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Books > Arts & Architecture > Art forms, treatments & subjects > Art treatments & subjects > Individual artists > General
For Sebastiao Salgado, Genesis is a "love letter to the planet."
TASCHEN's postcard set allows you to send on that wonder with 25
individual images from the complete Genesis portfolio, now the
world's most-visited photography show of all time. The boxed set
spans the breadth of Salgado's project across five focal
territories: Planet South, Sanctuaries, Africa, Northern Spaces,
and Amazonia and Pantanal. In exquisite black and white textures,
each image celebrates the pristine splendor of nature, animals, and
indigenous peoples that have, so far, escaped the imprint of modern
society, from a Nomadic Nenet girl in Siberia to sunlit Buffalo
herds in Botswana's Okavango Delta. "Genesis is a quest for the
world as it was, as it was formed, as it evolved, as it existed for
millennia before modern life accelerated and began distancing us
from the very essence of our being" - Lelia Wanick Salgado
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Eclipse
(Paperback)
Jacqueline Doyen, Justin Hoffman, Meike Behm
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R396
Discovery Miles 3 960
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This book, which accompanies the first major exhibition devoted to
David Hockney's drawings inover 20 years,will explore Hockney as a
draughtsman from the 1950s to now, with a focus on himself, his
family and friends. From Ingres to the iPad -this book demonstrates
the artist's ingenuity in portrait drawing with reference to both
tradition and technology. David Hockney is recognised as one of the
master draughtsmen of our times and a champion of the medium. This
book will feature Hockney's work from the 1950s to now and focus on
his depictions of himself and a smaller group of sitters close to
him: his muse, Celia Birtwell; his mother, Laura Hockney; and his
friends, the curator, Gregory Evans, and master printer, Maurice
Payne. This book will examine not only how drawing is fundamental
to Hockney's distinctive way of observing the world around him, but
also how it has been a testing ground for ideas and modes of
expression later played out in his paintings. From Old Masters to
modern masters, from Holbein to Picasso, Hockney's portrait
drawings reveal his admiration for his artistic predecessors and
his continuous stylistic experimentation throughout his career.
Alongside an in-depth essay from the curator, this book will
feature an exclusive interview between author and curator, Sarah
Howgate, and artist, David Hockney. In addition, an 'In Focus'
essay by British Museum curator Isabel Seligman, will explore the
relationship between Hockney, Ingres and Picasso drawings.
This book marks the centenary of Marcel Duchamp's Fountain by
critically re-examining the established interpretation of the work.
It introduces a new methodological approach to art-historical
practice rooted in a revised understanding of Lacan, Freud and
Slavoj Zizek. In weaving an alternative narrative, Kilroy shows us
that not only has Fountain been fundamentally misunderstood but
that this very misunderstanding is central to the work's
significance. The author brings together Duchamp's own statements
to argue Fountain's verdict was strategically stage-managed by the
artist in order to expose the underlying logic of its reception,
what he terms 'The Creative Act.' This book will be of interest to
a broad range of readers, including art historians, psychoanalysts,
scholars and art enthusiasts interested in visual culture and
ideological critique.
C. Behind the Black is the story of an artist's struggle with
addiction and the beautiful journey to understand a world lost
inside the throes of creative passion. The author wrote it to gain
a better understanding of just what magic lies behind the creation
of a work of art, what struggles it takes to live the life of a
professional artist, and a few surprises along the way that are
destined to lift and inspire the hearts of a wide array of readers.
This is a journey through the darkness in a struggle to find
balance in the beautiful lights and shadows of truth.
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Simon Starling - Metamorphology
(Hardcover)
Simon Starling; Foreword by Madeleine Grynsztejn; Text written by Dieter Roelstraete, Mark Godfrey, Janine Mileaf
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R847
R758
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British conceptual artist Simon Starling (born 1967) interrogates
the histories of art and science, as well as other subjects such as
economic and environmental issues, through a wide variety of media
including film, installation and photography. Published for his
first survey exhibition at a major American museum, "Simon
Starling: Metamorphology" highlights a fundamental principle of
Starling's practice: an almost alchemistic conception of the
transformative potential of art, or of transformation as art. The
Turner Prize-winning artist's working method constitutes recycling,
both literally and figuratively: repurposing existing materials for
new, artistic aims; retelling existing stories to produce new
historical insights; linking, looping and remaking. This catalogue
accompanies an exhibition organized by the Museum of Contemporary
Art Chicago in tandem with the Arts Club of Chicago, and features
essays by MCA Chicago senior curator Dieter Roelstraete, Arts Club
of Chicago executive director Janine Mileaf in collaboration with
Simon Starling, and Tate Modern curator Mark Godfrey.
