This book is a collection of fierce face child models. Featuring SFCM Top 50 Fierce Faces as well as 20 finalist.

In South Africa, with its highly contested and changing understandings of national identity, its National Gallery is no less a contested space. A History of the Iziko South African National Gallery considers questions of artistic and cultural identity, from the late 19th century to the present day.

It explores how the gallery has understood its function and its public, as a 'national' gallery from 1930 and, before that, the chief gallery of the Cape Colony. This question is investigated through a study of the gallery's administration, collection and exhibition practices over the last 150 years. What is understood by and expected of a national gallery varies considerably worldwide. Should it regard itself as part of a broad international cultural discourse, or should it be representative of a specifically national - or even regional - identity?

The gallery is a microcosm of the greater debate: how the South African nation relates to the larger world and how, if at all, it understands the concept of a shared culture. In the last 20 years, Museum Studies have become a major part of the field of Cultural Studies. There is a vast literature on what might be called the 'history' museum, but far less on the art museum or gallery. To date, there has been no large-scale historical inquiry into the Iziko SANG, the country's national gallery.

The absence of such a history marks a serious gap in the literature, which this study aims to fill.

a*'a-ea*'a-ia*'a-ea*'a-ia"Ca*'a-ia-ea*'a-ia*' 978-1300209997 In real time web-based glitch in ASCII a- a- Book: Simple Text By Rozita Fogelman MADE in ASCII: Digital/geometrical abstract a- a- Featured in: EXPERIMENTAL FILM - NET ART - Facebook: the social network as a space for art By Marie Meixnerova "The most interesting ways artists from around the world use facebook as a medium, as a source material or as a starting point for criticism. Among these is the creative use of the user profile to artistic pursuits, both purely aesthetic natures, both conceptual in nature. Rozita Fogelman place status publishes images composed of graphic symbols, which is an activity that led to the mastery of particular facebook page..." Read more: http://25fps.cz/2013/facebook-jako-prostor-pro-umeni/

This book focuses on the theme of counter-surveillance in art through a multi-faceted engagement with the highly controversial Norwegian play Ways of Seeing. Denounced by the prime minister and subject to a police investigation, the play gained notoriety when it featured footage showing the homes of the country's financial and political elite as part of its scenography. The book provides a thorough consideration of the work's reception context before elucidating its relation to the politics of neoliberalism. What is foregrounded in this analysis are, first, the use of an aesthetics of sousveillance to visualize the material infrastructure of racism and right-wing populism, second, the tangled interrelations of art and law, third, questions of censorship and artistic freedom, and fourth, the promotion of an alternative mode of political governance - grounded in feminism and ecological awareness - through the example of the Rojava experiment.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

This book examines the relationship between words and images in various life-writing works produced by nineteenth to twenty-first century American and British women. It addresses the politics of images in women's life writing, contending that the presence or absence of images is often strategic. Including a range of different forms of life writing, chapters draw on traditional (auto)biographies, travel narratives, memoirs, diaries, autofiction, cancer narratives, graphic memoirs, artistic installations, quilts and online performances, as life writing moves from page to screen and other media. The book explores a wide range of women who have crossed the boundary between text and image: painters who have become writers, novelists who have become painters, writers who hesitate between images and words, models who seize the camera, and artists who use the frame as a page.

Georges Bataille's influence upon 20th-century philosophy is hard to overstate. His writing has transfixed his readers for decades - exerting a powerful influence upon Foucault, Blanchot and Derrida amongst many others. Today, Bataille continues to be an important reference for many of today's leading theorists such as Giorgio Agamben, Roberto Esposito, Jean-Luc Nancy and Adrianna Caverero. His work is a unique and enigmatic combination of mystical phenomenology, politics, anthropology and economic theory - sometimes adopting the form of literature, sometimes that of ontology. This is the first book to take Bataille's ambitious and unfinished Accursed Share project as its thematic guide, with individual contributors isolating themes, concepts or sections from within the three volumes and taking them in different directions. Therefore, as well as providing readings of Bataille's key concepts, such as animality, sovereignty, catastrophe and the sacred, this collection aims to explore new terrain and new theoretical problems.Georges Bataille and Contemporary Thought acts simultaneously as a companion to Bataille's three-volume secular theodicy and as a laboratory for new syntheses within his thought.