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Books > Arts & Architecture > History of art / art & design styles > General
Art history has enriched the study of material culture as a
scholarly field. This interdisciplinary volume enhances this
literature through the contributors' engagement with gender as the
conceptual locus of analysis in terms of femininity, masculinity,
and the spaces in between. Collectively, these essays by art
historians and museum professionals argue for a more complex
understanding of the relationship between objects and subjects in
gendered terms. The objects under consideration range from the
quotidian to the exotic, including beds, guns, fans, needle
paintings, prints, drawings, mantillas, almanacs, reticules, silver
punch bowls, and collage. These material goods may have been
intended to enforce and affirm gendered norms, however as the
essays demonstrate, their use by subjects frequently put normative
formations of gender into question, revealing the impossibility of
permanently fixing gender in relation to material goods, concepts,
or bodies. This book will appeal to art historians, museum
professionals, women's and gender studies specialists, students,
and all those interested in the history of objects in everyday
life.
101 Contemporary Artists Volume 1 features 101 of the most exciting
contemporary artists from around the World. Curator Terrence
Sanders-Smith has compiled a relevant and important survey of
emerging and mid-career artists of the 21st century. 101
Contemporary Artists book has its finger on the pulse of the
landscape of Contemporary Art. 101 Contemporary Artists is the
go-to guide for collectors, curators, art professionals and
enthusiasts interested in the now and next generation of
Contemporary Art.
Whether you're thinking of getting a tattoo or just want to see to
what lengths others have gone in decorating their bodies, this is
the book to check out. 1000 Tattoos explores the history of the art
worldwide via designs and photos-from 19th-century engravings to
tribal body art, from circus ladies of the '20s to classic biker
designs. About the series Bibliotheca Universalis - Compact
cultural companions celebrating the eclectic TASCHEN universe!
This book explores environments where art, imagination, and
creative practice meet urban spaces at the point where they connect
to the digital world. It investigates relationships between urban
visualizations, aesthetics, and politics in the context of new
technologies, and social and urban challenges toward the
Sustainable Development Goals. Responding to questions stemming
from critical theory, the book focuses on an interdisciplinary
actualization of technological developments and social challenges.
It demonstrates how art, architecture, and design can transform
culture, society, and nature through artistic and cultural
achievements, integration, and new developments. The book begins
with the theoretical framework of social aesthetics theories before
discussing global contemporary visual culture and technological
evolution. Across the 12 chapters, it looks at how architecture and
design play significant roles in causing and solving complex
environmental transformations in the digital turn. By fostering
transdisciplinary encounters between architecture, design, visual
arts, and cinematography, this book presents different theoretical
approaches to how the arts' interplay with the environment responds
to the logic of the constructions of reality. This book will appeal
to scholars, researchers, and upper-level students in aesthetics,
philosophy, visual cultural studies, communication studies, and
media studies with a particular interest in sociopolitical and
environmental discussions.
The story of Frank Lloyd Wright's life is no less astounding than
his greatest architectural works. He enmeshed himself eagerly in
myth and hearsay, and revelled in the extravagance of his creative
persona. Throughout his long career, Wright strongly resisted the
suggestion that his accomplishments owed anything to earthly
influences. As much as he wanted his achievements to be recognised,
he wanted them to be unaccountable - but they are not. This book
reveals for the first time how his unbreakable self-belief and
startling creative defiance both originated in the liberal
religious and philosophical attitudes woven into his personality
during his childhood - deliberately so by his mother and by his
many aunts and uncles, to honour the fierce Welsh radicalism of
their ancestors.
1. Relates the fundamental principles of the interdependent
disciplines of Psychology, Art, and Creativity together in one
resource in a clear and accessible way. 2. Will be accompanied by
extensive online content developed by the author for her own MOOC,
including quizzes, reflection exercises, videos, resources, further
readings and other valuable tools that can help them connect deeply
with the content. 3. Designed for use on courses focusing on the
Psychology of Art, Creativity, or Art Therapy.
This book examines the manifestations of architecture, cities, and
design processes within digital culture. Adopting a comparative and
critical method, the author looks at past and present encounters of
the digital with architectural discourse and practice. Along three
central themes - machines, networks, and computation - the book
begins by discussing transformations of the analogy between
architecture and the machine since the early twentieth century,
foregrounding questions about the relations between architecture,
humans, machines, and the environment. It moves on to the city, to
observe how big data and smart city sustainable management systems
have transformed historical visions of global networked cities.
