A noted British cultural critic takes on some of the strangest works of art from the 20th century and dissects our fascination with the unsettling in popular music, film, and writing What exactly are the Weird and the Eerie? Two closely related but distinct modes, and each possesses its own distinct properties. Both have often been associated with Horror, but this genre alone does not fully encapsulate the pull of the outside and the unknown.

Despite Freud's enormous influence on twentieth-century interpretations of the humanities, there has never before been in English a complete collection of his writings on art and literature. These fourteen essays cover the entire range of his work on these subjects, including "The Uncanny."

As the 20th century draws to a close, there is a Gothic theme penetrating much of contemporary art and culture. In the 1990s, American and European artists have moved increasingly towards the dark and uncanny side of the human psyche - the theatrical and grotesque, the violent and destructive.

Installation is one of the most popular and widespread forms of contemporary art. Installation Art provides the first clear account of the rise of installation as a form while revisiting and, in some cases, reassessing many well-known names of post-1960 art. This lavishly produced volume also introduces the reader to a wider spectrum of younger artists yet to receive serious critical attention.

Oskar Schlemmer (1888 - 1943) was one of the most versatile all-rounders of the last century and as unusual as a painter as he was as a sculptor, draughtsman, graphic artist, stage designer, wall designer, creator of epochal dance projects, and author. The catalog accompanying the first comprehensive Schlemmer retrospective for almost forty years presents over 250 high-quality works, in particular, the seven original costumes of the Triadisches Ballett (Triadic Ballet) together with rare documents of the time.

The life-size, adolescent-girl dolls created by German artist Hans Bellmer in the 1930s are the subject of Therese Lichtenstein's highly original book. Disturbing and controversial, Bellmer's dolls--with their uncanny, fragmented bodies and eroticized poses--were just as shocking during Bellmer's time as they are today. Lichtenstein interprets Bellmer's complex expressions of eroticism as a protest against the Nazis and also against his father, a cold and repressive Nazi sympathizer. At the same time, she says, by hyperbolically flaunting a passive femininity in a theatrical manner, Bellmer's images allow us to consider how cultural representations can affect the formation of identity and alternative possibilities.

Exploring new works by the provocative and irreverent American multimedia artist Jordan Wolfson. Jordan Wolfson is known for his thought-provoking works in a wide range of media, including video, sculpture, installation, photography, and performance.Produced in partnership with the Stedelijk Museum Amsterdam, this book focuses on two major new works: Colored Sculpture and Female Figure. Operating somewhere between sculpture and interactive installation, these pieces rely on Wolfson's contradictory relationship with technology to create an unsettling tension between the figure and the spectacle.

The influence of Oskar Kokoschka's three year long affair with Alma Mahler on his paintings, prints, and fans is the focus of this book. The works discussed reflect his love and desire, and explore the depths of his despair.

Written in 1920, premiered in Prague in 1921, and first performed in New York in 1922—garnered worldwide acclaim for its author and popularized the word "robot." Mass-produced as efficient laborers to serve man, Capek’s Robots are an android product—they remember everything but think of nothing new.

Film and video create an illusory world, a reality elsewhere, and a material presence that both dramatizes and demystifies the magic trick of moving pictures. Beginning in the 1960s, artists have explored filmic and televisual phenomena in the controlled environments of galleries and museums, drawing on multiple antecedents in cinema, television, and the visual arts. This volume traces the lineage of moving-image installation through architecture, painting, sculpture, performance, expanded cinema, film history, and countercultural film and video from the 1960s, 1970s, and 1980s. Sound is given due attention, along with the shift from analogue to digital, issues of spectatorship, and the insights of cognitive science.

The Taste for Beauty is a collection of essays by the film-maker and critic Eric Rohmer which were originally written for the French Film review Cahiers du Cinema between 1948-1979. Rohmer, one of the founding members of the French 'New Wave' cinema, was also one of the journal's original critics and served as its editor. Divided into four sections, the essays deal with fundamental and theoretical questions of film-making from a single theoretical viewpoint.

This is a book about video art, and about sound art. The thesis is that sound first entered the gallery via the video art of the 1960s and in so doing, created an unexpected noise. The early part of the book looks at this formative period and the key figures within it - then jumps to the mid-1990s, when video art has become such a major part of contemporary art production, it no longer seems an autonomous form. Connecting them all are the twinned ideas of intermedia and synaesthesia. Hegarty offers close readings of video works, as influenced by their sound, while also considering the institutional and material contexts.

This is a richly illustrated catalogue of a major traveling exhibition of acclaimed South African artist William Kentridge. Kentridge's oeuvre revolves around how our identities are shaped through shifting ideas of history and place: it is an elegiac art that asks for the possibility of visual poetry in contemporary society - and provides a vicious satirical commentary on that society. It presents life as process rather than as fact, and constantly questions the impact of art.

In his early work, Swiss artist Daniel Spoerri (born 1930) explored humanity's fascination with food, as seen as an interface between art and daily life. This volume presents his kinetic multiples, tableaux-pi ges, sculptures and research into the graphics of recipes and menus.

Denounced as a charlatan and fêted as a mystic, French artist Yves Klein (1928-62) scandalized the art world with his enthusiastic embrace of postwar mass culture and his exploitation of controversial publicity tactics. Today, we know Yves Klein not only as one of the most radical artists of the postwar period, but also as an iconic role model for contemporary practices--he reinvented abstract painting, conceived new horizons for performance art, and was a trailblazer in the realm of land, body, and conceptual art. In this new critical biography, Nuit Banai examines the relationship between Klein's brief life and his wide repertoire of artistic practices.

Edited by Germano Celant, this volume spans the artistic career of assemblage artist Arman (1928-2005) from his first group exhibition in France in the 1950s to 1974, when the La Jolla Museum of Contemporary Art in California organized its landmark retrospective.

Conventional histories of comedy address the verbal comedy presented on stage or screen, or in broadcast media. During the twentieth century, however, there emerged another form of comedy--a comedy of doing rather than saying--that yielded prop-like conceptual objects and gestures of public theater. Termed "concrete comedy" by internationally known artist and writer David Robbins, its origins date from around 1915, with the work of Karl Valentin, a German comedian of stage and screen who also made comic objects, and Marcel Duchamp, who used the art context as a site as for comedy. Concrete Comedy discusses visual artists (Manzoni, Warhol, Cattelan, Kippenberger, among many others) alongside entertainers (Albert Brooks, Andy Kaufman, Robert Benchley, Jack Benny), musicians (The Ramones, The Replacements, Frank Zappa), couturiers (from Chanel to Viktor & Rolf), architects (SITE Architects) and dozens of other comic imaginations. It offers both an alternative to conventional comedy and an alternative reading of certain abiding strategies in recent art.

Alice Notley has earned a reputation as one of the most challenging and engaging radical female poets at work today. Her last collection, Mysteries of Small Houses, was a finalist for both the Pulitzer Prize in poetry and the Los Angeles Times Book Prize. Structured as a long series of interconnected poems in which one of the main elements is an ongoing dialogue with a seedy detective, Disobedience sets out to explore the visible as well as the unconscious. These poems, composed during a fifteen-month period, also deal with being a woman in France, with turning fifty, and with being a poet, and thus seemingly despised or at least ignored.

This work presents T.J. Clark's perspective on the history of modern art. It asks whether modernism and socialism depended on each other for their vitality, and argues that modernism was an extreme answer to an extreme condition - summed up by Max Weber as the disenchantment of the world.

This retrospective volume celebrates five decades of Howardena Pindell's art, including works on paper, collage, photography, film, and video. Born in middle-class Philadelphia in the 1940s, Howardena Pindell came of age during the Civil Rights movement. As an African-American woman artist, making her way in the world provided Pindell with source material to inspire her work. This book examines every facet of Pindell's impressive career to date. Since the 1960s, she has used materials such as glitter, talcum powder, and perfume to stretch the boundaries of traditional canvas painting. She has also infused her work with traces of her labor, such as obsessively affixing dots of pigment and circles made with an ordinary hole punch tool. After a car crash in 1979 left her with short-term amnesia, Pindell's work looked beyond the painting studio to explore a wide range of subjects, including the personal and diaristic as well as the social and political. This monograph also highlights Pindell's work with photography, film, and performance. Excerpts from the artist's writing, in particular her critique of the art world and her responses to feminism and racial politics, provide prescient commentary in light of conversations around equality and inclusion today. Published in association with the Museum of Contemporary Art Chicago

First published in 1949 and praised in The New York Times Book Review as "a trenchant book, full of vigor and bite," A Sand County Almanac combines some of the finest nature writing since Thoreau with an outspoken and highly ethical regard for America's relationship to the land.Written with an unparalleled understanding of the ways of nature, the book includes a section on the monthly changes of the Wisconsin countryside; another part that gathers informal pieces written by Leopold over a forty-year period as he traveled through the woodlands of Wisconsin, Iowa,Arizona, Sonora, Oregon, Manitoba, and elsewhere; and a final section in which Leopold addresses the philosophical issues involved in wildlife conservation. As the forerunner of such important books as Annie Dillard's Pilgrim at Tinker Creek, Edward Abbey's Desert Solitaire, and Robert Finch's ThePrimal Place, this classic work remains as relevant today as it was forty years ago.

Rarely does a single book alter the course of history, but Rachel Carson's Silent Spring did exactly that. The outrcry that followed its publication in 1962 forced the banning of DDT and spurred the revolutionary changes in the laws affecting our air, land, and water. Carson's passionate concern for the future of our planet reverberated powerfully throughout the world, and her eloquent book was instrumental in launching the environmental movement. I tis without question one of the landmark books of the twentieth century.

These essays, by one of America's leading black intellectuals, face squarely the problems of teachers who do not want to teach, of students who do not want to learn, of racism and sexism in the classroom, and of the gift of freedom that is, for Hooks, the teacher's most important goal.

Jan Svankmajer wrote this remarkable book on tactile art when he stopped directing films after censorship by the Czechoslovakian government and experimented intensively with tactile phenomena and the creative imagination. Illustrated with over 100 images, the book is organized around many reproductions of Svankmajer's wondrous tactile art objects, tactile poems, experiments and games. It also includes dialogues with, and artworks by, other collaborating artists from the Group of Czech and Slovak Surrealists. Svankmajer also gathers together as contributors such notable exponents of tactual experience as Edgar Allen Poe, Guillaume Apollinaire, Salvador Dali, Marcel Duchamp, Meret Oppenheim, Ay-O, and F.T. Marinetti.Michael Havas, producer of some of Svankmajer's films, says of the book: 'it is typically Svankmajer: erudite and very consequential. Sometimes also very funny and erotic. Totally unique.'

In this series of essays Fred Moten and Stefano Harney draw on the theory and practice of the black radical tradition as it supports, inspires and extends contemporary social and political thought and aesthetic critique. Today the general wealth of social life finds itself confronted by mutations in the mechanisms of control, from the proliferation of capitalist logistics through governance by credit and management of pedagogy. Working from and within the social poesis of life in the undercommons Moten and Harney develop and expand an array of concepts.

Julietta Singh challenges the drive toward the mastery over self and others by showing how the forms of self-mastery advocated by anticolonial thinkers like Fanon and Gandhi unintentionally reproduced colonial logic, thereby leading her to argue for a more productive human subjectivity that is not centered on concepts of mastery.

Emphasizing the diversity of collage in the twentieth century, Rona Cran's book explores the role that it played in the work of Joseph Cornell, William Burroughs, Frank O'Hara, and Bob Dylan. Collage's catalytic effect, Cran argues, enabled each to overcome a crisis in representation that threatened to destabilize their work. Throughout, she shows that rigid definitions of collage severely limit our understanding of artists and writers who used it in non-traditional ways.

It has always been the case that the teaching of art has had to deal with social changes. We are currently facing historic challenges and phenomena which we could never have imagined - the global financial crisis, the massive migration flows, and the ubiquitous spread of new technologies in our everyday life. Creative competence is needed for overcoming the disciplinary boundaries and in order to make equal opportunities for education possible in a diverse society. This publication takes a critical look at the role of art and design education amidst these social changes - using theoretical reflection, practical experience, and empirical analysis.

The Handbook of Research and Policy in Art Education marks a milestone in the field of art education. Sponsored by the National Art Education Association and assembled by an internationally known group of art educators, this 36-chapter handbook provides an overview of the remarkable progress that has characterized this field in recent decades. Organized into six sections, it profiles and integrates the following elements of this rapidly emerging field: history, policy, learning, curriculum and instruction, assessment, and competing perspectives. Because the scholarly foundations of art education are relatively new and loosely coupled, this handbook provides researchers, students, and policymakers (both inside and outside the field) an invaluable snapshot of its current boundaries and rapidly growing content. In a nutshell, it provides much needed definition and intellectual respectability to a field that as recently as 1960 was more firmly rooted in the world of arts and crafts than in scholarly research.

Although art is taught around the world, art education policies and practices vary widely?and the opportunities for teachers to exchange information are few. International Dialogues about Visual Culture, Education, and Art brings together diverse perspectives on teaching art to forge a comprehensive understanding of the challenges facing art educators in every country. This comprehensive, authoritative volume examines global views on education policy, discusses new trends in critical pedagogy, introduces new technologies available to educators, investigates community art projects, and shows how art education can be used for peace activism.    

Since its original publication, Erwin Panofsky's Meaning in the Visual Arts has been standard reading for students of art history. It is both an introduction to the study of art and, for those with more specialized interests, a profound discussion of art and life in the Middle Ages and Renaissance. Panofsky's historical technique reveals an abundance of detail, detail he skillfully relates to the life and work of individual painters and their times. The papers in this volume represent a cross-section of Panofsky's major work. Included are selections from his well-known Studies in Iconology and The Life and Art of Albrecht Dürer, plus an introduction and an epilogue--"The History of Art as a Humanistic Discipline" and "Three Decades of Art History in the United States: Impressions of a Transplanted European"--as well as pieces written especially for this collection. All display Panofsky's vast erudition and deep commitment to a humanistic conception of art and art history.

Although educators are increasingly interested in art education research, there are few anthologies tackling the subject.  Research in Art and Design Education answers this call, summarizing important issues in the field such as non-text based approaches and interdisciplinary work. Contributions from internationally renowned researchers explore a broad range of topics in art education, highlighting particular problems and strengths in the literature. An indispensable and engaging resource, this volume provides a long-awaited aid for students and teachers alike.   "Research in Art & Design Education confirms Picasso's claim that artists do not seek, but find; thus capturing the real meaning of art's doing and how in doing art, we learn. From their respective positions, this book's contributors converge in making a strong case for art and design research as a horizon of specificities; as a wide and ever-expanding ground of autonomous plurality; and as a discipline that is neither restricted to the empire of fact and measure, nor to generalist platitudes. Under Richard Hickman's careful editorship, this book boldly makes the case that research in art and design education is not a subject-in-waiting and less so an affair restricted to arcane practices. Rather, it is a discipline invested in the exciting prospects of art's humanity and the design by which humans work together for a better world."--John Baldacchino, Columbia University  

Examines the interrelationships between art, politics, and visual culture post-9/11.

In art theory, as in cultural life generally, there has a long been tension between theory and artistic practice. The desire to resolve these tensions has been a principal impulse shaping artistic work and criticism over the last century. The last decade has seen the emergence of a broad, interdisciplinary body of theoretical work with a distinctive relationship to artistic practice, providing a common reference in artworks to the principles and vocabularies of theory. The sixteen essays in this collection were originally presented at an international conference entitled Art as Theory / Theory and Art, ' held at the University of Ottawa in late 1991. The contributors - critics, curators, and practising artists from Canada, the United States, Europe, and Australia, look at the current relationships between theory and practice in the fields of art, communication, and cultural studies from a wide range of viewpoints. Areas of interest include the institutionalization of theory, theories of vision, gender theory and feminist positions, and theory in a post-colonial context. This volume answers some important new questions about the points of intersection between theory and visual art.

Tracing Behind the Image: An Interdisciplinary Exploration of Visual Literacy, discusses how our relationship to images, collectively and individually, is constantly shifting, as we adapt to the evolving image economy of our increasingly screen-based world. This volume offers pedagogies, analyses and strategies for developing visual literacy across education and industry.The language of images embodies highly complex and nuanced statements and readings, the ability to invent and reinvent, it is bursting with opportunities to be lyrical, satirical, rhetorical, to unravel meanings, and to pose as many questions as it answers. It is a language of investigation and experimentation, it both constructs and shatters cultural expectations, and is constantly and rapidly transforming as forced by current social and political climates.

Merging the teaching of art innovation through design with traditional art media taught in K-12 art programs, this book introduces art theories and histories in design, offers classroom-tested pedagogical approaches that emphasize innovation, and includes a wealth of graphics and stories about bringing in curiosity, play, and creativity into the classroom. Interspersed with engaging personal narratives and anecdotes, George Szekely paints a picture of transformed art classrooms, and shows how art teachers can effectively foster student risk-taking and learning with new teaching pedagogies and methodologies. By breaking down how teacher encouragement and stimulating classroom environments can empower students and motivate them to challenge themselves, Szekely demonstrates how art rooms become sites where children act as critical makers and builders and are positioned to make major social contributions to the school and beyond.

Assessing Expressive Learning is the only book in the art education field to date to propose and support a research-supported teacher-directed authentic assessment model for evaluating K-12 studio art, and to offer practical information on how to implement the model. This practical text for developing visual arts assessment for grades 1-12 is based on and supported by the results of a year-long research effort primarily sponsored by the National Endowment for the Arts, involving 70 art teachers and 1,500 students in 12 school districts in Florida, Indiana, and Illinois. The purpose of the study was to demonstrate that creative artwork by K-12 students can be empirically assessed using quantitative measures that are consistent with the philosophical assumptions of authentic learning and with the means and ends of art, and that these measures can reliably assess student art growth. A further goal was to provide a rationale for the assessment of student art as an essential part of the K-12 instructional program and to encourage art teachers to take responsibility for and assume a leadership role in the assessment of art learning in the school and the school district. Assessing Expressive Learning: *reports on current assessment methods but also stresses a time-tested portfolio assessment process that can be used or adapted for use in any K-12 art classroom; *includes the assessment instruments used in the study and several case studies of art teachers using electronic portfolios of student work, a bibliography of major art assessment efforts, and a critical review of current methods; *is designed to be teacher- and system-friendly, unlike many other art assessment publications that provide only a review of information on assessment; and *both documents an experiment where artistic values and aesthetic issues were considered paramount in the education of K-12 students in the visual arts, and also serves as a guide for the conduct of similar experiments by art teachers in the nation's schools--the research methodology and results are reported in an appendix in a format that will enable educational researchers to duplicate the study. This volume is ideal as a text for upper-division undergraduate and graduate classes in visual arts education assessment, and highly relevant for college art education professors, researchers, and school district personnel involved in the education and supervision of art teachers, and researchers interested in performance measurement.

Learn to design exemplary Parallel Curriculum Units from the experts-classroom teachers! What is the best way to incorporate the four parallels into your Parallel Curriculum Unit? How do teachers using the Parallel Curriculum Model (PCM) craft units based on the PCM and why do they utilize certain elements and downplay others? What does a complete Parallel Curriculum Unit look like? This compilation of Parallel Curriculum Units provides a close-up look into the development of PCM units and how those units work in actual classroom settings. The Parallel Curriculum in the Classroom, Book 2 reflects a variety of Parallel Curriculum units spanning primary, elementary, middle, and high school levels of instruction and encompassing the disciplines of social studies, science, art, math, and language arts. Across each unit, the authors present a framework of three essential components in an effective Parallel Curriculum Unit:The big picture of grade level, subject, goals, and standards The unpacking, or step-by-step explanation of the unit The reasoning behind the unit design Whether using each parallel independently or combining all four parallels into curriculum design, teachers will find the units included here are exemplary models for creating their own parallel curriculum units. Use them as professional development tools to help plan thoughtful curriculum based upon the Parallel Curriculum Model!See The Parallel Curriculum in the Classroom, Book 1

This full-color resource will help educators teach about current art and integrate its philosophy and methods into the K-12 classroom. The authors provide a framework that looks at art through the lens of nine themes--everyday life, work, power, earth, space and place, self and others, change and time, inheritance, and visual culture--highlighting the conceptual aspects of art and connecting disparate forms of expression. They also provide guidelines and examples for how to use contemporary art to change the dynamics of a classroom, apply inventive non-linear lenses to topics, broaden and update the art "canon," and spur creative and critical thinking. Young people will find the selected artwork accessible and relevant to their lives, diverse and expansive, probing, serious, and funny. Challenging conventional notions of what should be considered art and how it should be created, this book offers a sampling of what is out there to inspire educators and students to explore the limitless world of new art. Book Features: Indicators and lenses that make contemporary art more familiar, accessible, understandable, and useable for teachers. Easy-to-reference descriptions and over 80 color images from a variety of contemporary artists. Strategies for integrating art thinking across the curriculum. Suggestions to help teachers find contemporary art to fit their curriculum and school settings. Examples of art-based projects from both art and general classrooms, including concepts, goals, materials, scaffolding activities, teacher reflections, and more. Guidance for developing curriculum, including how to create guiding questions to spur student thinking. A compilation of resources, including a dedicated website at teachingcontemporaryart.com.

The «standards wars» are another manifestation of the «culture wars.» Few educational policy makers understand the many disciplinary, pedagogical, and curricular issues occuring at the heart of the conflicts as states develop or revise their K-12 standards and standards-based assessments in the major subjects. The issues differ from subject to subject. This collection of essays addresses the issues that have arisen in the development and implementation of national and state standards in science, mathematics, history, economics, and the English language arts from the perspective of scholars in those disciplines. These scholars are writing not for other scholars in their field but for those who help shape K-12 educational policy legislators, members of boards of education, and those who teach courses in government or education policy making. The purpose of this collection is to clarify what is at stake in the standards wars and in standards-based systemic reform.

