as plays, poems, comic books, and graphic novels. Some science fiction films, television programs, and video games are also mentioned, particularly when they are relevant to written texts. Its focus is on science fiction in the English language, though due attention is given to international authors whose works have been frequently translated into English. Since science fiction became a recognized genre and greatly expanded in the 20th century, works published in the 20th and 21st centuries are most frequently discussed, though important earlier works are not neglected. The texts are designed to be helpful to numerous readers, ranging from students first encountering science fiction to experienced scholars in the field. Provides readers with information about written science fiction in all its forms-novels, stories, plays, poems, comic books, and graphic novels Includes original interviews with major writers like Ted Chiang, Samuel R. Delany, Kim Stanley Robinson, and Connie Willis that are not available elsewhere Features numerous sidebars with additional data about various subjects and key passages from several classic works Includes hundreds of bibliographies of sources that provide additional information on various specific topics and the genre of science fiction as a whole

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.

From antiquity to the Enlightenment, astrology, magic, and alchemy have always been considered important tools in unravelling the mysteries of nature and human destiny. As a result of the West's exposure to the astrological beliefs of Arab philosophers and the mystical writings of late antiquity, these occult traditions became rich sources of inspiration for Western artists.This latest volume in the "Guide to Imagery" series, presents an intelligent analysis of occult iconography in many of the great masterpieces of Western art - from the astrological symbols that decorated churches and illuminated manuscripts, through the work of a wide range of Renaissance artists, including Bosch, Brueghel, Durer and Caravaggio, to the visionary works of nineteenth-century artists, such as Fuseli and Blake, as well as in the creative output of the Surrealists during the twentieth century.

Giosetta Fioroni is considered one of the most important figures in Italian painting of the postwar era. Her work is commonly associated with the Scuola di Piazza del Popolo group in Rome - which also included Mario Schifano, Tano Festa and Franco Angeli, among others - as well as with the advent of Pop art in Italy. Yet Fioroni's practice differs from those of her immediate contemporaries and from the overarching notion of Pop as it came to be understood in the English-speaking world. The divergences are most clearly pronounced in her persistent exploration of femininity, rooted in both her personal experiences and her interpretation of the category in popular culture. 'I have worked a lot, not on feminism but on femininity', Fioroni once explained. 'I would like to maintain a distinction. In a period of lively feminism, I was interested in the look, in the atmosphere tied to femininity.' Giosetta Fioroni: Alter Ego is the first publication to focus on feminist perspectives in the work of Fioroni. It includes an exclusive interview with the artist conducted by Hans Ulrich Obrist and a scholarly essay by Anna Dumont on the subject of gendered looking in Fioroni's portraits of women.

Well before Andy Warhol's rise to the pinnacle of Pop Art, he created and exhibited seductive drawings celebrating male beauty. Andy Warhol Love, Sex, & Desire: Drawings 1950-1962 features over three hundred drawings rendered primarily in ink on paper portraying young men, many of them nude, some sexually charged, and occasionally adorned with whimsical black hearts and delightful embellishments. They lounge or preen, proud of or even bored by their beauty, while the artist sketches them, rapt. They rarely engage with their keen observer, and likewise Warhol's focus is on their form, their erotic qualities, and unbridled sexuality. If his subjects are content to revel in their attractiveness, so too is Warhol. His confident hand illustrates a multitude of colorful characters, yet also reveals much about this enigmatic artist. Warhol was already a booming commercial illustrator when he exhibited studies from this body of work at the Bodley Gallery on New York's Upper East Side in 1956.He mistakenly saw these illustrations as his way of breaking into the New York art scene, underestimating the pervading homophobia of the time. While he never saw through his plan to publish the drawings as a monograph, he did produce more than a thousand elegant, seemingly effortless drawings from life. This volume finally brings his project to fruition by gathering his most striking images, published here for the first time in a comprehensive book and chosen by the Andy Warhol Foundation for the Visual Arts. Edited and featuring an introduction by the Foundation's Michael Dayton Hermann, and essays by Warhol biographer Blake Gopnik and art critic Drew Zeiba. The inclusion of poems by James Baldwin, Thom Gunn, Harold Norse, Essex Hemphill and Allen Ginsberg create moments of introspection, which expand on the themes and moods present in the drawings. In style, the drawings evoke the sketches of Jean Cocteau and even Matisse: highly distilled and sure of line, yet loose. The sly voyeurism, meanwhile, is entirely Warhol's own, and even the most risque drawings contain a kind of droll humor-a sense of ironic detachment-that would become a Warhol trademark. His confident hand illustrates a multitude of colorful characters, yet also reveals much about this enigmatic artist.

How do artists and writers engage with environmental knowledge in the face of overwhelming information about catastrophe? What kinds of knowledge do the arts produce when addressing climate change, extinction, and other environmental emergencies? What happens to scientific data when it becomes art? In Infowhelm, Heather Houser explores the ways contemporary art manages environmental knowledge in an age of climate crisis and information overload. Houser argues that the infowhelm-a state of abundant yet contested scientific information-is an unexpectedly resonant resource for environmental artists seeking to go beyond communicating stories about crises. Infowhelm analyzes how artists transform the techniques of the sciences into aesthetic material, repurposing data on everything from butterfly migration to oil spills and experimenting with data collection, classification, and remote sensing. Houser traces how artists ranging from novelist Barbara Kingsolver to digital memorialist Maya Lin rework knowledge traditions native to the sciences, entangling data with embodiment, quantification with speculation, precision with ambiguity, and observation with feeling. Their works provide new ways of understanding environmental change while also questioning traditional distinctions between types of knowledge. Bridging the environmental humanities, digital media studies, and science and technology studies, this timely book reveals the importance of artistic medium and form to understanding environmental issues and challenges our assumptions about how people arrive at and respond to environmental knowledge.

