Discrete inquiries into 15 forms of the Arthurian legends produced over the last century explore how they have altered the tradition. They consider works from the US and Europe, and those aimed at popular and elite audiences. The overall conclusion is that the "Arthurian revival" is an ongoing event, and has become multivalent, multinational, and multimedia. Originally published in 1992.

This resource guide will help readers locate over 800 first-person accounts, fiction, poetry, art interpretations, and music by Holocaust victims and survivors, as well as videos relating the testimony and experiences of Holocaust survivors. In addition to the few well-known writers, artists, and musicians whose work so eloquently captures their experience during the Holocaust, this guide will introduce the reader to the lives and work of more than 250 lesser known or unrecognized writers, artists, and musicians from many countries who documented their experience of persecution at the hands of the Nazis. This guide will help students gain firsthand knowledge of what it was like to experience the Holocaust and how ordinary people coped and created art and meaning from the ashes of their lives.

The entry on each writer, artist, and musician features a biographical sketch and list of his or her works, with full bibliographic data. Entries on literature and videos are annotated and include recommendations for age-appropriateness. The work is divided into five parts: writers of memoirs, diaries and fiction; poets; artists; composers and musicians; and videos that feature testimony by survivors. Each part features an introductory overview of the artists and art created in that genre out of Holocaust experience. Title, artist/writer, and nationality indexes will help the reader select materials, and an index organized by age-appropriate levels will help teachers and librarians to select literature and videos for students.

Originally published in 1921. Shadow entertainments are as old as the hills, but their popularity is undiminished and the hand shadow expert is a recognised and popular artist and entertainer. A practical guide for both adults and children. Contents include: The Light - The Projection Screen - General Arrangements - Advanced Pracrise - Animal Shadows - Bird Shadows - Character Studies - Figures With Accessories - A Shadow Pantomime.112 pages. Illustrated by 85 diagrams. Many of the earliest entertainment books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Home Farm Books are republishing many of these classic works in affordable, high quality, modern editions, using the original text and artwork.

Since they began collaborating in 1993. John Wood and Paul Harrison have accumulated a series of playful and beguiling video works which are distinguished as much by their droll sense of humour as their unerring economy of execution. Played out against a minimalist, monochrome backdrop, or within the sealed-off space of the monitor itself, each of the works involves the presence of one of the artists, either as the butt of an extended sight-gag or as the trigger for a spiralling, visually surprising conceit. This publication, which features an essay by Charles Esche, documents Wood and Harrison's work to date, including single-screen works and installations.

ERIC GILL: NUPTIALS OF GOD by ANTHONY HOYLAND

ERIC GILL (1882-1940) is one of the major erotic artists of the 20th century, and one of the key British modern artists. Gill is still a controversial figure in art. His personal life was notorious for its sexual relationships. Wyndham Lewis called his work 'excellent and ribald', while influential critic Roger Fry, one of Gill's supporters, said Gill's sculpture was 'the outcome of a desire to express something felt in the adventure of human life.'

For Eric Gill, eroticism was a vital part of life, and should be openly displayed in art. He moved from nudes to Madonnas easily and simply: sex and religion were part of the same mystery for him.

Eric Gill built eroticism into most of his depictions of people. 'Quite mad on sex', Gill wrote of Jacob Epstein, the sculptor, in his diary (December 9, 1913). The statement might equally apply to Gill. He thought of sex a lot, to put it mildly.

Eric Gill has become a familiar gure in British modern art and life. He certainly looked the part of the Bohemian artist with his little skull caps, imitation monk's habits, artist's smocks and his penchant for bare feet and sandals (an early hippy? Yep). In his Fabian Society, Arts and Crafts and socialist period, Gill was described (in Blackfriars, 1941) by John Middleton Murry, a key member of D.H. Lawrence's circle, as a 'silent gure in a shabby mackintosh' who rolled his own cigarettes. Gill the Monk. Saint Gill.

For Eric Gill, eroticism was a vital part of life, and should be openly displayed in art. He moved from nudes to Madonnas easily and simply. The problematic and erotic relation between life and art, between the human beloved and the art object, is vividly expressed in the way Eric Gill started working in sculpture.

By far the most common subject in Eric Gill's sculpture was religious (and Christian): the nudes, acrobats, contortionists and divine lovers may receive more attention in art criticism, but the religious and Catholic sculptures are more numerous: there are Depositions, St Sebastians, Annunciations, Cruci xions, Holy Faces, Mary Magdalenes, angels, cruci xes, memorials, headstones, altarpieces, many Madonna and Childs, and of course the Stations of the Cross series.

Fully illustrated, featuring many lesser-known works by Eric Gill, as well as the works of his contemporaries, and from the history of erotic art.

