This richly illustrated volume explores the eroticization of death in the literature, art, and music of the nineteenth century, and in the popular culture of our time.

Death was the natural enemy of love in the arts of the West until the late eighteenth century, when the two mated in artistic fancy to celebrate death as a font of sensual bliss. Through the nineteenth century, voluptuous visions of death pervaded high culture. Keats fell half in love with easeful death, and, as Heine told it, Life only warms in death's cold arms. For Whitman, death was the word of the sweetest song. Flaubert tempted his Saint Anthony with Lust and Death fused into a single figure. Zola saw love and death intermixed in the somber pit of the human soul. At mid- century, painters and poets alike competed in depicting Ophelia drowning in ecstasy. At the century's end the figure of the femme fatale haunted the cultural elite. After 1914, the entire morbid complex sank into popular culture.

What was the source of this eroticization of death in the arts? To answer this question, Rudolph Binion explores a rich variety of prose and poetry, painting and sculpture, and lyrical and instrumental music, interlacing love and death. He compares modern and premodern treatments of key subjects such as Salome and Mary Magdalene, supporting his text with an array of arresting illustrations. In conclusion, he traces this fantasy of carnal love beyond death to the Christian message of spiritual love beyond death, which modern, post- Christian culture has both discarded and salvaged.

In "Love Beyond Death: The Anatomy of a Myth in the Arts," Rudolph Binion investigates the various art forms where the conjunction of love and death is found and provides an explanation for this bizarre match. Supporting his text with some of the most sinister, alluring, and provocative images from the nineteenth century, Binion provides the reader with a dizzying account of the development of this artistic obsession, and of its passage into the popular culture of the twentieth century.

FRESCO PAINTING Modern Methods and Techniques for Painting in Fresco and Secco by OLLE NORDMARK AMERICAN ARTISTS GROUP, INC. NEW YORK PREFACE This book has been written for the painter in fresco, who wishes to acquire enough knowledge of the craft to enable him to supervise, guide and efficiently work with the craftsmen plasterers who are put in charge of the preparation of his materials and wall and who will assist him as the finishing plasterers throughout the period of painting. It should be remembered that the surface of the so-called Intonaco, must yield the best possible working conditions, giving the painter the longest possible time to execute the part of the wall intended for a days work. In order that such a condition should prevail, a thorough knowledge of the materials used in the practice of fresco painting must be acquired through the practical utilization of a series of operations to obtain necessary ultimate results. Stress is, therefore, laid upon the fact that the painter him self must guide and guard the preparation of his materials and the different layers of mortar which build up the fresco ground, the foundation for the painting. Also, if he is not prepared himself to do the work, he must be able to give final full direc tions for the Intonaco or painting surface, the richness of the mixing and its perfect application which in itself requires experienced handling of tools in the piece-meal plastering of the wall, all of which is the groundwork for the actual painting. This HANDBOOK, therefore, will endeavor to explain the practice of fresco and fresco-secco painting in connection and collaboration with the trade from which it was derived the building trade. OLLENORDMAKK CONTENTS i WALLS 3 ii PREPARATION OF MORTAR MATERIALS 9 in MORTAR MIXING 17 iv PLASTERING THE FRESCO GROUND 22 v FRESCO GROUNDS 32 vi INTONACO 38 vii PRELIMINARY WORK TO PAINTING THE FRESCO . . 43 viii PAINTING THE FRESCO ... 67 ix SECCO PAINTING IN LIMECOLOR 87 x MODELING OF RELIEF IN MORTAR 95 xi RETOUCHING 101 xii PRELIMINARY WORK FOR PLASTERING ..... 108 xiii THE SCAFFOLD 112 SOURCE OF SUPPLIES 115 INDEX - 121 COLOR PLATES FIRST STEPS IN FRESCO PAINTING 80 by OlXE NORDMARK COMPLETED FRESCO PAINTING 81 by OLLE NORDMARK FRESCOS IN POST OFFICE DEPARTMENT, WASHINGTON, D. C 82 by REGINALD MARSH FRESCOS IN POST OFFICE DEPARTMENT, WASHINGTON, D. C 83 by REGINALD MARSH FRESCOS IN DEPARTMENT OF JUSTICE BUILDING, WASHINGTON, D. C 84 by HENRY VARNUM POOR FRESCOS IN DEPARTMENT OF JUSTICE BUILDING, WASHINGTON, D. C 85 by HENRY VARNUM POOR DETAIL FROM FRESCO IN THE DEPARTMENT OF JUSTICE BUILDING, WASHINGTON, D, C 86 by GEORGE BIDDLE FRESCO PAINTING WALLS CHAPTER ONE T JL. . H H E QUESTION of a suitable wall for the fresco-mural, or how to make any available area a permanent foundation for the plaster coats making up the fresco ground, has vexed the fresco painter from ancient times to our days. BRICK WALLS Generally it can be said that the old-fashioned brick wall made from handmade bricks is still the ideal wall for the fresco mural. Bricks baked to a fresh looking red and laid in lime-sand mortar constitute that kind of a wall. Old plastered walls must first have the plaster removed. Old as well as new walls are cleaned with a weak solution of HYDROCHLORIC ACID, washed with hot water and then sprayed and rinsed with cold. During the spraying the wall is examined for non-absorbentbricks of a muddy violet or clincer grey color. All such bricks baked and burnt beyond the temperature of the fresh red color must either be insulated by waterproofing or, better still, replaced with good bricks to remove the ever present possibility of EFFLORESCENCE. Waterproofing is done by painting over with an ASPHALT type of WATERPROOFING which will still allow the mortar to cling to the safeguarded brick. Deep hollows and faulty bricks are filled out and repaired with lime-sand mortar, 1-2 mixture with brick chips mixed in

