We all dream; we all share these strange experiences that infuse our nights. But we only know of those nightly adventures when we decide to represent them. In the long history of coming to terms with dreams there seem to be two different ways of delineating our forays into the world of the unconscious: One is the attempt of interpreting, of unveiling the hidden meaning of dreams. The other one is not so much concerned with the relation of dream and meaning, of dream and reality, it rather concentrates on trying to find means of representation for this extremely productive force that determines our sleep. The essays collected in this book explore both attempts. They follow debates in philosophy and psychoanalysis and they study literature, theatre, dance, film, and photography.

60 Americans is a response to the ill-gotten gains of flipper-collectors, money corrupted and trend obsessed gallerists, shopping mall inspired art fairs, nepotism and favoritism of the made-men and women of privileged MFA programs in America. 60 Americans was a group exhibition that documented the alternative perspective on what's relevant and important in the current landscape of American contemporary art.

From the bestselling author of SPQR: A History of Ancient Rome, the fascinating story of how images of Roman autocrats have influenced art, culture, and the representation of power for more than 2,000 years What does the face of power look like? Who gets commemorated in art and why? And how do we react to statues of politicians we deplore? In this book-against a background of today's "sculpture wars"-Mary Beard tells the story of how for more than two millennia portraits of the rich, powerful, and famous in the western world have been shaped by the image of Roman emperors, especially the "Twelve Caesars," from the ruthless Julius Caesar to the fly-torturing Domitian. Twelve Caesars asks why these murderous autocrats have loomed so large in art from antiquity and the Renaissance to today, when hapless leaders are still caricatured as Neros fiddling while Rome burns. Beginning with the importance of imperial portraits in Roman politics, this richly illustrated book offers a tour through 2,000 years of art and cultural history, presenting a fresh look at works by artists from Memling and Mantegna to the nineteenth-century American sculptor Edmonia Lewis, as well as by generations of weavers, cabinetmakers, silversmiths, printers, and ceramicists. Rather than a story of a simple repetition of stable, blandly conservative images of imperial men and women, Twelve Caesars is an unexpected tale of changing identities, clueless or deliberate misidentifications, fakes, and often ambivalent representations of authority. From Beard's reconstruction of Titian's extraordinary lost Room of the Emperors to her reinterpretation of Henry VIII's famous Caesarian tapestries, Twelve Caesars includes fascinating detective work and offers a gripping story of some of the most challenging and disturbing portraits of power ever created. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

This powerful and insightful work offers a bold celebration of the innovative, brilliant artists reclaiming the idea of 'women's work'. In the history of western art, decorative and applied arts - including textiles and ceramics - have been separated from the 'high arts' of painting and sculpture and deemed to be more suitable for women. Artists began to reclaim and redefine these materials and methods, energizing them with expressions of identity and imagination. Women's Work tells the story of this radical change, highlighting some of the modern and contemporary artists who dared to defy this hierarchy and who, through, experimentation and invention, transformed their medium. The work of these women has helped underscore the ongoing value of these art forms within the history of art, championing 'women's work' as powerful mediums worthy of celebration. With biographical entries on each artist featured, as well as beautiful images of their artworks, Women's Work raises up the work of these visionary and groundbreaking artists, telling their stories and examining their artistic legacies.

This book seeks to configure the ways in which the interdisciplinary, the eclectic and the combinatory have served a strategic purpose in the development of a self-aware and identity-conscious visual discourse in Mexico, from the formative nineteenth century to the post-national 1990s. The construction and interrogation of identities in reproductive media provides the unifying analytical interest ranging over observational writing, illustrated periodicals, graphic art, photography and film. Chapters discuss nation-building imagery and exhibitionary paradigms; cultural nationalism and photographic ethnicity; the interplay of graphic arts and film in the construction of originary identities; disabused perspectives on modernization and urbanism in film and photography; women photographers and the indigenous subject; the questioning of objective identities and the play of reflexive tropes in modernist and 1990s photography; the deconstruction of the Mexican archive in post-national photography and multimedia art; and archaeological models and materials and the dismantling of cultural nationalism in visual culture.