Rosengarten explores the narrative operations of Rego's work by
mobilizing both psychoanalytic theory and social history. She
confronts, as case studies, three complex figure paintings from
different moments in Rego's oeuvre: "The Policeman's Daughter"
(1987), "The Interrogator's Garden" (2000), and "The First Mass in
Brazil" (1993). The content of the three specimen paintings links
them to the political context of the Estado Novo, the
fascist-inspired regime that dominated Rego's childhood. Plotting
links between the spheres of the political and the personal,
Rosengarten throws light on the complex intertwining of state power
and parental authority in Rego's work, focusing on the "labour of
socialisation and resistance" that Rego's work evinces in relation
to the Freudian model of the family romance. Rosengarten unveils
the political context of Portugal under Salazar, and the workings
of colonial fantasy, Catholic ideology and gender construction. In
prodding the inalienable link between love and authority, this
study offers a reading of Rego's work that interrogates, rather
than subverts, the Oedipal model structuring the patriarchal
family.
Vanessa Bell is central to the history of the Bloomsbury Group, yet
until this authorised biography was written, she largely remained a
silent and inscrutable figure. Tantalising glimpses of her life
appeared mainly in her sister, Virginia Woolf's, letters, diaries
and biography. Frances Spalding here draws upon a mass of
unpublished documents to reveal Bell's extraordinary achievements
in both her art and her life. She recounts in vivid detail how
Bell's move into the Bloomsbury Group and her exposure to Paris and
the radical art of the Post-Impressionists ran parrallel with an
increasingly unorthodox personal life that spun in convoluted
threads between her marriage to Clive Bell, her affair with Roger
Fry, her friendship with Duncan Grant and relationship with her
sister.
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Basquiat
(Paperback)
Marc Mayer
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R566
R527
Discovery Miles 5 270
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Jean-Michel Basquiat was only twenty-seven when he died in 1988,
his meteoric and often controversial career having lasted for just
eight years. Despite his early death, Basquiat's powerful A uvre
has ensured his continuing reputation as one of modern art's most
distinctive voices. Borrowing from graffiti and street imagery,
cartoons, mythology and religious symbolism, Basquiat's drawings
and paintings explore issues of race and identity, providing social
commentary that is shrewdly observed and biting. This bestselling
book, now available in a compact edition, celebrates Basquiat's
achievements in the contexts of the key influences on his art. It
not only re-evaluates the artist's principal works and their
meaning, but also explains what keeps his painting relevant today.
Claude Monet spent most of his life painting his own spontaneous
impressions of nature and the world that was closest to him. His
works provoked the description 'Impressionist', the name given to
the style of art that he created together with Camille Pissarro and
Alfred Sisley.
Born in Cotonou, Benin in 1961, Meschac Gaba moved to the
Netherlands in 1996 to take up a residency at the Rijksakademie. It
was there that he conceived The Museum of Contemporary African Art
1997-2002, an ambitious work, which took him five years to complete
and which cemented his reputation as one of the most important
African artists working today. Consisting of twelve sections -
Draft Room, Architecture, Museum Shop, Summer Collection, Games
Room, Art and Religion, Museum Restaurant, Music Room, Marriage
Room, Library, Salon and Humanist Space - this work challenges
preconceived notions of what African art is and provides a new
discursive space for social and cultural interaction, critiquing
the museum's value both as an institution, and as a symbol of
cultural capital. The importance of this work, in the history of
African art and in the lineage of critical reflections on the
museum by artists such as Marcel Duchamp and Marcel Broodthaers,
has been widely acknowledged in important exhibitions ranging from
Documenta XI, Kassel in 2002 to Intense Proximity: La Triennale,
Paris in 2012. Tate has now acquired this work. This book will be
published on the occasion of the first presentation of Gaba's
Museum of Contemporary African Art in its entirety in the UK.
