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Making New Worlds: Li Yuan-chia & Friends is the first book to
document the extraordinary activity at the LYC Museum & Art
Gallery in Banks, Cumbria between 1972 and 1983. The LYC was the
singleminded effort of the artist Li Yuan-chia, who moved to the
rural North of England by way of London, Bologna, Taipei and
Guangxi, China. At the LYC, Li organised exhibitions, published
books, exhibited archealogical artefacts, arranged workshops and
welcomed an array of visitors from local and international artists
and art workers to nearby residents and travellers, many of whom
became friends. In this book, which accompanies an exhibition of
the same name at Kettle's Yard, the curators Hammad Nasar, Amy
Tobin and Sarah Victoria Turner, establish Li's work at the LYC as
a form of worldmaking, connecting his cosmic conceptual art
practice, to his interest in participation and friendship as well
as his engagement with nature and the landscape. Nasar, Tobin and
Turner's account is accompanied by nine short texts – by
Elizabeth Fisher, Ysanne Holt, Annie Jael Kwan, Lesley Ma, Gustavo
Grandal Montero, Luke Roberts, Nick Sawyer & Harriet Aspin,
Nicola Simpson and Diana Yeh – that trace the diverse threads and
ramifications of Li's practice historically and in the present.
Richly illustrated, Making New Worlds offers a provocative new way
of thinking the history of British art in the 20th century.Â
This collection of essays examines how the paratextual apparatus of
medieval manuscripts both inscribes and expresses power relations
between the producers and consumers of knowledge in this important
period of intellectual history. It seeks to define which
paratextual features - annotations, commentaries, corrections,
glosses, images, prologues, rubrics, and titles - are common to
manuscripts from different branches of medieval knowledge and how
they function in any particular discipline. It reveals how these
visual expressions of power that organize and compile thought on
the written page are consciously applied, negotiated or resisted by
authors, scribes, artists, patrons and readers. This collection,
which brings together scholars from the history of the book, law,
science, medicine, literature, art, philosophy and music,
interrogates the role played by paratexts in establishing
authority, constructing bodies of knowledge, promoting education,
shaping reader response, and preserving or subverting tradition in
medieval manuscript culture.
Echoing Joseph Paxton's question at the close of the Great
Exhibition, 'What is to become of the Crystal Palace?', this
interdisciplinary essay collection argues that there is
considerable potential in studying this unique architectural and
art-historical document after 1851, when it was rebuilt in the
South London suburb of Sydenham. It brings together research on
objects, materials and subjects as diverse as those represented
under the glass roof of the Sydenham Palace itself; from the Venus
de Milo to Sheffield steel, souvenir 'peep eggs' to war memorials,
portrait busts to imperial pageants, tropical plants to cartoons
made by artists on the spot, copies of paintings from ancient caves
in India to 1950s film. Essays do not simply catalogue and collect
this eclectic congregation, but provide new ways for assessing the
significance of the Sydenham Crystal Palace for both nineteenth-
and twentieth-century studies. The volume will be of particular
interest to researchers and students of British cultural history,
museum studies, and art history. -- .
Arguing in favour of renewed critical attention to the 'nation' as
a category in art history, this study examines the intertwining of
art theory, national identity and art production in Britain from
the early eighteenth century to the present day. The book provides
the first sustained account of artwriting in the British context
over the full extent of its development and includes new analyses
of such central figures as Hogarth, Reynolds, Gilpin, Ruskin, Roger
Fry, Herbert Read, Art & Language, Peter Fuller and Rasheed
Araeen. Mark A. Cheetham also explores how the 'Englishing' of art
theory-which came about despite the longstanding occlusion of the
intellectual and theoretical in British culture-did not take place
or have effects exclusively in Britain. Theory has always travelled
with art and vice versa. Using the frequently resurgent discourse
of cosmopolitanism as a frame for his discourse, Cheetham asks
whether English traditions of artwriting have been judged
inappropriately according to imported criteria of what theory is
and does. This book demonstrates that artwriting in the English
tradition has not been sufficiently studied, and that 'English Art
Theory' is not an oxymoron. Such concerns resonate today beyond
academe and the art world in the many heated discussions of
resurgent Englishness.
The ancient Greeks perceived the human body as an object of sensory
delight and its depiction as the expression of an intelligent mind.