Assessing Expressive Learning is the only book in the art education field to date to propose and support a research-supported teacher-directed authentic assessment model for evaluating K-12 studio art, and to offer practical information on how to implement the model. This practical text for developing visual arts assessment for grades 1-12 is based on and supported by the results of a year-long research effort primarily sponsored by the National Endowment for the Arts, involving 70 art teachers and 1,500 students in 12 school districts in Florida, Indiana, and Illinois. The purpose of the study was to demonstrate that creative artwork by K-12 students can be empirically assessed using quantitative measures that are consistent with the philosophical assumptions of authentic learning and with the means and ends of art, and that these measures can reliably assess student art growth. A further goal was to provide a rationale for the assessment of student art as an essential part of the K-12 instructional program and to encourage art teachers to take responsibility for and assume a leadership role in the assessment of art learning in the school and the school district. Assessing Expressive Learning: *reports on current assessment methods but also stresses a time-tested portfolio assessment process that can be used or adapted for use in any K-12 art classroom; *includes the assessment instruments used in the study and several case studies of art teachers using electronic portfolios of student work, a bibliography of major art assessment efforts, and a critical review of current methods; *is designed to be teacher- and system-friendly, unlike many other art assessment publications that provide only a review of information on assessment; and *both documents an experiment where artistic values and aesthetic issues were considered paramount in the education of K-12 students in the visual arts, and also serves as a guide for the conduct of similar experiments by art teachers in the nation's schools--the research methodology and results are reported in an appendix in a format that will enable educational researchers to duplicate the study. This volume is ideal as a text for upper-division undergraduate and graduate classes in visual arts education assessment, and highly relevant for college art education professors, researchers, and school district personnel involved in the education and supervision of art teachers, and researchers interested in performance measurement.

Following a 2011 report by the National Research Council (NRC) on successful K-12 education in science, technology, engineering, and mathematics (STEM), Congress asked the National Science Foundation to identify methods for tracking progress toward the report's recommendations. In response, the NRC convened the Committee on an Evaluation Framework for Successful K-12 STEM Education to take on this assignment. The committee developed 14 indicators linked to the 2011 report's recommendations. By providing a focused set of key indicators related to students' access to quality learning, educator's capacity, and policy and funding initiatives in STEM, the committee addresses the need for research and data that can be used to monitor progress in K-12 STEM education and make informed decisions about improving it. The recommended indicators provide a framework for Congress and relevant deferral agencies to create and implement a national-level monitoring and reporting system that: assesses progress toward key improvements recommended by a previous National Research Council (2011) committee; measures student knowledge, interest, and participation in the STEM disciplines and STEM-related activities; tracks financial, human capital, and material investments in K-12 STEM education at the federal, state, and local levels; provides information about the capabilities of the STEM education workforce, including teachers and principals; and facilitates strategic planning for federal investments in STEM education and workforce development when used with labor force projections. All 14 indicators explained in this report are intended to form the core of this system. Monitoring Progress Toward Successful K-12 STEM Education: A Nation Advancing? summarizes the 14 indicators and tracks progress towards the initial report's recommendations.

This is an updated and revised version of the extraordinarily successful survey first published to track the interconnections between sexuality and the arts throughout history. Art & Queer Culture explores the societal constraints on sexuality in the context of representations of queerness and sexuality in art.

This article explores film's unique power in the larger context of queer and feminist ethnographic methodologies.

Behera’s research examines the dual axes of gender and conflict, and gender and migration. This series of essays is compiled to bring together oral histories, ethnographic studies, textual-based research, and more on the unique experiences of women in conflict-driven migration journeys.

A rich compilation consisting of artist interviews, essays, and visual art pieces, Queering Contemporary Asian American Art invites readers to challenge preconceived assumptions of Asian American art. The contributors embrace queer theory to help create an interdisciplinary, comprehensive survey of Asian American experience, identity, diasporic communities, and how this all contributes to producing Asian American art.

Dube explores many common themes in the female experience: limitations in education, marriage and relationships, family organization and hierarchy, sexuality, seclusion and exclusion. In the context of South Asian communities, Dube analyzes the similarities and differences in gender construction and identity across these selected cultures.

The Phulkari shawl tradition was nearly a lost practice, but thanks to a recent resurgence in recognizing its artistic integrity, there has been more extensive scholarship around the subject. Maskiell explores the Phulkari shawl tradition through the lens of its historical and cultural importance, as well as its significance in shaping gender roles and identity. Especially with the recent influx in Phulkari work, it is important to understand the ways in which it has historically bound women to gendered tasks.

This is a wide-reaching, yet rich survey of the more technical aspects of the Phulkari shawl tradition. McKnight catalogues the historical evolution of the Phulkari embroidery processes and documents the works of current artists using the techniques.

This book explores the ways in which 21st century diasporic communities create new homes while continuing to adhere to cultural heritage and tradition. Focusing on communities with roots in India and Pakistan, the book draws from artists, writers, filmmakers, and other who identify as first or second-generation South Asian Americans. This interdisciplinary framework combines ethnographic studies with literature, essays, and first-hand accounts of what it means to "belong" in diasporic communities.

A specified study of South Asian-Canadian immigrants, this work examines the generational trauma of conflict-driven migration. It features interviews from women ages 16-34 from South Asian communities in Canada. There is an in-depth discussion on the shifts of gender norms and gender roles in diasporic communities and households.

In Global South Asians: Introducing the modern Diaspora, the author dives into a variety of aspects of South Asian immigrant identity. Each section, from “making a modern diaspora” to relating to the old homeland,” discusses the challenging reality for diasporic communities recreating stability in the realm of the unknown. It also examines the dual process of remembering and honoring one’s homeland and traditions in the midst of accepting one’s new “homeland.”

Only in the past few decades have historians begun to seek and develop a genuine narrative of the 1947 Partition of India. Historical research has been done from a nationalistic, official standpoint of the Pakistani, Indian, and British governments, leaving a chasm between the experiences of ordinary people and what was being written about the events they had witnessed. In this piece, the author recontextualizes the Partition with a focus on the cultural and societal shifts that occurred as a result.

Virdee worked on the ground in South Asian communities to document the experiences of women in Partition in its aftermath. This article demonstrates how integral oral history and oral storytelling is in empowering women. Virdee tackles the gendered dimension of Partition studies through the inclusion of previously marginalized, silenced voices of the Partition.

A brilliant example of how film can give an in-depth, comprehensive account of historical events. These scholars used popular film from both India and Pakistan to examine the cultural setting of Partition and its societal, economic, and artistic aftermath.

Art in Motion provides thoughtful analysis of animation produced throughout the world. The first half of the book provides an overview of the relationship between animation studies and media studies, and focuses on specific aesthetic issues concerning flat and dimensional animation, limited and full animation, new technologies, and other key areas. The second half contains a series of studies on particular topics, including abstract animation, audiences, race and ethnicity, gender issues, postmodernism, and adaptation. Art in Motion is an indispensable resource for researchers, students of animation, and anyone with an interest in animation. It is an essential textbook for undergraduate and graduate students of animation, media studies, film/TV studies, and art education.

Anthropological cinema continues to be dominated by straight, white male filmmakers. Recognizing a lack of representation of immigrant and diasporic queers of color, Gill highlights the work of four key filmmakers who are working to dismantle the existing power relations in ethnography, anthropology, and filmmaking. Their work reexamines historical colonial structures within these aforementioned fields through giving voices to those who have been subjected to queers of color erasure.

For many years the only history of the Indian subcontinent’s artistic traditions, Indian Art is an accessible, comprehensive survey of visual art in Indian communities from prehistory to present. Vidya employs a contextual approach in her work to make sense of the interconnections between art and religion and culture throughout India’s history. Filled with carefully selected visual aids and images of the art discussed, this serves as an enriching introduction to the artistic heritage of the Indian subcontinent.

Dadi has provided an essential guide to understanding contemporary Muslim art in South Asia within a new context. For too long, art history neglected to deeply examine non-Western art in its own rights. With the rise of postcolonial scholarship, there has been an emergence of research and appreciation for other areas of the world, such as South Asia. This book contributes to this emergence of artistic subjectivity in relation to nationalism, modernism, tradition.

Stadtner provides a brief overview of the history of South Asian art and its representation up until the emergence of postcolonialism. This article critiques traditional, Western-focused art history on the ways in which it has excluded South Asian art, citing primarily the unwillingness of Western art history to recontextualize its notions of "art" and "worthy subjects" to allow South Asian art to be celebrated in its own right.

The author focuses on artworks emerging out of human rights movements in Latin America. Latino visual art now shifts its direction towards market based forms crossed with identity.

In Part I of this book, the author examines the way Latinos (specifically Chicanos) paved the way for themselves in performance art and how their participation has enacted social change.

This collection of diaries, written by young people during the Holocaust, reflects a vast and diverse range of experiences - some of the writers were refugees, others were hiding or passing as non-Jews, and some were imprisoned in ghettos. The volume contains extensive excerpts from 15 diaries, ten of which have never before been translated and published in English. The diarists ranged in age from 12 to 22; some survived the Holocaust, but most perished. Taken together, their accounts of daily events and their often unexpected thoughts, ideas and feelings serve to deepen and complicate our understanding of life during the Holocaust.

From the author of the international bestseller Zlata's Diary comes a haunting testament to how war's brutality affects the lives of young people Zlata Filipovic's diary of her harrowing war experiences in the Balkans, published in 1993, made her a globally recognized spokesperson for children affected by military conflict. In Stolen Voices, she and co-editor Melanie Challenger have gathered fifteen diaries of young people coping with war, from World War I to the struggle in Iraq that continues today. Profoundly affecting testimonies of shattered youth and the gritty particulars of war in the tradition of Anne Frank, this extraordinary collection-- the first of its kind--is sure to leave a lasting impression on young and old readers alike.

As millions of people around the world who have read her diary attest, Anne Frank, the most familiar victim of the Holocaust, has a remarkable place in contemporary memory. Anne Frank Unbound looks beyond this young girl's words at the numerous ways people have engaged her life and writing. Apart from officially sanctioned works and organizations, there exists a prodigious amount of cultural production, which encompasses literature, art, music, film, television, blogs, pedagogy, scholarship, religious ritual, and comedy. Created by both artists and amateurs, these responses to Anne Frank range from veneration to irreverence. Although at times they challenge conventional perceptions of her significance, these works testify to the power of Anne Frank, the writer, and Anne Frank, the cultural phenomenon, as people worldwide forge their own connections with the diary and its author.

While Anne Frank was in hiding during the German Occupation of the Netherlands, she wrote what has become the world's most famous diary. But how could an unknown Jewish girl from Amsterdam be transformed into an international icon? Renowned Dutch scholar David Barnouw investigates the facts and controversies that surround the global phenomenon of Anne Frank. Barnouw highlights the ways in which Frank's life and ultimate fate have been represented, interpreted, and exploited. He follows the evolution of her diary into a book (with translations into nearly 60 languages and editions that added previously unknown material), an American play, and a movie. As he asks, "Who owns Anne Frank?" Barnouw follows her emergence as a global phenomenon and what this means for her historical persona as well as for her legacy as a symbol of the Holocaust.

The only complete collection of writings by Anne Frank, this impressive volume contains three of the extant versions of her Diary (including pages that came to light in 1998), Tales from the Secret Annex (he lesser known short stories, fables, and personal reminiscences), and Cady's Life (her unfinished novel), along with the latest, most definitive scholarly research into Frank's life.    Anne Frank's diary has become a modern classic. It stands alone as the moving testimony of a young girl whose world collapsed around her in the nightmare of Hitler's Final Solution. Published in the United States in 1952, Anne Frank: A Diary of a Young Girl has been translated from the Dutch into nearly seventy languages, and millions of people the world over continue to respond to her extraordinary voice. The Diary of Anne Frank: The Revised Critical Edition presents the most fascinating, comprehensive study of that diary in existence.   Prepared by the Netherlands Institute for War Documentation, this monumental work allows the reader to compare the three versions of the diary itself: Anne's original entries; the diary as she herself edited it in the hiding place of the "Secret Annex"; and the version most popularly known, as edited by Anne's father, Otto Frank, and a Dutch publishing house after World War II, when they removed certain family and sexual references. Every aspect of the diary--including Anne's handwriting and the paper used--is meticulously examined, providing compelling proof and historical of its poignant testament. Absorbing biographical information on the Frank family enhances Anne's personal perceptions, and a summary of critical events during and after the family's arrest--including how the Nazi authorities learned about the Franks and their secret hiding places--adds a new dimension to this tragic, still resonant story.   Illustrated throughout with black-and-white photographs, the Diary of Anne Frank: The Revised Critical Edition is an invaluable contribution to our awareness of the Holocaust and a stirring tribute to the author's impressionable spirit.

In these days of an aging traditional audience, shrinking attendance, tightened budgets, increased competition, and exponential growth in new types of communication methods, America's house museums need to take bold steps and expand their overall purpose beyond those of the traditional museum. They need not only to engage the communities surrounding them, but also to collaborate with visitors on the type and quality of experience they provide. This book -is a ground-breaking manifesto that calls for the establishment of a more inclusive, visitor-centered paradigm based on the shared experience of human habitation; -draws inspiration from film, theater, public art, and urban design to transform historic house museums; -provides a how-to guide for making historic house museums sustainable, through five primary themes: communicating with the surrounding community, engaging the community, re-imagining the visitor experience, celebrating the detritus of human habitation, and acknowledging the illusion of the shelter's authenticity; -offers a wry, but informed, rule-breaking perspective from authors with years of experience; -gives numerous vivid examples of both good and not-so-good practices from house museums in the U.S.

History as Art, Art as History pioneers methods for using contemporary works of art in the social studies and art classroom to enhance an understanding of visual culture and history. The fully-illustrated interdisciplinary teaching toolkit provides an invaluable pedagogical resource--complete with theoretical background and practical suggestions for teaching U.S. history topics through close readings of both primary sources and provocative works of contemporary art.

The book explores representations of the Holocaust in contemporary art practices. Through carefully selected art projects, the author illuminates the specific historical, cultural, and political circumstances that influence the way we speak--or do not speak--about the Holocaust. The book's international focus brings into view film projects made by key artists reflecting critically upon forms of Holocaust memory in a variety of geographical contexts. Kékesi connects the ethical implications of the memory of the Holocaust with a critical analysis of contemporary societies, focusing upon artists who are deeply engaged in doing both of the above within three regions: Eastern Europe (especially Poland), Germany, and Israel. The case studies apply current methods of contemporary art theory, unfolding their implications in terms of memory politics and social critique.

The significance of identity and psychology in determining moral choice What causes genocide? Why do some stand by, doing nothing, while others risk their lives to help the persecuted? Ethics in an Age of Terror and Genocide analyzes riveting interviews with bystanders, Nazi supporters, and rescuers of Jews during the Holocaust to lay bare critical psychological forces operating during genocide. Monroe's insightful examination of these moving--and disturbing--interviews underscores the significance of identity for moral choice. Monroe finds that self-image and identity--especially the sense of self in relation to others--determine and delineate our choice options, not just morally but cognitively. She introduces the concept of moral salience to explain how we establish a critical psychological relationship with others, classifying individuals in need as "people just like us" or reducing them to strangers perceived as different, threatening, or even beyond the boundaries of our concern. Monroe explicates the psychological dehumanization that is a prerequisite for genocide and uses her knowledge of human behavior during the Holocaust to develop a broader theory of moral choice, one applicable to other forms of ethnic, religious, racial, and sectarian prejudice, aggression, and violence. Her book fills a long-standing void in ethics and suggests that identity is more fundamental than reasoning in our treatment of others.

This encyclopedia spans the globe to explain the issues behind crimes against humanity and human rights issues as they relate to individual countries and the world at large. It traces the history of events that qualify as genocide and crimes against humanity, profiles perpetrators and heroes, and explains international laws and law proceedings aimed at ending genocide and crimes against humanity.

Why are some genocides prominently remembered while others are ignored, hidden, or denied? Consider the Turkish campaign denying the Armenian genocide, followed by the Armenian movement to recognize the violence. Similar movements are building to acknowledge other genocides that have long remained out of sight in the media, such as those against the Circassians, Greeks, Assyrians, the indigenous peoples in the Americas and Australia, and the violence that was the precursor to and the aftermath of the Holocaust. The contributors to this collection look at these cases and others from a variety of perspectives. These essays cover the extent to which our biases, our ways of knowing, our patterns of definition, our assumptions about truth, and our processes of remembering and forgetting as well as the characteristics of generational transmission, the structures of power and state ideology, and diaspora have played a role in hiding some events and not others. Noteworthy among the collection's coverage is whether the trade in African slaves was a form of genocide and a discussion not only of Hutus brutalizing Tutsi victims in Rwanda, but of the execution of moderate Hutus as well. Hidden Genocides is a significant contribution in terms of both descriptive narratives and interpretations to the emerging subfield of critical genocide studies. Contributors: Daniel Feierstein, Donna-Lee Frieze, Krista Hegburg, Alexander Laban Hinton, Adam Jones, A. Dirk Moses, Chris M. Nunpa, Walter Richmond, Hannibal Travis, and Elisa von Joeden-Forgey

The authors of the eight essays in Ephemeral Bodies--including the first English translation of Julius von Schlosser's seminal "History of Portraiture in Wax" (1910-11)--break new ground as they explore wax reproductions of the body or body parts and assess their conceptual ambiguity, material impermanence, and implications for the history of Western art.

How do art objects and artistic practices perform the past in the present? What is their relationship to the archive? Does the past speak in the performed past (or do we speak to it)? To what purpose do objects "recall"? And for whom do they recollect? Here authors combine a methodological focus on memory as performance with a theoretical focus on art and popular culture as practices of remembrance. The essays in the book thus analyze what is at stake in the complex processes of remembering and forgetting, of recollecting and disremembering, of amnesia and anamnesis, that make up cultural memory.

A provocative book, an important book Jagodzinski's and Wallin's 'betrayal' is in fact a wake-up call for art-based research, a loving critique of its directions. Jagodzinski's and Wallin's reference is the question 'what art can do'--not what it means.

Deborah Willis, an expert on African American photography asks 18 writers, critics and film makers each to select a photograph of personal or historical significance and to read it for insights into the black experience.

The Paul R. Jones Collection is one of the oldest, largest, and most comprehensive holdings of African American art in the world.  Jones, who was named by Art and Antiques as one of the top one hundredcollectors in the country, began buying paintings, prints, photographs, and sculpture four decades ago and has now amassed over fifteen hundred works, many of them by well-known artists. Among the sixty-six represented in A Century of African American Art are Romare Bearden, Elizabeth Catlett, Jacob Lawrence, Henry Osawa Tanner, James Van Der Zee, Carrie Mae Weems, and Hale Woodruff. Lavishly illustrated with over one hundred color photographs, this book provides an important resource for the study of the works included in the Jones collection, the artists who created them, as well as the social and historical contexts that engendered them. The volume brings together ten essays, which examine four issues in American art: portraiture and realism in relation to abstract expressionism, the implications of color, the role of narrative, and the concept of multiple originals. Each essay makes the intentional effort to de-race African American art--not to strip the work of its idiomatic cultural footing, but rather to situate it within the larger picture of the nation's history and cultural traditions. Reflecting the diversity of the collection itself, the contributors come from wide-ranging fields including American art, African American art, African art, art conservation, color theory, photography, and sociology.  Together, the eclectic selections make a major contribution to recontextualizing African American scholarship in the broadest sense, while also providing important insights into the Jones collection. Contributors are Marcia R. Cohen, Diana McClintock, Ann Eden Gibson, Winston Kennedy, Debra Hess Norris, Ikem Stanley Okoye, Sharon Pruitt, Carla Williams, and Margaret Andersen.

African Americans have for the most part been absent from Texas's photographic history. Scholarly texts on photography rarely mention black Texans, and few museums have catalogued or displayed their work. Portraits of Community redresses this situation by presenting more than two hundred powerful images of black Texans taken by a group of little-known black photographers and includes deatiled interviews with the men and women behind the cameras. Alan Govenar, a writer, folklorist, photographer, and filmmaker in Dallas, has created a memorable book.

Recently, a number of cutting edge African American artists have investigated issues of race and American identity in their work, relying on the use of historical source material and the subversion of archaic media. This scrutiny of little known, yet uncannily familiar, racialized imagery by contemporary artists has created a renewed interest in the politics of nineteenth-century American art and the role of race in the visual discourse. Portraits of a People looks critically at images made of and by African Americans, extending back to the late 1700s when a portrait of African-born poet Phillis Wheatley was drawn by her friend, the slave Scipio Moorhead. From the American Revolution through the Civil War and on into the Gilded Age, American artists created dynamic images of black sitters. In their effort to create enduring symbols of self-possessed identity, many of these portraits provide a window into cultural stereotypes and practices. For example, while some of these pictures were undoubtedly of distinct, named individuals, many are now known by titles that reference only generalized types, such as Joshua Johnston's painting Portrait of a Man, c. 1805-10, or the silhouette inscribed "Mr. Shaw's blackman," cut around 1802 by the manumitted slave Moses Williams. By the middle of the nineteenth century, photography began to offer black sitters an affordable and accessible way to fashion an individual identity and sometimes obtain financial support, as in the case of the numerous cartes-de-visites produced during the 1860s and '70s that bear the image of the feminist activist Sojourner Truth above the text, "I Sell the Shadow to Support the Substance." Portraits of a People features color reproductions of over 100 important portraits in various media, ranging from paintings, photographs, and silhouettes to book frontispieces and popular prints. Essays by Gwendolyn DuBois Shaw consider silhouettes and African American identity in the early republic, photography and the black presence in the public sphere after the Civil War, and portrait painting and social fluidity among middle-class African American artists and sitters. This landmark publication will change the way that we view the images ofblacks in the nineteenth century.

