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Giacometti: Critical Essays brings together new studies by an
international team of scholars who together explore the whole span
of Alberto Giacometti's work and career from the 1920s to the
1960s. During this complex period in France's intellectual history,
Giacometti's work underwent a series of remarkable stylistic shifts
while he forged close affiliations with an equally remarkable set
of contemporary writers and thinkers. This book throws new light on
under-researched aspects of his output and approach, including his
relationship to his own studio, his work in the decorative arts,
his tomb sculptures and his use of the pedestal. It also focuses on
crucial ways his work was received and articulated by contemporary
and later writers, including Michel Leiris, Francis Ponge, Isaku
Yanaihara and Tahar Ben Jelloun. This book thus engages with
energising tensions and debates that informed Giacometti's work,
including his association with both surrealism and existentialism,
his production of both 'high' art and decorative objects, and his
concern with both formal issues, such as scale and material, and
with the expression of philosophical and poetic ideas. This
multifaceted collection of essays confirms Giacometti's status as
one of the most fascinating artists of the twentieth century.
A Rape of the Soul So Profound began when a young researcher
accidentally came upon restricted files in an archives collection.
What he read overturned all his assumptions about an important part
of Aboriginal experience and Australia's past. The book ends in the
present, 20 years later, in the aftermath of the Royal Commission
on the Stolen Generations. Along the way Peter Read investigates
how good intentions masked policies with inhuman results. He tells
the poignant stories of many individuals, some of whom were forever
broken and some who went on to achieve great things. This is a book
about much sorrow and occasional madness, about governments who
pretended things didn't happen, and about the opportunities offered
to right a great wrong.
Giacometti: Critical Essays brings together new studies by an
international team of scholars who together explore the whole span
of Alberto Giacometti's work and career from the 1920s to the
1960s. During this complex period in France's intellectual history,
Giacometti's work underwent a series of remarkable stylistic shifts
while he forged close affiliations with an equally remarkable set
of contemporary writers and thinkers. This book throws new light on
under-researched aspects of his output and approach, including his
relationship to his own studio, his work in the decorative arts,
his tomb sculptures and his use of the pedestal. It also focuses on
crucial ways his work was received and articulated by contemporary
and later writers, including Michel Leiris, Francis Ponge, Isaku
Yanaihara and Tahar Ben Jelloun. This book thus engages with
energising tensions and debates that informed Giacometti's work,
including his association with both surrealism and existentialism,
his production of both 'high' art and decorative objects, and his
concern with both formal issues, such as scale and material, and
with the expression of philosophical and poetic ideas. This
multifaceted collection of essays confirms Giacometti's status as
one of the most fascinating artists of the twentieth century.
A Rape of the Soul So Profound began when a young researcher
accidentally came upon restricted files in an archives collection.
What he read overturned all his assumptions about an important part
of Aboriginal experience and Australia's past. The book ends in the
present, 20 years later, in the aftermath of the Royal Commission
on the Stolen Generations. Along the way Peter Read investigates
how good intentions masked policies with inhuman results. He tells
the poignant stories of many individuals, some of whom were forever
broken and some who went on to achieve great things. This is a book
about much sorrow and occasional madness, about governments who
pretended things didn't happen, and about the opportunities offered
to right a great wrong.
This extraordinary book, published in 2000, explores the feelings
of non-Aboriginal Australians as they articulate their sense of
belonging to the land. Always acting as a counterpoint is the prior
occupation and ownership by Aboriginal people and their spiritual
attachment. Peter Read asks the pivotal questions: what is the
meaning of places important to non-Aboriginal Australians from
which the indigenous people have already been dispossessed? How are
contemporary Australians thinking through the problem of knowing
that their places of attachment are also the places which
Aboriginals loved - and lost? And are the sites of all our deep
affections to be contested, articulated, shared, foregone or
possessed absolutely? The book cleverly interweaves Read's analysis
(and personal quest for belonging) with the voices of poets,
musicians, artists, historians, young people, Asian Australians,
farmers and seventh generation Australians.
