From the end of the Second World War through the U.S. Bicentennial, the National Endowment for the Arts, the Rockefeller Foundation, and the Ford Foundation granted close to $300 million (approximately $2.3 billion in 2017 dollars) in the field of music alone. In deciding what to fund, these three grantmaking institutions decided to "ask the experts," adopting seemingly objective, scientific models of peer review and specialist evaluation. They recruited music composers at elite institutions, professors from prestigious universities, and leaders of performing arts organizations. Among the most influential expert-consultants were Leonard Bernstein, Aaron Copland, Lukas Foss, and Milton Babbitt. The significance was two-fold: not only were male, Western art composers put in charge of directing large and unprecedented channels of public and private funds, but in doing so they also determined and defined what was meant by artistic excellence. They decided the fate of their peers and shaped the direction of music-making in this country. By asking the experts, the grantmaking institutions produced a concentrated and interconnected field of artists and musicians. Officers and directors utilized ostensibly objective financial tools like matching grants and endowments in an attempt to diversify and stabilize applicants' sources of funding, as well as the number of applicants they funded. Such economics-based strategies, however, relied more on personal connections among the wealthy and elite, rather than local community citizens. Ultimately, this history demonstrates how "expertise" served as an exclusionary form of cultural and social capital that prevented racial minorities and non-dominant groups from fully participating.

20UNDER40: Re-Inventing the Arts and Arts Education for the 21st Century is an anthology of critical discourse that addresses the impending generational shift in arts leadership by publishing twenty essays about the future of the arts and arts education each written by young and emerging arts professionals under the age of forty. In the process of doing so, 20UNDER40 brings the voices of young arts leaders out of the margins and into the forefront of our cultural dialogue.

Written by leaders in a wide range of creative fields and from all corners of the Asian region, this collection of essays presents arts and education programs which reflect traditional and contemporary practices. The volume brings together researchers, practitioners, educators, children and young people with shared interests in the arts and activities that cross disciplinary divisions and aims to encourage the use of the arts in developing international understanding, celebrating cultural diversity, building cultural bridges and creating cross-cultural dialogue throughout the Asian region. This book arose out of the need to promote not only arts and educational practices; but also the research and evaluations being achieved in the field. Writing about their own practical experiences, the authors explore linkages between creativity and discipline; social organisation and individual expression and how inventiveness and economic productivity are inextricably linked.

An abrupt break in the more conventional modes of artistic expression, for many, marks the advent of modernism in the early twentieth century. However, as Jed Rasula's alternative history shows, modernist aesthetics owe a significant debt to techniques and styles pioneered and established throughout the nineteenth century. An ambitious inter-arts exploration of patterns between one generation and another form the through-line of History of a Shiver: the backdrop of Wagner's epic nineteenth-century operas illuminates the music of Arnold Schoenberg and the Viennese School, in addition to literary works by Marcel Proust, Robert Musil, and Ezra Pound; the collodion glass plates deployed by Victorian photographers reveal the debt of Dada and Man Ray's innovative photograms to an era associated with realism; the brass bands conducted by John Philip Sousa in the 1880s and 1890s form a blueprint for instrumentation that gave rise to jazz; and the French symbolist verse of Stephane Mallarme and Paul Verlaine inspire the surrealist artworks of Salvador Dali. In addition to these connections, Rasula's book similarly considers phenomena in theatre, sculpture, and the "visual music" of figures like Thomas Wilfrid and Wassily Kandinsky. Taken together, the chapters of History of a Shiver emphasize the importance of inter-collaboration and influence in an artistic period when artfroms are traditionally isolated from one another and primarily celebrated for severing ties with the past.