Examines the intersection of Samuel Beckett's thirty-second playlet Breath with the visual arts Samuel Beckett, one of the most prominent playwrights of the twentieth century, wrote a thirty-second playlet for the stage that does not include actors, text, characters or drama but only stage directions. Breath (1969) is the focus and the only theatrical text examined in this study, which demonstrates how the piece became emblematic of the interdisciplinary exchanges that occur in Beckett's later writings, and of the cross-fertilisation of the theatre with the visual arts. The book attends to fifty breath-related artworks (including sculpture, painting, new media, sound art, performance art) and contextualises Beckett's Breath within the intermedial and high-modernist discourse thereby contributing to the expanding field of intermedial Beckett criticism. Key Features Examines Beckett's ultimate venture to define the borders between a theatrical performance and purely visual representation Juxtaposes Beckett's Breath with breath-related artworks by prominent visual artists who investigate the far-reaching potential of the representation of respiration by challenging modernist essentialism The focus on this primary human physiological function and its relation to arts and culture is highly pertinent to studies of human performance, the nature of embodiment and its relation to cultural expression Facilitates new intermedial discourses around the nature and aesthetic possibilities of breath, the minimum condition of existence, at the interface between the visual arts and performance practices and their relation to questions of spectacle, objecthood and materiality

'There's something about the Whiteknights area that makes people stay here.' - From the Foreword by Fiona Talkington, BBC Radio 3 Presenter and long-term resident Two hundred years ago, the aptly named 'Southern Hill' that rises steeply from the edge of the river plain south of Reading was part of Whitley and largely farmland. However, its vistas, fresh air and proximity to the town led prominent Victorians to invest in and develop the area and their contributions have shaped it into the 'village within a town' that it is today. Schools, the University, hotels and a care home now occupy many of the sites originally owned by the town's famous industrialists and their elegant homes have been co-opted for community use which gives the area its unique aura of egalitarian refinement. Celebrated in the annual walking tour of artists' studios, the creative heart of the district beats stronger than ever and this book brings together 28 artists to respond in their own way and their own medium to the place we call 'Whiteknights'. And to give context to the artwork, local historians paint a fascinating picture of the Whiteknights estate that became the University campus, the buildings, the streets and the people who lived here. This joint venture from the Whiteknights Studio Trail, celebrating 20 years, and Two Rivers Press, publishing in the area for 25 years, pays tribute to the heritage we are privileged to be part of.

This book is the first to examine the meaning encoded in the very form of caricature, a form of popular and polemical visual art that burst suddenly on the scene in late eighteenth-century England, and to explain its rise as a consequence of the emergence of modernity, especially the modern self. Caricature and the modern self developed in tandem: as the modern notion of selfhood_with its valorization of interiority, private authenticity, and consistency across time_rather suddenly replaced older, more flexible notions of identity, so caricature developed as a technology for representing this new self, making character visible on the surface of the body, unmasking the public role and revealing the authentic private self beneath. Through the detailed analysis of specific prints and a wide-ranging compilation of historical evidence, this book constructs a rich and precise cultural history of the conceptual shift that led to the explosion of caricature in late eighteenth-century England. Complemented with seventy-eight illustrations.

Swiss artist HR Giger (1940-2014) is most famous for his creation of the space monster in Ridley Scott's 1979 horror sci-fi film Alien, which earned him an Oscar. In retrospect, this was just one of the most popular expressions of Giger's biomechanical arsenal of creatures, which consistently merged hybrids of human and machine into images of haunting power and dark psychedelia. The visions drew on demons of the past, harking back as far as Giger's earliest childhood fears as well as evoking mythologies for the future. Above all, they gave expression to the collective fears and fantasies of his age: fear of the atom, of pollution and wasted resources, and of a future in which our bodies depend on machines for survival. From surrealist dream landscapes created with a spray gun and stencils to album cover designs, from guillotine-like sculptures to self-designed bars, Giger personally guides us through his multi-faceted universe in this definitive introduction to a master of horror. Detailed reproductions and designs and a foreword by Timothy Leary complement Giger's intimate autobiographical texts. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

From his series of definitive works on religious art in medieval France, and later in Italy, Spain, Flanders, and Germany, as well, the author has chosen those passages most significant and interesting for the general reader and arranged them, providing transitional passages where necessary, in this compact and useful volume. Again available in paperback, and including improved illustrations, the book presents a summation that eloquently conveys an intimate picture of the French Middle Ages and the grandeur of the artistic renaissance that accompanied the Counter Reformation.

Flags and Faces, based on David Lubin's 2008 Franklin D. Murphy Lectures at the University of Kansas, shows how American artists, photographers, and graphic designers helped shape public perceptions about World War I. In the book's first section, Art for War's Sake," Lubin considers how flag-based patriotic imagery prompted Americans to intervene in Europe in 1917. Trading on current anxieties about class, gender, and nationhood, American visual culture made war with Germany seem inevitable. The second section, Fixing Faces," contemplates the corrosive effects of the war on soldiers who literally lost their faces on the battlefield, and on their families back home. Unable to endure distasteful reminders of war's brutality, postwar Americans grew obsessed with physical beauty, as seen in the simultaneous rise of cosmetic surgery, the makeup industry, beauty pageants, and the cult of screen goddesses such as Greta Garbo, who was worshipped for the masklike perfection of her face. Engaging, provocative, and filled with arresting and at times disturbing illustrations, Flags and Faces offers striking new insights into American art and visual culture from 1915 to 1930.