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Books > Arts & Architecture > History of art / art & design styles > From 1900 > Art styles, 1960 - > General
This book spotlights a complex art collection established at the
intersection of modern art and social justice. In 1963, as civil
rights protests swirled across the fiercely segregated state, this
historically Black college became an unlikely hub in Mississippi
envisioned as “an interracial oasis in which the fine arts are
the focus and magnet.” Since its founding in 1869 by the
abolitionist-led American Missionary Association, Tougaloo College
has made the fight for equality central to its mission. In 1963,
Tougaloo became the nexus for modern art in Mississippi, when
leaders of the New York art world began a rich program of art
acquisitions. This publication features two essays and
approximately thirty-five selections from this distinctive
collection by diverse artists such as Francis Picabia, Jacob
Lawrence, and Alma Thomas.
The contributors to Nervous Systems reassess contemporary artists'
and critics' engagement with social, political, biological, and
other systems as a set of complex and relational parts: an approach
commonly known as systems thinking. Demonstrating the continuing
relevance of systems aesthetics within contemporary art, the
contributors highlight the ways that artists adopt systems thinking
to address political, social, and ecological anxieties. They cover
a wide range of artists and topics, from the performances of the
Argentinian collective the Rosario Group and the grid drawings of
Charles Gaines to the video art of Singaporean artist Charles Lim
and the mapping of global logistics infrastructures by contemporary
artists like Hito Steyerl and Christoph Buchel. Together, the
essays offer an expanded understanding of systems aesthetics in
ways that affirm its importance beyond technological applications
detached from cultural contexts. Contributors. Cristina Albu,
Amanda Boetzkes, Brianne Cohen, Kris Cohen, Jaimey Hamilton Faris,
Christine Filippone, Johanna Gosse, Francis Halsall, Judith
Rodenbeck, Dawna Schuld, Luke Skrebowski, Timothy Stott, John Tyson
The first book to feature Jacob Lawrence's Nigeria series, this
richly illustrated volume also highlights Africa's place as a
global center of modernist art and culture This revelatory book
shines a light on the understudied but important influence of
African Modernism on the work of Black American artist Jacob
Lawrence (1917-2000). In 1965, a New York gallery displayed
Lawrence's Nigeria series: eight tempera paintings of Lagos and
Ibadan marketplaces that were the culmination of an eight-month
stay in Nigeria. Lawrence's residency put him in touch with the
Mbari Artists and Writers Club, an international consortium of
artists and writers in post-independence Nigeria that published the
arts journal Black Orpheus. This volume and accompanying exhibition
place the Nigeria series alongside issues of Black Orpheus and
artwork created by Mbari Club artists, including Uche Okeke, Jacob
Afolabi, Susanne Wenger, and Naoko Matsubara. Essayists explore the
influence of Africa's post-colonial movement on American modernists
and developing African artists; the women of the Mbari group; and
the importance of art publications in circulating knowledge
globally. Published in association with the Chrysler Museum of Art
and the New Orleans Museum of Art Exhibition Schedule: Chrysler
Museum of Art (October 7, 2022-January 8, 2023) New Orleans Museum
of Art (February 10-May 7, 2023) Toledo Museum of Art (June
3-September 3, 2023)
Dedicated to an articulation of the earth from broadly ecological
perspectives, eco art is a vibrant subset of contemporary art that
addresses the widespread public concern with rapid climate change
and related environmental issues. In Landscape into Eco Art, Mark
Cheetham systematically examines connections and divergences
between contemporary eco art, land art of the 1960s and 1970s, and
the historical genre of landscape painting. Through eight thematic
case studies that illuminate what eco art means in practice,
reception, and history, Cheetham places the form in a longer and
broader art-historical context. He considers a wide range of
media-from painting, sculpture, and photography to artists' films,
video, sound work, animation, and installation-and analyzes the
work of internationally prominent artists such as Olafur Eliasson,
Nancy Holt, Mark Dion, and Robert Smithson. In doing so, Cheetham
reveals eco art to be a dynamic extension of a long tradition of
landscape depiction in the West that boldly enters into today's
debates on climate science, government policy, and our collective
and individual responsibility to the planet. An ambitious
intervention into eco-criticism and the environmental humanities,
this volume provides original ways to understand the issues and
practices of eco art in the Anthropocene. Art historians,
humanities scholars, and lay readers interested in contemporary art
and the environment will find Cheetham's work valuable and
invigorating.
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Barrioquinto
(Hardcover)
Demetrio Paparoni, Patrick Duarte Flores
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R2,005
R1,581
Discovery Miles 15 810
Save R424 (21%)
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Ships in 9 - 15 working days
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The volume deals with the complex universe of the artist (Manila,
1975), who combines elements deriving from the iconography and
aesthetic of Baroque with Japanese woodcuts (ukiyo-e),
reinterpreted in a Pop style. In his paintings, men, women, and
anthropomorphic animals are shown in forests plentiful with
butterflies and birds, introducing the theme of vanitas in a
context of strong visual impact.