With bibliography and notes. 232 pages. ISBN 9781861713223.

www.crmoon.com

During the 1920s and 1930s, black artists and writers achieved something totally unprecedented: they created a new image of African Americans that truly reflected their times as well as their history. In so doing, they set the artistic agenda of the Harlem Renaissance and gave form to some of its most compelling visions.

This innovative study examines the efforts of Harlem Renaissance artists and writers to create a hybrid expression of black identity that drew on their ancient past while participating in contemporary American culture. Caroline Goeser investigates a critical component of Harlem Renaissance print culture that until now has been largely overlooked, arguing that illustrations became the most timely and often most radical visual products of the movement.

This vibrant partnership between literary and visual talents-a trail blazed by artist Aaron Douglas and poet Langston Hughes-resulted in the image of the New Negro, one that remade the African American past in order to foster greater participation in modern American culture and commerce. Illustrations by Douglas, James Wells, Gwendolyn Bennett, and others appeared on covers of books about black American life and in journals such as Opportunity and The Crisis. Goeser considers the strategies that these artists developed to circumvent stereotypes and shows how their work was received within the movement and in mainstream America.

Connecting visual imagery with literary text and commercial enterprise, these illustrations participated in the modern economy in ways that painting and sculpture could not. Goeser reveals how Harlem Renaissance illustrators depicted the wide-ranging and sometimes conflicting ideas about black identity held within the community: African roots and Egyptian heritage, racial uplift and gay pride. She shows how some artists revisited the Judeo-Christian tradition by portraying a black Adam and Jesus, and examines the interdependent relationships between race and sexuality in the work of artists Richard Bruce Nugent and Charles Cullen, the former black, the latter white.

Goeser clearly shows that, contrary to common belief, the visual image of the New Negro was created by African Americans, for African Americans. Her work assigns a central role to black artists as cultural innovators intimately involved with the construction of identity and new expressive paradigms and is a new touchstone in understanding both the emergence of black identity and American culture between the world wars.

This set gathers together a collection of previously out-of-print titles that examine China's great heritage in literature, poetry, theatre and performance, painting and crafts. This reference resource spans Chinese traditions and artforms to provide in-depth analysis of some of China's great cultural treasures from many different periods in the country's long history.

History has been taught through illusions in order to divide and establish power. These constant illusions force the Psychopathic Genius to develop a stream of consciousness that evokes a maladaptive schizophrenic disposition. In this schizophrenic state, the Psychopathic Genius manifests recurring illusions that were once used to control as a means of controlling. As the story progresses, these illusions become so clich that it forces the Psychopathic Genius to rebuke societal doctrine. This epic doesn't evolve, instead, it shows the continual war that we all fight: Protagonist vs. Antagonist, God vs. Satan, Adam vs. Eve, Rich vs. Poor, Old vs. New, Parent vs. Child, Black vs. White, Right vs. Wrong, Morality vs. Judgment, Society vs. Individual, Master vs. Slave and most pertinent to the Psychopathic Genius: Nigger vs. Racist. Step inside the lost paradise of a Brave New World. This book is rated PG: Psychopathic Genius... Vanity is the only sanity.