Facing History is a catalog from the exhibition "Facing History: The Black Image in American Art 1710-1940 organized by The Corcoran Gallery of Art. It seeks to address how African Americans were portrayed in American artworks.

We live in the age of the individual. Every day, we're bombarded with depictions of the beautiful, successful, slim, socially conscious, and extroverted individual that our culture has decided is the perfect self, and we berate ourselves when we don't measure up. This model of the perfect self and the impossibly high standards it sets can be extremely dangerous. People are suffering under the torture of this impossible fantasy, and unprecedented social pressure is leading to increases in depression and suicide. Journalist and novelist Will Storr began to wonder about this perfect self that torments so many of us: Where does this ideal come from? Why is it so powerful? Is there any way to break its spell? To answer these questions, Storr takes the reader on a journey from the shores of Ancient Greece, through the Christian Middle Ages, to the self-esteem evangelists of 1980s California, the rise of narcissism and the "selfie" generation, and right up to the era of hyper-individualism in which we live now. Selfie tells the epic tale of the person we all know so intimately--because it's us.

This is the first monograph on Baltimore artist Amy Sherald (born 1973), and coincides with her first solo museum show at the Contemporary Art Museum St. Louis. Sherald, best known for her stunning and iconic portrait of Michelle Obama, makes paintings of African Americans she encounters on the street, in the grocery store or on the bus. "When I choose my models," the artist has said, "it's something that only I can see in that person, in their face and their eyes, that's so captivating about them." Through these vibrant, sometimes fantastical portraits, Sherald captures the essence of her particular subjects while engaging in broader dialogues about the black experience, the performance of race and the historic lack of nonwhite representation in the Western art canon. Set against a monochrome background and divorced of context, time and place, the life-sized, frontal figures are dressed in costumes and carry objects that indicate their daily activities or imagined or perceived selves. Although each subject--painted with sober realism--bears clear resemblance to the sitter, Sherald adds the props and clothing, conjuring the figure's possible alternate self, and hinting at the complexity and performance of identity and race.

What was the 'Classical Revolution' in Greek art? What were its contexts, aims, achievements, and impact? This book introduces students to these questions and guides them towards the answers. Andrew Stewart examines Greek architecture, painting, and sculpture of the fifth and fourth centuries BC in relation to the great political, social, cultural, and intellectual issues of the period.

Do we really know pornography when we see it? Pornography is condemned for being "too close" whilst erotica is defended as "leaving room for the imagination." And the art of the nude is treated as something much more special, located even further away from the potential of arousal. Art/Porn argues that these distinctions are based on an age-old antithesis between sight and touch, an antithesis created and maintained for centuries by art criticism. Art has always elicited a struggle between the senses, between something to be viewed and something to be touched, between visual and visceral pleasure. Images compel the senses in ways that are both taboo and intrinsic to art. Contemporary responses to images of the nude embody this longstanding tension. Our fears about the materiality of art when in close proximity to our own bodies exist alongside a regulation of sensory response which dates back to Antiquity. Art/Porn reveals how - from fondling statues in Antiquity to point-and-click Internet pornography - the worlds of art and pornography are much closer than we think.

In The Homoerotic Photograph, Allen Ellenzweig reminds us that photography has persistently captured the male gaze upon other men. Gathered here are 127 beautiful and provocative duotone photographs that reflect the wide-ranging history of male homoeroticism as revealed by the camera - amply suggesting spiritual, physical, and intellectual exchange between men. To accompany these images, Ellenzweig offers a detailed account of the multiple and complex meanings of the homoerotic, from the 1850s to today.

Uses iconic dandy and queer figures to explore relationships between homosexuality, modernism, and modernity.

Spanning more than a century of photography and film, Hard to Imagine is the first visual chronicle of the evolution of gay male image culture, from the canonical works of "art" photography and cinema to the private and often highly explicit productions of amateurs. This comprehensive work explores a vast, eclectic tradition in its totality, analyzing the aesthetics of the visual imagery, its production, circulation, and consumption, and broad social and legal implications.

Published in conjunction with the Smithsonian's Archives of American Art, this book provides insight to the work of American artists and their unique studio spaces. Over 100 photographs with letters and other primary source materials (notes, sketchbook pages, invitations, etc.) offer an intimate perspective on the work and studios of over 100 significant American artists from the late 19th century to the 1970s. ARTISTS IN THEIR STUDIOS shows the evolution of studio spaces and by extension the public/private personae of the artists. It also informs the public about the holdings of the Smithsonian's Archives and creates an awareness of the value of these primary sources as historical evidence.

Artists at Work provides readers with a rare glimpse into the working studios of twenty of today's most important artists. Seidner beings the readers into the studios, displaying the working space, the tools, and the work-in-progress. For each artist, Seidner includes a striking black and white portrait, as well as color photographs of the studio and his reflections on his personal encounters with the artist. Among the artists featured are Jasper Johns, John Cage, Roy Lichtenstein, Cindy Sherman, Brice Marden, Richard Serra, and Chuck Close.

This retrospective provides an overview of the work of Peter Hujar, whose portraits earned him cult status before his early death in 1987. Hujar drew most of his subjects from among his friends, many of whom were celebrities in their own right: Divine, William Burroughs, David Wojnarowicz, Paul Thek and Robert Wilson. His formal black and white photographs could expose human vulnerability, loneliness and grief. These photographs were chosen from the estate to represent his work. Hripsime Viser writes about Hujar's work from a European perspective, while American critic Max Kozloff analyzes the artist's visual language. These essays are complimented by the recollections of friends and acquaintances from the art world such as Gary Schneider, Nan Goldin, Ann Wilson, and Fran Lebowitz.

Robert Mapplethorpe never concealed his interest in and passion for the human figure in all its sensuous manifestations. His celebrated black-and-white photographs from the later part of the 20th century reveled in the athletic body, the nude body, the exquisite body. This groundbreaking exhibition and its accompanying catalogue explore the relationship between the photography of Robert Mapplethorpe and Classical art, in particular through Mannerist engravings and sculpture. The pairing of works is among the first collaborations between the Guggenheim Museum and the State Hermitage Museum. Robert Mapplethorpe and the Classical Tradition exemplifies the artist's rapport with the elongated and elaborate forms of Mannerist art, namely the study of the human body, highlighting the underlying classicism evident in the clarity and potency of all Mapplethorpe's subjects as well as their explosive energy. The classical ideal was not only a poetic inspiration but also an ethical model and, in his creative quest, Mapplethorpe described photography as "the perfect way to make a sculpture." The potency of love and Eros, which electrifies many of the Mannerist works shown here, is articulated again in the work of Mapplethorpe. The vital anatomical forms of his portraits of models such as bodybuilder Lisa Lyons and the statuesque Derrick Cross find their roots in Antiquity, and here they find their mirror in the likes of Jan Harmensz Muller's Sabine woman and Jacob Matham's Apollo. The Hermitage's superb collection of Italian painting and sculpture amply illustrates the course of Italian art from the Middle Ages to the 18th century and includes an impressive collection of Mannerist works. Approximately 50 Mannerist works from the Hermitage collection are paired with the same number of works by Mapplethorpe from the Guggenheim's collection, are several Italian, French and Flemish bronze sculptures from the late 16th and early 17th centuries. Essays by the curators are included: Addressing the return to Classicism at the end of the 16th, 19th, and 20th centuries, Arkady Ippolitov discusses the obsession that defines both the work of Mapplethorpe and the Mannerists. Germano Celant's text further explores the influence this 16th-century style had on Mapplethorpe's artistic practice and sensibility, illuminating the artist's interest in the study of pure form as well as allegorical imagery. Articulated in both word and image, the catalogue also traces Mapplethorpe's complex relationship to the history of art more broadly, ranging from Neoclassicism to Surrealism, with comparisons to the work of Jacques-Louis David, Antonio Canova, Auguste Rodin, Man Ray, and more. A third essay by Guggenheim Curator Jennifer Blessing traces allegorical representations in 19th- and 20th-century photography, with references to Mapplethorpe's oeuvre.

Poetic and lush, Robert Rauschenberg's Combines present layers of complex and sometimes conflicting information. This approach, first explored by Rauschenberg in the early 1950s, proved prescient and has become increasingly relevant in the current age of cascading information, when even the most ground-breaking artists are referencing and sampling disparate elements to create new forms. The Combines suggest the fragility of definitions, the fluidity of materials and the complexity of forms that are characteristic of Rauschenberg's works. The artist's handling of materials provides a precise physical evolutionary link between the painterly qualities of Abstract Expressionism and iconographical, subject-driven early Pop art. This book focuses on the works created roughly between 1954 and 1964, the most important decade in the artist's 50-year career, and constitutes the most complete survey of the Combines ever presented, as well as the most rigorous analysis of their political, social, autobiographical and aesthetic significance. An introductory essay by exhibition curator Paul Schimmel titled "Reading Rauschenberg" offers an iconographic analysis of the earlier Combines, based on in-depth conversations with the artist. Other texts help to contextualize the Combines, such as Thomas Crow's essay that calls them the major artistic statement of their time, and the one body of art that could simultaneously hold its own from de Kooning to Pop art.

Growing up in the 1950s, Tom Bianchi would head into downtown Chicago and pick up 25-cent "physique" magazines at newsstands. In one such magazine, he found a photograph of bodybuilder Glenn Bishop on Fire Island. "Fire Island sounded exotic, perhaps a name made up by the photographer," he recalls in the preface to his latest monograph. "I had no idea it was a real place. Certainly, I had no idea then that it was a place I would one day call home." In 1970, fresh out of law school, Bianchi began traveling to New York, and was invited to spend a weekend at Fire Island Pines, where he encountered a community of gay men. Using an SX-70 Polaroid camera, Bianchi documented his friends' lives in the Pines, amassing an image archive of people, parties and private moments. These images, published here for the first time, and accompanied by Bianchi's moving memoir of the era, record the birth and development of a new culture. Soaked in sun, sex, camaraderie and reverie, Fire Island Pines conjures a magical bygone era. Tom Bianchi was born and raised in the suburbs of Chicago and graduated from Northwestern University School of Law in 1970. He became a corporate attorney, eventually working with Columbia Pictures in New York, painting and drawing on weekends. His artwork came to the attention of Betty Parsons and Carol Dreyfuss and they gave him his first one-man painting show in 1980. In 1984, he was given his first solo museum exhibition at the Spoleto Festival. After Bianchi's partner died of AIDS in 1988, he turned his focus to photography, producing Out of the Studio, a candid portrayal of gay intimacy. Its success led to producing numerous monographs, including On the Couch, Deep Sex and In Defense of Beauty.

What is common to all portrait photographs is a situational element. In portrait photography, the presence of the photographers gaze also becomes an integral part of what the picture is about- the activity of one person looking, manifested in a moment that can feel like the blink of an eye or a small eternity. This book offers for the first time a complete text that combines the theoretical with the practical.

Since the announcement of photography's invention in 1839, various methods of making photographs have been practiced. Until the advent of digital photography at the end of the twentieth century, all of these methods required three elements: light-sensitive materials that behave predictably in response to light; chemicals that control and fix the action of light to create an image; and a support upon which the image rests. Photographers and others have continually explored and refined these basic requirements in their quest to expand the artistic and technological possibilities of photography.This book describes in a clear, accessible manner the main photographic and photomechanical processes (some still in practice) from the origins of the medium up to the time when the use of chemicals and a darkened room in which to process photographs was gradually superseded by the advent of digital photography.This elegant guide will prove invaluable to students, photographers, museum visitors, collectors, and anyone interested in the rich and fascinating history of photography.The book includes work by Euge`ne Atget, Robert Frank, Laura Gilpin, Andre´ Kerte´sz, Helen Levitt, Robert Mapplethorpe, Eadweard Muybridge, Edward Steichen, Alfred Stieglitz, William Henry Fox Talbot, Andy Warhol, Edward Weston.

This generously illustrated volume gathers together the most important images of the male nude from the invention of photography to the present day.

Photographer Jorge Lewinski provides readers with a survey of the use of the nude in the history of photography. His book explores the various ways nudes have been portrayed in photographs.

Down winding tunnels and across gritty subway platforms, through her writing, both gritty and raw, Kole introduces an unforgettable cast of characters in a world that millions pass through, but few know well. The chapters are informal, intimate diary entries, jotted down at midnight after long sessions underground.

This stunning collection of photographic portraits traces US history through the lives of well-known abolitionists, artists, scientists, writers, statesman, entertainers, and sports figures. Drawing on the photographic collections of the National Portrait Gallery, author Deborah Willis explores how these images--many by famous photographers--reveal the nation's history through an African American lens and challenge us all to uphold America's highest ideals and promises. Let Your Motto Be Resistance is the inaugural publication of the Smithsonian's new National Museum of African American History and Culture.

This highly anticipated book showcases the work and voices of an exciting selection of artists shaping the conversation about contemporary art in the United States today Since its introduction in 1932, the Whitney Biennial--the Museum's signature exhibition--has charted new developments in contemporary art. The 2019 Biennial is curated by members of the museum's curatorial staff Rujeko Hockley and Jane Panetta, well-known in the contemporary art world for their track records of working with emerging artists and producing historically minded exhibitions. The book features process images and source material from each of the Biennial participants, in addition to a commissioned text on each artist and essays by the curators on the themes of the exhibition.   Adam D. Weinberg, the Whitney's Alice Pratt Brown Director, notes, "The Biennial is a tradition that goes back to the institution's historical roots while providing us with a barometer of the new. Pushing beyond what is comfortable, presenting diverse approaches to artmaking, and understanding that art can never be severed from the world at large have become the hallmarks of the Biennial." Coming in the midst of dramatic shifts in the cultural, social, and political landscapes, this book will serve as an important resource on present-day trends in contemporary art in the United States.

If one street in America can claim to be the most infamous, it is surely 42nd Street. Between Seventh and Eighth Avenues, 42nd Street was once known for its peep shows, street corner hustlers and movie houses. Over the last two decades the notion of safety-from safe sex and safe neighborhoods, to safe cities and safe relationships-has overcome 42nd Street, giving rise to a Disney store, a children's theater, and large, neon-lit cafes. 42nd Street has, in effect, become a family tourist attraction for visitors from Berlin, Tokyo, Westchester, and New Jersey's suburbs. Samuel R. Delany sees a disappearance not only of the old Times Square, but of the complex social relationships that developed there: the points of contact between people of different classes and races in a public space. In Times Square Red, Times Square Blue, Delany tackles the question of why public restrooms, peepshows, and tree-filled parks are necessary to a city's physical and psychological landscape. He argues that starting in 1985, New York City criminalized peep shows and sex movie houses to clear the way for the rebuilding of Times Square. Delany's critique reveals how Times Square is being "renovated" behind the scrim of public safety while the stage is occupied by gentrification. Times Square Red, Times Square Blue paints a portrait of a society dismantling the institutions that promote communication between classes, and disguising its fears of cross-class contact as "family values." Unless we overcome our fears and claim our "community of contact," it is a picture that will be replayed in cities across America.

Do we really know pornography when we see it? Pornography is condemned for being "too close" whilst erotica is defended as "leaving room for the imagination." And the art of the nude is treated as something much more special, located even further away from the potential of arousal. Art/Porn argues that these distinctions are based on an age-old antithesis between sight and touch, an antithesis created and maintained for centuries by art criticism. Art has always elicited a struggle between the senses, between something to be viewed and something to be touched, between visual and visceral pleasure. Images compel the senses in ways that are both taboo and intrinsic to art. Contemporary responses to images of the nude embody this longstanding tension. Our fears about the materiality of art when in close proximity to our own bodies exist alongside a regulation of sensory response which dates back to Antiquity. Art/Porn reveals how - from fondling statues in Antiquity to point-and-click Internet pornography - the worlds of art and pornography are much closer than we think.

A Companion to Lesbian, Gay, Bisexual, Transgender, and Queer Studies is the first single volume survey of current discussions taking place in this rapidly developing area of study. Recognizing the multidisciplinary nature of the field, the editors gather new essays by an international team of established and emerging scholars Addresses the politics, economics, history, and cultural impact of sexuality Engages the future of queer studies by asking what sexuality stands for, what work it does, and how it continues to structure discussions in various academic disciplines as well as contemporary politics

In eight smart, provocative essays, writer and artist Goldberg (The Photographer) examines queer art - literary, visual, and performance-based - and questions the value of fraught, slippery labels such as queer that are variously deployed and interpreted. Goldberg shows the limits of labels, observing that calling art queer" excludes certain art that shares quite a lot with queer art. They remind readers that identities, and communities - the multiplicities of art and humankind - resist being reduced to easy, well-bounded categories. Goldberg effectively queers readers' perspective on consuming and producing cultural products, reminding them to recursively look at language, their contexts, and what their purposes may be when they include and exclude: "Labeling art and writing 'queer' affirms the power of those who are consistently silenced." This book is a passport to the bold, complex world of queer art, literature, theory, politics, and community. (Sept.)Copyright 2016 Publishers Weekly, LLC Used with permission.This book might contain the seeds of queer canon, which is sorely needed. Certainly any canon can be expanded but let's start somewhere. Let's start here. Ariel understands the limits and demands of definitions and refuses to be a spokesperson, and what felt a bit policing in the beginning feels much less so by the end. - Kenyatta Jean-Paul Garcia "Tarpaulin Sky""The Estrangement Principle argues for a wider range of possible associations with art made by queer people by unraveling the difficulties of the queer art label. Goldberg invokes the lives and works of artists Renee Gladman, Jocelyn Saidenberg, Jack Waters & Peter Cramer, and others to bring into focus the problematics of categorization in art and literary histories. This book-length essay mixes cultural criticism, close readings, and personal anecdotes, all the while developing a deftly wrought tension between a polemical voice and one of ambivalence. The Estrangement Principle is an exercise in contradiction with the ultimate goal of resisting the practice of movement naming."|ARIEL GOLDBERG'S publications include The Photographer, Picture Cameras and The Photographer without a Camera. They have received a research fellowship at the New York Public Library's Wertheim Study and a Franklin Furnace Fund grant for a series of performances and slideshows. They have been an artist in resident at Headland's Center for the Arts, The Invisible Dog, Residencias Artisticas Intercambios and SOMA in Mexico City."

"I was not born to be what someone said I was. I was not born to be defined by someone else, but by myself, and myself only." When, in the fall of 1987, the poet Quincy Troupe traveled to the south of France to interview James Baldwin, Baldwin's brother David told him to ask Baldwin about everything-Baldwin was critically ill and David knew that this might be the writer's last chance to speak at length about his life and work. The result is one of the most eloquent and revelatory interviews of Baldwin's career, a conversation that ranges widely over such topics as his childhood in Harlem, his close friendship with Miles Davis, his relationship with writers like Toni Morrison and Richard Wright, his years in France, and his ever-incisive thoughts on the history of race relations and the African-American experience. Also collected here are significant interviews from other moments in Baldwin's life, including an in-depth interview conducted by Studs Terkel shortly after the publication of Nobody Knows My Name. These interviews showcase, above all, Baldwin's fearlessness and integrity as a writer, thinker, and individual, as well as the profound struggles he faced along the way. From the eBook edition.

Published in conjunction with the multi-location retrospective of Chances Dances in Chicago, Illinois.

Over 40 years ago, Andy Warhol promoted the concept that artists are celebrities, just as worthy of portrayal as other cultural icons. Likeness: Portraits of Artists by Other Artists begins where Warhol left off. Presenting visually striking and conceptually diverse works in a range of mediums, Likeness is the first exhibition and catalogue to propose a recent history of artists' representations of other artists--of friends, peers, and idols. While any portrait is both a document and a personal record of the relationship between the artist and his or her subject, blurring distinctions between public and private, portraits of artists further enrich the situation; they commemorate and concretize the intimate social dramas of the art world and the economies of exchange. Selected here are over 50 paintings, drawings, photographs, and works in other media, created by a loose network of artists primarily active in New York, Los Angeles, London, and Berlin during the past three decades. Included are works by David Armstrong, AA Bronson, Bruce La Bruce, Chuck Close, Tacita Dean, Sam Durant, Nan Goldin, Felix Gonzalez-Torres, Richard Hamilton, Mike Kelley, Sean Landers, Robert Mapplethorpe, Richard Misrach, Dave Muller, Paul Noble, Julian Opie, Elizabeth Peyton, Sigmar Polke, Richard Prince, Wolfgang Tillmans, James Welling, and others.

