Your cart is empty
"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.
"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.
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.
Why is art magical? How can it make us happy? How Art Can Make You Happy offers the keys to unlocking a rich and rewarding source of joy in life. This easy, breezy handbook is full of insight that will help regular people begin a more inspiring and less stressful relationship with art. With tips on how to visit museums, how to talk about art at cocktail parties and how to let art wake you up to the world around you, this little guide makes it possible for anyone to fall in love with art, whether for the first time or all over again.
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
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.
Are art and science separated by an unbridgeable divide? Can they find common ground? In this new book, neuroscientist Eric R. Kandel, whose remarkable scientific career and deep interest in art give him a unique perspective, demonstrates how science can inform the way we experience a work of art and seek to understand its meaning. Kandel illustrates how reductionism-the distillation of larger scientific or aesthetic concepts into smaller, more tractable components-has been used by scientists and artists alike to pursue their respective truths. He draws on his Nobel Prize-winning work revealing the neurobiological underpinnings of learning and memory in sea slugs to shed light on the complex workings of the mental processes of higher animals. In Reductionism in Art and Brain Science, Kandel shows how this radically reductionist approach, applied to the most complex puzzle of our time-the brain-has been employed by modern artists who distill their subjective world into color, form, and light. Kandel demonstrates through bottom-up sensory and top-down cognitive functions how science can explore the complexities of human perception and help us to perceive, appreciate, and understand great works of art. At the heart of the book is an elegant elucidation of the contribution of reductionism to the evolution of modern art and its role in a monumental shift in artistic perspective. Reductionism steered the transition from figurative art to the first explorations of abstract art reflected in the works of Turner, Monet, Kandinsky, Schoenberg, and Mondrian. Kandel explains how, in the postwar era, Pollock, de Kooning, Rothko, Louis, Turrell, and Flavin used a reductionist approach to arrive at their abstract expressionism and how Katz, Warhol, Close, and Sandback built upon the advances of the New York School to reimagine figurative and minimal art. Featuring captivating drawings of the brain alongside full-color reproductions of modern art masterpieces, this book draws out the common concerns of science and art and how they illuminate each other.
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.
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.
While the female nude has long played a conspicuous role in western iconography, the male nude has not always enjoyed such attention, or acceptance. This ode to the male physique celebrates the evolving, at one time illicit, art form from anonymous 19th century erotica through to contemporary work from David Hockney and Duane Michaels. Through the classic, the playful, and the provocative, it explores the compositions, postures, and role-playing of this often under-explored genre. Esteemed masters such as Herbert List, George Platt Lynes or Robert Mapplethorpe are all there, alongside Baron Wilhelm von Gloeden, famed for his homoerotic images of nude youths in classical postures in Sicily. Further highlights include illustrations from Physique Pictorial, the leading organ of the mid-50s gay scene and a pioneer in gay publishing.
Art and the Global Economy analyzes major changes in the global art world that have emerged in the last twenty years including structural shifts in the global art market; the proliferation of international art fairs, biennials and blockbuster exhibitions; and the internationalization of the scope of contemporary art. John Zarobell explores the economic and social transformations in the cultural sphere, the results of greater access to information about art, exhibitions, and markets around the world, as well as the increasing interpenetration of formerly distinct geographical domains. By considering a variety of locations-both long-standing art capitals and up-and-coming centers of the future-Art and the Global Economy facilitates a deeper understanding of how globalization affects the domain of the visual arts in the twenty-first century. With contributions by Lucia Cantero, Mariana David, Valentin Diaconov, Kai Lossgott, Grace Murray, Chhoti Rao, Emma Rogers and Michelle Wong.
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.
Here is the first comprehensive survey of modern craft in the United States. Makers follows the development of studio craft--objects in fiber, clay, glass, wood, and metal--from its roots in nineteenth-century reform movements to the rich diversity of expression at the end of the twentieth century. More than four hundred illustrations complement this chronological exploration of the American craft tradition. Keeping as their main focus the objects and the makers, Janet Koplos and Bruce Metcalf offer a detailed analysis of seminal works and discussions of education, institutional support, and the philosophical underpinnings of craft. In a vivid and accessible narrative, they highlight the value of physical skill, examine craft as a force for moral reform, and consider the role of craft as an aesthetic alternative. Exploring craft's relationship to fine arts and design, Koplos and Metcalf foster a critical understanding of the field and help explain craft's place in contemporary culture. Makers will be an indispensable volume for craftspeople, curators, collectors, critics, historians, students, and anyone who is interested in American craft. |Here is the first comprehensive survey of modern craft in the United States. The book follows the development of studio craft--objects in fiber, clay, glass, wood, and metal--from its roots in 19th-century reform movements to the rich diversity of expression at the end of the 20th century. Keeping as their main focus the objects and the makers, Koplos and Metcalf offer a detailed analysis of seminal works and discussions of education, institutional support, and the philosophical underpinnings of craft. Oversize, with more than 400 illustrations.
