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Why philosophize about comedy? What is the use of investigating the comical from philosophical and psychoanalytic perspectives? In The Odd One In, Alenka Zupancic haceks over both cs] considers how philosophy and psychoanalysis can help us understand the movement and the logic involved in the practice of comedy, and how comedy can help philosophy and psychoanalysis recognize some of the crucial mechanisms and vicissitudes of what is called humanity. Comedy by its nature is difficult to pin down with concepts and definitions, but as artistic form and social practice comedy is a mode of tarrying with a foreign object--of including the exception. Philosophy's relationship to comedy, Zupancic haceks over both cs] writes, is not exactly a simple story (and indeed includes some elements of comedy). It could begin with the lost book of Aristotle's Poetics, which discussed comedy and laughter (and was made famous by Umberto Eco's The Name of the Rose). But Zupancic haceks over both cs] draws on a whole range of philosophers and exemplars of comedy, from Aristophanes, Moliere, Hegel, Freud, and Lacan to George W. Bush and Borat. She distinguishes incisively between comedy and ideologically imposed, "naturalized" cheerfulness. Real, subversive comedy thrives on the short circuits that establish an immediate connection between heterogeneous orders. Zupancic haceks over both cs] examines the mechanisms and processes by which comedy lets the odd one in. Alenka Zupancic haceks over both cs] is Senior Research Fellow at the Institute of Philosophy, Slovene Academy of Sciences, Ljubljana. She is the author of The Shortest Shadow: Nietzsche's Philosophy of the Two (MIT Press, 2003)."
One of the first female artists to achieve recognition in her own time, Artemisia Gentileschi (1593-1653) became instantly popular in the 1970s when feminist art historians "discovered" her and argued vehemently for a place for her in the canon of Italian baroque painters. Featured alongside her father, Orazio Gentileschi, in a recent exhibition at the Metropolitan Museum of Art, Artemisia has continued to stir interest though her position in the canon remains precarious, in part because her sensationalized life history has overshadowed her art. In The Artemisia Files, Mieke Bal and her coauthors look squarely at this early icon of feminist art history and the question of her status as an artist. Considering the events that shaped her life and reputation--her relationship to her father and her role as the victim in a highly publicized rape case during which she was tortured into giving evidence--the authors make the case that Artemisia's importance is due to more than her role as a poster child in the feminist attack on traditional art history; here, Artemisia emerges more fully as a highly original artist whose work is greater than the sum of the events that have traditionally defined her. The fresh, engaging discourse in The Artemisia Files will help to both renew the reputation of this artist on the merit of her work and establish her rightful place in the history of art. "Over the last generation Artemisia has been transformed from a talented curiosity . . . into a standard bearer of early feminist consciousness. This book offers a fascinating glimpse into the critical frame of mind underlying this transformation."--Keith Christiansen, Jayne Wrightsman Curator of Italian Painting, The MetropolitanMuseum of Art
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.
Those who love art are guaranteed to further expand their knowledge of this form of expression when using this comprehensive 3-panel (6-page)guide, which examines in detail each type of art from printmaking to photography that currently exists. Key definitions, historical periods and lists of well-known art pieces are included for easy access.
This book charts a geography of the art market and the art museum in the early 20th century through the legacy of one influential dealer. Born in Ireland, Hugh Lane (1875-1915) established himself in London in the 1890s. With little formal education or training, he orchestrated high-profile sales of paintings by the likes of Holbein, Titian, and Velazquez and described his life's work as "selling pictures by old painters to buy pictures by living painters." Lane assembled a collection of modern art for the Johannesburg Art Gallery, amassed a collection of Dutch and Flemish paintings for Cape Town, and gave his own collection of modern art to the National Gallery in London. He also donated paintings to the National Gallery of Ireland, where he was named director in 1914. Each chapter in this revelatory study focuses on an important city in Lane's practice as a dealer to understand the interrelationship of event and place.