With insightful essays and interviews, this volume examines how
artists have experimented with the medium of video across different
regions of Latin America since the 1960s. The emergence of video
art in Latin America is marked by multiple points of development,
across more than a dozen artistic centers, over a period of more
than twenty-five years. When it was first introduced during the
1960s, video was seen as empowering: the portability of early
equipment and the possibility of instant playback allowed artists
to challenge and at times subvert the mainstream media. Video art
in Latin America was--and still is--closely related to the desire
for social change. Themes related to gender, ethnic, and racial
identity as well as the consequences of social inequality and
ecological disasters have been fundamental to many artists'
practices. This compendium explores the history and current state
of artistic experimentation with video throughout Latin America.
Departing from the relatively small body of existing scholarship in
English, much of which focuses on individual countries, this volume
approaches the topic thematically, positioning video artworks from
different periods and regions throughout Latin America in dialogue
with each other. Organized in four broad sections--Encounters,
Networks and Archives, Memory and Crisis, and Indigenous
Perspectives--the book's essays and interviews encourage readers to
examine the medium of video across varied chronologies and
geographies.
An accessible A-Z guide to best contemporary art made since 2000
Born in 1942, Narcissus Quagliata studied painting and graphics in
Rome and completed his studies at the Art Institute of San
Francisco. Very early on, he discovered glass as the most suitable
material with which to express himself artistically, focussing in
particular on the phenomenon of light and its interplay with
coloured glass. In cooperation with industry, Quagliata
experimented at an early stage with the development of new forms
and applications of glass. Today Narcissus Quagliata is considered
one of the most significant glass artists, drawing worldwide
attention through his spectacular works in public spaces, such as
the Taiwan Dome of Light, the largest illuminated glass ceiling in
the world, which forms the roof of the subway station in Kaohsiung,
Taiwan. The construction stretches across an approximately
30-metre-wide space. His glass dome in the Santa Maria degli Angeli
church, built by Michelangelo within the Baths of Diocletian in
Rome, is equally well-known. It provides colourful illumination for
the famous entry rotunda of the basilica.
With the launch of Moscow Art Magazine in 1993, curator and critic
Viktor Misiano gave readers access to a rich variety of theory,
criticism, and artists' texts by Russian and international writers.
It is the only independent art journal in Russia which has
weathered they country's economic crises and continued to publish
innovative, and at times challenging, writing on visual art up to
the present day.Critical Mass: Moscow Art Magazine 1993-2017 is
published to mark the 100th issue of the magazine and presents a
selection of texts, which cover the development of Russian art
since the break-up of the Soviet Union. Arranged thematically, they
range from the hopeful manifestos of the early 1990s to the angry,
politically-engaged art of the 2010s. Misiano, who received the
Igor Zabel Award for Culture and Theory in 2016, has written new
introductions to the themes covered in the book, setting the
original texts within the social and political context of their
time. A critical chronology marks important events in the cultural
life of Russia connected to criticism and art theory, such as the
first translations of key international texts.
A larger-than-life figure in the design community with a client
list to match, Paula Scher turned her first major project as a
partner at Pentagram into a formative twenty-five-year relationship
with the Public Theater in New York. This behind-the-scenes account
of the relationship between Scher and "the Public," as it's
affectionately known, chronicles over two decades of brand and
identity development and an evolving creative process in a unique
"autobiography of graphic design." New Yorkers, designers, and
theater fans everywhere will be thrilled to find hundreds of
Scher's posters, including those for Hamilton, Bring in 'da Noise,
Bring in 'da Funk, and numerous Shakespeare in the Park
productions, collected in this one-of-a-kind volume along with
other printed and process-related matter. Essays by two of the
theater's artistic directors, George C. Wolfe and Oskar Eustis, and
design critics Steven Heller and Ellen Lupton contextualize Scher's
dynamic typographic treatment.
The Art & Times of Daniel Jocz presents the entrancing and
challenging work of American jewellery artist and sculptor Daniel
Jocz. There is a spontaneous quality to the work, yet it is always
rich with meaning. His open spirit is fully embodied in the 2007
neckpiece series An American's Riff on the Millstone Ruff. Inspired
by the extravagant scale of 17th-century Dutch ruffs at the
Rijksmuseum in Amsterdam, he decided to update them with automobile
paint. Jeannine Falino takes an in-depth look at the twists and
turns of Jocz's long career, from his early geometric sculptures to
the fashion-forward flocked Candy Wear collection, and from his
ruminations on Marlene Dietrich in the form of necklaces featuring
enamel smoked cigarettes to the wall reliefs he explores today.