Since Marcel Duchamp created his "readymades" a century ago--most famously christening a urinal as a fountain-- the practice of incorporating commodity objects into art has become ever more pervasive. "Uncommon Goods" traces one particularly important aspect of that progression: the shift in artistic concern toward the hidden ethical dimensions of global commerce. Jaimey Hamilton Faris discusses the work of, among many others, Ai Weiwei, Cory Arcangel, Thomas Hirschhorn, and Santiago Sierra, reading their artistic explorations as overlapping with debates about how common goods hold us and our world in common. The use of readymade now registers concerns about international migrant labor, outsourced manufacturing, access to natural resources, intellectual copyright, and the commoditization of virtual space.

In each chapter, Hamilton Faris introduces artists who exemplify the focus of readymade aesthetics on aspects of global commodity culture, including consumption, marketing, bureaucracy, labor, and community. She explores how materially intensive, "uncommon" aesthetic situations can offer moments to meditate on the kinds of objects, experiences, and values we ostensibly share in the age of globalization. The resulting volume will be an important contribution to scholarship on readymade art as well as to the study of materiality, embodiment, and globalization.

New insights into key texts and interpretive problems in the history of England and Europe between the eighth and thirteenth centuries. This volume of the Haskins Society Journal demonstrates the Society's continued interest in a broad range of geographical contexts and methodological approaches to medieval history. Chapters include a much-needed reassessment of AElfthryth and her place in the society and governance of tenth-century England, as well as a comprehensive survey of the conceptualization of excommunication in post-Carolingian Europe to c.1200. Further essays explore aspects of the Norman world of southern Italy, including the dynamics of political coalitions and kinship networks, ethnic identity, and material culture. The Journal continues to highlight close analyses of key primary sources,with a study of Angevin kingship in the writings of Hugh of Lincoln and Adam of Eynsham, and an examination of Ralph of Niger's Old Testament exegesis and criticism of crusading in the late twelfth century. A ground-breaking newstudy assesses the utility of colonialism as a valid model for understanding the extraction of sacred resources and relics from the crusader lands. The volume closes with a crucial reconsideration of the agency and power of medieval French peasants as attested in medieval cartularies, opening new approaches for further research into this critical and complex social group.

First published in 1997, this volume will revolutionise the study of watercolour painting in Britain. The Royal Watercolour Society archive constitutes a major academic resource covering two hundred years of the history of watercolour painting in Britain. The rediscovery in 1980 of 'the Jenkins Papers', the early records of the Society, was a major find for the history of British art. The archives are substantial and remarkably comprehensive. Minutes of annual general meetings, Council and committees, are all intact; extraordinarily, the Society's catalogues for its own exhibitions have also survived, with details of who bought the pictures and for how much. It contains biographical information on several hundred artists who practised throughout the United Kingdom from the end of the eighteenth century to the present day. Prepared by the archivist to the RWS, Simon Fenwick, this is not just a work of reference, but an absorbing book to dip into again and again. The Society of Painters in Water Colours, as it was then titled, was founded in 1804 to promote the interests of painters using watercolour and to provide a platform for members to sell their work. As such, its archives provide an excellent insight into the evolving debate on the status of the artists and their medium, and an authoritative account of the way in which watercolour paintings were sold, distributed and acquired. The substantial introduction by Greg Smith surveys some of the purposes and practices of watercolour from 1750 to the present day and highlights key issues, many yet to be examined, relating to the study of watercolour. His survey is arranged around a number of topics including the notion of watercolour as a British art, collecting and display, book illustration, architectural drawing, map-making and topography, antiquarian studies, decorative arts, printmaking, portrait miniatures and drawings, amateur practices and the changing status of the sketch.