"This book takes the reader on a gastronomic journey through the Middle Ages, offering not only a collection of medieval recipes, but a social history of the time. The eighty recipes, drawn from the earliest English cookbooks of the fourteenth and fifteenth centuries, are presented in two formats: the original middle English version and one adapted and tested for the modern cook. In a fascinating introduction, the author describes the range of available ingredients in medieval times and the meals that could be prepared from them--from simple daily snacks to celebratory feasts--as well as the preparation of the table, prescribed dining etiquette, and the various entertainments that accompanied elite banquets. Each chapter presents a series of recipes inspired by a historical event, a piece of literature, or a social occasion. Here we find descriptions of the grilled meats consumed by William the Conqueror's invading forces; the pies and puddings enjoyed by the pilgrims in Chaucer's The Canterbury Tales; and the more sumptuous fare served at royal feasts and Christmas celebrations. The author ends with a discussion of herbal recipes for various ailments. Beautifully illustrated with lively dining scenes from illuminated manuscripts and tapestries, this book serves up a delightful literary and visual repast for anyone interested in the history of food and dining. "--
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.
During the years 1627 and 1628, Charles I of England purchased the cream of the Gonzaga art collection, belonging to the dukes of Mantua, in what would become the greatest art deal of the 17th century. Among the treasures sold were ancient statues and stunning paintings by Titian, Raphael, Correggio, and Rubens. This book examines this fascinating and significant art sale from the perspective of the man who orchestrated it-Daniel Nijs (1572-1647), a Flemish merchant, collector, and dealer living in Venice. Christina M. Anderson brings Nijs to life, asserting that he was more than the avaricious and unscrupulous trader that most modern writers and scholars deem him to be. Anderson's evocative text describes Nijs's unique talent as a dealer, rooted in superior commercial skills, connections to artistic and diplomatic circles, and a deep love of art. The narrative reveals that Nijs was ultimately the pivotal figure involved with the Gonzaga sale, though also-when he later fell into bankruptcy and dishonor due to a deal gone awry-the most tragic.
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.
Since the elections of Donald Trump and Justin Trudeau, unprecedented international attention is being drawn to the differences between the United States and Canada. This timely volume takes a close comparative look at the national imaginaries of the two countries. In its analyses of the two countries' cultural productions - literature, but also film, opera, and even theme parks - it follows the approach of Comparative North American Studies, which has been significantly advanced by Reingard M. Nischik's work over recent decades. Featuring such illustrious contributors as Linda Hutcheon, Sherrill Grace, and Aritha van Herk, the volume considers the works of writers such as Margaret Atwood, whose concern with both countries' identities is well known, but also offers surprising new insights, for example by comparing writing by Edgar Allan Poe with Canadian Yann Martel's novel Life of Pi and Nobel Prize-winning author Alice Munro's work with that of the American graphic novelist Alison Bechdel. Contributors: Margaret Atwood, Shuli Barzilai, Julia Breitbach, Jutta Ernst, Florian Freitag, Marlene Goldman, Sherrill Grace, Michael and Linda Hutcheon, Bettina Mack, Silvia Mergenthal, Claire Omhovere, Katja Sarkowsky, Aritha van Herk. Eva Gruber is Assistant Professor of American Literature at the University of Konstanz. Caroline Rosenthal is Professor of American Literature at the University of Jena.
David Morgan builds on his previous groundbreaking work to offer this new, systematically integrated theory of the study of religion as visual culture. Providing key tools for scholars across disciplines studying the materiality of religions, Morgan gives an accessibly written theoretical overview including case studies of the ways seeing is related to touching, hearing, feeling, and such ephemeral experiences as dreams, imagination, and visions. The case studies explore both the high and low of religious visual culture: Catholic traditions of the erotic Sacred Heart of Jesus, the unrecognizability of the Virgin in the Fatima apparitions, the prehistory of Warner Sallman's face of Jesus, and more. Basing the study of religious images and visual practices in the relationship between seeing and the senses, Morgan argues against reductionist models of "the gaze", demonstrating that vision is not something that occurs in abstraction, but is a fundamental way of embodying the human self.