Contributions by leading scholars will place this important work in
the context of the artist's oeuvre, art history and museology.
Arriving in New York City in the first decade of the twentieth
century, six painters-Robert Henri, John Sloan, Everett Shinn,
Glackens, George Luks, and George Bellows, subsequently known as
the Ashcan Circle-faced a visual culture that depicted the urban
man as a diseased body under assault. Ashcan artists countered this
narrative, manipulating the bodies of construction workers, tramps,
entertainers, and office workers to stand in visual opposition to
popular, political, and commercial cultures. They did so by
repeatedly positioning white male bodies as having no cleverness,
no moral authority, no style, and no particular charisma, crafting
with consistency an unspectacular man. This was an attempt, both
radical and deeply insidious, to make the white male body stand
outside visual systems of knowledge, to resist the disciplining
powers of commercial capitalism, and to simply be with no
justification or rationale. Ashcan Art, Whiteness, and the
Unspectacular Man maps how Ashcan artists reconfigured urban
masculinity for national audiences and reimagined the possibility
and privilege of the unremarkable white, male body thus shaping
dialogues about modernity, gender, and race that shifted visual
culture in the United States.
Tracey Emin has undergone an extraordinary metamorphosis from a
young, unknown artist into the 'bad girl' of the Young British Art
(yBA) movement, challenging the complacency of the art
establishment in both her work and her life. Today she is arguably
the doyenne of the British art scene and attracts more acclaim than
controversy. Her work is known by a wide audience, yet rarely
receives the critical attention it deserves. In Art Into Life:
Essays on Tracey Emin writers from a range of art historical,
artistic and curatorial perspectives examine how Emin's art, life
and celebrity status have become inextricably intertwined. This
innovative collection explores Emin's intersectional identity,
including her Turkish-Cypriot heritage, ageing and sexuality,
reflects on her early years as an artist, and debates issues of
autobiography, self-presentation and performativity alongside the
multi-media exchanges of her work and the tensions between art and
craft. With its discussions of the central themes of Emin's art,
attention to key works such as My Bed, and accessible theorization
of her creative practice, Art into Life will interest a broad
readership.
"Revelatory and sublime...Her work remains conceptually open enough
for viewers to draw their own conclusions, insert their own meaning
and feel transported to other glorious worlds." -The New York Times
One of the most inventive artists of the twentieth century, Hilma
af Klint was a pioneer of abstraction. Her first forays into her
imaginative non-objective painting long preceded the work of
Kandinsky and Mondrian and radically mined the fields of science
and religion. Deeply interested in spiritualism and philosophy, af
Klint developed an iconography that explores esoteric concepts in
metaphysics, as demonstrated in Tree of Knowledge. This rarely seen
series of watercolors renders orbital, enigmatic forms, visual
allegories of unification and separateness, darkness and light,
beginning and end, life and death, and spirit and matter. Published
on the occasion of the exhibition Hilma af Klint: Tree of Knowledge
at David Zwirner New York in 2021 and David Zwirner London in 2022,
this catalogue features a text by the art historian Susan Aberth
examining af Klint's spiritual and anthroposophical influences.
With a conversation between the curator Helen Molesworth and the US
Poet Laureate Joy Harjo discussing connections between Tree of
Knowledge and native theories about plant knowledge, the
publication broadens the scope of philosophical interpretations of
af Klint's timeless work. Also included is a newly commissioned
essay by the celebrated af Klint scholar Julia Voss, a contribution
by the artist Suzan Frecon, and a text by art historian Max
Rosenberg that further develops the conversation around why af
Klint's work was not recognized in its time.
The most famous 18th-century copper engraver, Giovanni Battista
Piranesi (1720-1778) made his name with etchings of ancient Rome.
His startling, chiaroscuro images imbued the city's archaeological
ruins with drama and romance and became favorite souvenirs for the
Grand Tourists who traveled Italy in pursuit of classical culture
and education. Today, Piranesi is renowned not just for shaping the
European imagination of Rome, but also for his elaborate series of
fanciful prisons, Carceri, which have influenced generations of
creatives since, from the Surrealists to Samuel Taylor Coleridge,
Edgar Allan Poe, Jorge Luis Borges, and Franz Kafka. Loosely based
on contemporary stage sets rather than the actual dingy dungeons of
Piranesi's day, these intricate images defy architectural reality
to play instead with perspective, lighting, and scale. Staircases
exist on two planes simultaneously; vast, vaulted ceilings seem to
soar up to the heavens; interior and exterior distinctions
collapse. With a low viewpoint and small, fragile figures, the
prison scenes become monstrous megacities of incarceration,
celebrated to this day as masterworks of existentialist drama.