Using Art as Research in Learning and Teaching explores various multidisciplinary visual and performing art forms, including creative writing, as ways to provide a rich contribution and understanding to research, learning, and teaching. Key figures in the field share their art-based research, arts practice, and philosophy, bringing the arts to life within their taught and learned contexts across a variety of art forms and levels of post-compulsory education. Featuring a foreword by internationally-renowned proponent of art-based research Professor Shaun McNiff, this book will be informative and useful to arts researchers and educators, addressing key challenges and possibilities in a rapidly changing higher education environment.
Distributed by the University of Nebraska Press for Whale and Star Press Alchemy of Light offers an intimate look at the aesthetic world Mary Conover forms from the disparate influences of her life, the Jungian heritage, and the ineffable presence of the sea. The book explores the relationship between the wild and empty places where Conover works and her ideas about the world and her place in it. In palimpsest-like abstractions, she locates the search for self in the beauty and danger of untamed water and implacable desert. Alchemy of Light mirrors the artist's alchemical process of acceptance and transmutation by presenting, without hierarchy, intricate personal notebooks, works in progress, influential writings, accomplished paintings in oil, collage, and digital photomontage. Conover tracks the seductions of risk in her peripatetic life. She describes how slowly acquiring the disciplines of yoga and meditation provided a structure for investigating consciousness in her work, with light as the primary metaphor. Collectively, the images and text in Alchemy of Light create a relevant portrait of an artist who transcends current trends in abstraction by the power of an internal vision.
Beginning in 1800, Looking at Men explores how the modern male body was forged through the intimately linked professions of art and medicine, which deployed muscular models and martial arts to renew the beau id al. This ideal of the virile body derived from the athletic perfection found in the classical male nude. The study of human anatomy and dissection in both art and medicine underpinned a modern gladiatorial ideal, its representations setting the parameters not just of 'normal' virile masculinity but also its abject 'other'. Through the shared violence of human dissection and martial arts, male artists and medics secured their professional privilege and authority on the bodies of 'roughs'. First and foremost visual, this process has literary parallels in Frankenstein and Jekyll and Hyde. While embodying signs of dominant power and signalling differences of race, class, gender and sexuality, the virile masculine ideal contained its shadow, the threat of loss, of a Darwinian 'degeneration' that required vigilant intervention to ensure the health of nations. Anthea Callen's lively and intelligent study casts a new eye on contributions by many lesser-known artists, as well as more familiar works by G ricault, Courbet, Dalou and Bazille through to Eakins, Thornycroft, Leighton and Tonks, and includes images that draw on photography and the popular visual cultures of boxing, wrestling and bodybuilding. Callen reassesses ideas of the modern male body and virile manhood in this exploration of the heteronormative, the homosocial and the homoerotic in art, anatomy and nascent anthropology.
An accessible, comprehensive, freshly-updated celebration of the vast range of human artistry from 28,000 BC to today Brought completely up to date for this revised edition and now available in a compact new format, this new edition of Phaidon's groundbreaking book presents art differently from all other compendia by revealing the huge diversity - or in many cases, the similarity - of artistic achievements around the globe. Images of more than 600 works from all periods and regions are arranged in chronological order, each with a short text that puts the work in critical context and explains its contribution to the development of art history.
You may like...
A Fine Romance - Falling in Love with…
Susan Branch Hardcover
Hart Ginsburg Paperback R464 Discovery Miles 4 640
The Orange Balloon Dog - Bubbles…
Don Thompson Hardcover (1)
South Africa: A Pocket Memento
Heinrich van den Berg, Philip van den Berg Hardcover
Boom - The Megadealers Behind the…
Michael Shnayerson Hardcover
Slim Kuns - Die Opvolg Van Kitskuns
Monique Day-Wilde, Angie Franke Paperback R154 Discovery Miles 1 540
History after apartheid - Visual culture…
Annie E. Coombes Paperback
Pikes Peak, America's Mountain
Jack Denton Paperback
Women by women - 50 years of women's…
Robin Comley, George Hallett, … Hardcover
Philosophy In Art
Richard Osborne Paperback