This extraordinary book, published in 2000, explores the feelings
of non-Aboriginal Australians as they articulate their sense of
belonging to the land. Always acting as a counterpoint is the prior
occupation and ownership by Aboriginal people and their spiritual
attachment. Peter Read asks the pivotal questions: what is the
meaning of places important to non-Aboriginal Australians from
which the indigenous people have already been dispossessed? How are
contemporary Australians thinking through the problem of knowing
that their places of attachment are also the places which
Aboriginals loved - and lost? And are the sites of all our deep
affections to be contested, articulated, shared, foregone or
possessed absolutely? The book cleverly interweaves Read's analysis
(and personal quest for belonging) with the voices of poets,
musicians, artists, historians, young people, Asian Australians,
farmers and seventh generation Australians.
Feelings about lost or destroyed places rouse our deepest emotions.
Losing a home or a suburb or leaving a homeland can be like losing
a loved one. This book examines what it means to lose a place
forever and why we return, and keep on returning, to these places
so large in our memories. It considers many lost towns, suburbs,
and homes: Darwin after Cyclone Tracy, the flooding of the town of
Adaminaby in New South Wales, the inundation of Lake Pedder in
Tasmania, bushfire at Macedon in Victoria, migration from other
countries, the clearing of neighbourhoods for freeways and the
everyday circumstances which force people from their land. Peter
Read establishes how important the places we live in are, and how
much we grieve when we lose them. It tells a human story, which is
disturbing, poetic, and often inspiring. Everyone who has lost a
place of importance to them will find it unforgettable.
After mapping Britain's national decline over thirty years through
25 books of poetry, Peter Reading reinvented himself as a writer in
his 21st-century work. The vitriolic social critic became poetry's
Millennial prophet of doom, directing his venom and sorrow at the
destruction of the world's wildlife and environment. "Vendange
Tardive" is a late harvest of vintage Reading in disaster mode.
Here is a rueful crop of valedictory poems in which man reaps what
he sows: shipwreck, ruin, death, war, ignomony and extinction. But
somehow, amid all that, there is still the fruit of the vine and
the bittersweet spirit of life. Peter Reading is probably the most
skilful and technically inventive poet writing today, mixing the
matter and speech of the gutter with highly sophisticated metrical
and syllabic patterns to produce scathing and grotesque accounts of
lives blighted by greed, meanness, ignorance, phoney media
flimflam, political ineptness and cultural impoverishment.
"Top man... I thought that I'd lived a colourful life until I read
about Karl's adventures" - MICKEY THOMAS, WREXHAM AFC & WALES
"Certified Twitter legend" - LADBIBLE Karl Phillips is just one of
the lads - roofer by day, pilsner drinker by night. But as
Bootlegger, he's scored hundreds of thousands of hits on YouTube
with his hilarious matchday vlogs and keeps a huge number of
followers on social media hooked with his humorous musings on life,
work, the Flamethrower and his beloved Wrexham AFC. He even has a
beer named after him - Wrexham Lager's iconic Bootlegger 1974
Pilsner, which has made its way onto the shelves of major
supermarkets. From tough beginnings with teenage parents to a
string of jobs in local factories, whether smearing butter on his
headmaster's office window or getting a round of golf in during his
shift as a street-cleaner, duckin' around shooting videos in
football grounds and pubs across the UK or slightly overdoing it in
holiday spots around the world, or in the throes of any of the
other hilariously random antics described here, the Captain doesn't
take himself too seriously and is mellowing with age, like a fine
pilsner!
Peter Reading was one of Britain's most original and controversial
poets: angry, uncompromising, gruesomely ironic, hilarious and
heartbreaking - as funny as he was disconcerting. Over four decades
he became our most skilful and technically inventive poet, mixing
the matter and speech of the gutter with highly sophisticated
metrical and syllabic patterns to produce scathing and grotesque
accounts of lives blighted by greed, meanness, ignorance, phony
media flimflam, political ineptness and cultural impoverishment.
