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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
In a monumental oeuvre spanning more than forty years, Penone has explored and expanded our understanding of what constitutes sculpture through the interplay between the human body, nature, and art. His work represents a poetic expansion of Post-Minimalism s, and specifically, Arte Povera s radical break with conventional media, emphasizing the transformative logic involved in the processes of respiration, growth, and aging that are common to all living beings. Housed in a box, the four new essays and conversation are collected in one volume, while twelve insightful texts investigate the main typologies that can be found as organizing principles in the work.
In the aftermath of the 2016 US elections, Brexit, and a global upsurge of nationalist populism, it is evident that the delirium and the crisis of neoliberal capitalism is now the delirium and crisis of liberal democracy and its culture. And though capitalist crisis does not begin within art, art can reflect and amplify its effects, to positive and negative ends. In this follow-up to his influential 2010 book, Dark Matter: Art and Politics in the Age of Enterprise Culture, Sholette engages in critical dialogue with artists' collectives, counter-institutions, and activist groups to offer an insightful, firsthand account of the relationship between politics and art in neoliberal society. Sholette lays out clear examples of art's deep involvement in capitalism: the dizzying prices achieved by artists who pander to the financial elite, the proliferation of museums that contribute to global competition between cities in order to attract capital, and the strange relationship between art and rampant gentrification that restructures the urban landscape. With a preface by noted author Lucy R. Lippard and an introduction by theorist Kim Charnley, Delirium and Resistance draws on over thirty years of critical debates and practices both in and beyond the art world to historicize and advocate for the art activist tradition that radically - and, at times, deliriously - entangles the visual arts with political struggles.
"An exciting, monumental, first-rate book devoted to a universal phenomenon whose time has come at last. Perhaps this is the art of the twenty-first century."--Michael Bonesteel, "The Outsider"
"A wonderful book..."--David Bowie
"(A) fascinating, timely book."--"Publishers Weekly"
"Recommended for all art collections."--"Library Journal"
Originally a landmark exhibition at the American Visionary Art Museum, "The End is Near " presents the largest collection of visionary art ever assembled on the subjects of Apocalypse, Millennium, and Utopia. With essays by Stephen Jay Gould, Reverend Howard Finster, Adam Parfrey, and His Holiness the Dalai Lama.
Winner of the Benjamin Franklin Book Award.
From the creator of the bestselling Griffin & Sabine series comes a visual epistolary puzzle posed by a mysterious character named Magnus Berlin. Readers must study Berlin's introductory note, list of clues, and 16 multifaceted notes and envelopes to decode cryptic anagrams, picturegrams, number puzzles, and wordplay. When solved, each clue reveals one word-but the rest remains a mystery. Packaged inside a folio with a tuck-in flap cover, spine stitching, and all 16 envelopes bound, Dubious Documents is an art object, keepsake, and puzzle in one treasured volume, and a distinctive gift or self-purchase for fans of puzzles, riddles, and anyone who enjoys an exquisitely designed challenge.
This catalog explores the psychological and social implications contained in the hybrid creatures and fantastic scenarios created by contemporary artists whose works will appear in the exhibition "Fairy Tales, Monsters, and the Genetic Imagination, " which opens at Nashville's Frist Center for the Visual Arts in February 2012. Curator Mark Scala's introductory essay focuses on anthropomorphism in the mythology, folklore, and art of many cultures as it contrasts with the dominant Western view of human exceptionalism. Scala also provides an art historical context, linking the visual fabulists of today to artists of the Romantic, Symbolist, and Surrealist periods who sought to transcend oppositions such as rationality and intuition, fear and desire, the physical and the spiritual.
Discussing how artists adapt traditional stories to give mythic form to the very real dilemmas of contemporary life, Jack Zipes's "Fairy-Tale Collisions" centers on Paula Rego, Kiki Smith, and Cindy Sherman. From a generation of women who have attained prominence since the 1980s, these artists alter fairy-tale imagery to subvert or rewrite social roles and codes.
In "Metamorphosis of the Monstrous," Marina Warner discusses works in the exhibition in the context of historical conceptions of monsters as expressions of alterity, bestiality, or sinfulness. Her reminder that contemporary monster images offer "a promise and a warning about the variety, heterogeneity, and possible combinations and recombinations in the order of things" sets the stage for Suzanne Anker's essay, punningly titled "The Extant Vamp (or the) Ire of It All: Fairy Tales and Genetic Engineering." Considering representations of hybrid bodies by Patricia Piccinini, Janaina Tschape, Saya Woolfalk, and others, which evoke imagined beings of the past as a way to envision the recombinant creatures that may lie in the future, Anker shows how artists explore the social, ethical, and future implications of biological design and enhanced evolution.