Collected in memory of the Vermeer scholar and Yale economist J. Michael Montias, these essays take into account the latest trends in the field and provide new data on a wide range of topics in Netherlandish art. Themes include the reception of paintings and architecture; art collecting as interpreted through inventories and other documents that reveal modes of display; relationships between patrons and painters; recently found or attributed works of art; artists as teachers; and the art market. Taken together, these focused studies offer fresh perspectives on the historical appreciation and evaluation of art. Drawing upon J.M. Montias' contribution to art history, these 32 essays present new analyses, attributions, and documents on Netherlandish art and material culture - including the work of Vermeer, Rubens, Rembrandt, van Eyck and others - by internationally known scholars of art history and the economics of art

Offers access to projects of some of the top professionals working in Real-Time Content Production today like engineering teams from "The Mandalorian" & League of Legends as well as video content designers for The Foo Fighters and Back to the Future, The Musical Includes reviews of real-time content production workflow for virtual production Features discussion from the software developers about the origins of their platforms

The ceiling paintings in the Hall of Justice of the Alhambra have not received serious scholarly attention for the past thirty years, perhaps due to their difficult incorporation into a discrete program of Christian vs. Islamic art, categories that until recently remained unchallenged themselves. The Alhambra itself continues to elicit the interest of many scholars, and several recent interpretations of the function of the Palace of the Lions, which houses the paintings, have been put forth. This collection brings together art historians, literary critics and historians who suggest new ways of approaching the paintings through their immediate social, historical, architectural and literary contexts, proposing a porous and flexible model for the production of culture in Iberia. Contributors are Jerrylin Dodds, Ana Echevarria, Jennifer Borland, Rosa Maria Rodriguez Porto, Oscar Martin, Amanda Luyster, Cynthia Robinson and Simone Pinet.

The Gospel According to Superheroes: Religion and Popular Culture offers an intriguing look at superheroes in light of the spiritual and mythological roles they play in our lives. B.J. Oropeza takes you through the adventuresome quest of three comic book eras as you read about the popular narratives of superheroes such as Batman, Superman, Spider-Man, X-Men, Hulk, Wonder Woman, the Fantastic Four, sci-fi film heroes, pulp heroes, antiheroes, and more. This book is a must-read for any-one interested in viewing the superheroes as both sinners and saints instead of mere good guys taking on the forces of evil.

The haiku poem, in many ways, is the ancient equivalent of today's digital camera. See, write, capture. Anything at all. Beauty, horror, passion and death. Anything we see or feel or sense or know. In seventeen sounds we can describe virtually all that life can manifest. In this collection of very modern haiku Scott Mulhern has pointed his pen at a vast array of persons, places, conditions and things.

Moshe Barasch, an authority on art theory, tackles the complex question of how art works as language. Barasch shows how, once an art work is seen and understood, a new, communicative function is effectively added to the work. In an engaging style Barasch moves from the art and civilization of Ancient Egypt to that of modern Europe, and effortlessly shows a full and surprising range of language in art--from the magical to the impious, from the ambiguous to the didactic, from the scientific to the propagandistic. Barasch contemplates a variety of mediums including sculpture, painting, mural, statuary, woodcuts, bas-relief, even music. Over one hundred illustrations are included as an integral part of the discussion.

Outreach and engagement initiatives are crucial in promoting community development. This can be achieved through a number of methods, including avenues in the fine arts. The Handbook of Research on the Facilitation of Civic Engagement through Community Art is a comprehensive reference source for emerging perspectives on the incorporation of artistic works to facilitate improved civic engagement and social justice. Featuring innovative coverage across relevant topics, such as art education, service learning, and student engagement, this handbook is ideally designed for practitioners, artists, professionals, academics, and students interested in active citizen participation via artistic channels.

Philosophical Perspectives on Art presents a series of essays devoted to two of the most fundamental topics in the philosophy of art: the distinctive character of artworks and what is involved in understanding them as art. In Part I, Stephen Davies considers a wide range of questions about the nature and definition of art. Can art be defined, and if so, which definitions are the most plausible? Do we make and consume art because there are evolutionary advantages to doing so? Has art completed the mission that guided its earlier historical development, and if so, what is to become of it now? Should architecture be classified as an art form?
Part II turns to the interpretation and appreciation of art. What is the target and purpose of the critic's interpretation? Is interpretation primarily directed at uncovering artists' intended meanings? Can apparently contradictory interpretations of a given piece both be true? Are interpretative evaluations entailed by descriptions of a work's aesthetic and artistic characteristics? In addition to providing fresh answers to these and other central questions in aesthetics, Davies considers the nature and content of metaphor, and the relation between the expressive qualities of a work of art and the emotions of its creator.

