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The Believer, a five-time National Magazine Award finalist, is a bimonthly literature, arts, and culture magazine. In each issue, readers will find journalism and essays that are frequently very long, book reviews that are not necessarily timely, and interviews that are intimate, frank, and also very long. There are intricate illustrations by Tony Millionaire and a rotating cast of guest artists, poems, and regular columns by Nick Hornby and Daniel Handler. The annual Music Issue features Karen Tongson on her namesake, Karen Carpenter, and how the particular whiteness of the Carpenters' sound took off in the Philippines; Michael Snyder on a territory in northeast India in which contemporary Christian gospel is effecting near-total cultural assimilation; Phillip Pantuso on Guyanese songbird smugglers; Stephanie Elizondo Griest on dancers who place art above everything else in their lives; and Sandi Rankaduwa on the evolution of female emcees. There will also be (among other things) a special section on unreliable songwriters; a visual examination of Italo Disco's map to humanity's apotheosis via glitter and robot sex; and interviews with Enya, the LA Phil's Deborah Borda, punk bassist Mike Watt, rapper and producer Lil B, and legendary rock muse Bebe Buell.
J.M.W. Turner 1775-1851 was perhaps the most prolific and innovative of all British artists. His outstanding watercolours in the Scottish National Gallery are one of the most popular features of its collection. Bequeathed to the Gallery in 1899 by the distinguished collector Henry Vaughan, they have been exhibited, as he requested, every January for over 100 years. Renowned for their excellent state of preservation, they provide a remarkable overview of many of the most important aspects of Turner's career.
The first part of this essential handbook provides an art-business analysis of the market for art photography and explains how to navigate it. The second is an art-historical account of the evolution of art photography from a marginal to a core component of the international fine-art scene. In tracing the emergence of a robust art-world subsystem for art photography, sustaining both significant art-world presence and strong trade, the book shows the solid foundations on which today's international market is built, examines how that market is evolving, and points to future developments. This pioneering handbook is a must-read for scholars, students, curators, dealers, photographers, private collectors, institutional buyers, and other arts professionals.
The International Institute for Asian Studies (IIAS) in Leiden has compiled a bibliographic database documenting publications on South and Southeast Asian art and archaeology. Twenty editors and documentalists in Leiden, Colombo, Bangkok, Dharwad, and Jakarta have collected the material in this first volume, and over 1,000 records describe monographs, articles in monographs, and articles in periodicals including reviews and Ph.D. dissertations published in 1996 and 1997. The records are arranged geographically and according to subject: pre- and proto-history, historical archaeology, ancient and modern art history, material culture, epigraphy and paleography, numismatics and sigillography.
While most music lovers are familiar with the famous scores of Tchaikovsky, Delibes, and Stravinsky, many other lesser-known composers also wrote for the ballet. Several of these composers wrote almost exclusively for the ballet--and all enriched the world of dance. Minor Ballet Composers presents biographical sketches of 66 underappreciated ballet composers of the 19th and 20th centuries from around the world, along with selected stories from the ballets they helped create. While the composers'contributions to ballet music are emphasized, all aspects of their lives and works are touched upon. Plot summaries and excerpts from reviews of many of the ballets are also provided. Other topics of interest you'll find covered in Minor Ballet Composers include: Les Six: Darius Milhaud, Louis Durey, Georges Auric, Arthur Honegger, Francis Poulenc, and Germaine Tailleferre--and their relationship with Erik Satie and Jean Cocteau how politics, revolutions, and wars have affected composers and their works who studied with whom; who collaborated with whom schools, movements, and musical renaissance the importance of opera to ballet music the relationship between film scores and ballet music which books, plays, stories, and folk tales certain ballets are based upon where many of these ballets premieredMinor Ballet Composers emphasizes the importance of second-tier composers and their influence on the rich tradition of music written for the dance (though in some cases the music was appropriated for the ballet from other original designs). The gathering of these composers in a single volume in appreciation of their ballet music, with a glossary of choreographers and an index of ballet titles, makes this book a useful volume for ballet aficionados, music librarians, musicians, and others interested in dance and dance music.
In an ancient account of painting's origins, a woman traces the
shadow of her departing lover on the wall in an act that
anticipates future grief and commemoration. Lisa Saltzman shows
here that nearly two thousand years after this story was first
told, contemporary artists are returning to similar strategies of
remembrance, ranging from vaudevillian silhouettes and sepulchral
casts to incinerated architectures and ghostly processions.
"The Queer Art of Failure" is about finding alternatives--to conventional understandings of success in a heteronormative, capitalist society; to academic disciplines that confirm what is already known according to approved methods of knowing; and to cultural criticism that claims to break new ground but cleaves to conventional archives. Judith Halberstam proposes "low theory" as a mode of thinking and writing that operates at many different levels at once. Low theory is derived from eccentric archives. It runs the risk of not being taken seriously. It entails a willingness to fail and to lose one's way, to pursue difficult questions about complicity, and to find counterintuitive forms of resistance. Tacking back and forth between high theory and low theory, high culture and low culture, Halberstam looks for the unexpected and subversive in popular culture, avant-garde performance, and queer art. She pays particular attention to animated children's films, revealing narratives filled with unexpected encounters between the childish, the transformative, and the queer. Failure sometimes offers more creative, cooperative, and surprising ways of being in the world, even as it forces us to face the dark side of life, love, and libido.