Aus Wikipedia. Nicht dargestellt. Auszug: Rennertshofen is a municipality in the district of Neuburg-Schrobenhausen in Bavaria in Germany. ...http://booksllc.net/?l=de

In these ten intertwined essays, one of our most provocative young novelists proves that she is just as stylish and outrageous an art critic. For when Jeanette Winterson looks at works as diverse as the Mona Lisa and Virginia Woolf's The Waves, she frees them from layers of preconception and restores their power to exalt and unnerve, shock and transform us. "Art Objects is a book to be admired for its effort to speak exorbitantly, urgently and sometimes beautifully about art and about our individual and collective need for serious art."--Los Angeles Times

In Archive Fever, Jacques Derrida deftly guides us through an extended meditation on remembrance, religion, time, and technology--fruitfully occasioned by a deconstructive analysis of the notion of archiving. Intrigued by the evocative relationship between technologies of inscription and psychic processes, Derrida offers for the first time a major statement on the pervasive impact of electronic media, particularly e-mail, which threaten to transform the entire public and private space of humanity. Plying this rich material with characteristic virtuosity, Derrida constructs a synergistic reading of archives and archiving, both provocative and compelling. "Judaic mythos, Freudian psychoanalysis, and e-mail all get fused into another staggeringly dense, brilliant slab of scholarship and suggestion."--The Guardian "[Derrida] convincingly argues that, although the archive is a public entity, it nevertheless is the repository of the private and personal, including even intimate details."--Choice "Beautifully written and clear."--Jeremy Barris, Philosophy in Review "Translator Prenowitz has managed valiantly to bring into English a difficult but inspiring text that relies on Greek, German, and their translations into French."--Library Journal

The 'archive' is often viewed as a collection of historical documents that records and orders information about people, places and events. This view nevertheless obscures a crucial point: the archive, whilst subject to the vagaries of time and history, can also determine the future. This point has gained urgency in modern-day North Africa and the Middle East where the archive has come to the fore as a site of social, historical, theoretical, and political contestation. Dissonant Archives is the first book to consider the ways in which contemporary artists from the Middle East and North Africa - including Emily Jacir, Walid Raad, Jananne Al Ani, Basel Abbas and Ruanne Abou-Rahme, Mariam Ghani, Zineb Sedira, and Akram Zaatari - are utilizing and disrupting the function of the archive and, in so doing, highlighting a systemic, perhaps irrevocable, crisis in institutional and state-ordained archiving across the region. In exploring and producing archives, be they alternative, interrogative or fictional, these artists are not simply questioning the authenticity, authority or authorship of the archive; rather, they are unlocking its regenerative, radical potential.The result provides essential insights into the nexus between art and politics in the contemporary Middle East.

Walter Benjamin was one of the most original cultural critics of the twentieth century. Illuminations includes his views on Kafka, with whom he felt a close personal affinity; his studies on Baudelaire and Proust; and his essays on Leskov and on Brecht's Epic Theater. Also included are his penetrating study "The Work of Art in the Age of Mechanical Reproduction," an enlightening discussion of translation as a literary mode, and Benjamin's theses on the philosophy of history. Hannah Arendt selected the essays for this volume and introduces them with a classic essay about Benjamin's life in dark times. Also included is a new preface by Leon Wieseltier that explores Benjamin's continued relevance for our times.

In the form of a lexicon, artist Mariam Ghani describes, together with her father, the renowned anthropologist and political scientist Ashraf Ghani, the cycle of repeated collapse and recovery that Afghanistan has undergone over the course of the twentieth century. The lexicon comprises seventy-one mostly illustrated terms that include central figures and places, words that carry a specific (political) meaning in the Afghan context, and entries on recurring events and defining themes. The notebook's point of departure is a detailed reflection on the reign of King Amanullah Khan (1919-29), whose successes and failures yielded a model for reformers who succeeded him. These thoughts are followed by a series of terms related to, among other things, Dar ul-Aman Palace, now a ruin, which was part of Amanullah's design for a "new city," and which characterized--as a space of exception, a center of conflict, a prototype for future plans, and a symbol of past failures--twentieth-century Afghan planning policy.Mariam Ghani (*1978) is an artist based in New York and Kabul. Ashraf Ghani (*1949), author of Fixing Failed States (in English) and A Window to a Just Order (in Dari and Pashtu), lives in Kabul.

Today between forty and sixty nations, home to close to two billion people, have either collapsed or are teetering on the brink of failure. The world's worst problems--terrorism, drugs and human trafficking, absolute poverty, ethnic conflict, disease, genocide--originate in such states, andthe international community has devoted billions of dollars to solving the problem. Yet by and large the effort has not succeeded.Ashraf Ghani and Clare Lockhart have taken an active part in the effort to save failed states for many years, serving as World Bank officials, as advisers to the UN, and as high-level participants in the new government of Afghanistan. Now, in Fixing Failed States, they describe the issue--vividlyand convincingly--offering an on-the-ground picture of why past efforts have not worked and advancing a groundbreaking new solution to this most pressing of global crises. Military force, while certainly necessary on occasion, cannot solve the fundamental problems, and humanitarian interventionscost billions yet do not leave capable states in their wake. Ghani and Lockhart argue that only an integrated state-building approach can heal these failing countries. As they explain, many of these countries already have the resources they need, if only we knew how to connect them to globalknowledge and put them to work in the right way. Their state-building strategy, which assigns responsibility equally among the international community, national leaders, and citizens, maps out a clear path to political and economic stability. The authors provide a clear, practical framework forachieving these ends, supporting their case with first-hand examples of struggling territories such as Afghanistan, Sudan, Kosovo and Nepal as well as the world's success stories--Singapore, Ireland, and even the American South.The battle against terror, poverty, climate change, and much more cannot be won unless we can save these nations. In Fixing Fixed States, two of the world's foremost authorities offer a way out of the current crisis--a framework for re-imagining the international system. It is a book that is uniquein its essential optimism--an optimism that the authors have earned through their own substantial real-world efforts in failed states.

Baryalai Popal sees his Western-educated professors at Kabul University replaced by communists. He witnesses his classmates "disappearing." The communist takeover uproots Popal from his family and home. Thus begins Crossing the River Kabul, the true story of Popal's escape from Afghanistan and his eventual return. Kevin McLean weaves together Popal's stories in this memoir, which is also a fascinating look at Afghanistan from the viewpoint of Popal and generations of his politically influential family. From the exile of Popal's grandfather from Kandahar in 1898 to his father's tutoring of two boys who as adults would play important roles in Afghanistan--one as king and the other as president--to his uncle's presence at the fateful meeting that led to the Soviet invasion of Afghanistan, Popal's family history is intertwined with that of his nation. Popal fled his country following the Russian invasion of Afghanistan in 1980. After being imprisoned as a spy in Pakistan, he managed to make his way to Germany as a refugee and to the United States as an immigrant. Twenty years later he returned to Afghanistan after 9/11 to reclaim his houses, only to find one controlled by drug lords and the other by the most powerful warlord in Afghanistan. Popal's memoir is an intimate, often humorous portrait of the vanished Afghanistan of his childhood. It is also the story of a father whose greatest desire is to see his son follow in his footsteps, and a son who constantly rebels against his father's wishes. Crossing the River Kabul is a story of choice and destiny, fear and courage, and loss and redemption.  

The Imperial War Museums (IWM) are widely recognized for its incomparable collection of twentieth-century British art, which is built around the extensive programs of war art that were created with government support during the First and Second World Wars. In the decades since, images from these artworks have become icons of British history and of the experience of war. What is less well known is that IWM has similarly striking holdings in contemporary art--and that those artworks reflect experiences of and responses to a wide range of recent and ongoing conflicts. Showcasing artwork created in response to fighting in Northern Ireland, the Falklands, Bosnia, Iraq, Afghanistan, and more, and featuring work by such prominent contemporary artists as Steve McQueen, Roderick Buchanan, and Langlands & Bell, this book reminds us that war continues to spur artists to creative reflection today.

Ten well-established artists from across the Maghreb, Levant, and Gulf in conversations moderated by experts on contemporary Middle Eastern art. Summer Autumn Winter... and Spring is the first book to give voice to ten artists from across the Middle East.

How is home-grown contemporary art viewed within the Middle East? And is it understood differently outside the region? What is liable to be lost when contemporary art from the Middle East is 'transferred' to international contexts - and how can it be reclaimed? This timely book tackles ongoing questions about how 'local' perspectives on contemporary art from the Middle East are defined and how these perspectives intersect with global art discourses. Inside, leading figures from the Middle Eastern art world, western art historians, art theorists and museum curators discuss the historical and cultural circumstances which have shaped contemporary art from the Middle East, reflecting on recent exhibitions and curatorial projects and revealing how artists have struggled with the label of 'Middle Eastern Artist'. Chapters reflect on the fundamental methodologies of art history and cultural studies - considering how relevant they are when studying contemporary art from the Middle East - and investigate the ways in which contemporary, so-called 'global', theories impact on the making of art in the region. Drawing on their unique expertise, the book's contributors offer completely new perspectives on the most recent cultural, intellectual and socio-political developments of contemporary art from the Middle East.

This is the first study to cover cinemas from Iran to Morocco. Nine essays present the region's major national cinemas, devoting special attention to the work of directors who have given image and voice to dissent from political regimes, from patriarchal customs, from fundamentalist movements, and from the West. These country essays are complemented by in-depth discussions of eighteen films that have been selected for both their excellence and their critical engagement with pressing current issues. The introduction provides a comprehensive overview of filmmaking throughout the region, including important films produced outside the national cinemas. The long history of Iranian cinema, its international renown, and the politics of directors confronting the state, earns it a special place in this volume. The other major emphasis is on the Israel/Palestine conflict, featuring films by Palestinian directors, Israelis, and an Egyptian working in Syria. Nineteen authors collaborated on this book, among them Walter Armbrust, Roy Armes, Kevin Dwyer, Eric Egan, Nurith Gertz, Lina Khatib, Florence Martin, and Nadia Yaqub. About half of the contributors are film scholars; the others range across literary studies and the social sciences to two film directors and a novelist. Beyond differences in disciplinary orientation, there is considerable variation among contributors in the perspectives that inform their writing. They offer an illuminating range of approaches to the cinemas of the region. The book is richly illustrated with posters of the featured films, photos of their directors at work, and stills illustrating critical arguments in the film essays.

Examines the work and aspirations of women filmmakers in Latin America, Africa, and Asia, as well as in marginalized communities within the United States, with particular attention to issues of gender, race, nation, and aesthetics.

International Politics and Film introduces readers to the representational qualities of film but also draws attention to how the relationship between the visual and the spatial is constitutive of international politics. Using four themes-borders, the state of exception, homeland and distant others-the territorial and imaginative dimensions of international affairs in particular are highlighted. But this volume also makes clear that international politics is not just something "out there"; film helps us better understand how it is also part of everyday life within the state-affecting individuals and communities in different ways depending on axes of difference such as gender, race, class, age, and ethnicity.

This study explores artistic choices in cinema exhibition, focusing on film theaters, film festivals, and film archives and situating film-curating issues within an international context. Artistic and commercial film availability has increased overwhelmingly as a result of the digitization of the infrastructure of distribution and exhibition. The film trade's conventional structures are transforming and, in the digital age, supply and demand can meet without the intervention of traditional gatekeepers--everybody can be a film curator, in a passive or active way. This volume addresses three kinds of readers: those who want to become film curators, those who want to research the film-curating phenomenon, and those critical cinema visitors who seek to investigate the story behind the selection process of available films and the way to present them.

Orphan works, or artworks for which no copyright holder is traceable, pose a growing problem for museums, archives, and other heritage institutions. As they come under more and more pressure to digitize and share their archives, they are often hampered by the uncertain rights status of items in their collections. The Greatest Films Never Seen: The Film Archive and the Copyright Smokescreen uses the prism of copyright to reconsider human agency and the politics of the archive, and asks what the practicalimplications are for educational institutions, the creative industries, and the general public.

In Visual Occupations Gil Z. Hochberg shows how the Israeli Occupation of Palestine is driven by the unequal access to visual rights, or the right to control what can be seen, how, and from which position. Israel maintains this unequal balance by erasing the history and denying the existence of Palestinians, and by carefully concealing its own militarization. Israeli surveillance of Palestinians, combined with the militarized gaze of Israeli soldiers at places like roadside checkpoints, also serve as tools of dominance. Hochberg analyzes various works by Palestinian and Israeli artists, among them Elia Suleiman, Rula Halawani, Sharif Waked, Ari Folman, and Larry Abramson, whose films, art, and photography challenge the inequity of visual rights by altering, queering, and manipulating dominant modes of representing the conflict. These artists' creation of new ways of seeing--such as the refusal of Palestinian filmmakers and photographers to show Palestinian suffering or the Israeli artists' exposure of state manipulated Israeli blindness --offers a crucial gateway, Hochberg suggests, for overcoming and undoing Israel's militarized dominance and political oppression of Palestinians.

In the field of American studies, attention is shifting to the long history of U.S. engagement with the Middle East, especially in the aftermath of war in Iraq and in the context of recent Arab uprisings in protest against economic inequality, social discrimination, and political repression. Here, Alex Lubin and Marwan M. Kraidy curate a new collection of essays that focuses on the cultural politics of America's entanglement with the Middle East and North Africa, making a crucial intervention in the growing subfield of transnational American studies. Featuring a diverse list of contributors from the United States, the Arab world, and beyond, American Studies Encounters the Middle East analyzes Arab-American relations by looking at the War on Terror, pop culture, and the influence of the American hegemony in a time of revolution. Contributors include Christina Moreno Almeida, Ashley Dawson, Brian T. Edwards, Waleed Hazbun, Craig Jones, Osamah Khalil, Mounira Soliman, Helga Tawil-Souri, Judith E. Tucker, Adam John Waterman, and Rayya El Zein.

In T. E. Lawrence's classic memoir Seven Pillars of Wisdom, Lawrence of Arabia claimed that he inspired a "dream palace" of Arab nationalism. What he really inspired, however, was an American idea of the area now called the Middle East that has shaped U.S. interventions over the course of a century, with sometimes tragic consequences. America's Dream Palace brings into sharp focus the ways U.S. foreign policy has shaped the emergence of expertise concerning this crucial, often turbulent, and misunderstood part of the world. America's growing stature as a global power created a need for expert knowledge about different regions. When it came to the Middle East, the U.S. government was initially content to rely on Christian missionaries and Orientalist scholars. After World War II, however, as Washington's national security establishment required professional expertise in Middle Eastern affairs, it began to cultivate a mutually beneficial relationship with academic institutions. Newly created programs at Harvard, Princeton, and other universities became integral to Washington's policymaking in the region. The National Defense Education Act of 1958, which aligned America's educational goals with Cold War security concerns, proved a boon for Middle Eastern studies. But charges of anti-Americanism within the academy soon strained this cozy relationship. Federal funding for area studies declined, while independent think tanks with ties to the government flourished. By the time the Bush administration declared its Global War on Terror, Osamah Khalil writes, think tanks that actively pursued agendas aligned with neoconservative goals were the drivers of America's foreign policy.

Alastair Bonnett looks at the role nostalgia plays in the radical imagination to offer a new guide to the history and politics of the left.

This collection of essays explores some new possibilities for understanding postcolonial traumas. It examines representations of both personal and collective traumas around the globe from Palestinian, Caribbean, African American, South African, Maltese, Algerian, Indian, Australian and British writers, directors and artists.

This collection brings together experts from media and communication studies with postcolonial studies scholars to illustrate how the two fields may challenge and enrich each other. It encompasses essays on topics including media convergence, transcultural subjectivity, hegemony, piracy, and media history and colonialism. Drawing on examples from film, literature, music, TV, and the internet, the contributors investigate the transnational dimensions of today's media, engage with local and global media politics, and discuss media outlets as economic agents, thus illustrating mechanisms of power in postcolonial and neo-colonial mediascapes.

The Future of Postcolonial Studies celebrates the twenty-fifth anniversary of the publication of The Empire Writes Back by the now famous troika - Bill Ashcroft, Gareth Griffiths and Helen Tiffin. When The Empire Writes Back first appeared in 1989, it put postcolonial cultures and their post-invasion narratives on the map. This vibrant collection of fifteen chapters by both established and emerging scholars taps into this early mapping while merging these concerns with present trends which have been grouped as: comparing, converting, greening, post-queering and utopia. The postcolonial is a centrifugal force that continues to energize globalization, transnational, diaspora, area and queer studies. Spanning the colonial period from the 1860s to the present, The Future of Postcolonial Studies ventures into other postcolonies outside of the Anglophone purview. In reassessing the nation-state, language, race, religion, sexuality, the environment, and the very idea of 'the future,' this volume reasserts the notion that postcolonial is an "anticipatory discourse" and bears testimony to the driving energy and thus the future of postcolonial studies.

This highly readable and timely book explores the transformation of the modern and contemporary art market in the 21st century from a niche trade to a globalised operation worth an estimated $50 billion a year. Drawing on her personal experience, the author describes in fascinating detail the contributions made by a range of actors and institutions to these recent developments. The book focuses on the development of auction houses into globalised, often cutthroat 'art business' firms; the emergence and modi operandi of 'mega-dealers' and middlemen; the 'new frontier' of selling art on the internet; the radical changes in the profile of art collectors; the phenomenon of the 'branded' artist and the explosion of art fairs. It addresses the negative side to the art market's expansion, particularly its lack of transparency and light regulation. The author's engaging style makes this informative text ideal for collectors, students, and anyone interested in learning more about the evolution of the unprecedented market for art which exists today.

The work of art's mattering and materialization in a globalized world, with close readings of works by Takahashi Murakami, Andreas Gursky, Thomas Hirschhorn, and others. It may be time to forget the art world--or at least to recognize that a certain historical notion of the art world is in eclipse. Today, the art world spins on its axis so quickly that its maps can no longer be read; its borders blur. In Forgetting the Art World, Pamela Lee connects the current state of this world to globalization and its attendant controversies. Contemporary art has responded to globalization with images of movement and migration, borders and multitudes, but Lee looks beyond iconography to view globalization as a world process. Rather than think about the "global art world" as a socioeconomic phenomenon, or in terms of the imagery it stages and sponsors, Lee considers "the work of art's world" as a medium through which globalization takes place. She argues that the work of art is itself both object and agent of globalization. Lee explores the ways that art actualizes, iterates, or enables the processes of globalization, offering close readings of works by artists who have come to prominence in the last two decades. She examines the "just in time" managerial ethos of Takahashi Murakami; the production of ethereal spaces in Andreas Gursky's images of contemporary markets and manufacture; the logic of immanent cause dramatized in Thomas Hirschhorn's mixed-media displays; and the "pseudo-collectivism" in the contemporary practice of the Atlas Group, the Raqs Media Collective, and others. To speak of "the work of art's world," Lee says, is to point to both the work of art's mattering and its materialization, to understand the activity performed by the object as utterly continuous with the world it at once inhabits and creates.

In 2017, Leonardo da Vinci’s small oil painting the Salvator Mundi was sold at auction. In the words of its discoverer, the image of Christ as savior of the world is “the rarest thing on the planet.” Its $450 million sale price also makes it the world’s most expensive painting.
For two centuries, art dealers had searched in vain for the Holy Grail of art history: a portrait of Christ as the Salvator Mundi by Leonardo da Vinci. Many similar paintings of greatly varying quality had been executed by Leonardo’s assistants in the early sixteenth century. But where was the original by the master himself? In November 2017, Christie’s auction house announced they had it. But did they?
The Last Leonardo tells a thrilling tale of a spellbinding icon invested with the power to make or break the reputations of scholars, billionaires, kings, and sheikhs. Ben Lewis takes us to Leonardo’s studio in Renaissance Italy; to the court of Charles I and the English Civil War; to Amsterdam, Moscow, and New Orleans; to the galleries, salerooms, and restorer’s workshop as the painting slowly, painstakingly emerged from obscurity. The vicissitudes of the highly secretive art market are charted across six centuries. It is a twisting tale of geniuses and oligarchs, double-crossings and disappearances, in which we’re never quite certain what to believe. Above all, it is an adventure story about the search for lost treasure, and a quest for the truth.

New expanded 248pp 2019 Edition. The single best collection of photography of Banksy’s street work that has ever been assembled for print. If that isn’t enough there are some words too. You Are An Acceptable Level of Threat covers his entire street art career, spanning the late '90s right up to the ‘Seasons Greetings’ Christmas 2018 piece in Port Talbot, Wales. This new edition includes his self-destructing ‘Love is in the Bin’ intervention, which according to Sotheby's is "the first artwork in history to have been created live during an auction." The groundbreaking ‘Dismaland’ show, his Paris ’68 revisited works, The Walled Off Hotel, Brexit, Cans Festival, Brookyln and Basquiat, as well as new works from Gaza and New York. Also featuring the controversial ‘Cheltenham Spies’ as well as ‘Girl with a Pearl Earring’, ‘Art Buff’ and the spectacular ‘Mobile Lovers’ which appeared outside Bristol Boys Boxing Club. 248 pages featuring his greatest works of art in context.

In the late 19th century, a centuries-old preference for highly ornamented architecture gave way to a budding Modernism of clean lines and unadorned surfaces. At the same moment, everyday objects—cups, saucers, chairs, and tables—began to receive critical attention.
Alina Payne addresses this shift, arguing for a new understanding of the genealogy of architectural modernism: rather than the well-known story in which an absorption of technology and mass production created a radical aesthetic that broke decisively with the past, Payne argues for a more gradual shift, as the eloquence of architectural ornamentation was taken on by objects of daily use. As she demonstrates, the work of Adolf Loos and Le Corbusier should be seen as the culmination of a conversation about ornament dating as far back as the Renaissance. Payne looks beyond the usual suspects of philosophy and science to establish theoretical catalysts for the shift from ornament to object in the varied fields of anthropology and ethnology; art history and the museum; and archaeology and psychology.