Lastly, it explores computational design thinking historically and
in the context of complex systems, as well as the latest technical,
social, and economic developments. Exposing possible drawbacks
while still focusing on what is radically innovative, this book
proposes a way toward more liberating, digital, and sustainable
futures for architecture. An important read for architecture
students, academics, and professionals, this book connects
instances of digital architecture practice and discourse throughout
the history of the digital culture paradigm and their ties with
sociopolitical developments. It shares the possibility that these
connecting lines may be the canvas for a novel architectural
history of the recent past.
The speed and scale of urbanisation in India is unprecedented
almost anywhere in the world and has tremendous global
implications. The religious influence on the urban experience has
resonances for all aspects of urban sustainability in India and yet
it remains a blind spot while articulating sustainable urban
policy. This book explores the historical and on-going influence of
religion on urban planning, design, space utilisation, urban
identities and communities. It argues that the conceptual and
empirical approaches to planning sustainable cities in India need
to be developed out of analytical concepts that define local sense
of place and identity. Examining how Hindu religious heritage,
beliefs and religiously influenced planning practices have impacted
on sustainable urbanisation development in Jaipur and Indian cities
in general, the book identifies the challenges and opportunities
that ritualistic and belief resources pose for sustainability. It
focuses on three key aspects: spatial segregation and
ghettoisation; gender-inclusive urban development; and the nexus
between religion, nature and urban development. This cutting-edge
book is one of the first case studies linking Hindu religion,
heritage, urban development, women and the environment in a way
that responds to the realities of Indian cities. It opens up
discussion on the nexus of religion and development, drawing out
insightful policy implications for the sustainable urban planning
of many cities in India and elsewhere in South Asia and the
developing world.
An exploration of echoes and resonances across two millennia of
visual culture, celebrating ten years of The Public Domain Review.
Gathering a remarkable collection of over 500 public domain images,
Affinities is a carefully curated visual journey illuminating
connections across more than two thousand years of image-making.
Drawing on a decade of archival immersion at The Public Domain
Review, the book has been assembled from a vast array of sources:
from manuscripts to museum catalogues, ship logs to primers on
Victorian magic. The images are arranged in a single captivating
sequence which unfurls according to a dreamlike logic, through a
play of visual echoes and evolving thematic threads - hatching eggs
twin with early Burmese world maps, marbled endpapers meet tattooed
stowaways, and fireworks explode beside deep-sea coral. At once an
art book, a sourcebook, and a kaleidoscopic visual poem, Affinities
is a unique and enthralling publication that will offer something
different on each visit. Its playful and imaginative space invites
the reader to transcend familiar categories of epoch, style, or
historical theme, and to instead revel in a new world of creative
possibilities played out between the images - opening up new
connections, ways of seeing, and forms of knowledge. Praise for The
Public Domain Review 'An Aladdin's cave of curiosity ... the best
thing on the web' Guardian 'A gold mine of fantastic images and
stories' The New York Times
Marie Laurencin, in spite of the noticeable reputation she made in
Paris in the first half of the twentieth century, has attracted
only sporadic attention by late-twentieth century art historians.
Until now the substance of her art and the feminist issues that
were entangled in her life have been narrowly examined or reduced
by an author's chosen theoretical format; and the terms of her
lesbian identity have been overlooked. In this case study of une
femme inadaptee and an unfit feminist, Elizabeth Kahn re-situates
Laurencin in the on-going feminist debates that enrich the
disciplines of art history, women's studies and literary criticism.
Kahn's thorough reading of the artist's visual and literary
production ensures a comprehensive overview which addresses notable
works and passages but also integrates those that are less well
known. Incorporating feminist theory and building on the work of
contemporary feminist art historians, she avoids the heroics of
conventional biography, instead allowing her subject to participate
in the historical collective of women's work. Provocative and
engagingly written, this fresh new study of Marie Laurencin's life
and works also explores the multiple valences by which to connect
the histories of, and find new connections between, women artists
across the twentieth century.