Accompanying an exhibition of contemporary art in which depictions of marvelous creatures and fantastic narratives provide both chills and delights, the essays in "Fairy Tales, Monsters, and the Genetic Imagination" explore the meaning of this fabulist revival through the lenses of social and art history, literature, feminism, animal studies, and science.
This best-selling guide provides all the advice artists and craftspeople need to sell their work in today's competitive market. This fantastic new edition has been updated with essential advice on how to make full use of digital opportunities for selling your work, such as social networking and e-marketing.
It contains information and suggestions about:
- Selecting and approaching galleries
- Pricing and payments
- Royalty rates and financial management
- Sample contracts and other legal considerations
- Creating a website and maximising hits
- Mastering social media to increase your visibility
- Managing sales via online stores such as Etsy, Folksy or ebay
- Printing your own reproductions and marketing them
With a foreword by Mary Ann Rogers, one of Britain's most acclaimed watercolour painters and awarded 'Best Selling Published Artist' by the Fine Art Trade Guild in 2009.
This welcome new resource for international students in art, design, and media provides clear explanations of the terminology they must master in order to fulfill their academic potential and enrich their professional careers. * Offers a much-requested new resource that fills a gap in the academic market * Tailored specifically to the needs of international students in art, design, and media * Color-coded key words and phrases for quick reference * Includes sections on study skills, academic expectations in Western institutions, methodologies, and important theorists * An ideal handbook for curators and gallery staff everywhere for whom English is a non-native language
Los Angeles is undergoing a makeover. Leaving behind its image as all freeways and suburbs, sunshine and noir, it is reinventing itself for the twenty-first century as a walkable, pedestrian friendly, ecologically healthy, and global urban hotspot of fashion and style, while driving initiatives to rejuvenate its downtown core, public spaces, and ethnic neighborhoods. By providing a locational history of Los Angeles fashion and style mythologies through the lens of institutions such as manufacturing, museums, and designers and readings of contemporary film, literature and new media, L.A. Chic provides an in-depth analysis of the social changes, urban processes, desires, and politics that inform how the good life is being re-imagined in Los Angeles. Throughout the book, Susan Ingram and Markus Reisenleitner dig up submerged and marginalized elements of the city's cultural history but also tap into the global circuits of urban affect that are being mobilized for promoting L.A. as an example for the global, multi-ethnic city of the future. Engagingly written, highly visual, and featuring numerous photographs throughout, L.A. Chic will appeal to any culturally inclined reader with an interest in Los Angeles, its cultural history, and modern urban style.
Revolve: R is a unique multidisciplinary artistic collaboration, initiated in 2011 by Sam Treadaway and Ricarda Vidal, in which contemporary artists produce completely original artworks, poetry, film, soundscapes and music in response to a series of visual prompts. In this project, an artwork image is sent to artists across the world with an invitation to respond with a work of their own. After each artist has submitted a response, a second image is produced and returned to all participating artists as a remix, edit, and synthesis of the collected artwork material. The process is repeated six times, producing the six chapters (or Revolves) of this lavishly produced, limited-edition bookwork. Focusing on experimentation and exchange, the project models communication between international arts communities and transcends geographic and linguistic boundaries. It is a beautiful example of the power of collaborative practice, a vehicle for new artistic dialogue, and an artwork in its own right. In this edition, the images produced through each Revolve are also sent to artists working outside visual media, creating a ripple-effect as musicians, sound artists, and filmmakers respond with their own pieces. These films, musical compositions, and soundscapes will be available in a disc accompanying each book and online. The Revolve: R, edition three bookwork is a brand new collaboration between Intellect Books and Arrow Bookworks. It follows Revolve: R, edition two (Arrow Bookworks 2013, 2015) which are available through www.revolve-r.com
At the first glance, we seem to be viewing realistic scenes. Pictures shaped by a sexual obsession and corresponding to the directness of their motifs. Nudes, copulation scenes, and blow jobs as we know them from hardcore or softcore pornography-protagonists radiating a super-cooled beauty!
Does the eroticism now break down because we see our projections reflected from the bodies of dolls? We conceal the confusing realization with a reflex: Ah, we already know this, Cindy Sherman, Louise Bourgois and Walter Pfeiffer have already introduced it! The art pigeonhole helps shield us from succumbing to the peculiar aesthetic experience of the beauty of a well-staged plastic belly or of a back-lit male organ. Gabriela Domeisen's photographs do not resolve this ambivalence-on the contrary: they solidify the peculiar experience of projection as an aesthetic experience.