Circle: "God is a circle whose center is everywhere but whose
circumference is nowhere." Circle means perfection, cyclicity,
superiority of the divinity, but also instability and movement. In
nature soap bubbles are spherical and internal trees' rings are
circular; the legend tells that Giotto drew a perfect O, while
perfection is tangible on Michelangelo's Tondo Doni and
Botticelli's Vergine col Bambino. King Arthur's knights were pairs
around a round table, and nowadays people sit in circle to make a
decision or watch a show. Bruno Munari selects and describes in
this little, extraordinary encyclopedia, several uses of this
fascinating and mysterious form, unstable and hieratic at the same
time. Square: Square has much importance in man's life: a lot of
churches, monuments, games (like chess), and fonts are
square-based. But man seems not to realise it... one more time
Bruno Munari amazes us with an historical, anthropological,
scientific square book. Triangle: From the vegetable structure of
the coconut to the diagram of human settlements by Le Corbusier,
one can frequently find the shape of the equilateral triangle in
many different occurrences, both in a natural environment and in
artificial works. Along with the circle and the square, the
equilateral triangle is one of the three basic forms, and is
suitable to be combined in modular frameworks to generate a
structured field in which endless other combinatorial forms may be
constructed. From classical Arab and Japanese decorations to the
contemporary architecture of Buckminster Fuller and Wright, the
familiarity with the equilateral triangle, in all its formal and
structural resources, generates curious and fascinating
experimentations. After the books of the same collection dedicated
to the circle and the square, a new reprint by Bruno Munari about
the many uses of this evocative shape throughout the centuries.
These studies were originally published in 1976 in the series
Quaderni di design, curated by Munari himself for Zanichelli.
With a few notable exceptions, the fundamental role that women
played in the development of abstract art has long been
underestimated, and their work has not received the same critical
attention as that of their male counterparts. Now, at last, the
tide is turning. The latest historiographical advances illustrated
by numerous recent publications, monographs and thematic
exhibitions make it possible to reassess the importance of the
contribution of women artists to the different currents of
abstraction, while at the same time questioning the patterns of the
past. Edited by Christine Macel, this catalogue and the exhibition
it accompanies highlights the contributions of a hundred or so
women artists to abstraction up to the 1980s, with a few
unprecedented forays into the 19th century. By focusing on the
careers of artists so often unjustly eclipsed, the book questions
the established canons and offers an alternative history of
abstraction, from the symbolist abstraction of Hilma Af Klint, to
the sensual abstraction of Huguette Caland, to the purist
non-objective approach of Verena Von Loewensberg. Essays by noted
scholars explore the techniques, concerns and legacies of these
women, shedding light on their unique experiences and offering keen
new reflections on their work and the movement as a whole. With 350
illustrations
Published to coincide with the 150th anniversary of Beatrix
Potter's birth, this magnificent collection celebrates the artist
behind The Tale of Peter Rabbit and numerous other beloved
children's books. Brimming with famous images and rarely seen
gems-ranging from character sketches and notebook pages to
watercolour landscapes and natural history illustrations-this
monograph explores Potter's artistic process and reveals the places
that inspired her timeless work. Organised geographically and
featuring more than 200 images from the artist's oeuvre, The Art of
Beatrix Potter includes illuminating essays by Potter scholar Linda
Lear, illustration historian Steven Heller, and children's book
illustrator Eleanor Taylor. A definitive volume on one of the
world's most influential authors, a woman whose artistry deserves
to be fully celebrated.
One of the most visible, popular, and significant artists of his
generation, William Hogarth (1697-1764) is best known for his
acerbic, strongly moralising works, which were mass-produced and
widely disseminated as prints during his lifetime. This volume is a
fascinating look into the notorious English satirical artist's
life, presenting Anecdotes of William Hogarth, Written by Himself-a
collection of autobiographical vignettes supplemented with short
texts and essays written by his contemporaries, first published in
1785.