What makes a work of art a masterpiece? Discover the answers in the
fascinating stories of how these artworks came to be and the
circumstances of their long-lasting impact on the world. Beginning
with Botticelli's The Birth of Venus, we travel through time and a
range of styles and stories - including theft, scandal, artistic
reputation, politics and power - to Warhol's Campbell's Soup Cans,
challenging the idea of what a masterpiece can be, and arriving in
the twenty-first century with Amy Sherald's portrait of Michelle
Obama, a modern-day masterpiece still to be tested by time. Each
artwork has a tale that reveals making a masterpiece often involves
much more than just a demonstration of artistic skill: their path
to fame is only fully disclosed by looking beyond what the eye can
see. Rather than trying to describe the elements of greatness,
Making a Masterpiece takes account of the circumstances outside the
frame that contribute to the perception of greatness and reveals
that the journey from the easel to popular acclaim can be as
compelling as the masterpiece itself. Featuring: Birth of Venus,
Sandro Botticelli Mona Lisa, Leonardo da Vinci Judith Beheading
Holofernes, Artemisia Gentileschi Girl with a Pearl Earring,
Johannes Vermeer Under the Wave off Kanagawa, Katsushika Hokusai
Fifteen Sunflowers, Vincent van Gogh Portrait of Adele Bloch-Bauer
I (Woman in Gold, Gustav Klimt American Gothic, Grant Wood
Guernica, Pablo Picasso Self-Portrait with Thorn Necklace and
Hummingbird, Frida Kahlo Campbell's Soup Cans, Andy Warhol Michelle
LaVaughn Robinson Obama, Amy Sherald Discover the stories of how,
why and what makes a masterpiece in this compelling and
comprehensive title.
This book provides an introduction to the Human Centred Design of
autonomous vehicles for professionals and students. While rapid
progress is being made in the field of autonomous road vehicles the
majority of actions and the research address the technical
challenges, with little attention to the physical, perceptual,
cognitive and emotional needs of humans. This book fills a gap in
the knowledge by providing an easily understandable introduction to
the needs and desires of people in relation to autonomous vehicles.
The book is "human centred design" led, adding an important human
perspective to the primarily technology-driven debates about
autonomous vehicles. It combines knowledge from fields ranging from
linguistics to electrical engineering to provide a holistic,
multidisciplinary overview of the issues affecting the interactions
between autonomous vehicles and people. It emphasises the
constraints and requirements that a human centred perspective
necessitates, giving balanced information about the potential
conflicts between technical and human factors. The book provides a
helpful introduction to the field of design ethics, to enhance the
reader's awareness and understanding of the multiple ethical issues
involved in autonomous vehicle design. Written as an accessible
guide for design practitioners and students, this will be a key
read for those interested in the psychological, sociological and
ethical factors involved in automotive design, human centred
design, industrial design and technology.
In 1877, Ruskin accused Whistler of 'flinging a pot of paint in the
public's face'. Was he right? After all, Whistler always denied
that the true function of art was to represent anything. If a
painting does not represent, what is it, other than mere paint,
flung in the public's face? Whistler's answer was simple: painting
is music - or it is poetry. Georges Braque, half a century later,
echoed Whistler's answer. So did Braque's friends Apollinaire and
Ponge. They presented their poetry as music too - and as painting.
But meanwhile, composers such as Satie and Stravinsky were
presenting their own art - music - as if it transposed the values
of painting or of poetry. The fundamental principle of this
intermedial aesthetic, which bound together an extraordinary
fraternity of artists in all media in Paris, from 1885 to 1945, was
this: we must always think about the value of a work of art, not
within the logic of its own medium, but as if it transposed the
value of art in another medium. Peter Dayan traces the history of
this principle: how it created our very notion of 'great art', why
it declined as a vision from the 1960s and how, in the 21st
century, it is fighting back.
With all the wit, knowledge and wisdom of one of the UK's foremost
cultural commentators, Stephen Bayley takes the reader on a
satirical roller-coaster ride through the world of art and design
in the late 20th century. 'Brilliantly drawn ..the pages are full
of Wildean paradoxes' The Spectator ______________________________
Someone once said you can find beauty anywhere. But all Eustace
Dunne can see is ugliness. The buildings are grey, the people are
tired and unimaginative, the food is inedible and life is drab,
drab, drab. Growing up in an England ravaged by the Second World
War, Eustace resolves to make things beautiful again. A mercurial
stint in art school gives him a springboard into a world that is
changing so fast you have to hold on tight to keep up. And in that
world, ambition, timing and a modicum of talent can transform you
into anything you want to be. Before long he's an artist, a
designer, a restaurateur, an entrepreneur, a genius. But becoming a
bastion of perfect taste can be a grubby business. Eustace's charm
may have secured his influence on the homes and hearts of a nation,
but there are still people out there who know where the bodies are
buried...
Since the early 1800s, African Americans have designed signature
buildings; however, in the mainstream marketplace, African American
architects, especially women, have remained invisible in
architecture history, theory and practice. Traditional architecture
design studio education has been based on the historical models of
the Beaux-Arts and the Bauhaus, with a split between design and
production teaching. As the result of current teaching models,
African American architects tend to work on the production or
technical side of building rather than in the design studio. It is
essential to understand the centrality of culture, gender, space
and knowledge in design studios. Space Unveiled is a significant
contribution to the study of architecture education, and the extent
to which it has been sensitive to an inclusive cultural
perspective. The research shows that this has not been the case in
American education because part of the culture remains hidden.