An inventive examination of a crucial but neglected aspect of architecture, by an architect writing to architects. Maintenance plays a crucial role in the production and endurance of architecture, yet architects for the most part treat maintenance with indifference. The discipline of architecture values the image of the new over the lived-in, the photogenic empty and stark building over a messy and labored one. But the fact is: homes need to be cleaned and buildings and cities need to be maintained, and architecture no matter its form cannot escape from such realities. In Maintenance Architecture, Hilary Sample offers an inventive examination of the architectural significance of maintenance through a series of short texts and images about specific buildings, materials, and projects. Although architects have seldom choose to represent maintenance--imagining their work only from conception to realization--artists have long explored subjects of endurance and permanence in iconic architecture. Sample explores a range of art projects--by artists including Gordon Matta-Clark, Jeff Wall, and Mierle Laderman Ukeles--to recast the problem of maintenance for architecture. How might architectural design and discourse change as a building cycle expands to include "post-occupancy"? Sample looks particularly at the private home, exhibition pavilion, and high-rise urban building, giving special attention to buildings constructed with novel and developing materials, technologies, and precise detailing in relation to endurance. These include Buckminster Fuller's Dymaxion House (1929), the Lever House (1952), the U.S. Steel Building (1971), and the O-14 (2010). She considers the iconography of skyscrapers; maintenance workforces, both public and private; labor-saving technology and devices; and contemporary architectural projects and preservation techniques that encompass the afterlife of buildings. A selection of artworks make the usually invisible aspects of maintenance visible, from Martha Rosler's Cleaning the Drapes to Inigo Manglano-Ovalle's The Kiss.

The first book in two decades to consider the entire oeuvre of Mark Dion (b. 1961), this volume examines thirty years of the American artist’s pioneering inquiries into how we collect, interpret, and display nature. Part of a generation of artists expanding institutional critique in the 1990s, Dion adopted the methods of the archaeologist or the natural history museum, juxtaposing natural objects, taxidermy, books, and more to reorganize the natural and the manmade in poetic, witty ways. These sculptures, installations, and interventions offer novel approaches to questioning institutional power, which he sees as connected to the control and representation of nature.
Generously illustrated, this publication introduces new insights and features more than seventy-five artworks. Essays address topics ranging from Dion’s ecological activism to his loving critique of museums. A diverse group of contributors explores his work as a teacher, his public artworks such as Neukom Vivarium in Seattle, and his intricate curiosity cabinets installed throughout the world. They reveal how Dion’s practice and formal investigations—which are rooted in history—connect to contemporary questions of disciplinary boundaries and the acquisition of knowledge in the age of the Anthropocene.

More often than not, a work of art is produced through a dialectic of action and reflection--a zooming into and out of the material at hand (be it physical or conceptual) that eventually arrives at a synthesis of the two drives. See It Again, Say It Again explores this process of reflection and research within the making of an art work. Does it lead to better art? What do artists actually do when they engage in research? The book includes essays by artists and theorists Janneke Wesseling, Jeroen Boomgaard, Jeremiah Day, Stephan Dillemuth, Irene Fortuyn, Gijs Frieling, Henri Jacobs, W.J.M. Kok, Aglaia Konrad, Frank Mandersloot, Aernout Mik, Ruchama Noorda, Vanessa Ohlraun, Graeme Sullivan, Moniek Toebosch, Lonnie van Brummelen & Siebren de Haan, Hilde Van Gelder, Philippe Van Snick, Barbara Visser, Kitty Zijlmans and Italo Zuffi.

Known for her layered, meticulously constructed works that trace and perform the undercurrents of systems of value, image-making and methods of observation, Amie Siegel’s work moves between film, video, photography, performance and installation. Published on the occasion of the first large-scale exhibition of the American artist at Museum Villa Stuck, Munich, “Double Negative” is part of the museum’s RICOCHET series, which establishes a dialogue between the works of contemporary artists and the historical spaces of the Villa Stuck, and gives insight into the last decade of Siegel’s practice. The publication, as the exhibition, establishes correspondences between seven of the artist’s works since 2005 and including a newly commissioned film installation that gives the exhibition its title.

Catalogue suggests an artist’s exhibition catalogue, but is rather a chronological compilation of auction catalogues presenting the sales of the mid-century furniture designed by Le Corbusier and Pierre Jeanneret for Chandigarh, India, featured in Amie Siegel’s multi-element film installation Provenance (2013). An aside, an addendum, an index, the publication ends with the Christie's London catalogue page from the 2013 auction of Provenance itself in the Post-War and Contemporary Art Sale, which completes the economic circuit of the project.

Within forty-eight hours in the fall of 2014, buyers in the Sotheby’s and Christie’s New York auction houses spent $1.7 billion on contemporary art. Non-taxed freeport warehouses around the globe are stacked with art held for speculation. One of Jeff Koons’ five chromium-plated stainless steel balloon dogs sold for 50 percent more at auction than the previous record for any living artist. A painting by Christopher Wool, featuring four lines from a Francis Ford Coppola movie stenciled in black-on-a-white background, sold for $28 million. In The Orange Balloon Dog, economist and bestselling author Don Thompson cites these and other fascinating examples to explore the sometimes baffling activities of the high-end contemporary art market. He examines what is at play in the exchange of vast amounts of money and what nudges buyers, even on the subconscious level, to imbue a creation with such high commercial value.
Thompson analyzes the behaviors of buyers and sellers and delves into the competitions that define and alter the value of art in today’s international market, from New York to London, Singapore to Beijing. Take heed if your millions are tied up in stainless steel balloon dogs―Thompson also warns of a looming bust of the contemporary art price balloon.

The first comprehensive monograph devoted to Mierle Laderman Ukeles and her groundbreaking participatory art practice. The work of Mierle Laderman Ukeles brilliantly bridges feminism, environmentalism, and participatory art practice. Whether it’s her groundbreaking Manifesto for Maintenance Art 1969!, which decries the separation, especially for women, between art on the one hand and caring for family, city, and planet on the other; or The Social Mirror, in which she covered a New York City Department of Sanitation truck entirely in mirrored glass―Ukeles's fascinating body of work includes public art installations, exhibitions, and performances around the world, frequently created in collaboration with sanitation and municipal workers, museum visitors, and the public. This first comprehensive book on the influential artist explores her legendary tenure as artist-in-residence at New York City’s Department of Sanitation, which has paved the way for similar “embedded artists” in government and community organizations. Essays, interviews, and striking illustrations offer important perspectives on an artist who has transformed our ideas about the feminist, urban, ecological, and resilient aspects of artistic experience.

In the face of unparalleled growth and a truly global audience, the popularity of contemporary art has clearly become a double-edged affair. Today, an unprecedented number of museums, galleries, biennial-style exhibitions, and art fairs display new work in all its variety, while art schools continue to inject fresh talent onto the scene at an accelerated rate. In the process, however, contemporary art has become deeply embedded not only in an expanding art industry, but also the larger cultures of fashion and entertainment.
Buskirk argues that understanding the dynamics of art itself cannot be separated from the business of presenting art to the public. As strategies of institutional critique have given way to various forms of collaboration or accommodation, both art and museum conventions have been profoundly altered by their ongoing relationship. The escalating market for contemporary art is another driving force. Even as art remains an idealized activity, it is also understood as a profession, and in increasingly obvious ways a business, particularly as practiced by star artists who preside over branded art product lines.

In capitalist society labour not only produces commodities (i.e. goods which can be freely sold on the market), but also produces ‘itself and the worker as a commodity’, the worker becomes an even cheaper commodity the more commodities he creates’. The worker not only loses the product of his labour and create alien objects for alien people; he is not only ‘depressed spiritually and physically to the condition of a machine’ through the increasing division and mechanization of labour, so that ‘from being a man [he] becomes an abstract activity and a belly’ (p. 68) --but he even has to ‘sell himself and his human identity’ (p. 70), i.e. he must himself become a commodity in order to exist as a physical subject. So instead of being an expression of the whole man, labour is his alienation; instead of being the full and free realization of man it has become a ‘loss of realization’. ‘So much does labour’s realization appear as loss of realization that the worker loses realization to the point of starving to death’ (p. 108).

Under modernity, time is regarded as linear and measurable by clocks and calendars. Despite the historicity of clock-time itself, the modern concept of time is considered universal and culturally neutral. What Walter Benjamin called "homogeneous, empty time" founds the modern notions of progress and a uniform global present in which the past and other forms of time consciousness are seen as superseded. In Translating Time, Bliss Cua Lim argues that fantastic cinema depicts the coexistence of other modes of being alongside and within the modern present, disclosing multiple "immiscible temporalities" that strain against the modern concept of homogeneous time. In this wide-ranging study--encompassing Asian American video (On Cannibalism), ghost films from the New Cinema movements of Hong Kong and the Philippines (Rouge, Itim, Haplos), Hollywood remakes of Asian horror films (Ju-on, The Grudge, A Tale of Two Sisters) and a Filipino horror film cycle on monstrous viscera suckers (Aswang)--Lim conceptualizes the fantastic as a form of temporal translation. The fantastic translates supernatural agency in secular terms while also exposing an untranslatable remainder, thereby undermining the fantasy of a singular national time and emphasizing shifting temporalities of transnational reception. Lim interweaves scholarship on visuality with postcolonial historiography. She draws on Henri Bergson's understanding of cinema as both implicated in homogeneous time and central to its critique, as well as on postcolonial thought linking the ideology of progress to imperialist expansion. At stake in this project are more ethical forms of understanding time that refuse to domesticate difference as anachronism. While supernaturalism is often disparaged as a vestige of primitive or superstitious thought, Lim suggests an alternative interpretation of the fantastic as a mode of resistance to the ascendancy of homogeneous time and a starting-point for more ethical temporal imaginings.

Time Binds is a powerful argument that temporal and sexual dissonance are intertwined, and that the writing of history can be both embodied and erotic. Challenging queer theory's recent emphasis on loss and trauma, Elizabeth Freeman foregrounds bodily pleasure in the experience and representation of time as she interprets an eclectic archive of queer literature, film, video, and art. She examines work by visual artists who emerged in a commodified, "postfeminist," and "postgay" world. Yet they do not fully accept the dissipation of political and critical power implied by the idea that various political and social battles have been won and are now consigned to the past. By privileging temporal gaps and narrative detours in their work, these artists suggest ways of putting the past into meaningful, transformative relation with the present. Such "queer asynchronies" provide opportunities for rethinking historical consciousness in erotic terms, thereby countering the methods of traditional and Marxist historiography. Central to Freeman's argument are the concepts of chrononormativity, the use of time to organize individual human bodies toward maximum productivity; temporal drag, the visceral pull of the past on the supposedly revolutionary present; and erotohistoriography, the conscious use of the body as a channel for and means of understanding the past. Time Binds emphasizes the critique of temporality and history as crucial to queer politics.

William Kentridge's recent work is situated on the border between art and science: by examining our perception and understanding of time, he reconsiders the creative process. A work in progress in the truest sense, The Refusal of Timecontinues and deepens the polymorphic, dreamlike, political and humanist body of work developed by Kentridge from his very earliest days as an artist. An installation with performance elements, The Refusal of Timewas conceived by Kentridge and science historian Peter Galison for Documenta 13, and realized in collaboration with video filmmaker Catherine Meyburgh and composer Philip Miller, both of whom worked with Kentridge and Galison for a year. Time in its various manifestations--narrative, fragmented, slowed down and speeded up; distortions of space-time; simultaneity--is explored through various media, including dance, film, music and spoken word. The book itself is a work of art; it includes sketches and notebooks, all the texts read during the performance, pictures from the rehearsals and workshop as well as highlights of the show, interviews and drawings created specially for it by Kentridge.

Noo Saro-Wiwa was brought up in England, but every summer she was dragged back to visit her father in Nigeria -- a country she viewed as an annoying parallel universe where she had to relinquish all her creature comforts and sense of individuality. After her father, activist Ken Saro-Wiwa, was killed there, she didn’t return for several years. Recently, she decided to come to terms with the country her father given his life for. Saro-Wiwa travels from the exuberant chaos of Lagos to the calm beauty of the eastern mountains; from the eccentricity of a Nigerian dog show to the decrepit kitsch of the Transwonderland Amusement Park. She explores Nigerian Christianity, delves into the country’s history of slavery, examines the corrupting effect of oil, and ponders the huge success of Nollywood. She finds the country as exasperating as ever, and frequently despairs at the corruption and inefficiency she encounters. But she also discovers that it si far more beautiful and varied than she had ever imagined, with its captivating thick tropical rainforest and ancient palaces and monuments. Most engagingly of all, she introduces us to the many people she meets, and gives us hilarious insights into the African character, its passion, wit and ingenuity.

The folk tales reflect the occupations of the Ogoni - fishing, farming and hunting; and give insight into the customs and observances of their society. Their penchant for satire and the comic are displayed, together with the values of their civilization. The centre of most of the stories is Kuru, the Tortoise, known for his cunning and wisdom, who recognises the supreme intelligence of the oracle.

In the 150 years since the birth of the petroleum industry oil has saturated our culture, fueling our cars and wars, our economy and policies. But just as thoroughly, culture saturates oil. So what exactly is "oil culture"? This book pursues an answer through petrocapitalism's history in literature, film, fine art, wartime propaganda, and museum displays. Investigating cultural discourses that have taken shape around oil, these essays compose the first sustained attempt to understand how petroleum has suffused the Western imagination. The contributors to this volume examine the oil culture nexus, beginning with the whale oil culture it replaced and analyzing literature and films such as Giant, Sundown, Bernardo Bertolucci's La Via del Petrolio, and Ben Okri's "What the Tapster Saw"; corporate art, museum installations, and contemporary photography; and in apocalyptic visions of environmental disaster and science fiction. By considering oil as both a natural resource and a trope, the authors show how oil's dominance is part of culture rather than an economic or physical necessity. Oil Culture sees beyond oil capitalism to alternative modes of energy production and consumption. Contributors: Georgiana Banita, U of Bamberg; Frederick Buell, Queens College; Gerry Canavan, Marquette U; Melanie Doherty, Wesleyan College; Sarah Frohardt-Lane, Ripon College, Matthew T. Huber, Syracuse U; Dolly Jørgensen, Umeå U; Stephanie LeMenager, U of Oregon; Hanna Musiol, Northeastern U; Chad H. Parker, U of Louisiana at Lafayette; Ruth Salvaggio, U of North Carolina, Chapel Hill; Heidi Scott, Florida International U; Imre Szeman, U of Alberta; Michael Watts, U of California, Berkeley; Jennifer Wenzel, Columbia University; Sheena Wilson, U of Alberta; Rochelle Raineri Zuck, U of Minnesota Duluth; Catherine Zuromskis, U of New Mexico.

At first glance, the remote villages of the Kabre people of northern Togo appear to have all the trappings of a classic "out of the way" African culture—subsistence farming, straw-roofed houses, and rituals to the spirits and ancestors. Arguing that village life is in fact an effect of the modern and the global, Charles Piot suggests that Kabre culture is shaped as much by colonial and postcolonial history as by anything "indigenous" or local. Through analyses of everyday and ceremonial social practices, Piot illustrates the intertwining of modernity with tradition and of the local with the national and global. In a striking example of the appropriation of tradition by the state, Togo's Kabre president regularly flies to the region in his helicopter to witness male initiation ceremonies. Confounding both anthropological theorizations and the State Department's stereotyped images of African village life, Remotely Global aims to rethink Euroamerican theories that fail to come to terms with the fluidity of everyday relations in a society where persons and things are forever in motion.

When Nigeria hosted the Second World Black and African Festival of Arts and Culture (FESTAC) in 1977, it celebrated a global vision of black nationhood and citizenship animated by the exuberance of its recent oil boom. Andrew Apter's The Pan-African Nation tells the full story of this cultural extravaganza, from Nigeria's spectacular rebirth as a rapidly developing petro-state to its dramatic demise when the boom went bust. According to Apter, FESTAC expanded the horizons of blackness in Nigeria to mirror the global circuits of its economy. By showcasing masks, dances, images, and souvenirs from its many diverse ethnic groups, Nigeria forged a new national culture. In the grandeur of this oil-fed confidence, the nation subsumed all black and African cultures within its empire of cultural signs and erased its colonial legacies from collective memory. As the oil economy collapsed, however, cultural signs became unstable, contributing to rampant violence and dissimulation. The Pan-African Nation unpacks FESTAC as a historically situated mirror of production in Nigeria. More broadly, it points towards a critique of the political economy of the sign in postcolonial Africa.

"Nadja, " originally published in France in 1928, is the first and perhaps best Surrealist romance ever written, a book which defined that movement's attitude toward everyday life. The principal narrative is an account of the author's relationship with a girl in teh city of Paris, the story of an obsessional presence haunting his life. The first-person narrative is supplemented by forty-four photographs which form an integral part of the work -- pictures of various "surreal" people, places, and objects which the author visits or is haunted by in naja's presence and which inspire him to mediate on their reality or lack of it. "The Nadja of the book is a girl, but, likeBertrand Russell's definition of electricity as "not so much a thing as a way things happen, " Nadja is not so much a person as the way she makes people behave. She has been described as a state of mind, a feeling about reality, k a kind of vision, and the reader sometimes wonders whether she exists at all. yet it is Nadja who gives form and structure to the novel.

WithKafka on the Shore,Haruki Murakami gives us a novel every bit as ambitious and expansive asThe Wind-Up Bird Chronicle,which has been acclaimed both here and around the world for its uncommon ambition and achievement, and whose still-growing popularity suggests that it will be read and admired for decades to come. This magnificent new novel has a similarly extraordinary scope and the same capacity to amaze, entertain, and bewitch the reader. A tour de force of metaphysical reality, it is powered by two remarkable characters: a teenage boy, Kafka Tamura, who runs away from home either to escape a gruesome oedipal prophecy or to search for his long-missing mother and sister; and an aging simpleton called Nakata, who never recovered from a wartime affliction and now is drawn toward Kafka for reasons that, like the most basic activities of daily life, he cannot fathom. Their odyssey, as mysterious to them as it is to us, is enriched throughout by vivid accomplices and mesmerizing events. Cats and people carry on conversations, a ghostlike pimp employs a Hegel-quoting prostitute, a forest harbors soldiers apparently unaged since World War II, and rainstorms of fish (and worse) fall from the sky. There is a brutal murder, with the identity of both victim and perpetrator a riddle–yet this, along with everything else, is eventually answered, just as the entwined destinies of Kafka and Nakata are gradually revealed, with one escaping his fate entirely and the other given a fresh start on his own. Extravagant in its accomplishment, Kafka on the Shore displays one of the world’s truly great storytellers at the height of his powers.

Consuming Surrealism in American Culture: Dissident Modernism argues that Surrealism worked as a powerful agitator to disrupt dominant ideas of modern art in the United States. Unlike standard accounts that focus on Surrealism in the U.S. during the 1940s as a point of departure for the ascendance of the New York School, this study contends that Surrealism has been integral to the development of American visual culture over the course of the twentieth century. Through analysis of Surrealism in both the museum and the marketplace, Sandra Zalman tackles Surrealism's multi-faceted circulation as both elite and popular. Zalman shows how the American encounter with Surrealism was shaped by Alfred Barr, William Rubin and Rosalind Krauss as these influential curators mobilized Surrealism to compose, to concretize, or to unseat narratives of modern art in the 1930s, 1960s and 1980s - alongside Surrealism's intersection with advertising, Magic Realism, Pop, and the rise of contemporary photography. As a popular avant-garde, Surrealism openly resisted art historical classification, forcing the supposedly distinct spheres of modernism and mass culture into conversation and challenging theories of modern art in which it did not fit, in large part because of its continued relevance to contemporary American culture.

Hardly any aspect of Greek culture, of its religious and philosophical bases, proves as revealing as its way of confronting human mortality and its observances in relation to the dead. Using both historical and anthropological approaches and sources, both visual and written, Garland describes the extensive and elaborate funerary rituals performed by the Greeks for their dead from the time of Homer to the fourth century BC. The book attempts to revive and re-live the complex texture of feelings provoked in the living by the dead as, moment by moment, the two shifted their ground in relation to one another.

Once at the margins of the art world, film now occupies a prominent place in museums and galleries. Exhibiting Cinema in Contemporary Art explores the emergence of cinema as a primary medium of artistic production, offering an in-depth inquiry into its genesis, its defining features, and its ramifications. Erika Balsom also tackles cinema studies' great disciplinary obsession--namely, what cinema was, is, and will become in a digital future. Rich in theoretical reflections and critical analyses, Exhibiting Cinema in Contemporary Art offers insights into the whole history of cinema from the vantage point of today's art. 

This volume, published in parallel to Exhibiting the Moving Image, extends the inquiry into the history, theory and practice of exhibiting artists' cinema, video, installation as well as advertising films, by focusing on the domains of performance and of

Since the 1990s, a 'cinematographic turn' has supposedly taken place in contemporary art paralleled by the emergence of a 'cinema of exhibition' during the same period.This collection of new essays investigates the relationships between the 'white cube' a

Video art emerged as an art form that from the 1960s and onwards challenged the concept of art - hence, art historical practices. From the perspective of artists, critics, and scholars engaged with this new medium, art was seen as too limiting a notion. Important issues were to re-think art as a means for critical investigations and a demand for visual reconsiderations. Likewise, art history was argued to be in crisis and in need of adapting its theories and methods in order to produce interpretations and thereby establish historical sense for moving images as fine art. Yet, as this book argues, video art history has evolved into a discourse clinging to traditional concepts, ideologies, and narrative structures - manifested in an increasing body of texts. Video Art Historicized provides a novel, insightful and also challenging re-interpretation of this field by examining the discourse and its own premises. It takes a firm conceptual approach to the material, examining the conceptual, theoretical, and methodological implications that are simultaneously contested by both artists and authors, yet intertwined in both the legitimizing and the historicizing processes of video as art. By engaging art historyâe(tm)s most debated concepts (canon, art, and history) this study provides an in-depth investigation of the mechanisms of the historiography of video art. Scrutinizing various narratives on video art, the book emphasizes the profound and widespread hesitations towards, but also the efforts to negotiate, traditional concepts and practices. By focusing on the politics of this discourse, theoretical issues of gender, nationality, and particular themes in video art, Malin Hedlin Hayden contests the presumptions that inform video art and its history.