Studies, repairs and maintenance of heritage architecture are becoming increasingly important in modern society. The rapid growth recently experienced in many regions of the world has added a particular urgency to the need to preserve our built cultural heritage. This requires the collaboration of different parties including not only architects, engineers and scientists but also artists, socio-economic professionals and all other stakeholders to ensure the effective integration of the rehabilitated buildings within the community. Comprising specially selected papers, this book addresses a series of topics related to the historical aspects and reuse of heritage architecture, as well as technical issues on the structural integrity of different types of buildings. Restoration processes require the appropriate characterisation of materials, the modes of construction and the structural behaviour of the building. Modern computer simulation can provide accurate results demonstrating the stress state of the building and possible failure mechanisms affecting its stability. Equally important are studies related to their dynamic and earthquake behaviour, aiming to provide an assessment of the seismic vulnerability of heritage buildings. Of particular interest is the need for Heritage Building rehabilitation to conform to energy consumption reduction goals framed within climate change initiatives. It is necessary to encourage actions to improve energy efficiency, harmonised with both appropriate amounts of investment and transnational commitments to reduce greenhouse gas emissions.

The practice of ceremony offers ways to build relationships between the land and its beings, reflecting change while drawing upon deep relationships going back millennia. Ceremony may involve intricate and spectacular regalia but may also involve simple tools, such as a plastic bucket for harvesting huckleberries or a river rock that holds heat for sweat. The Art of Ceremony provides a contemporary and historical overview of the nine federally recognized tribes in Oregon, through rich conversations with tribal representatives who convey their commitments to ceremonial practices and the inseparable need to renew language, art, ecological systems, kinship relations, and political and legal sovereignty. Vivid photographs illuminate the ties between land and people at the heart of such practice, and each chapter features specific ceremonies chosen by tribal co-collaborators, such as the Siletz Nee Dosh (Feather Dance), the huckleberry gathering of the Cow Creek Umpqua, and the Klamath Return of C'waam (sucker fish) Ceremony. Part of a larger global story of Indigenous rights and cultural resurgence in the twenty-first century, The Art of Ceremony celebrates the power of Indigenous renewal, sustainable connection to the land, and the ethics of responsibility and reciprocity between the earth and all its inhabitants.

Bringing Latin American popular art out of the margins and into the center of serious scholarship, this book rethinks the cultural canon and recovers previously undervalued cultural forms as art. Juan Ramos uses ""decolonial aesthetics,"" a theory that frees the idea of art from Eurocentric forms of expression and philosophies of the beautiful, to examine the long decade of the 1960s in Latin America-- time of cultural production that has not been studied extensively from a decolonial perspective. Ramos looks at examples of ""antipoetry,"" unconventional verse that challenges canonical poets and often addresses urgent social concerns. He analyzes the militant popular songs of nueva cancion by musicians including Mercedes Sosa and Violeta Parra. He discusses films that use visually shocking images and melodramatic effects to tell the stories of Latin American nations. These art forms, he argues, appeal to an aesthetic that involves all the senses. Instead of being outdated byproducts of their historical moments, they continue to influence Latin American cultural production today.

Modern Art: A Critical Introduction traces the historical and contemporary contexts for understanding modern art movements, and the theories which influenced and attempted to explain them. This approach forgoes the chronological march of art movements and isms in favour of looking at the ways in which art has been understood. It investigates the main developments in art interpretation from the same period, from Kant to post-structuralism, and draws examples from a wide range of art genres including painting, sculpture, photography, installation and performance art. The book includes detailed discussions of visual art practices both inside and outside the museum. This new edition has been restructured to make the key themes as accessible as possible and updated to include many more recent examples of art practice . An expanded glossary and margin notes also provide definitions of the range of terms used within theoretical discussion and critical reference. Individual chapters explore key themes of the modern era, such as the relationship between artists and galleries, the politics of representation, the changing nature of self-expression, the public monument, nature and the urban,

No other artist, apart from J. M. W. Turner, tried as hard as Claude Monet (1840-1926) to capture light itself on canvas. Of all the Impressionists, it was the man Cezanne called "only an eye, but my God what an eye!" who stayed true to the principle of absolute fidelity to the visual sensation, painting directly from the object. It could be said that Monet reinvented the possibilities of color. Whether it was through his early interest in Japanese prints, his time as a conscript in the dazzling light of Algeria, or his personal acquaintance with the major painters of the late 19th century, the work Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. The high point of his explorations was the late series of water lilies, painted in his own garden at Giverny, which, in their approach towards almost total formlessness, are really the origin of abstract art. This biography does full justice to this most remarkable and profoundly influential artist, and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.