Oxford's university buildings are world-famous. Over eight
centuries, starting in the twelfth century, the University - the
third oldest in Europe - gradually occupied a substantial portion
of the city, creating in the process a unique townscape containing
the Bodleian Library, the Sheldonian Theatre and the Radcliffe
Camera. This book tells the story of the growth of the forum
universitatis - as the architect Nicholas Hawksmoor called it - and
relates it to the broader history of the University and the city.
Based on up-to-date scholarship, and drawing upon the author's own
research into Oxford's architectural history and the work of
Christopher Wren, Nicholas Hawksmoor, James Gibbs and Giles Gilbert
Scott, each of the eight chapters focuses on the gestation,
creation and subsequent history of a single building, or pair of
buildings, relating them to developments in the University's
intellectual and institutional life, and to broader themes in
architectural and urban history. Accessible and well-illustrated
with plans, archival prints and specially commissioned photography,
this book will appeal to anyone who wishes to understand and enjoy
Oxford's matchless architectural heritage.
Westminster came into existence in the later Anglo-Saxon period,
and by the mid-11th century, when Edward the Confessor's great new
abbey was built, it was a major royal centre two miles south-west
of the City of London. Within a century or so, it had become the
principal seat of government in England, and this series of
twenty-eight papers covers new research on the topography,
buildings, art-history, architecture and archaeology of
Westminster's two great establishments - Abbey and Palace. Part I
begins with studies of the topography of the area, an account of
its Roman-period finds and an historiographical overview of the
archaeology of the Abbey. Edward the Confessor's enigmatic church
plan is discussed and the evidence for later Romanesque structures
is assembled for the first time. Five papers examine aspects of
Henry III's vast new Abbey church and its decoration. A further
four cover aspects of the later medieval period, coronation, and
Sir George Gilbert Scott's impact as the Abbey's greatest Surveyor
of the Fabric. A pair of papers examines the development of the
northern precinct of the Abbey, around St Margaret's Church, and
the remarkable buildings of Westminster School, created within the
remains of the monastery in the 17th and 18th centuries. Part II
part deals with the Palace of Westminster and its wider topography
between the late 11th century and the devastating fire of 1834 that
largely destroyed the medieval palace. William Rufus's enormous
hall and its famous roofs are completely reassessed, and
comparisons discussed between this structure and the great hall at
Caen. Other essays reconsider Henry III's palace, St Stephen's
chapel, the king's great chamber (the 'Painted Chamber') and the
enigmatic Jewel Tower. The final papers examine the meeting places
of Parliament and the living accommodation of the MPs who attended
it, the topography of the Palace between the Reformation and the
fire of 1834, and the building of the New Palace which is better
known today as the Houses of Parliament.
* Broad coverage - chapters critically explore architectural theory
through a diverse range of lenses. * Timely - the book makes the
subject of architectural theory relevant to contemporary practice
and issues of the present day e.g. environmental crises, artificial
intelligence, and social inequity. * Written and edited by experts
in their field.
Written by a team of expert authors, this landmark textbook shows
that art is more than European and extends far beyond the
traditional canon. The History of Art: A Global View answers the
urgent need for a more global, inclusive way to teach the history
of the world's art. Led by Jean Robertson and Deborah Hutton,
eleven specialists have cohered around the shared goal of bringing
multiple perspectives to a worldwide narrative. The resulting
survey represents every global region as an important part of an
integrated, chronological history that emphasizes cross-cultural
connections, contrasts and comparisons. The first major art history
textbook of the 21st century, The History of Art: A Global View
equips students to understand the history of art in new and
revealing ways.
W.J.T. Mitchell - one of the founders of visual studies - has been
at the forefront of many disciplines such as iconology, art history
and media studies. His concept of the pictorial turn is known
worldwide for having set new philosophical paradigms in dealing
with our vernacular visual world. This book will help both students
and seasoned scholars to understand key terms in visual studies -
pictorial turn, metapictures, literary iconology, image/text,
biopictures or living pictures, among many others - while
systematically presenting the work of Mitchell as one of the
discipline's founders and most prominent figures. As a special
feature, the book includes three comprehensive, authoritative and
theoretically relevant interviews with Mitchell that focus on
different stages of development of visual studies and critical
iconology.
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