Video Art Theory: A Comparative Approach demonstrates how video art functions on the basis of a comparative media approach, providing a crucial understanding of video as a medium in contemporary art and of the visual mediations we encounter in daily life. A critical investigation of the visual media and selected video artworks which contributes to the understanding of video as a medium in contemporary art The only study specifically devoted to theorizing the medium of video from the perspective of prominent characteristics which result from how video works deal with time, space, representation, and narrative The text has emerged out of the author's own lectures and seminars on video art Offers a comparative approach which students find especially useful, offering new perspectives

In a study of the Enron scandal, the author goes behind the scenes to profile the players and expose business practices involved in the financial and political debacle that had a profound impact on both Washington and Wall Street.

Since 1940, when it was originally published, The Artist's Handbook has become indispensable for thousands of practicing artists and art students. The book has remained continually in print through many editions and has sold more than a quarter of a million copies. A detailed index makes a wealth of information readily available. Charts and line drawings throughout.

Experience has confirmed John Mill's belief that modelling, and the necessary technical aspects that accompany this skill, must be taught. This book provides all the necessary information and instruction for a student of sculpture to master the technique of casting.

Much more than just another guide to artists’ materials, The Painter’s Handbook is an amazingly useful resource, with information on everything from the canvas up: the canvas itself, plus paper, sizes and grounds, pigments and binders, solvents and thinners, varnishes and preservatives. Dozens of step-by-step recipes for make-it-yourself paints, pastels, varnishes, gessoes, sizes, supports, and equipment take this indispensable guide way beyond the competition. Authoritatively written by Mark David Gottsegen, chair of the federal government’s ASTM committee on artist’s materials, the revised Painter’s Handbook considers the enormous changes in the art-materials world since the first edition was published in 1993. New materials, new health issues, new information on outmoded and even harmful supplies and practices mean that every painter needs a copy of The Painter’s Handbook.

200 formulas for making paints, glazes, mediums, varnishes, grounds, fixatives, sizes, and adhesives for tempera, oil, acrylic, gouache, pastel, encaustic, fresco, and other painting techniques. Here is a unique reference book which every serious painter will find indispensable. Formulas for Painters gathers for the first time in a single volume over 200 recipes for making sizes, grounds, mediums, glazes, varnishes, fixatives, and adhesives. These recipes--some dating as far back as the Renaissance--have been tested by artists through the ages and retested by the author under controlled laboratory conditions. There are forty-two recipes for paints alone, ranging from ancient encaustic and tempera to modern acrylic and silica resins, dozens of mediums for every purpose, and a score of grounds for canvas, panels, and fresco. Each formula is presented in a uniform format which explains the purpose of the material being made, specifies precise ingredients, and gives clear directions for manufacture and use. For quick reference, all the formulas are numbered and frequently cross-referenced. Formulas for Painters also contains a section of notes on studio equipment; substitutes for hard-to-find materials; a fund of practical tips and miscellaneous information; and useful tables of drying times, solvents, melting points--making this comprehensive, compact handbook an invaluable source of reference for painters in all media. Robert Massey is Professor Emeritus of Fine Arts at the University of Texas at El Paso, as well as a distinguished lecturer, painter, draftsman, mosaicist, sculptor, and printmaker who has exhibited widely and won numerous awards throughout the United States. A native Texan, Massey received a B.A. from Oklahoma State University, where he studied with Doel Reed; an M.FA. from Syracuse University; and a Ph.D. from the University of Texas. He has taught at Oklahoma State University, the University of Michigan, Florida State University, and Syracuse University. Since 1953, he has been a member of the faculty of the University of Texas at El Paso, where he conceived, researched, and wrote Formulas for Painters. Robert Massey's works are in the permanent collections of the Dallas Museum of Fine Arts, El Paso Museum of Art, Oklahoma State University, and the Syracuse Museum. The author, an active member of both the National Society of Arts and Letters and the Texas Fine Arts Association, is listed in Who's Who in American Art.

This book is about the interaction of laser radiation with various surfaces at variable parameters of radiation. As a basic principle of classification we chose the energetic or intensity level of interaction of laser radiation with the surfaces. These two characteristics of laser radiation are the most important parameters defining entire spectrum of the processes occurring on the surfaces during interaction with electromagnetic waves. This is a first book containing a whole spectrum of the laser-surface interactions distinguished by the ranges of used laser intensity. It combines the surface response starting from extremely weak laser intensities (~1 W cm-2) up to the relativistic intensities (~1020 W cm-2 and higher). The book provides the basic information about lasers and acquaints the reader with both common applications of laser-surface interactions (laser-related printers, scanners, barcode readers, discs, material processing, military, holography, medicine, etc) and unusual uses of the processes on the surfaces under the action of lasers (art conservation, rangefinders and velocimeters, space and earth explorations, surface engineering and ablation, and others). The scientific applications of laser-surfaces interactions (surface optical nonlinearities, surface enhanced Raman spectroscopy, surface nanostructuring, nanoripples and clusters formation, X-ray lasers and harmonic generation from the surfaces) are discussed from the point of view of the close relations between the properties of surface and matter, which is a cornerstone of most of studies of materials. The novelty of the approach developed in Laser - Surface Interactions is related with the interconnection of scientific studies with numerous applications of the laser-surface interactions separated in different chapters by the ranges of laser intensities. We present most recent achievements in this field. The book provides valuable information for different ranges of reader's preparedness to the laser-related topics (from unprepared readers, to students, engineers and researchers, professionals and academics).

Painting is a continually expanding and evolving medium. The radical changes that have taken place since the 1960s and 1970s—the period that saw the shift from a modernist to a postmodernist visual language—have led to its reinvigoration as a practice, lending it an energy and diversity that persists today. In Painting Now, renowned critic and art historian Suzanne Hudson offers an intelligent and original survey of contemporary painting—a critical snapshot that brings together more than 200 artists from around the world whose work is defining the ideas and aesthetics that characterize the painting of our time. Hudson’s rigorous inquiry takes shape through the analysis of a range of internationally renowned painters, alongside reproductions of their key works to illustrate the concepts being discussed. These luminaries include Franz Ackermann, Michaël Borremans, Chuck Close, Angela de la Cruz, Subodh Gupta, Julie Mehretu, Vik Muniz, Takashi Murakami, Elizabeth Peyton, Wilhelm Sasnal, Luc Tuymans, Zhang Xiaogang, and many others. Organized into six thematic chapters exploring aspects of contemporary painting such as appropriation, attitude, production and distribution, the body, painting about painting, and introducing additional media into painting, this is an essential volume for art history enthusiasts, critics, and practitioners.

Photo-realism, abstraction, portraiture, installation painting, neo-expressionism and the Leipzig School are just some of the areas of this thriving medium explored in Painting Today. This comprehensive survey of contemporary painting presents the broad range of styles, materials and methods that comprise the artform, extending the tradition of Phaidon's trail-blazing Art Today. Since the proclaimed ‘death of painting’ in 1968, artists around the globe have nevertheless continued to expand its imagery, techniques and meanings, and in over 500 illustrations this book presents the work of both famous and emergent painters active around the world. Tony Godfrey presents a lively and authoritive view of the vast range of possibilities that painting today encompasses.

Unlike many books on painting that usually talk about art or painters, James Elkins compelling and original work focuses on alchemy, for like the alchemist, the painter seeks to transform and be transformed by the medium. In What Painting Is, James Elkins communicates the experience of painting beyond the traditional vocabulary of art history. Alchemy provides a magical language to explore what it is a painter really does in her or his studio - the smells, the mess, the struggle to control the uncontrollable, the special knowledge only painters hold of how colours will mix, and how they will look. Written from the perspective of a painter-turned-art historian, What Painting Is is like nothing you have ever read about art. "

Learning to Look at Paintingsis an accessible guide to the study and appraisal of paintings, drawings and prints. Mary Acton shows how you can develop visual, analytical and historical skills in learning to look at and understand an image by analysing how it works, what its pictorial elements are and how they relate to each other. This fully revised and updated new edition is illustrated with over 100 images by a wide range of Western European and American artists, ranging from Rembrandt, Van Gogh and Botticelli to Picasso, Matisse and Rothko, and now includes modern and contemporary artists such as Georgia O'Keeffe, Anselm Kiefer, Tacita Dean and Marlene Dumas. In addition, Mary Acton presents new examples highlighting the survival and revival of painting in recent years. A new introduction situates the book in the wider context of recent changes in the approach to Art History. A glossary of critical and technical terms used in the language of Art History is also included, with an updated but still selective reading list.

"Reading Dedra Johnson's Sandrine's Letter to Tomorrow, I was fully in the presence of the mind, heart and soul of a richly rendered, fascinating fictional character. I knew I was also in the presence of the brillian voice and sensibility of a major new American writer. This is an important novel by a true artist."--Robert Olen Butler "Dedra Johnson has caught something wonderful in Sandrine's Letter to Tomorrow. She writes brilliantly about childhood, New Orleans, the intricacies of a vexed family life. Sandrine is a remarkable debut novel that will catch your heart."--Frederick Barthelme Despite being a straight-A student and voracious reader, eight-year old Sandrine Miller is treated as little more than a servant by her mother, who forces Sandrine to clean house, do chores and take care of her younger half sister, Yolanda. On top of the despair of her life at home, Sandrine must confront growing up against the harshness of life in 1970s-era New Orleans, where men in cars follow her home from school and she is ostracized because she is a light-skinned black girl. The only refuge Sandrine has against her bleak world is spending summers with her beloved grandmother, Mamalita. After Mamalita's death, Sandrine realizes that she must escape from her mother, from New Orleans, from everything she has known, if she is to have any kind of future. In the tradition of Toni Morrison'sThe Bluest Eye and Alice Walker'sThe Color Purple,Sandrine's Letter to Tomorrow is a brilliant debut from an important new African-American voice in literary fiction. A native and current resident of New Orleans, Dedra Johnson received her MFA from the University of Florida, where she was a finalist for the Hurston/Wright Award for College Writers.Sandrine's Letter to Tomorrow was a runner-up for the William Faulkner-William Wisdom Award in 2006.

A Best Book of the Year: Mother Jones,nbsp;Bloomberg News,nbsp;National Post,nbsp;Kirkusnbsp; In these pages, Nicholas Basbanes--the consummate bibliophile's bibliophile--shows how paper has been civilization's constant companion. It preserves our history and gives record to our very finest literary, cultural, and scientific accomplishments. Since its invention in China nearly two millennia ago, the technology of paper has spread throughout the inhabited world. nbsp; nbsp; nbsp; nbsp; With deep knowledge and care, Basbanes traces paper's trail from the earliest handmade sheets to the modern-day mills. Paper, yoked to politics, has played a crucial role in the unfolding of landmark events, from the American Revolution to Daniel Ellsberg's Pentagon Papers to the aftermath of 9/11. Without paper, modern hygienic practice would be unimaginable; as currency, people will do almost anything to possess it; and, as a tool of expression, it is inextricable from human culture. Lavishly researched, compellingly written, this masterful guide illuminates paper's endless possibilities.nbsp;

Stimulating, informative guide by noted teacher covers painting technique, painting from life, materials - paints, varnishes, oils and mediums, grounds, etc. - a painter's training, more. Speed also provides expert analysis of works by Velasquez, Reynolds, Gainsborough, Hals, Rembrandt, and others. 64 photos. 5 line drawings.

Discover the tantalizing true stories behind your favorite colors. For example: Cleopatra used saffron—a source of the color yellow—for seduction. Extracted from an Afghan mine, the blue “ultramarine” paint used by Michelangelo was so expensive he couldn’t afford to buy it himself. Since ancient times, carmine red—still found in lipsticks and Cherry Coke today—has come from the blood of insects.

The art world is no longer defined by the activity of traditional art centers such as New York, Berlin, Beijing, or London, but is instead shaped by many cities, small and large. These new artistic communities, each reflecting the history, culture, and conditions of its region, have established a vibrant network for contemporary art. This groundbreaking book explores the hybrid nature of today’s international artistic landscape by introducing readers to the art scenes in six featured cities--Beirut, Lebanon; Cali, Colombia; Cluj, Romania; Ho Chi Minh City, Vietnam; San Francisco, USA; and Tangier, Morocco. In bringing together work by artists whose efforts have anchored each city’s cultural scene, Six Lines of Flight maps the pathways between them, illuminating the dynamic, global, interconnected spirit of twenty-first-century art. Essays by writers active in each region are accompanied by color images of representative artworks, along with brief texts on key local artists and organizations. An introductory text by Apsara DiQuinzio and thematic essays by Hou Hanru, Pamela M. Lee, and Tarek Elhaik and Dominic Willsdon further contextualize cultural production in the featured cities in relation to common themes such as histories in construction, cosmopolitanism, center-periphery dynamics, collectivity, networks, and the effects of economic and cultural renaissance. Exhibition dates: San Francisco Museum of Modern Art; September 15-December 31, 2012

This collection of quotes demonstrates the elegant simplicity of Ai Weiwei''s thoughts on key aspects of his art, politics, and life. A master at communicating powerful ideas in astonishingly few words, Ai Weiwei is known for his innovative use of social media to disseminate his views. The short quotations presented here have been carefully selected from articles, tweets, and interviews given by this acclaimed Chinese artist and activist. The book is organized into six categories: freedom of expression; art and activism; government, power, and moral choices; the digital world; history, the historical moment, and the future; and personal reflections. Together, these quotes span some of the most revealing moments of Ai Weiwei''s eventful career--from his risky investigation into student deaths in the 2008 Sichuan earthquake to his arbitrary arrest in 2011--providing a window into the mind of one of the world''s most electrifying and courageous contemporary artists. Select Quotes from the Book: ? On Freedom of Expression "Say what you need to say plainly, and then take responsibility for it." "A small act is worth a million thoughts." "Liberty is about our rights to question everything." On Art and Activism "Everything is art. Everything is politics." "The art always wins. Anything can happen to me, but the art will stay." "Life is art. Art is life. I never separate it. I don''t feel that much anger. I equally have a lot of joy." On Government, Power, and Making Moral Choice? "Once you''ve tasted freedom, it stays in your heart and no one can take it. Then, you can be more powerful than a whole country." "I feel powerless all the time, but I regain my energy by making a very small difference that won''t cost me much." "Tips on surviving the regime: Respect yourself and speak for others. Do one small thing every day to prove the existence of justice." On the Digital Worl? "Only with the Internet can a peasant I have never met hear my voice and I can learn what''s on his mind. A fairy tale has come true." "The Internet is uncontrollable. And if the Internet is uncontrollable, freedom will win. It''s as simple as that." "The Internet is the best thing that could have happened to China." On History, the Historical Moment, and the Futur? "If a nation cannot face its past, it has no future." "We need to get out of the old language." "The world is a sphere, there is no East or West." Personal Reflection? "I''ve never planned any part of my career-- except being an artist. And I was pushed into that corner because I thought being an artist was the only way to have a little freedom." "Anyone fighting for freedom does not want to totally lose their freedom." "Expressing oneself is like a drug. I''m so addicted to it."

Routledge Companion to Museum Ethicsis a theoretically informed reconceptualization of museum ethics discourse as a dynamic social practice central to the project of creating change in the museum. Through twenty-seven chapters by an international and interdisciplinary group of academics and practitioners it explores contemporary museum ethics as an opportunity for growth, rather than a burden of compliance. The volume represents diverse strands in museum activity from exhibitions to marketing, as ethics is embedded in all areas of the museum sector. What the contributions share is an understanding of the contingent nature of museum ethics in the twenty-first century--its relations with complex economic, social, political and technological forces and its fluid ever-shifting sensibility. The volume examines contemporary museum ethics through the prism of those disciplines and methods that have shaped it most. It argues for a museum ethics discourse defined by social responsibility, radical transparency and shared guardianship of heritage. And it demonstrates the moral agency of museums: the concept that museum ethics is more than the personal and professional ethics of individuals and concerns the capacity of institutions to generate self-reflective and activist practice.

The past twenty years have seen a new generation of artists working together in small groups and large collectives to explore new avenues of art, design, performance, and communication. InCome Together, author and visual artist Francesco Spampinato assembles an international roster of forty of today's most exciting and influential collectives, from design studios like Project Projects and political performance artists The Yes Men to flash mob provocateurs Improv Everywhere and the multimedia artists Assume Vivid Astro Focus. Alongside visual portfolios of their best work are in-depth interviews addressing each group's unique motivations, processes, and objectives. What emerges is a shared desire to turn viewers into producers and to use commercial mass-media strategies to challenge prevailing social, political, and cultural power structures.Come Together is an essential resource and inspiration for students, art lovers, and anyone interested in the cutting edge of visual culture.

Powerful and often controversial, news pictures promise to make the world at once immediate and knowable. Yet while many great writers and thinkers have evaluated photographs of atrocity and crisis, few have sought to set these images in a broader context by defining the rich and diverse history of news pictures in their many forms. For the first time, this volume defines what counts as a news picture, how pictures are selected and distributed, where they are seen and how we critique and value them. Presenting the best new thinking on this fascinating topic, this book considers the news picture over time, from the dawn of the illustrated press in the nineteenth century, through photojournalism's heyday and the rise of broadcast news and newsreels in the twentieth century and into today's digital platforms. It examines the many kinds of images: sport, fashion, society, celebrity, war, catastrophe and exoticism; and many mediums, including photography, painting, wood engraving, film and video. Packed with the best research and full colour-illustrations throughout, this book will appeal to students and readers interested in how news and history are key sources of our rich visual culture.

"At the age of twenty-two I was sent to Saigon to cover the war as a photojournalist. I was too late for Indochina, and too early for Vietnam. Muggers robbed me on my arrival, and I lived in a small hotel by the river. I drove towards the front in an old Citroen. I think I was happy. I returned some years later. It was for another war, and the famous reporters had left. The streets were full of GIs and their girlfriends, of blind bomb victims and so many children returning to school. It was the end of an epoch, people would hand flowers to the soldiers. Everybody wanted to leave, and it was cheap to stay at luxury hotels. To forget my heartache, I got drunk and walked the streets all day. The city was very generous and welcomed me with open arms, so I lost sense of time. I stayed for months in this city that no longer exists. The last time I went there I was at peace with things, and at the War Remnants Museum I visited my friends who had died on the battlefield. Today, the city has another name and has become fully globalized."

Context Providers explores the ways in which digital art and culture are challenging and changing the creative process and our ways of constructing meaning. The authors introduce the concept of artists as context providers—people who establish networks of information in a highly collaborative creative process, blurring boundaries between disciplines. Technological change has affected the function of art, the role of the artist, and the way artistic productions are shared, creating a need for flexible information filters as a framework for establishing meaning and identity. Context Providers considers the work of media artists today who are directly engaging the scientific community through collaboration, active dialogue, and creative work that challenges the scientific.

For the first time since the end of the Second Indochina War, works on the war and its aftermath by both Vietnamese and American artists have been brought together in an exhibition that will travel in both countries. As Seen by Both Sides, which takes its name from the exhibition, is both a catalogue and explication of this deeply moving collection of art. Included are works by twenty Vietnamese and twenty American artists, most of whom are veterans of the war and all of whom testify to the irrevocable impact of that experience on their work. The images these men and women have created range from searing depictions of the realities of war to quiet sketches of those caught in its turmoil. The Vietnamese pieces have never been exhibited in the United States. Many were created in the field by soldiers who have used whatever materials were at hand and who carried their work around with them for years. This catalog may be the best record we will ever have of this exceptional collection. In addition to reproduction of the works -- 68 in color and 14 in black and white -- As Seen by Both Sides offers interpretive essays by American and Vietnamese scholars and critics, who explore the social, political, and aesthetic contexts of the work. This book also includes a photograph of and interview with each artist.

The Vietnam War (1964-1975) divided American society like no other war of the twentieth century, and some of the most memorable American art and art-related activism of the last fifty years protested U.S. involvement. At a time when Pop Art, Minimalism, and Conceptual Art dominated the American art world, individual artists and art collectives played a significant role in antiwar protest and inspired subsequent generations of artists. This significant story of engagement, which has never been covered in a book-length survey before, is the subject of Kill for Peace. Writing for both general and academic audiences, Matthew Israel recounts the major moments in the Vietnam War and the antiwar movement and describes artists' individual and collective responses to them. He discusses major artists such as Leon Golub, Edward Kienholz, Martha Rosler, Peter Saul, Nancy Spero, and Robert Morris; artists' groups including the Art Workers' Coalition (AWC) and the Artists Protest Committee (APC); and iconic works of collective protest art such as AWC's Q. And Babies? A. And Babies and APC's The Artists Tower of Protest. Israel also formulates a typology of antiwar engagement, identifying and naming artists' approaches to protest. These approaches range from extra-aesthetic actions--advertisements, strikes, walk-outs, and petitions without a visual aspect--to advance memorials, which were war memorials purposefully created before the war's end that criticized both the war and the form and content of traditional war memorials.

Demonstrates how activists and others use art and popular culture to strive for a more democratic future.

Judith Kapferer and her collaborators present an insightful volume that interrogates relations between the state and the arts in diverse national and cultural settings. The authors critique the taken-for-granted assumption about the place of the arts in liberal or social democratic states and the role of the arts in supporting or opposing the ideological work of government and non-government institutions. This innovative volume explores the challenges posed by the state to the arts and by the arts to the state, focusing on several transformations of the interrelations between state and commercial arts policies in the current era. These ongoing challenges include the control of repressive tolerance, complicity with and resistance to state power, and the commoditization of the arts, including their accommodation to market and state apparatuses. While endeavouring to avoid the currently dominant pragmatic and didactic priorities of officialdom, the contributors tackle social and cultural policy and practice in the arts as well as connections between national states and dissenting art from a range of genres.