This sumptuous photographic book explores ancient Greek sculptures
of the body from every angle. With an introduction outlining the
use of the body in Greek art from the prehistoric simplicity of
Cycladic figurines to the realism of the Hellenistic age, seven
thematic sections then feature stunning photographs of close ups
taken from the British Museum's outstanding collection of marble,
bronze and terracotta sculpture. The gods and heroes of Greek
religion and mythology are conceived in the image of mankind, as
supermen and superwomen, while other supernatural beings such as
centaurs and satyrs combine human with animal parts as symbols of
their otherworldliness. Human shape is also given to the inanimate
phenomena of nature, such as wind and moon, as well as intangible
human experiences such as sleep and death. A salient feature of
Greek art is human nudity, which was celebrated rather than
considered shameful. The great majority of female nudes that have
come down to us are representations of Aphrodite, goddess of erotic
love. In the Hellenistic age, Alexander's conquest and
Hellenisation of the people formerly included in the Persian empire
created a new and cosmopolitan world. Greek artists were made more
aware than ever before of the ethnic diversity of humanity and
delighted in representing and classifying humankind in all its
variety young and old, fat and thin, beautiful and ugly, freeborn
and slave, pauper and wealthy, able and disabled, moral and
immoral. The Hellenistic period, more than any previous, was also
truly an age of portraiture, reflected love in compelling and
unusual images.
The period from the 1870s to the 1920s was marked by an interplay
between nationalisms and internationalisms, culminating in the
First World War, on the one hand, and the creation of the League of
Nations, on the other. The arts were central to this debate,
contributing both to the creation of national traditions and to the
emergence of ideas, objects and networks that forged connections
between nations or that enabled internationalists to imagine a
different world order altogether. The essays presented here explore
the ways in which the arts operated internationally during this
crucial period of nation-making, and how they helped to challenge
national conceptions of citizenship, society, homeland and native
tongue. The collection arises from the AHRC-funded research network
Internationalism and Cultural Exchange, 1870-1920 (ICE; 2009-2014)
and its enquiry into the histories of cultural internationalism and
their historiographical implications. This collection has been
edited by members of the ICE network convened by Grace Brockington
and Sarah Victoria Turner.
More than any other ancient civilization, the Greeks placed the
human body at the center of their culture. To them, the sculpted
human figure was both an object of sensory delight and an
expression of an intelligent mind. In the modern popular
imagination, mention of the ancient Greeks is likely to conjure up
an image of idealized and naked youth, and it is true that the
ideal nude, both male and female, is a striking feature of Greek
sculpture. However, in later Greek art, sculptors and their patrons
became increasingly interested in human diversity, experimenting
with the representation of ethnicity, age, social standing, and
character.
The marble, bronze, and terra-cotta sculptures presented in this
volume--outstanding highlights drawn from over six centuries of
artistic production--demonstrate the diversity of Greek figural
forms, from the idealized beauty of the Classical era to the
individualized portraits of the Hellenistic period. Large, stunning
details testify to the artists' skills in portraying cold, hard
materials as warm, human flesh.
What is the secret of Caroline Rose? - Long dead beautiful queen of
Karolia? Fuchsia, the beautiful you English artist falls in love
with the madly handsome king, Alex, only to find that there is a
mysterious connection between both of them and the secret of the
dead queen! Why does Fuchsia resemble her so much - read the book
and discover the secret of Caroline Rose - A story of romance, raw
passion, a deadly enemy and the loving spirit of Caroline Rose who
will not rest until the secret is discovered!
This visually stunning survey provides an in-depth look at Eileen
Hogan's (b. 1946) working methods. Covering her entire career, it
focuses particularly on two dominant themes in the artist's
oeuvre-enclosed gardens and portraiture. Her depictions of gardens
range from London's well-known Kew Gardens and Chelsea Physic
Garden to Little Sparta, Ian Hamilton Finlay's garden in the
Pentland Hills near Edinburgh. Her portraits include expressive
sketches and paintings of veterans of the Second World War, and of
HRH The Prince of Wales and HRH The Duchess of Cornwall. The book
includes images from Hogan's sketchbooks, her studies, and finished
paintings, accompanied by striking photographs of the artist at
work. Essays by scholars and Hogan herself trace the artist's
career from her student days at Camberwell School of Arts and
Crafts through the present. This volume provides an unprecedented,
intimate look at the life and work of one of the most interesting
and evocative artists working today.
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