FRESCO PAINTING Modern Methods and Techniques for Painting in Fresco and Secco by OLLE NORDMARK AMERICAN ARTISTS GROUP, INC. NEW YORK PREFACE This book has been written for the painter in fresco, who wishes to acquire enough knowledge of the craft to enable him to supervise, guide and efficiently work with the craftsmen plasterers who are put in charge of the preparation of his materials and wall and who will assist him as the finishing plasterers throughout the period of painting. It should be remembered that the surface of the so-called Intonaco, must yield the best possible working conditions, giving the painter the longest possible time to execute the part of the wall intended for a days work. In order that such a condition should prevail, a thorough knowledge of the materials used in the practice of fresco painting must be acquired through the practical utilization of a series of operations to obtain necessary ultimate results. Stress is, therefore, laid upon the fact that the painter him self must guide and guard the preparation of his materials and the different layers of mortar which build up the fresco ground, the foundation for the painting. Also, if he is not prepared himself to do the work, he must be able to give final full direc tions for the Intonaco or painting surface, the richness of the mixing and its perfect application which in itself requires experienced handling of tools in the piece-meal plastering of the wall, all of which is the groundwork for the actual painting. This HANDBOOK, therefore, will endeavor to explain the practice of fresco and fresco-secco painting in connection and collaboration with the trade from which it was derived the building trade. OLLENORDMAKK CONTENTS i WALLS 3 ii PREPARATION OF MORTAR MATERIALS 9 in MORTAR MIXING 17 iv PLASTERING THE FRESCO GROUND 22 v FRESCO GROUNDS 32 vi INTONACO 38 vii PRELIMINARY WORK TO PAINTING THE FRESCO . . 43 viii PAINTING THE FRESCO ... 67 ix SECCO PAINTING IN LIMECOLOR 87 x MODELING OF RELIEF IN MORTAR 95 xi RETOUCHING 101 xii PRELIMINARY WORK FOR PLASTERING ..... 108 xiii THE SCAFFOLD 112 SOURCE OF SUPPLIES 115 INDEX - 121 COLOR PLATES FIRST STEPS IN FRESCO PAINTING 80 by OlXE NORDMARK COMPLETED FRESCO PAINTING 81 by OLLE NORDMARK FRESCOS IN POST OFFICE DEPARTMENT, WASHINGTON, D. C 82 by REGINALD MARSH FRESCOS IN POST OFFICE DEPARTMENT, WASHINGTON, D. C 83 by REGINALD MARSH FRESCOS IN DEPARTMENT OF JUSTICE BUILDING, WASHINGTON, D. C 84 by HENRY VARNUM POOR FRESCOS IN DEPARTMENT OF JUSTICE BUILDING, WASHINGTON, D. C 85 by HENRY VARNUM POOR DETAIL FROM FRESCO IN THE DEPARTMENT OF JUSTICE BUILDING, WASHINGTON, D, C 86 by GEORGE BIDDLE FRESCO PAINTING WALLS CHAPTER ONE T JL. . H H E QUESTION of a suitable wall for the fresco-mural, or how to make any available area a permanent foundation for the plaster coats making up the fresco ground, has vexed the fresco painter from ancient times to our days. BRICK WALLS Generally it can be said that the old-fashioned brick wall made from handmade bricks is still the ideal wall for the fresco mural. Bricks baked to a fresh looking red and laid in lime-sand mortar constitute that kind of a wall. Old plastered walls must first have the plaster removed. Old as well as new walls are cleaned with a weak solution of HYDROCHLORIC ACID, washed with hot water and then sprayed and rinsed with cold. During the spraying the wall is examined for non-absorbentbricks of a muddy violet or clincer grey color. All such bricks baked and burnt beyond the temperature of the fresh red color must either be insulated by waterproofing or, better still, replaced with good bricks to remove the ever present possibility of EFFLORESCENCE. Waterproofing is done by painting over with an ASPHALT type of WATERPROOFING which will still allow the mortar to cling to the safeguarded brick. Deep hollows and faulty bricks are filled out and repaired with lime-sand mortar, 1-2 mixture with brick chips mixed in

Artists have always known intuitively what science is just beginning to discover: that creating a visual image through any medium can produce physical and emotional benefits for both the creator as well as those who view it. Most important, you don't need to think of yourself as an artist or even believe you have any "talent" to tap into the healing powers of art.

In this remarkable testament to the power of creativity, Barbara Ganim shows step-by-step how to use art to heal body, mind, and spirit. By using guided meditation and artistic techniques, you can gain insight and clarity into depression, anxiety, rage, and even illnesses, including cancer, arthritis, and AIDS.

At once inspirational and instructive, "Art and Healing" will teach you how to connect with negative, painful, and even repressed emotions and then express them through drawing, painting, sculpture, or collage. Releasing these feelings through the creative process frees up the immune system and clears the mind, allowing the body to fight off disease and begin to heal emotional wounds. Filled with actual stories from those who have triumphed over adversity and with more than a hundred different pieces of artwork created using this groundbreaking method, "Art and Healing" is sure to provide the tools needed for healing body and spirit.

This book gathers together an array of international scholars, critics, and artists concerned with the issue of walking as a theme in modern literature, philosophy, and the arts. Covering a wide array of authors and media from eighteenth-century fiction writers and travelers to contemporary film, digital art, and artists' books, the essays collected here take a broad literary and cultural approach to the art of walking, which has received considerable interest due to the burgeoning field of mobility studies. Contributors demonstrate how walking, far from constituting a simplistic, naive, or transparent cultural script, allows for complex visions and reinterpretations of a human's relation to modernity, introducing us to a world of many different and changing realities.

This book focuses on the relationship between the university and a particular cohort of academic staff: those in visual and performing arts disciplines who joined the university sector in the 1990s. It explores how artistic researchers have been accommodated in the Australian university management framework and the impact that this has had on their careers, identities, approaches to their practice and the final works that they produce. The book provides the first analysis of this topic across the artistic disciplinary domain in Australia and updates the findings of Australia's only comprehensive study of the position of research in the creative arts within the government funding policy setting reported in 1998 (The Strand Report). Using lived examples and a forensic approach to the research policy challenges, it shows that while limited progress has been made in the acceptance of artistic research as legitimate research, significant structural, cultural and practical challenges continue to undermine relationships between universities and their artistic staff and affect the nature and quality of artistic work.

James Fitch shows how American architecture displays qualities which can safely be described as typically American. There are many areas in which our architecture is distinguishable from that of the rest of the world. The single family house, for example, shares with its foreign contemporaries the basic elements of plan, and yet the way in which these elements are organized into a whole gives our houses certain qualities which we can call uniquely American.

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.