The Routledge Companion to Art and Politicsoffers a thorough examination of the complex relationship between art and politics, and the many forms and approaches the engagement between them can take. The contributors - a diverse assembly of artists, activists, scholars from around the world - discuss and demonstrate ways of making art and politics legible and salient in the world. As such the 32 chapters in this volume reflect on performing and visual arts; music, film and new media; as well as covering social practice, community-based work, conceptual, interventionist and movement affiliated forms. The Companionis divided into four distinct parts: Conceptual Cartographies Institutional Materialities Modalities of Practice Making Publics Randy Martin has assembled a collection that ensures that readers will come away with a wider view of what can count as art and politics; where they might find it; and how it moves in the world. The diversity of perspectives is at once challenging and fortifying to those who might dismiss political art on the one hand as not making sufficient difference and on the other to those embracing it but seeking a means to elaborate the significance that it can make in the world. The Routledge Companion to Art and Politics brings together a range of issues and approaches and encourages critical and creative thinking about how art is produced, perceived, and received.

Author: Fiona Bradley, director of The Fruitmarket Gallery in Edinburgh, emphasizes the importance of new work in the context developing art practices
Describes and documents the exhibition Cities on the Move, 1997 (curated by Hans Ulrich Obrist and Hou Hanru) showing the progression of East Asian urbanism and the transformations that are taking place by categorizing them as “global cities”
Parallels TPG’s work that addresses globalisation, transportation and the impacts of culture commodification along with the differences and influences that interactions between distinct cultures

Why have so many artists turned to political subject matter in the last decade? Can art not only question but also reinvigorate the social, civic, and political imagination? Art and Politics Now offers a brilliant survey of artists engaged with "the political," whether in providing commentary, questioning social structures, or actively responding to the world around them. Eleven thematic chapters address and contextualize a range of highly topical subjects, including globalization, labor, technology, citizenship, war, activism, and information. Art and Politics Now also highlights the radical changes in the approaches and techniques used by artists to communicate their ideas, from the increase in collaborative, artist-led, and participatory projects to activism and intervention, documentary and archive work. Many high-profile artists are featured, including Chantal Ackerman, Ai Weiwei, Francis Alys, Harun Farocki, Omer Fast, Subodh Gupta, Teresa Margolles, Walid Raad, Raqs Media Collective, Doris Salcedo, BrunoSerralongue, and Santiago Sierra.

Mexico, with some 90 million people, holds a prominent place in Latin America. This book offers students and general readers a deeper understanding of Mexico's dynamism: its wealth of history, institutions, religion, cultural output, leisure, and social customs. Culture and Customs of Mexico allows the reader to engulf themselves in the funerary festivals of Mexico and make comparisons to Vietnam’s fantastical rituals, specifically to the Propeller Group’s The Living Need Light, The Dead Need Music film. Authors and Latin American studies professors, Peter Standish and Steven M. Bell provide a cultural visualization of Día de los Muertos (Day of the Dead or All Saints Day) through which one can base the comparison and similarities between the Mexican festivity and Vietnam’s fantastical funeral traditions and rituals.

Author: K.G. Izikowitz and P. Sørenson, Swedish anthropologists with focus on Indochina
Provides visual, socio-architectural and historical references to how the layered colonial background of Vietnam has affected the architectural style of residential and monumental houses - stresses the importance of open-air funerary complexes that parallel TPG’s Hue House exhibited at the Blaffer

Sources of Vietnamese Tradition provides an essential guide to two thousand years of Vietnamese history and a comprehensive overview of the society and state of Vietnam. Strategic selections illuminate key figures, issues, and events while building a thematic portrait of the country's developing territory, politics, culture, and relations with neighbors. The volume showcases Vietnam's remarkable independence in the face of Chinese and other external pressures and respects the complexity of the Vietnamese experience both past and present. The anthology begins with selections that cover more than a millennium of Chinese dominance over Vietnam (111 B.C.E.-939 C.E.) and follows with texts that illuminate four centuries of independence ensured by the Ly, Tran, and Ho dynasties (1009-1407). The earlier cultivation of Buddhism and Southeast Asian political practices by the monarchy gave way to two centuries of Confucian influence and bureaucratic governance (1407-1600), based on Chinese models, and three centuries of political competition between the north and the south, resolving in the latter's favor (1600-1885). Concluding with the colonial era and the modern age, the volume recounts the ravages of war and the creation of a united, independent Vietnam in 1975. Each chapter features readings that reveal the views, customs, outside influences on, and religious and philosophical beliefs of a rapidly changing people and culture. Descriptions of land, society, economy, and governance underscore the role of the past in the formation of contemporary Vietnam and its relationships with neighboring countries and the West.

In this ambitious and path-breaking book, Shawn McHale challenges long held views that define modern Vietnamese history in terms of anticolonial nationalism and revolution. McHale argues instead for a historiography that does not overstress either the role of politics in general or communism in particular. Using a wide range of sources from Vietnam, France, and the United States, many of them previously unexploited, he shows how the use of printed matter soared between 1920 and 1945 and in the process transformed Vietnamese public life and shaped the modern Vietnamese consciousnesss. Print and Power examines the impact of the French colonial state on Vietnamese society as well as Vietnamese and East Asian understandings of public discourse and public space. The work goes on to contest the impact of Confucianism on pre-modern and modern Vietnam and, based on materials never before used, provides a radically new perspective on the rise of Vietnamese communism from 1929 to 1945.

Written for the twentieth anniversary of the historical Corcoran Conference on Women in the Visual Arts - the first official national conference of women in visual art professions. Contains essays written by many of the artists, critics, and art historians who participated in the 1970 conference. The essays document the first feminist art education programs, the legendary Womanhouse project, trace through the influential publications, organizations, and exhibitions the conference generated, and chronicle different forms of feminist art.

Beginning with the feminist critique of the art exhibition inthe 1970s and concluding with reflections on intersectional curating and globalisation after 2000, this pioneering collection offers an alternative narrative of feminism's impact on art. The essays provide rigorous accounts of developments in Scandinavia, Eastern and Southern Europe as well as theUK and US, framed by an introduction which offers a politically engaging navigation of historical and current positions. Delivered through essays, memoirs and interviews, discussion highlights include the Tate Modern hang, relational aesthetics, the global exhibition, feminism and technology in the museum, the rise of curatorial collectivism, and insights into major exhibitions such as Gender Check on Eastern Europe.Bringing together two generations of curators, artists and historians to rethink distinct and unresolved moments in the feminist re-modelling of art contexts, this volume dares to ask: is there a history of feminist art or one of feminist presentations of artworks?

In this vividly illustrated narrative, author Sabra Moore chronicles twenty-two years of her life and interactions with other women artists finding ways to create politically and personally meaningful artworks, exhibitions, protests, and institutions in response to war, government corruption, struggles for reproductive freedom, and racial tension--all while fighting for greater representation and opportunities for women in the art world. Gracefully mixing bold historical accounts, poignant personal narratives, and nuanced introspection about writing, identity, family, and dreams, Moore illuminates a breadth of women's struggles and triumphs. Moore sets the stage for the dilemma many female artists face: how to make art in a world where art is treated as a commodity for the market and women artists are marginal at best.

Griselda Pollock provides concrete historical analyses of key moments in the formation of modern culture to reveal the sexual politics at the heart of modernist art. Crucially, she not only explores a feminist re-reading of the works of canonical male Impressionist and Pre-Raphaelite artists including Edgar Degas and Dante Gabriel Rossetti, but also re-inserts into art history their female contemporaries - women artists such as Berthe Morisot and Mary Cassatt. Pollock discusses the work of women artists such as Mary Kelly and Yve Lomax, highlighting the problems of working in a culture where the feminine is still defined as the object of the male gaze. Now published with a new introduction, Vision and Differenceis as powerful as ever for all those seeking not only to understand the history of the feminine in art, but also to develop new strategies for representation for the future.

In the 1970's, the West Coast feminist arts movement coalesced around the Woman's Building in Los Angeles. Founded by artist Judy Chicago, the Woman's Building was conceived as a "public center for women's culture." Women from across the country were drawn there to be part of a community engaged in the exploration of what a female-centered culture might mean. InInsurgent Muse, Terry Wolverton chronicles her own 13-year involvement in the Woman's Building. Arriving as a young art student in 1976, she stayed on to become a teacher and co-founder of the Lesbian Art Project and, eventually, the Building's executive director. Her journey-emblematic of many women who sought to redefine themselves in the light of feminism-entails confrontation with the damages of sexism, the pitfalls of utopian community, and the forces of social backlash. Insurgent Muse is a powerful testament to the importance of feminist thought and the ongoing need for it-by women and men-today.

Groundbreaking art from a revolutionary era, featuring work by more than 120 international artists, from Louise Bourgeois and Yoko Ono to Martha Rosler, Marina Abramovic, and Cindy Sherman. There had never been art like the art produced by women artists in the 1970s, and there has never been a book with the ambition and scope of this one about that groundbreaking era. WACK! documents and illustrates the impact of the feminist revolution on art made between 1965 and 1980, featuring pioneering and influential works by artists who came of age during that period. The art surveyed in WACK! includes work by more than 120 artists, in all media, from painting and sculpture to photography, film, installation, and video, arranged not by chronology but by theme: Abstraction, "Autophotography," Body as Medium, Family Stories, Gender Performance, Knowledge as Power, Making Art History, and others. WACK!, which accompanies the first international museum exhibition to showcase feminist art from this revolutionary era, contains more than 400 color images. The topics, including the relationship between American and European feminism, feminism and New York abstraction, and mapping a global feminism, provide a broad social context for the artworks themselves. WACK! is both a definitive visual record and a long-awaited history of one of the most important artistic movements of the twentieth century.

Offers a detailed history and account of the collaborations, performances, and courses conceived and conducted at the Woman’s Building, as well as reflecting on the organization’s impact on the development of feminist art and literature.

This survey of leading women artists from the late twentieth century examines the crucial feminist contribution to the deconstructivist movement. The practice of deconstructivism, a term describing artwork that examines the imagery of the popular media, was significantly shaped by dozens of important female artists during a critical era in late twentieth-century visual culture. These artists subverted their source material, often by appropriating it, to expose the ways that commercial images express imbalances of power. The mechanisms of power in mainstream art institutions were also subject to these artists' critique. This exhibition catalogue features a diverse group of North American women whose transformative and often provocative work deals with gender, sexual, racial, ethnic, and class-based inequities. Essays by leading critics discuss such topics as the importance of critical theory and sexual politics in the art world of the 1980s; how domesticity is represented in commercial media and the art that addresses it; the importance of psychoanalytic theory as a critical framework; and the sexualization of inanimate objects.

Exhibition catalog for the REBELLE: Kunst en Feminism 1969-2009 held in the Arnhem Museum of Modern and Contemporary Art in the Netherlands in 2009. Contains a selection of essays regarding the issue of feminist influence on modern art spanning from the late 60’s up until present day, as well as a collection of images of works shown at the exhibition.

Nancy Grossman's work continually returns to the human body and the charged relationships that make up our world. She began as a painter in the late 1950s, working in a style that combined the energy of Abstract Expressionism with figuration. In the mid-1960s, she began incorporating found leather and metal parts into chaotic and explosive wall reliefs. Coming of age in the 1960s, Grossman was painfully aware of the condescending environment in which she and many women artists worked. Soon she began carving lifelike human heads and covering them with black leather--a body of work she continued to create until the early 1990s.

Showcases works by Edna Andrade shown at the Institute of Contemporary Art in Philadelphia, accompanied by essays written to aid the understanding of the works and to describe Andrade’s work thought process.

"Elsa's Housebook" is an auto-biography written by Dorfman that accounts for most of her artistic life. Includes a number of photographs taken by Dorfman to aid in the telling of her life-story.

Shows a collection of drawings by artist Dorothy Hood. Hood's drawings reflect the profound intimacy of the artist's spiritual and emotional growth over thirty years.

Independent Curators International creates a traveling exhibition of national and international importance that focuses on contemporary art. Represents the first full-scale showing of the artists' work since her death.

This groundbreaking book re-evaluates the work of Alice Neel, one of the most renowned American portrait painters of the 20th century. This insightful catalogue examines anew the full range of Alice Neel's work;celebrated paintings of people, still life, and cityscapes. Featuring around seventy paintings spanning the entire length of her career, this handsome book accompanies a major retrospective of her work, and reveals her underlying interest in the history of photography, German painting of the 1920s, and other artists, such as Van Gogh and Cezanne, all of which provided an important precedent for the veracity and raw emotional intensity of her figurative works. Neel is renowned for her visual acuity and psychological depth, and her portraits and nude paintings of friends, family, strangers, and prominent cultural figures alike convey an incredibly consistent intimacy regardless of the relationship to her subject.

A prodigious body of work that has transformed perceptions of women's art and collaborative venture is fully scrutinized in the first book to cover the entire scope of an astonishing and influential career. One of the most controversial artists of our time, Judy Chicago is most famous for her groundbreaking installations The Dinner Party, Birth Project, and Holocaust Project. While these works have been analyzed extensively from artistic and historical perspectives, this book's in-depth discussion also embraces many of the artist's lesser-known pieces. Using a great variety of techniques, from drawing, painting, and printmaking to needlework and sculpture, her search for a personal means of expression is examined through lavish illustrations and edifying text.

Since the 1960s, Lynda Benglis has been celebrated for the free, ecstatic forms she has poured, thrown and molded in ceramic, latex, polyurethane and bronze. In her new work, documented in this volume, she turns to handmade paper, which she wraps around a chicken wire armature, often painting the sand-toned surface in bright, metallic colors offset by strokes of deep, coal-based black. At other times she leaves the paper virtually bare. These works reflect the environment in which they were made, the "sere and windblown" landscape of Santa Fe, New Mexico, as Nancy Princenthal writes in her essay. "It is possible to see the bleached bones of the land--its mesas and arroyos; its scatterings of shed snakeskins and animal skeletons--in the new sculptures' combination of strength and delicacy." Simultaneously playful and visceral, these works enter into a lively dialogue with Benglis' previous explorations of materials and form.

Offers a view into the works by Edelson, accompanied by various essays that relate to the story of the artist and her works.

Culled from thousands of submissions, the images on these pages comprise the first anthology of self-portraits by women ever published in any art media

Exhibition Guide

The Fertile Crescent examines the work of 24 women artists of Middle East heritage. These artists all explore matters of gender, homeland, geopolitics, theology and the environment. The authors in this volume address transnationalism and the interaction between Muslim culture and Jewish, Christian and Euro-American cultures, resulting in U.S. and European relationships that are sometimes congenial and at other times problematic. The book also addresses the Middle East's cultural diaspora in black Africa and South Asia.

A Decade of Negative Thinking brings together writings on contemporary art and culture by the painter and feminist art theorist Mira Schor. Mixing theory and practice, the personal and the political, she tackles questions about the place of feminism in art and political discourse, the aesthetics and values of contemporary painting, and the influence of the market on the creation of art. Schor writes across disciplines and is committed to the fluid interrelationship between a formalist aesthetic, a literary sensibility, and a strongly political viewpoint. Her critical views are expressed with poetry and humor in the accessible language that has been her hallmark, and her perspective is informed by her dual practice as a painter and writer and by her experience as a teacher of art.

This edition of the e-flux journal, created by Anton Vidokle, contains conversations with various artists on the topic of Russian Cosmism. Including conversations with: Anton Vidokle, Hito Steyerl, Elena Shaposhnikova, Arseny Zhilyaev, Franco “Bifo” Berardi, Boris Groys, Marina Simakova, Bart De Baere, and Esther Zonsheim.

This edition of the e-flux journal, created by Anton Vidokle, contains conversations with various artists on the topic of Russian Cosmism. Including conversations with: Anton Vidokle, Hito Steyerl, Elena Shaposhnikova, Arseny Zhilyaev, Franco “Bifo” Berardi, Boris Groys, Marina Simakova, Bart De Baere, and Esther Zonsheim.

This collection of essays, edited by Lucy Steeds focuses on contemporary debates in which artists challenge, question, and shape contemporary exhibition practices. Anton Vidokle has an excellent article included in this collection, titled Exhibition as School in a Divided City (2006), found on pages 96-99. Vidokle discusses the role of the art school in the fostering of artistic movements and artistic innovation.

The museum of contemporary art might be the most advanced recording device ever invented. It is a place for the storage of historical grievances and the memory of forgotten artistic experiments, social projects, or errant futures. But in late nineteenth and early twentieth-century Russia, this recording device was undertaken by artists and thinkers as a site for experimentation. Arseny Zhilyaev's Avant-Garde Museology presents essays documenting the wildly encompassing progressivism of this period by figures such as Nikolai Fedorov, Aleksandr Rodchenko, Kazimir Malevich, Alexander Bogdanov, and others--many which are translated from the Russian for the first time. Here the urgent question is: How might the contents of the museum be reanimated so as to transcend even the social and physical limits imposed on humankind? Contributors: David Arkin; Vladimir Bekhterev; Alexander Bogdanov; Osip Brik; Vasiliy Chekrygin; Leonid Chetyrkin; Nikolai Druzhinin; Nikolai Fedorov; Pavel Florensky; R. N. Frumkina; M. S. Ilkovskiy; V. I. Karmilov; V. Karpov; Valentin Kholtsov; P. N. Khrapov; Yuriy Kogan; Natalya Kovalenskaya; Nadezhda Krupskaya; S. P. Lebedyansky; A. F. Levitsky; Vera Leykina (Leykina-Svirskaya); Ivan Luppol; Kazimir Malevich; Andrey Platonov; Nikolay Punin; Aleksandr Rodchenko; Yuriy Samarin; I. F. Sheremet; Andrey Shestakov; Natan Shneerson; Ivan Skulenko; M. Vorobiev; N. Vorontsovsky; Boris Zavadovsky; I. M. Zykov. 

Today's artists create work that's challenging, complicated, and often perplexing, and this book offers a guide to understanding--and enjoying--the wide range of works on display in museums and galleries worldwide. How to Read Contemporary Art provides a thoughtful, accessible, and lavishly illustrated look at the ever-changing world of art at the beginning of the 21st century. Organized alphabetically, the book encompasses photography, installation, sculpture, painting, video art, performance, and more. Author Michael Wilson explores the impact of a broad selection of the most prominent artists at work around the world today, including Francis Al#65533;s, Allora & Calzadilla, Luc Tuymans, and Marina Abramović.

Between Spring and Summer looks at the multigenerational Soviet conceptual art movement during an age of unprecedented change. Eleven American and Soviet scholars build upon the work of a senior generation of Soviet artists - Ilya Kabakof, Andrei Monastyrsky and Komar and Melamid - to examine a new generation of artists whose work draws sustenance from its critical engagement with everyday Soviet life. Loosely related to the work of American and European neoconceptual artists of the 1980s, Soviet conceptualism gains its distinctive character both from its imaginative response to the poverty of material conditions (the absence of disposable commodities and everyday products) and its dialectic with Western ideals of production and promotion. In looking at the work of 27 artists, architects, and artists' collectives, the essayists writing in Between Spring and Summer provoke questions about the nature of collaborative artistic action and ideological formation in an environment of cultural isolation and changing artistic values in the age of glasnost and perestroika. The Essays: Provisional Reading: Notes for an Exhibition, David A. Ross. No. 6/1 Sretensky Boulevard, Richard Lourie. U-Turn of the U-Topian, Margarita Tupitsyn. On Emptiness, Ilya Kabakov. The Third Zone: Soviet Postmodern, Elisabeth Sussman. On Conceptual Art in Russia, Joseph Bakshtein. East-West Exchange: Ecstasy of (Mis)Communication, Victor Tupitsyn. Scenes from the Future: Komar & Melamid, Peter Wollen. Concepts and Reality, Alexander Rappaport. Metamorphoses of Speech Vision, Mikhail Ryklin. The Image of Reagan in Soviet Literature, Dmitri Prigov.

Building upon 20 years of groundbreaking exhibitions of Russian avant-garde art--including "The Great Utopia: Russian and Soviet Art 1915-1932" (1992) and "Kazimir Malevich: Suprematism" (2003), among others--the Solomon R. Guggenheim Museum presents this blockbuster show, which demonstrates that Russia's contributions to world art history extends far beyond the early twentieth century. Like the exhibition, this catalogue explores the vast and complex phenomenon embodied by the word "Russia" through the lens of the masterworks of Russian art from the twelfth century to today, as well as art from the world-class collections amassed by Russian tsars and merchants from the eighteenth through the twentieth centuries. The remarkable and interconnected history of Russian art and Russia's most important collections over nine centuries includes icons, portraiture in both painting and sculpture, social realist works since the nineteenth century, landscapes from all periods, pioneering abstraction, and experimental contemporary art. Librarian of Congress and renowned historian of Russia James Billington contributes the introductory essay, providing a context for the more specialized selections by Robert Rosenblum, Evgenia Petrova, Lidia Iovleva, Mikhail Allenov, Alexander Borovsky, Alexander Kostenevich, Valerie Hillings and others. The book's design subtly evokes the six major periods covered--Medieval Russia (twelfth to seventeenth centuries), the epoch of Peter and Catherine (the eighteenth century), the nineteenth century, the early twentieth century, the 1930s-1960s, and the 1970s to present. This scope makes "Russia " one of the most comprehensive sources on the history of Russian art ever to be published in English. The companion publication, "Russia Catalogue of the Exhibition," provides expanded and detailed, curatorial information for each work in the exhibition.