Each of his collections is self-contained, as carefully constructed
and plotted as a novel, interweaving voices and narrative strands
which can now be seen to link the 24 books which make up his
Collected Poems. This was published in three volumes from Bloodaxe:
Poems 1970-1984 (1995), Poems 1985-1996 (1996) and Poems 1997-2003
(2003). He subsequently produced two later collections, -273.15
(2005) and Vendange Tardive (2010). He died in 2011. The
collections included (in full) in Volume 3 of his Collected Poems
are: Work in Regress (1997), Ob. (1999), Marfan (2000), [untitled]
(2001), Faunal (2002), Civil (2002) and d (2003).
Peter Reading was one of the most original and controversial
British poets of the post-war period: angry, uncompromising,
gruesomely ironic, hilarious and heartbreaking - as funny as he was
disconcerting. He was a prodigiously skilful and technically
inventive poet, mixing the matter and speech of the gutter with
highly sophisticated metrical and syllabic patterns to produce
scathing and grotesque accounts of lives blighted by greed,
meanness, ignorance, phony media flimflam, political ineptness and
cultural impoverishment. Each of his collections is self-contained,
as carefully constructed and plotted as a novel, interweaving
voices and narrative strands which can now be seen to link the 24
books which make up his Collected Poems. This was published in
three volumes from Bloodaxe: Poems 1970-1984 (1995), Poems
1985-1996 (1996) and Poems 1997-2003 (2003). He subsequently
produced two later collections, -273.15 (2005) and Vendange Tardive
(2010). He died in 2011. Volume 1 of his Collected Poems includes
an Introduction by Isabel Martin and was a Poetry Book Society
Recommendation. The collections included (in full) are: Water and
Waste (1970), For the Municipality's Elderly (1974), The Prison
Cell & Barrel Mystery (1976), Nothing For Anyone (1977),
Fiction (1979), Tom o' Bedlam's Beauties (1981), Diplopic (1983),
5x5x5x5x5 (1983) and C (1984)
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Zone (Paperback, Main)
Guillaume Apollinaire; Translated by Ron Padgett; Introduction by Peter Read; Peter Read, Ron Padgett
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R497
R401
Discovery Miles 4 010
Save R96 (19%)
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Ships in 9 - 15 working days
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The Cubism Seminars (Paperback)
Harry Cooper; Contributions by Emily Braun, Lisa Florman, Linda Goddard, Maria Gough, …
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R1,536
Discovery Miles 15 360
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Ships in 12 - 17 working days
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The complex facets of Cubism remain relevant subjects in art
history today, a century after Pablo Picasso and Georges Braque
developed the revolutionary style. This impressive collection of
essays by international experts presents new lines of inquiry,
including novel readings of individual objects or groups of works
through close visual, material, and archival analysis; detailed
studies of how Cubism related to intellectual and political
movements of the early 20th century; and accounts of crucial
moments in the reception of Cubism by curators, artists, and
critics. Generous illustrations of paintings, drawings, and
sculptures, some familiar but others virtually unknown, support
this wide range of approaches to the pioneering works of Picasso,
Braque, Fernand Leger, Juan Gris, and others. Distributed for the
National Gallery of Art, Center for Advanced Study in the Visual
Arts
Joy Janaka Wiradjuri Williams was a member of the Aboriginal Stolen
Generations. She was taken from her mother at birth and put into a
home for white girls. As an effected adult, she spent ten years in
court suing the Australia's State Government for negligence. Not
only did Joy lose the case, but lost two separate appeals. Several
years later she was found dead, alone, in her Primbee flat in New
South Wales. In this book, Peter Read - an award-winning author and
prominent historian of Aboriginal history - tells Joy Williams's
story, which exemplifies the detrimental effects of Aboriginal
children removed from their mothers at birth. Joy suffered abuse,
anger, violence, and mental illness. The book is a new style of
biography, written in direct speech and dramatized, often using
Joy's own words, with a reverse chronology from death to birth.
Tripping over Feathers offers rare historical insight into the
institutions, street life, and Indigenous and urban culture from
1942 to 2006. Also included are many of Joy Janaka Wiradjuri
Williams's poems.
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