Wendy Steiner considers Jocz's place in the avant-garde through the
lens of fashion and culture, while Patricia Harris and David Lyon
explore his involvement in the rollicking Boston jewellery scene of
the late 20th century.
Best known for his luscious paintings of pies and ice-cream cones,
American artist Wayne Thiebaud (born 1920) has been an avid and
prolific draftsman since he began his career in the 1940s as an
illustrator and cartoonist. This book of about ninety drawings -
compiled with the full cooperation of the artist to accompany a
major new exhibition at the Morgan Library & Museum - explores
the wide range of Thiebaud's production on paper, including early
sketches, luminous pastels and watercolours, and charcoal drawings
made in connection with his teaching. In subjects ranging from deli
counters and isolated figures to dramatic views of San Francisco's
plunging streets, Thiebaud's drawings endow the most banal,
everyday scenes with a sense of poetry and nostalgia. Fully
illustrated and beautifully designed, with illuminating texts,
including an extensive interview with the artist, Wayne Thiebaud:
Draftsman is the first major publication devoted to his lifelong
engagement with drawing.
On October 24th, 1971, an exciting new anime premiered based on the
hit manga "LUPIN III" by legendary creator Monkey Punch. For 50
years, the exploits of master thief Lupin III and his gang of
outlaw pals have thrilled and entertained audiences worldwide,
spawning over 300 serialized episodes, more than 10 feature films,
dozens of standalone specials and OVAs, with even more adventures
currently in the works. As one of the most popular and prolific
animated franchises, it has evolved through the decades, capturing
the hearts of several generations. It has inspired and launched the
careers of film makers, storytellers, and animators around the
world, most notably providing the directorial debut of the
legendary Hayao Miyazaki (Spirited Away, Princess Mononoke) who
directed perhaps the most recognized LUPIN THE 3rd feature film,
The Castle of Cagliostro. A celebration of the beloved anime
sensation LUPIN THE 3rd with a look back at 50 years of adventures
starring the world's greatest gentleman thief created by the
legendary author Monkey Punch. Produced in cooperation with TMS
Entertainment and Monkey Punch Studios for the 50th Anniversary,
this deep comprehensive retrospect features page-after-page of
original, never-before-seen production designs, behind the scenes
tales, creator spotlights, a complete episode guide to every season
and animated feature produced, and a gallery of tribute artwork by
an array of notable fan creators from around the world. Over 200
pages of full-color artwork and design. A must for any Lupin III
fan, or anime/animation fans in general.
Art Since 1980 charts the story of art in contemporary global
culture while holding up a mirror to our society. With over 300
pictures of painting, photography and sculpture, as well as
installation, performance and video art, we are led on an
illuminating journey via the individuals and communities who have
shaped art internationally. The political and cultural
transformations of the early 1980s developed a new era of accord
between communist states and western-style economics. The art world
has since been reconceived and today we see record-breaking sales
of contemporary art and a dramatic rise in the number of students
taking courses in the visual and performing arts. Kalb approaches
art from multiple angles, addressing issues of artistic production,
display, critical reception and social content. Alongside his
analysis of specific works of art, he also builds a framework for
readers to increase their knowledge and enhance critical and
theoretical thinking.
The singular paintings of British artist Gillian Carnegie (b.1971)
have been exhibited and discussed extensively for nearly two
decades but this is the first substantial publication on her work.
Carnegie's work is explicitly analytical, systematic yet oblique in
its reexamination of traditional painting genres such as still
life, landscape, portraits, and the nude - all of them 'genres
without a subject', as they have sometimes been called. Yet she
makes clear that her impulse to resuscitate these categories is not
simply an exercise in formalism, historicism, academic reverence,
postmodern pastiche, or nostalgia. And far from being without a
subject, far from having no story to tell, Carnegie's paintings
insistently suggest that there is a subject, that there is a story,
but that the painting exists not to communicate it but to conceal
it, to hold it incommunicado. In contemporary painting Gillian
Carnegie's work stands apart, quietly, calmly and insistently
uncanny, with an emotional tenor unlike anything else in art today.
Sabotage is the deliberate disruption of a dominant system, be it
political, military or economic. Yet in recent decades, sabotage
has also become an artistic strategy most notably in Latin America.
In Brazil, Colombia, Mexico, Chile and Argentina, artists are
producing radical, unruly or even iconoclastic work that resists
state violence, social conformity and the commodification of art.
Sabotage Art reveals how contemporary Latin American artists have
resorted to sabotage strategies as a means to bridge the gap
between aesthetics and politics. The global status of and market
for Latin American art is growing rapidly. This book is essential
reading for those who want to understand this new, dissident work,
as well as its mystification, co-option and commercialization
within current academic historiographies and art-world curatorial
initiatives.