What terms do we use to describe and evaluate art, and how do we judge if art is good, and if it is for the social good? In How Art Can Be Thought Allan deSouza investigates such questions and the popular terminology through which art is discussed, valued, and taught. Adapting art viewing to contemporary demands within a rapidly changing world, deSouza outlines how art functions as politicized culture within a global industry. In addition to offering new pedagogical strategies for MFA programs and the training of artists, he provides an extensive analytical glossary of some of the most common terms used to discuss art while focusing on their current and changing usage. He also shows how these terms may be crafted to new artistic and social practices, particularly in what it means to decolonize the places of display and learning. DeSouza's work will be invaluable to the casual gallery visitor and the arts professional alike, to all those who regularly look at, think about, and make art-especially art students and faculty, artists, art critics, and curators.
In almost sixty years of professional life, John Tusa has fought for and sometimes against the major arts and political institutions in the country. A distinguished journalist, broadcaster and leader of arts organisations, he has stood up publicly for the independence of the BBC, the need for public funding of the arts and for the integrity of universities. He has made enemies in the process. From the battles to create the ground-breaking Newsnight in 1979, to six years of defending the BBC World Service from political interference, Tusa's account is etched with candour. His account of two years of internecine warfare at the top of the BBC under the Chairman, 'Dukey' Hussey will go down as a major contribution to BBC history. His recollections of a hilarious and petty-minded few months as head of a Cambridge college will be read as a case study of the absurdities of academic life; while running the rejected and maligned Barbican Centre, Tusa led its recovery into the major cultural centre that it is today. Often based on personal diaries, Making a Noise is a fearless and entertaining memoir of life at the top of the arts and broadcasting.
Praise for "Arts Marketing Insights"
"This isn't just a great handbook for arts marketers--it should
be required reading for board members, too. It debunks, challenges,
and clarifies a lot about consumer behavior and marketing best
practices for the arts and backs it up with evidence."
"Joanne Scheff Bernstein has written the best manual I know on
arts marketing. She never loses sight of the deep and unchanging
value of the art itself, while offering a panoply of fascinating
and useful ideas for getting it to more people."
"With the same rigor, intelligence, and practicality she brings
to her consulting work, Joanne Scheff Bernstein challenges readers
of her new book to rethink old ways of marketing the arts. A 'must
include' in any performing arts manager's library."
"The needs and behavior of audiences for the performing arts
have changed fundamentally since 9/11. Joanne Scheff Bernstein
records these changes and offers invaluable insights into how they
can be addressed by laying out the necessity for a new order of
"This book presents an innovative framework for a fresh
understanding of arts audiences whose market behavior has become
more sophisticated in recent years."
""Arts Marketing Insights" addresses the most critical issues
facing every arts administrator involved in cultivating
long-lasting relationships with audiences. Joanne Scheff
Bernstein's observations and suggestions will stimulate valuable
creative thinking across all departments."
"I view this book, "Arts Marketing Insights," as the performing
arts bible for the times."
At the age of 45, Bill Drummond is less concerned with setting the record straight as making sure it revolves at the correct speed. Whether he's recording 'Justified and Ancient' with Tammy Wynette; contemplating the dull lunacy of the Turner prize; resisting the urge to paint landscapes; or glorying in the crapness of rock comebacks; he is consistently amusing and thought-provoking, and draws us into his world with the seductive enthusiasm of a born storyteller.
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.
This is the first book in English devoted to the woodcuts that illustrate that Brazilian literatura de cordel. This string literature, the inexpensive pamphlets often displayed on thin cords hung between posts, is the work of the virtuosos popular poet of the backlands of Northeast Brazil. The passionate narratives are by turn realistic and fantastic, comic and tragic, and reflect the realities and the dreams of the Brazilian poor. Published all over Brazil, these stark woodcuts have all the power, quickness, and wit of great popular art.
The book when it first appeared was also well received by "House and Garden Architecture Forum" and "Landscape Architecture." "The handsome book will be a joy to possess for those who love beauty in architecture and cultivated nature," so wrote Pearl S. Buck. In 1940 Henry Inn of Honolulu, art collector, designer, and photographer, produced a collection of Chinese architectural pictures that is extraordinary.
Although probably the only record of its kind, many of the photographs were taken as recently as 1936. Of those locations very few remain if any. A veteran traveller to his ancestral homeland, Henry In had an extraordinarily wide set of acquaintances which gave him an entrance into some of the choicest homes and gardens throughout China. This combination of artistic shell and unusual opportunity are unique.
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