Creative Infrastructures is a new collection of connected essays
that examines the relationships between art, innovation,
entrepreneurship and money. Essig uses her extensive knowledge of
the field of arts entrepreneurship and puts it to broader practical
use and greater impact by offering a theory for arts
entrepreneurship that places more emphasis on means over ends.
Essig uses illustrative case studies to show how her theoretical
framework explains a number of innovative efforts in culturally and
racially diverse communities. The Ouroboros, the serpent eating its
own tail, is a visual metaphor deployed by Essig in the opening
essay to shift commonly held perspectives on, especially, the
relationship between art and money. Art is the head; money is the
tail, feeding and nourishing the head in a cycle that enables the
organism to not only survive but also thrive. Between the art and
the money is the body: innovation and entrepreneurship. Innovation
is understood to be a novel idea that is implemented and has impact
on a domain. For that is what the artist does: create something new
and unique that has impact. Entrepreneurship is conceived of as the
discovery or creation of a mediating structure that can convert the
artistic innovation into capital (financial and other types) that
can be re-invested in the artist and the making of more art. This
book endeavours to untie the knotty relationships between artists
and entrepreneurship in order to answer the question 'How can
artists make work and thrive in our late-capitalist society?' Other
essays in the collection consider a range of topics including how
aesthetic and cultural value are transmitted from the artist to the
audience; the complexity of the tension between what art
fundamentally is and the reproduction of that work and the recent
foregrounding of the idea that art can produce positive social
change - through current and late-twentieth-century trends in
'social impact art' or 'art for change'. As in sports, business and
other sectors, the star artists, the top 1 per cent, have
disproportionately influenced the public expectations for what 'a
successful artist' means. It isn't necessary to retell the stories
of the one per cent of arts entrepreneurs; instead Essig looks
instead at the quotidian artist, at what they do and why, not what
they make. All too often, artists who are attentive to the
'business' of their creative practice are accused of 'selling out'.
But for many working artists, that attention to business is what
enables an artist to not just survive, but to thrive. When artists
follow their mission, Essig contends that they don't sell out, they
spiral up by keeping mission at the forefront. The closing essay is
a work of speculative fiction, based in all that comes before, both
in the preceding essays and in Essig's work as an artist, arts
advocate and scholar of cultural policy. Returning to the symbol of
the Ouroboros, it connects the head (art) to the tail (not money
specifically, but resources), and back again. It is a 'future
imaginary', in which she profiles three fictional artists in the
year 2050. The field of arts entrepreneurship is growing - thanks
in large part to the work of Linda Essig. The case studies in the
book are US-based, but the issues addressed are universal. This
book is ideal for use in training programmes for arts
administrators and advocates; policy analysts and business schools
that are looking to add in arts programmes. It will be of great
interest and significance to people working in the cultural
industries in the United Kingdom and Europe, especially Germany,
where there has also been some recent research interest on similar
topics. It is also relevant to the many artists who participate in
training and professional development programmes in their
community, as well as those who are just starting out.
Now available in paperback, this book remains the definitive survey
of the life and work of Surrealist artist Leonora Carrington
(1917-2011). Carrington burst onto the Surrealist scene in 1936,
when, as a precocious nineteen-year-old debutante, she escaped the
stultifying demands of her wealthy English family by running away
to Paris with her lover Max Ernst. She was immediately championed
by Andre Breton, who responded enthusiastically to her fantastical,
dark and satirical writing style and her interest in fairy tales
and the occult. Her stories were included in Surrealist
publications, and her paintings in the Surrealists' exhibitions.
After the dramas and tragic separations of the Second World War,
Carrington ended up in the 1940s as part of the circle of
Surrealist European emigres living in Mexico City. Close friends
with Luis Bunuel, Benjamin Peret, Octavio Paz and a host of both
expatriate Surrealists and Mexican modernists, Carrington was at
the centre of Mexican cultural life, while still maintaining her
European connections. Leonora Carrington: Surrealism, Alchemy and
Art provides a fascinating overview of this intriguing artist's
rich body of work. The author considers Carrington's preoccupation
with alchemy and the occult, and explores the influence of
indigenous Mexican culture and beliefs on her production.
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