A feminist literary theorist, specialist in Rembrandt, and a
scholar with a knack for reading Old Testament stories, Mieke Bal
weaves a tapestry of signs and meanings that enrich our senses. Her
subject is the act of showing, the gesture of exposing to view. In
a museum, for example, the object is on display, made visually
available. "That's how it is," the display proclaims. But who says
A well-known advocate and proponent of art in Chicago, Paul Klein is a long-time gallerist whose friendships with artists, dealers, collectors, and curators have afforded him a rare vantage point on the vagaries and victories of the art world. Since closing his gallery in 2004, he has parlayed his insider knowledge into a cottage industry that addresses the imbalance between visual artists' gifts for creation and their frequent unfamiliarity with managing successful careers. Advising artists as they navigate the commercial aspects of their work, Klein teaches courses and seminars that explore what museum curators are looking for in contemporary artists, how galleries select their artists, how to sell to corporate art consultants, how to price art, and many other subjects. Based on his many years in both the art world as a gallery owner and educator, The Art Rules is a practical, operational guide for visual artists that demystifies the art world and empowers practitioners to find success on their own terms. Bringing together the personal experiences of hundreds of major art world leaders, Klein chronicles their success, their staying power, their interests, and their passions. Filling a major void, The Art Rules gives practitioners the tools they need to realize their potential. Ultimately, Klein shows, success is not particularly complicated, but it is rarely taught, shared, or demonstrated for the visual artist. This book does precisely that.
The history and culture of Europe has been decisively shaped by the exploration and use of the seas surrounding Europe. This catalogue book reflects the significance of the sea as a space of rule and trade for Europeans, as bridge and border, as resource and a site of desire. The book also reviews the changing perception of the sea in the arts. Europe is a maritime continent: measured by the length of its coasts and its total size, none of the five continental masses on the planet has more points of cont act with the seas than Europe. The importance of the sea for the development of European civilisation is illustrated by the themes of myths, shipbuilding and seafaring, rule of the seas, European coastal trade, expansion, the slave trade, migration, the ma ritime global economy, resources, oceanography, tourism, and the artistic perception of the sea. Thirteen themes, each linked to a port city, range from Antiquity to the present day and demonstrate that the domination of the seas was a central component of European power politics for centuries.
Early in the 1980s AIDS epidemic, six gay activists created one of the most iconic and lasting images that would come to symbolize a movement: a protest poster of a pink triangle with the words "Silence=Death." The graphic and the slogan still resonate widely today, the latter an anthem for AIDS activism, and are often used-and misused-to brand the entire movement, appearing in a variety of ubiquitous manifestations. Cofounder of the collective Silence=Death and member of the art collective Gran Fury, Avram Finkelstein tells the story of how his work and other protest artworks associated with the early years of the pandemic were created. In his writing about art and AIDS activism, the formation of collectives, and the political process, Finkelstein exposes us to a different side of the traditional HIV/AIDS history told twenty-five years later and offers a creative toolbox for those who want to learn how art and activism save lives.
Painted riverscapes such as Claude Monet's impressions of the Seine, Isaak Levitan's Volga views, or Thomas Cole's Hudson scenery became iconic not least because they embodied nationalist ideas about place and about culture. At a time when nationalism was taking root across Europe and the United States, the riverscape played an important role in transforming the abstract idea of the nation into a potent visual image. It not only offered a picture of the nation's physical character, but through aspects such as style, the figures portrayed, and the nature of the implied spectator, it presented a cultural ideal. In this highly original book, Tricia Cusak explores significance of painted riverscapes to the creation of national identities in nineteenth and early twentieth century Europe and America. Focusing on five rivers, the Hudson, the Volga, the Seine, the Thames, and the Shannon, the author outlines the history of the development of national landscapes, elaborating on the distinctive nature of riverscapes. Drawing on the symbolic potential of rivers to represent life and time, the riverscape provided a metaphor for the mythic stream of national history flowing unimpeded out of the past and into the future.
GRAPHITE 10 is 104 pages of the most inspiring and beautifully presented content focused on traditional drawing and illustration. As always, in this issue readers will be guided through the creative processes of a diverse selection of the best and most inspiring artists from around the globe and given an invaluable insight into how to create gripping illustrations and believable creature designs, and how to capture the raw energy of an urban environment in a sketch.
More than one hundred years after Futurism exploded onto the European stage with its unique brand of art and literature, there is a need to reassess the whole movement, from its Italian roots to its international ramifications. In wide-ranging essays based on fresh research, the contributors to this collection examine both the original context and the cultural legacy of Futurism. Chapters touch on topics such as Futurism and Fascism, the geopolitics of Futurism, the Futurist woman, and translating Futurist texts. A large portion of the book is devoted to the practical aspects of performing Futurist theatrical ideas in the twenty-first century.
Only 16% of the most recent Venice Biennale artists were female. A mere 14% of MoMA's 2016 display is by non-white artists. Only one third of artists represented by US galleries are female, but over two-thirds of the enrolment in art and art-history programmes is young women... The fight for gender and race equality in the art world is far from over. Indeed, the more closely one examines the numbers, the more glaring it becomes that white, Euro-American, heterosexual, privileged and, above all, male artists continue to dominate the art world. Arranged in thematic sections focusing on feminism, race and sexuality, this book examines and illustrates pioneering examples of exhibitions that have broken down boundaries and demonstrated that new approaches are possible, from Nochlin's `Women Artists' at the LACMA in the mid-1970s to Martin's `Carambolages' in 2016 at the Grand Palais in Paris. By exposing both the disparities and inclusive solutions, the author addresses the urgent need in the contemporary art world for curatorial strategies that provide alternatives to exclusionary models of collecting and display. In so doing, she provides an invaluable source of information for current thinkers and, in a world dominated by visual culture, a vital source of inspiration for today's ever-expanding new generation of curators.
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