Rug Art-RESCUED FROM OBLIVION is a delightful tale of discovery, but a sad reflection on the lack of preservation of North America's most endangered art form that has literally and figuratively been "tramped on" for much too long. Abandoned for more than half a century in the basement of a damp and mould filled former New Glasgow, Nova Scotia rug pattern factory, a determined research team found amazing pen and ink rug art created by an artist who is said to have studied in the same New York art class with noted folk artist Norman Rockwell. Under a leaking sewage pipe in that same factory they unearthed amazing hand cut Mystery stencils that are now rewriting the arts heritage . Their discovery heralds the oldest known commercial designs recovered in Canada, and possibly in North America and a unique pattern printing system hitherto unknown. The searchers found, and rescued from imminent oblivion some 550 pieces of original pen and ink art created by the 1892 factory founder John Garrett and his son Frank. In acquiring remnants of the oldest known rug pattern factory in the world (1892) they also unearthed three unique hand-carved full size rug pattern blocks and a mass of records of early pattern designs from across North America. An intriguing bonus was the salvaging of some 300 hand cut stencils created by a talented unknown artist. Measuring only 3x5" in size-each contained two rug pattern designs. Designated the MYSTERY PATTERNS preliminary research indicates they are the oldest Canadian rug designs ever discovered and possibly the oldest in the world.

A collection of paintings and poetry by illustrator Vikki Yeates. Vikki has painted many hares over the years; they have become a happy obsession! This book brings most of them together in one volume, together with the poetry which often features in her paintings. She uses the Automatic Writing technique to scratch stories and poems into the artwork. It is not always possible to read the poems in their entirety, as the writing often continues off of the page, or certain areas are obscured by the paint. So this book is also a record of four of her poems/prose: 'Mad March Hares', 'Spirit', 'Moonlight Hares' and 'The Crow and the Moon'. The latter is the first poem Vikki wrote using this method - and does not feature any hares!

Just over a century after his death, Walter Pater's critical reputation now stands as high as it has ever been. In the English-speaking world, this has involved recovery from the widespread neglect and indifference which attended his work in the first half of the twentieth century. In Europe, however, enthusiastic disciples such as Hugo von Hofmannsthal in the German-speaking world and Charles Du Bos in France, helped to fuel a growing awareness of his writings as central to the emergence of modernist literature. Translations of works like Imaginary Portraits, established his distinctive voice as an aesthetic critic and his novel, Marius the Epicurean, was enthusiastically received in Paris in the 1920s and published in Turin on the eve of the Second World War. This collection traces the fortunes of Pater's writings in these three major literatures and their reception in Spain, Portugal, Poland, Hungary, and the Czech Republic.
Series Editor: Dr Elinor Shaffer: Institute of Germanic Studies, School of Advanced Study, University of London.
Contributors: Stefano Evangelista, University of Bristol Stephen Bann, University of Bristol Benedetta Bini, University of Tuscia Maurizio Ascari, University of Bologna Elisa Bizzotto, University of Venice-Ca'Foscari Emily Eells, University of Paris X-Nanterre Benedicte Coste, Stendhal University, Grenoble Wolfgang Iser Ulrike Stamm, Berlin Martina Lauster, University of Exeter Mihaly Szegedy-Maszak, Eotvos University, Budapest Martin Prochazka, Charles University, Prague Adam Mickiewicz University, Poznan Maria Teresa Malafaia, University of Lisbon Jorge Miguel Bastos da Silva, University of Oporto Jacqueline Hurtley, University of Barcelona

Taking the dichotomy of nonprofit "high culture" and for-profit "popular culture" into consideration, this volume assesses the relationship between social purpose in the arts and industrial organization. DiMaggio brings together some of the best works in several disciplines that focus on the significance of the nonprofit form for our cultural industries, the ways in which nonprofit arts organizations are financed, and the constraints that patterns of funding place on the missions that artists and trustees may wish to pursue. Showing how the production and distribution of art are organized in the United States, the book delineates the differing roles of nonprofit organizations, proprietary firms, and government agencies. In doing so, it brings to the surface some of the special tensions that beset arts management and policy, the way the arts are changing or are likely to change, and the policy alternatives "high culture" faces.