The groundbreaking sculptor's most comprehensive monograph to date
Jean-Michel Othoniel is an artist who creates sculptures that explore themes of fragility, transformation, and ephemerality. Using the repetition of such modular elements as bricks or beads, his work deploys various strategies that hint at loss and despair – cracks in his objects' perfect surfaces, negative spaces and, early in his career, transient materials such as sulfur. The most authoritative study of the artist's work to date, it includes intimate gallery pieces as well as monumental public commissions around the world.
Paul Gruhler opened his first studio in 1962 at the age of 21 - a
year later he had a solo show at the DeMena Gallery in lower
Manhattan. From the beginning, Gruhler, a self-taught artist, was
compelled by what came to be known as geometric abstraction, in
which the deliberative arrangement of color, line, texture, and
scale, in paintings and collage, evoke from these disparate
elements a sense of meditative harmony. For sixty years, he has
continued to explore the subtle differences that can be made from
color and line. Gruhler was fortunate in the early years to have
met and become good friends with three older artists who were also
important teachers and mentors - first Michael Lekakis, then Harold
Weston and Herb Aach. Lekakis, a celebrated sculptor, who already
had had exhibitions at the Guggenheim Museum, the Whitney Museum of
American Art, and the Museum of Modern Art's exhibition Americans
1963, took Gruhler under his wing, navigating him through New
York's thriving avant-garde art scene. As Carolyn Bauer writes,
"Michael Lekakis was instrumental in encouraging Gruhler to attend
art events, while taking him to invite-only museum openings." He
also introduced him to renowned artists - among them, Alexander
Calder, Isamu Noguchi, Louise Nevelson, and Barnett Newman - whose
works influenced the young Gruhler, as did such artists as Mark
Rothko, Clyfford Still, and Ad Reinhardt. Lekakis was also
instrumental in Gruhler's first show, giving titles to his
paintings and writing catalog copy that drew upon his own abstract
poetics. "These canvases," he wrote, are "multi colored fire
densely cascades to suspension hanging a counterpoint of rhythmic
patterns in space covering it like a shroud united by a golden
fragmentation." Over these years Gruhler has had numerous solo and
group shows in the U.S. in New York and Vermont, in Mexico, and
abroad in Finland, Germany, Sweden, and The Netherlands. HARMONICS
is both a retrospective and a current view of Paul Gruhler's
intensive art. "My work," he says, "has been a meditative
exploration of vertical and horizontal relationships in space, in
order to achieve both harmony and tension within color, line and
form." -- Paul Gruhler * Publisher *
Pioneer of chaos mathematics, Edward Lorenz posited in his 1988
paper Unventions what the hell? the now accepted theory that
unventions were a necessary reaction to humans getting all uppity
with their big ideas. So what is an unvention? Some say unventions
are simply everyday objects that are familiar to all. They are
correct. But they are also wrong. Unventions tell new stories about
the things around you releasing them from the mundane trudge of
daily routine to take on epic new roles. When you begin to see them
you are set free, and soon you will discover your own. Your mind
has been in chains for too long! Unventionswill change your world
forever.* *Largely in utterly useless ways
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Bogdan Rața
- Recent Works
(Hardcover)
National Museum of Contemporary Art, Bucharest; Text written by Calin Dan, Beral Madra, Alina Cristescu, Bogdan Rața
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R1,120
Discovery Miles 11 200
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Ships in 10 - 15 working days
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Bogdan Rața is a sculptor. His sculptures are simple, hand-made,
and most of all they are flat. A fact, not only defying the
traditional perception of sculpture as something three-dimensional,
voluminous, and figurative but also leading to radically new ways
of aesthetic experience. Rața‘s forms are abstract and
evanescent. They articulate a departure from the kind of sculpture
one used to be accustomed to or familiar with. Rața urges us to
reconsider today’s need for independent and critical thinking.
The book accompanies his solo exhibition at the National Museum of
Contemporary Art Bucharest. Text in English and Romanian.
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Albert Oehlen
- New Paintings
(Hardcover)
Daniel Baumann, Albert Oehlen; Contributions by Alexander Klar; Photographs by Esther Freund
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R2,183
R1,175
Discovery Miles 11 750
Save R1,008 (46%)
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This book documents two new bodies of work; a series of large
four-part aluminium panel paintings incorporating Oehlen's
recurring motif of trees and a series titled Finger Paintings, in
which colour-blocked advertisements are an extension of the canvas,
providing fragmented, ready-made surfaces for Oehlen's visceral
markings, made with his hands as well as with brushes, rags, and
spray cans. Both series were exhibited at Gagosian Gallery, Los
Angeles, in summer 2014.
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