What a shock it must have been for the Utrecht painters Hendrick ter Brugghen, Gerard van Honthorst and Dirck van Baburen when they first encountered the breathtaking and unconventional paintings of Caravaggio in Rome. This volume shows impressively how the young artists individually explored this role model and thereby developed their own individual style. In around 1600 Rome was the centre of the world. Attracted by Caravaggio's spectacular success, young artists from all over Europe converged on the bus tling metropolis. The up-and-coming painters studied the same works, discussed matters with each other and used Caravaggio's style to develop their own individual pictorial language. Tracing the careers of the three most important Utrecht Caravaggists, the authors describe the atmosphere of this artistic mood of renewal. Only in a comparison with their European fellow artists does it become evident how strongly the Dutch tradition, with its love of merciless realism, influenced the creative work of the Utrecht painters.
Art for Daily Living was first published in 1944. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.Art education has faced two great crises in one decade-first the depression and now the war. Out of the chaos and destruction of the early 1930's came a critical evaluation of educational practices, which challenged art as it was being taught in the schools. the Owatonna Art Education Project was developed to help evolve a sound art education program that could justify itself educationally and financially as an indispensable part of education.Believing that art plays an integral part in the life of every human being, the late Melvin E. Haggerty, dean of the College of Education and the University of Minnesota, obtained a grant from the Carnegie Foundation to develop a new approach to the teaching of art in the public schools-and approach based on the study of a typical Midwestern community and its use of art in everyday living.
Creativity is a powerful force in shaping and defining all of our futures.; Creativity enables us to fulfil our human potential and to make positive changes to the world around us.; Creativity drives innovation across the arts, technology, science and engineering.; Creativity boosts our economy, empowers our communities, enhances our education system and enriches our everyday lives.; Creativity is the catalyst that will enable the next generation to invent tomorrow.; Enriching lives and places, creativity builds a stronger society filled with happier, healthier people. For children born into a world of unprecedented technological, political and environmental change, those whose creativity has been nurtured will be best equipped to flourish.; This book argues the importance of creativity for everyone. It is not the sole preserve of arts-based subjects, but at the heart of medical, scientific, engineering and entrepreneurial progress too. Identifying the education system as the best route to ensure cultural benefits are open to all, Darren Henley argues that creativity should be at its heart. It is only by equipping children with the creativity to make the best use of their talents, and providing them with expert teachers who can nurture those abilities, that the next generation will have the skills necessary to invent tomorrow.
We imagine that art and money are old enemies, but this myth actually reproduces a violent system of global capitalism and prevents us from imagining and building alternatives. From the chaos unleashed by the 'imaginary' money in financial markets to the new forms of exploitation enabled by the 'creative economy' to the way art has become the plaything of the world's plutocrats, our era of financialization demands we question our romantic assumptions about art and money. By exploring the way contemporary artists engage with cash, debt and credit, Haiven identifies and assesses a range of creative strategies for mocking, sabotaging, exiting, decrypting and hacking capitalism today. Written for artists, activists and scholars, this book makes an urgent call to unleash the power of the radical imagination by any media necessary.
The history of collecting is a topic of central importance to many academic disciplines, and shows no sign of abating in popularity. As such, scholars will welcome this collection of essays by internationally recognised experts that gathers together for the first time varied and stimulating perspectives on the nineteenth-century collector and art market for French eighteenth-century art, and ultimately the formation of collections that form part of such august institutions as the Louvre and the National Gallery in London. The book is the culmination of a successful conference organised jointly between the Wallace Collection and the Louvre, on the occasion of the acclaimed exhibition Masterpieces from the Louvre: The Collection of Louis La Caze. Exploring themes relating to collectors, critics, markets and museums from France, England and Germany, the volume will appeal to academics and students alike, and become essential reading on any course that deals with the history of collecting, the history of taste and the nineteenth-century craze for the perceived douceur de vivre of eighteenth-century France. It also provides valuable insight into the history of the art markets and the formation of museums.
From Canada's global cities to its Arctic Circle - from the country's ongoing story of civil rights movements to languages under pressure - the writers in this issue upend the ways we imagine land, reconciliation, truth and belonging, revealing the histories of a nation's future.
Margaret Atwood, Gary Barwin, Dionne Brand, Fanny Britt, Douglas Coupland, France Daigle, Alain Farah, Naomi Fontaine, Dominique Fortier, Krista Foss, Kim Fu, Rawi Hage, Anosh Irani, Falen Johnson, Benoit Jutras, Alex Leslie, Alexander MacLeod, Daphne Marlatt, Lisa Moore, Nadim Roberts, Armand Garnet Ruffo, Chloé Savoie-Bernard, Anakana Schofield, Paul Seesequasis, Johanna Skibsrud, Karen Solie, Souvankham Thammavongsa, Larry Tremblay.
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