This book focuses on the relationship between the university and a particular cohort of academic staff: those in visual and performing arts disciplines who joined the university sector in the 1990s. It explores how artistic researchers have been accommodated in the Australian university management framework and the impact that this has had on their careers, identities, approaches to their practice and the final works that they produce. The book provides the first analysis of this topic across the artistic disciplinary domain in Australia and updates the findings of Australia's only comprehensive study of the position of research in the creative arts within the government funding policy setting reported in 1998 (The Strand Report). Using lived examples and a forensic approach to the research policy challenges, it shows that while limited progress has been made in the acceptance of artistic research as legitimate research, significant structural, cultural and practical challenges continue to undermine relationships between universities and their artistic staff and affect the nature and quality of artistic work.

Artists have always known intuitively what science is just beginning to discover: that creating a visual image through any medium can produce physical and emotional benefits for both the creator as well as those who view it. Most important, you don't need to think of yourself as an artist or even believe you have any "talent" to tap into the healing powers of art.

In this remarkable testament to the power of creativity, Barbara Ganim shows step-by-step how to use art to heal body, mind, and spirit. By using guided meditation and artistic techniques, you can gain insight and clarity into depression, anxiety, rage, and even illnesses, including cancer, arthritis, and AIDS.

At once inspirational and instructive, "Art and Healing" will teach you how to connect with negative, painful, and even repressed emotions and then express them through drawing, painting, sculpture, or collage. Releasing these feelings through the creative process frees up the immune system and clears the mind, allowing the body to fight off disease and begin to heal emotional wounds. Filled with actual stories from those who have triumphed over adversity and with more than a hundred different pieces of artwork created using this groundbreaking method, "Art and Healing" is sure to provide the tools needed for healing body and spirit.

This book gathers together an array of international scholars, critics, and artists concerned with the issue of walking as a theme in modern literature, philosophy, and the arts. Covering a wide array of authors and media from eighteenth-century fiction writers and travelers to contemporary film, digital art, and artists' books, the essays collected here take a broad literary and cultural approach to the art of walking, which has received considerable interest due to the burgeoning field of mobility studies. Contributors demonstrate how walking, far from constituting a simplistic, naive, or transparent cultural script, allows for complex visions and reinterpretations of a human's relation to modernity, introducing us to a world of many different and changing realities.

"(Re)Thinking "Art": A Guide for Beginners" is a primer that considers the term "art," what it means and why it matters. Rather than being about any particular sort of art --visual or otherwise-- the book addresses the idea of "art" in all, in all its messy complexity, and offers meaningful access to the vast array of human products to which it refers.
Written by an award-winning teacher as a response to students' ongoing challenge, "What is 'art', anyway, and why should I care?"
Aims to bring readers into a meaningful relationship with art and teaches them to think critically and creatively about it - and by extension, about anything else
Provides an ideal introduction to the field for students and anyone interested in art today
Offers a jargon-free, common-sense basis from which to approach the theories that dominate the art world today, for readers who may wish to pursue them further

This book places a focus on the regimes of in/visibility and representation in Europe and offers an innovative perspective on the topic of global capitalism in relation to questions of race, class, gender and migration, as well as historicization of biopolitics and (de)coloniality. The aim of this volume is to revisit theories of art, new media technology, and aesthetics under the weight of political processes of discrimination, racism, anti-Semitism and new forms of coloniality in order to propose a new dispositive of the ontology and epistemology of the image, of life and capitalism as well as labor and modes of life. This book is firmly embedded in the present moment, when due to rapid and major changes on all levels of political and social reality the need for rearticulation in theoretical, artistic and political practices and rethinking of historical narratives becomes almost tangible.

The visual arts enrich our lives in many ways: bringing innovative ideas and the pleasures of beauty and emotion, but they can also confound. How To Understand Art sets out to enhance the viewer's experience by breaking down the elements of art and sculpture to provide a firm basis for simple enjoyment as well as further investigation. With 100 visual examples drawn from across the globe, the stress is on how to assess art objectively - a key skill for any art student, museum visitor or cultural enthusiast. Janetta Rebold Benton guides the reader to re-evaluate their experiences of looking at art by learning to move beyond 'I don't know much about art, but I know what I like,' and shift towards an understanding of 'why I like it'. Materials and techniques are discussed - drawing, painting, printing, photography, sculpture and decorative art - making it possible to assess what can (and cannot) be done in certain media. The book also features a section devoted to six key artists who have had a particularly notable and innovative influence on the history of art: Leonardo da Vinci, Rembrandt van Rijn, Vincent van Gogh, Frida Kahlo, Pablo Picasso and Andy Warhol. Perfectly aimed at students and the general reader, this indispensable guide to the subject is well-placed to encourage questions and discussion, especially in the light of current debates surrounding class, ethnicity, gender and race. With 111 illustrations in colour

This volume examines the interface between the teachings of art and the art of teaching, and asserts the centrality of aesthetics for rethinking education. Many of the essays in this collection claim a direct connection between critical thinking, democratic dissensus, and anti-racist pedagogy with aesthetic experiences. They argue that aesthetics should be reconceptualized less as mere art appreciation or the cultivation of aesthetic judgment of taste, and more with the affective disruptions, phenomenological experiences, and the democratic politics of learning, thinking, and teaching. The first set of essays in the volume examines the unique pedagogies of the various arts including literature, poetry, film, and music. The second set addresses questions concerning the art of pedagogy and the relationship between aesthetic experience and teaching and learning. Demonstrating the flexibility and diversity of aesthetic expressions and experiences in education, the book deals with issues such as the connections between racism and affect, curatorship and teaching, aesthetic experience and the common, and studying and poetics. The book explores these topics through a variety of theoretical and philosophical lenses including contemporary post-structuralism, psychoanalysis, phenomenology, critical theory, and pragmatism.

James Fitch shows how American architecture displays qualities which can safely be described as typically American. There are many areas in which our architecture is distinguishable from that of the rest of the world. The single family house, for example, shares with its foreign contemporaries the basic elements of plan, and yet the way in which these elements are organized into a whole gives our houses certain qualities which we can call uniquely American.

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

This book aims to present concepts, knowledge and institutional settings of arts management and cultural policy research. It offers a representation of arts management and cultural policy research as a field, or a complex assemblage of people, concepts, institutions, and ideas.

Sound is an integral part of contemporary art. Once understood to be a marginal practice, increasingly we encounter sound in art exhibitions through an array of sound making works in various art forms, at times played to very high audio levels. However, works of art are far from the only thing one might hear: music performances, floor talks, exhibition openings and the noisy background sounds that emanate from the gallery cafe fill contemporary exhibition environments. Far from being hallowed spaces of quiet reflection, what this means is that galleries have swiftly become very noisy places. As such, a straightforward consideration of artworks alone can then no longer account for our experiences of art galleries and museums. To date there has been minimal scholarship directed towards the intricacies of our experiences of sound that occur within the bounds of this purportedly 'visual' art space. Kelly addresses this gap in knowledge through the examination of historical and contemporary sound in gallery environments, broadening our understanding of artists who work with sound, the institutions that exhibit these works, and the audiences that visit them. Gallery Sound argues for the importance of all of the sounds to be heard within the walls of art spaces, and in doing so listens not only to the deliberate inclusion of sound within the art gallery in the form of artworks, performances, and music, but also to its incidental sounds, such as their ambient sounds and the noise generated by audiences. More than this, however, Gallery Sound turns its attention to the ways in which the acoustic characteristics specific to gallery spaces have been mined by artists for creative outputs, ushering in entirely new art forms.

This book outlines six interactive installation works that form a body of research concerned with the development of interactive, responsive installation works that use the gestures of the unencumbered human body as their central activation and control mechanism. They are therefore an exploration of interactivity, interface technologies and approaches to mapping the sensed data derived from movement in the installation space, onto sound and vision generation schemes. I have conditioned this exploration with a desire to produce art installations; three-dimensional environments that occupy an entire gallery space. The installations were intended to be immersive, and to engage the 'inhabitant' in a direct, visceral and dynamic way. It was intended that the visitor to the installation would require no prior knowledge of the system and, additionally, would require no knowledge of musical practice or the visual arts.

This book explores the monstrous-feminine in Japanese popular culture, produced from the late years of the 1980s through to the new millennium. Raechel Dumas examines the role of female monsters in selected works of fiction, manga, film, and video games, offering a trans-genre, trans-media analysis of this enduring trope. The book focuses on several iterations of the monstrous-feminine in contemporary Japan: the self-replicating shojo in horror, monstrous mothers in science fiction, female ghosts and suburban hauntings in cinema, female monsters and public violence in survival horror games, and the rebellious female body in mytho-fiction. Situating the titles examined here amid discourses of crisis that have materialized in contemporary Japan, Dumas illuminates the ambivalent pleasure of the monstrous-feminine as a trope that both articulates anxieties centered on shifting configurations of subjectivity and nationhood, and elaborates novel possibilities for identity negotiation and social formation in a period marked by dramatic change.