This collection of essays and works to accompany the exhibition hosted by the Los Angeles County Museum of Art, The Avant-Garde in Russia, 1910-1930--on view from July 8- September 28, 1980. The exhibition subsequently travelled to Hirshhorn Museum, ending at the Smithsonian Institution in 1981. The exhibition and catalogue seek to survey the avant-garde art movement in Russia, both before and immediately following the Revolution of 1917. The catalogue contains numerous essays from artists and intellectuals from the time period, and provides a timeline of relevant events from the past century.

George M. Young offers an examination of the controversial school of thought that emerged in Russia during the 19th and early 20th century. Cosmism proposed a vision of the future where humans could live forever, the dead could be reanimated, and humanity would set their sights to live amongst the stars. The book offers some insight to the philosophical background that the exhibitions touch upon or respond to.

This edition of the e-flux journal, created by Anton Vidokle, contains conversations with various artists on the topic of Russian Cosmism. Including conversations with: Anton Vidokle, Hito Steyerl, Elena Shaposhnikova, Arseny Zhilyaev, Franco “Bifo” Berardi, Boris Groys, Marina Simakova, Bart De Baere, and Esther Zonsheim.

When the Iron Curtain fell in 1989, Eastern Europe saw a new era begin, and the widespread changes that followed extended into the world of art. Art and Democracy in Post-Communist Europe examines the art created in light of the profound political, social, economic, and cultural transformations that occurred in the former Eastern Bloc after the Cold War ended. Assessing the function of art in post-communist Europe, Piotr Piotrowski describes the changing nature of art as it went from being molded by the cultural imperatives of the communist state and a tool of political propaganda to autonomous work protesting against the ruling powers. Piotrowski discusses communist memory, the critique of nationalism, issues of gender, and the representation of historic trauma in contemporary museology, particularly in the recent founding of contemporary art museums in Bucharest, Tallinn, and Warsaw. He reveals the anarchistic motifs that had a rich tradition in Eastern European art and the recent emergence of a utopian vision and provides close readings of many artists--including Ilya Kavakov and Krzysztof Wodiczko--as well as Marina Abramovic's work that responded to the atrocities of the Balkans. A cogent investigation of the artistic reorientation of Eastern Europe, this book fills a major gap in contemporary artistic and political discourse.

Briefly describes Malevich's life and career, shows sixteen of his major paintings, and includes comments on their composition.

 In this comprehensive study of the artistic culture of the region between the Iron Curtain and the former Soviet Union, Piotr Piotrowski chronicles the relationship between avant-garde art production and post-World War II politics in such Iron Curtain nations as Bulgaria, the  Czech Republic, East Germany, Hungary, Poland, Romania, and the former Yugoslavia. Featuring more than 200 images, most by artists largely unfamiliar to an English-speaking audience, In the Shadow of Yalta is a fascinating portrait of the inspiring art made in a region--and at a time--of critical importance in modern Europe.

This collection of primary documents provides context for Eastern and Central European art movements. Many of these critical essays and manifestos were suppressed making this book one of the most comprehensive collections of translated primary source texts on Eastern and Central European art and theory.

This volume investigates Russian culture at the turn of the twentieth and twenty-first centuries, with scholars from Britain, Sweden, Russia, and the United States exploring aspects of culture with regard to one overarching question: What is the impact of the Soviet discourse on contemporary culture. This question comes at a time when Russia is concerned with integrating itself into European arts and culture while enhancing its uniqueness through references to its Soviet past. Thus, contributions investigate the phenomenon of post-Soviet culture and try to define the relationship of contemporary art to the past.

An issue of the Zimmerli Art Museum journal that hosts essays from the Russian Art department and overviews of collections hosted by the museum from July 2006 to July 2008.

The invisible, the trace, the almost-there British-born Tacita Dean's 16 mm films create remarkable drama from astonishingly little visual presence. In addition to an ambient soundtrack, we hear the workings of the projector, we become aware of the mechanics of the film moving through the gate, we focus on processing irregularities--accidental or intentional. Published alongside her recent exhibition at Miami Art Central, this volume gathers key films together with Dean's poetic narratives, which become discrete works in themselves when juxtaposed with the still images. In this way, "Film Works" reveals another facet of Dean's output, rather than functioning entirely as a catalogue of works. The films included, which date from the 1990s to the present, are accompanied by essays by art historian and theorist, Briony Fer, and Miami Art Central Chief Curator, Rina Carvajal. Represented by Marian Goodman Gallery in New York, Dean received the 2006 Hugo Boss Prize.

Jonas Mekas, one of the driving forces behind New York's alternative film culture from the 1950s through the 1980s, made for an unlikely counterculture hero: a Lithuanian emigr and fervent nationalist from an agrarian family, he had not grown up with either capitalist commercialism or the postwar rebellion against it. By focusing on his sensitivity to political struggle, however, leading film commentators here offer fascinating insights into Mekas's career as a writer, filmdistributor, and film-maker, while exploring the history of independent cinema in New York since World War II. This collection of essays, interviews, and photographs addresses such topics as Mekas's column in the Village Voice, his foundation and editorship of Film Culture, his role in the establishment of Anthology Film Archives and The Film-Makers Co-op (the major distribution center for independent film), his interaction with other artists, including John Lennon and Yoko Ono, and finally the critical assessment of his own films, from Guns of the Trees and The Brig in the sixties to the diary films that followed Walden. The contributors to this volume are Paul Arthur, Vyt Bakaitis, Stan Brakhage, Robert Breer, Rudy Burckhardt, David Curtis, Richard Foreman, Tom Gunning, Bob Harris, J. Hoberman, David E. James, Marjorie Keller, Peter Kubelka, George Kuchar, Richard Leacock, Barbara Moore, Peter Moore, Scott Nygren, John Pruitt, Lauren Rabinovitz, Michael Renov, Jeffrey K. Ruoff, and Maureen Turim.

A first hand account of the life, thoughts & feelings of a Displaced Person. A painful record of one person's experiences in a Nazi Forced Labor camp: five years in Displaced persons camps; & the first years as a young Lithuanian immigrant in New York City. "I was enormously moved by it."--Allen Ginsberg. "I believe in survivors' testimonies."--Elie Wiesel. Reviewed in LIBRARY JOURNAL & BOOK LIST. Publisher: Black Thistle Press, 491 Broadway, NY, NY, 10012.

The title of Richard Rezac’s Renaissance Society exhibition, Address, plays on the multivalent quality of the word. As a noun, it refers to a unique identifier of a precise location. As a verb, it refers to a form of communication crafted for a specific people, time, and place. This exhibition drew upon both elements of the word’s two meanings: the artist deliberately created and selected works in response to the architecture of the Renaissance Society’s gallery space, and the title also nods to the sculptures’ relationship to their presumptive audience.
This book showcases twenty pieces featured in the exhibition that are made of a wide range of materials including cherry wood, cast bronze, and aluminum and that span Rezac’s career—including newly commissioned pieces.s Through the concept of address, the exhibit and book explore the artist’s ongoing engagement with both tangible, mathematical ordering systems and the elusive mechanisms of memory and interpretation. This publication continues Rezac’s address, extending it to a greater audience of readers through a generous selection of images, a conversation between the artist and curator Solveig Øvstebø, and new texts by Matthew Goulish, Jennifer R. Gross, and James Rondeau.

Dianna Frid's sculptures, installations, artist's books, and mixed media work explore the intersection of text and textile, matter and subject matter. Richard Rezac has created thought-provoking abstract object-sculptures since the 1980s. This book, the catalog for a recent exhibition at the DePaul Art Museum, brings together works by both of these Chicago-based artists. In doing so, Dianna Frid + Richard Rezac: Split Complementary shines a light on their shared sensibilities--a rigorous yet poetic approach that revels in the nuances of color, surface, and material. Frid's and Rezac's works appear here accompanied by rare books from DePaul University's John T. Richardson Library and a variety of objects from the DePaul Art Museum's permanent collection. The juxtaposition of objects made by artists, craftspeople, and bookbinders generates affinities that broaden how we see and understand all of the work assembled in these pages. Complementing each other formally, these pieces offer opportunities to find familiar patterns in unfamiliar forms and surprising connections between dissimilar objects.   

When you think of modern architecture, you think of Chicago, the birthplace of the skyscraper, the cradle of twentieth-century American design, and the home of enduring works by such iconic figures as Louis Sullivan, Ludwig Mies van der Rohe, and Frank Lloyd Wright. Idealized through tourism and celebrated in the groves of academe, the city's majestic skyline and landmark buildings remain a living testament to the modern movement. In Chicago Architecture, Charles Waldheim and Katerina Ruedi Ray revise and offer alternatives to the archetypal story of modern architecture in Chicago. They and an esteemed group of contributors assert that the mythic status of Chicago architecture has distorted our understanding of the historical circumstances in which it was realized. This searching volume illuminates the importance of photographs, books, magazines, and other media in the cultivation of an international audience for Chicago architecture; it explores the pivotal role of real estate developers, finance and insurance sectors, and speculative capital markets in the development of the city itself; and, perhaps most notably, it examines a wide variety of overlooked architectural works and their creators--individuals who did not fit into the dominant modernist narrative. Offering new insights on Chicago public housing and O'Hare International Airport, on the Columbian Exposition and Marina City, on the city's grid system and the place of women architects in the story of Chicago modernism, and on the subjective experience of living inside Chicago's most well-known buildings, Chicago Architecture is a work of enormous scope and vision--a book as heady and towering as the skyline it considers.

On the eve of the twentieth century, Chicago was rapidly outgrowing its borders. Architect Louis Henry Sullivan (American, 1856–1924) answered the demand for more office space, theaters, department stores, and financial centers by pioneering what would become an essential model for city life-the skyscraper. Blending Art Nouveau complexity with geometric elegance, Sullivan's tall buildings included Chicago's Auditorium Building, the largest building in the world when it was completed in 1889. Sullivan's design was heralded as the Wonder of the Age-a title equally fitting for the architect himself.Louis Sullivan's designs stand today as leading exemplars of Chicago School architecture. Even Frank Lloyd Wright, a former assistant to Sullivan, would later refer to him as his "lieber Meister," or "beloved master." Sullivan brought to his practice a conviction that ornamentation should arise naturally from a building's overall design, restating, in a large or small way, themes expressed in the structure as a whole. Having spent much of his career in a late Victorian world that bristled with busy, fussy ornament for ornament's sake, Sullivan refuted the fashionable style with the now famous dictum "Form follows function." This break from tradition is perhaps most evident in Sullivan's strides to reimagine the commercial space-from America's earliest skyscrapers to the small-town banks that populated the architect's commissions in the second half of his career.In Louis Sullivan: Creating a New American Architecture, nearly two hundred photographs with descriptive captions document Sullivan's genius for modern design. Patrick Cannon introduces each chapter with key biographical information and discusses the influences that shaped Sullivan's illustrious career. Rare historical photographs chronicle those buildings that, sadly, have since been destroyed, while James Caulfield's contemporary photography captures Sullivan's existing Chicago buildings and many other structures in eastern and midwestern cities that are of equal importance in the architect's oeuvre.

This work introduces a new interpretation of the work of Borromini and of architecture in general in its analysis of the relation between architectural forms and philosophical structures, often literally translated in Borromini's work through philosophical diagrams and symbols circulating in 17th century Rome in texts by writers such as Nicolas Cusanus and Athanasius Kircher.

With over 200 stunning photographs, this Japanese design and architecture book showcases some of the most beautiful homes in Japan. The pure beauty of Japanese architecture and design has inspired many of the world's top architects and designers. The grace and elegance of the Japanese sensibility is reflected in both modern and traditional Japanese homes, from their fluid floor plans to their use of natural materials. InThe Japanese House, renowned Japanese photographer Noboru Murata has captured this Eastern spirit with hundreds of vivid color photographs of 15 Japanese homes. As we step behind the lens with Murata, we're witness to the unique Japanese aesthetic, to the simple proportions modeled after the square of the tatami mat; to refined, rustic decor; to earthy materials like wood, paper, straw, ceramics, and textiles. This is a glorious house-tour readers can return to again and again, for ideas, inspiration or simply admiration.

In this book of original interviews, sculptors describe their creative process--what they do and how they do it. Some of the 22 sculptors are internationally known while others have regional reputations; interviewees include Bruce Beasley, Lynda Benglis, John Henry and Dennis Oppenheim. Each artist has compelling things to say: personal goals, where ideas come from and how they're transformed into sculpture, material selection, color and scale determinations, works in progress, obstacles, and creative maturation.

Marburg, Germany, October 6, 1847. His father, the economist. Bruno Hildebrand, was forced b} the revolution of 1848 to seek inS witzerland freedom from political persecution. Having reached school age, the son attended the gymnasium of Bern, but did not show much enthusiasm for the abstract studies there offered to him. In 1861 his father was called to the University of Jena. The young man now showed such distinctive signs of artistic ability that he was sent by his father to Nuremberg, to take a course in the art school of that city. At the end of 1867 he left Germany for a prolonged stay in Italy. The influence of the masterpieces of art accumulated in that country proved to be infinitely more beneficial to his artistic development than the school instruction which he had practically out-grown when he entered the art school. In Rome Hildebrand became acquainted with Hans von Marees, whose independence of thought encouraged the younger artist to follow his own bent. After staying in Rome a year and a half Hildebrand returned to Germany and busied himself for some time with sculpture in Berlin. In 1872 he went again to Italy and for many years stayed The above biographic sketch is an abstract from the book by A. Heilmeyer: Adolf Hildebrand, Kunstler-Monographien No. 60, Velhagen Klasing, 1902; pp. 99, 75 cts. The book contains nearly a hundred reproductions of the artists own works.

The present book, then, which includes a complete catalogue of Brancusi''s sculpture, is another result of the Retrospective, boasting a precision of data unattainable before it had taken place a great number of new color photography by Robert Mates and Paul Katz, of the staff of The Solomon R. Guggenheim Museum. The text and the Biographical Outline here are largely those which I wrote for the Retrospective catalogue, now altered and enlarged to reflect Brancusi studies in the intervening years. The Catalogue in my monograph of 1968; the Bibliography lists the sources of the data in the Catalogue. It has been thought useful to include a Concordance of reproductions of the sculptures printed in ten extensive publications on the subject.

Auguste Rodin has been called the father of modern sculpture and on the centenary of his death this stunning book presents a fresh examination of his legacy. Exploring the full range of the work of French artist Auguste Rodin (1840–1917), this book also reveals the deep significance of Rodin’s oeuvre to the history of the Legion of Honor in San Francisco, which holds one of the finest collections of Rodin sculpture in the United States. The publication contains examples from his early days as a struggling artist to his mature and most successful works, including The Age of Bronze (ca. 1875–1877), Saint John the Baptist Preaching (1878), The Burghers of Calais (1885–1886), and The Kiss (ca. 1884). The majority of the bronzes are lifetime casts by the sculptor, making this collection a rare and significant body of Rodin’s output. A related group of plaster models and fragments augment these major pieces, adding to the scope and breadth of this volume. Showcasing beautiful new photography of more than fifty of Rodin’s most iconic artworks alongside an illuminating essay, this book will delight and surprise readers with its novel insights into one of the greatest sculptors in art history.

Chicago is world famous for an architectural tradition that has influenced building around the globe. It is the birthplace of the skyscraper and the cradle of modern architecture; it gave rise to the urban office building as we know it, and to the flowing, open floor plans of today's homes. This book chronicles Chicago's architectural tradition from the nineteenth through the early twenty-first century, examining its evolution in the context of broader historical, social, technological, and artistic currents. It explores Chicago architects' quest for a quintessentially American style, and the century of innovation that pushed buildings ever higher, opened them to space and light, and increasingly dissolved the boundaries between indoors and out. It looks at world-renowned structures from the inside out, giving special attention to the interiors that were and remain so important to Chicago's architects. Chicago School commercial building, to the low-slung Prairie School house, the streamlined Art Deco skyscraper, and the minimalist Miesian tower of glass and steel, all the way through to the strikingly original, diverse designs of the present day's so-called second modern movement. This eminently readable text vividly discusses both the life and work of such towering figures as Daniel Burnham, John Wellborn Root, Louis H. Sullivan, Frank Lloyd Wright, and Mies van der Rohe - as well as that of the many lesser-known architects who have made outstanding contributions.

In this book, John Shea has approached Shaker craftsmanship from the designer's point of view. He has filled the need for a careful analysis of Shaker design-not just for furniture but for smallcraft and utility designs as well. He has included many photographs of classic pieces, and to expose the anatomy of these pieces that are accurately measured drawings and illustrations of original joinery methods. Moreover, there are chapters on the history of the Shakers, and their woodworking industry, so that before the reader is exposed to specific examples of Shaker design, he will know enough of the Shakers' creed and customs to understand their works.

Recent debates on the place of the arts in American life has refocused attention on art education in schools. In this book, the author puts current debate and concerns in a well-researched historical perspective. He examines the institutional settings of art education throughout Western history, the social forces that have shaped it and the evolution and impact of alternate streams of influence on present practice. The book treats the visual arts in relation to developments in general education and particular emphasis is placed on the 19th and 20th centuries and on the social context that has affected our concept of art today. The book is intended as a main text in history of art education courses, as a supplemental text in courses in art education methods and history of education, and as a resource for students, professors and researchers.

It is common for teachers and students of education to feel disheartened about the profession and their own aims and purposes once they become conscious of the dehumanizing tendencies of the schooling institution. As teacher educators, we have also known many students who, after studying critical perspectives aimed at exposing the power and privilege flowing through the public schools, then look to us with the question, "Where's the hope?" Our attempt to answer our students' questions has led us to consider what beauty and love in education look like. Where can it be seen, and how can we bring this forward so it can be instructive to those who are faced with similar questions about the incredibly important craft of teaching? This collection of narratives, essays, and poetic expressions includes the perspectives of students and educators who, in varying ways, express gratitude toward those who came before them and a deep desire to keep the faith alive. The authors share narrative accounts of someone or something in the public schools or learning experiences in general that inspired and nurtured the passionate desire to achieve goods internal to some shared practice - that is, some art at living - such that there was a transformative readjustment to the very nature of experience itself. We share with readers the stories and intellectual habits that have fueled us, inspired us, and that continue to push us to engage in the practice of cultivating educational dynamics that are meaningful and transformative for ourselves, our students, and our communities. The book concludes with an exploration into how teachers might not only root their craft, but the habit of love in general, in a sense of freedom.

The primary aim of the book is to raise the questions and issues which should be of importance to art teachers by relating the practices and concerns of art teaching to some of the main problems of philosophy. It integrates both subjects of art education and art teaching; presents many of the principle issues regarding art education that are of concern to art teachers; and provides future and current teachers of art with a means of reflecting on the reasons and goals for teaching art.

The Fourth Edition continues its emphasis on bridging the gap between theory, research, and practice with a clear and concise style that teachers will surely enjoy integrating into their own classrooms. This text presents teaching from three specific actions-organizing, instructing, and assessing-and is divided into three sections, which reflect each of these teaching actions. The strategies presented in each section are truly universal in nature-they cut across grade levels, subject areas, and teaching situations. With clear and effective writing and a decision-making framework that combines the context, content, and learner with what teachers need in the real world-organizing, instructing, and assessing-Universal Teaching Strategies expands both the pedagogical teaching knowledge of teachers and their instructional repertoires.

Tracing Behind the Image: An Interdisciplinary Exploration of Visual Literacy, discusses how our relationship to images, collectively and individually, is constantly shifting, as we adapt to the evolving image economy of our increasingly screen-based world. This volume offers pedagogies, analyses and strategies for developing visual literacy across education and industry.The language of images embodies highly complex and nuanced statements and readings, the ability to invent and reinvent, it is bursting with opportunities to be lyrical, satirical, rhetorical, to unravel meanings, and to pose as many questions as it answers. It is a language of investigation and experimentation, it both constructs and shatters cultural expectations, and is constantly and rapidly transforming as forced by current social and political climates.

In this lively and groundbreaking book, arts educator Marit Dewhurst examines why art is an effective way to engage students in thinking about the role they might play in addressing social injustice. Based on interviews and observations of sixteen highschoolers participating in an activist arts class at a New York City museum, Dewhurst identifies three learning processes common to the act of creating art that have an impact on social justice: connecting, questioning, and translating. Noting that "one of the challenges of social justice art education has been the difficulty of naming effective strategies that can be used across multiple contexts," Dewhurst outlines core strategies for an "activist arts pedagogy" and offers concrete suggestions for educators seeking to incorporate activist art projects inside or outside formal school settings. Social Justice Art seeks to give common language to educators and others who are looking to expand and refine their practices in an emerging field, whether they work in art education, social justice programming, or youth development.

Art and Social Justice Education offersnbsp;inspiration and tools for educatorsnbsp;to craft critical, meaningful, and transformative arts education curriculum and arts integration projects. The images, descriptive texts, essays, and resources are grounded within a clear social justice framework and linked to ideas about culture as commons. Essays and a section written by and for teachers who have already incorporatednbsp;contemporary artistsnbsp;and ideas into their curriculums help readers to imagine ways to use the content in their own settings.nbsp;This book is enhanced by anbsp;Companion Website (www.routledge.com/cw/quinn) featuring artists and artworks, project examples, and dialogue threads for educators. Proposing that art can contribute in a wide range of ways to the work of envisioning and making a more just world, this imaginative, practical, and engaging sourcebooknbsp;of contemporary artists'nbsp;works and education resources advances the field of arts education, locally, nationally, and internationally, by moving beyond models of discipline-based or expressive art education. It will be welcomed by all educators seeking to include the arts and social justice in their curricula.

This book explores the pedagogical applications of critical thinking in art education and scholarship. In the first part of the book, the author delves into the ways that arts-based educational research has incorporated critical thinking in order to illuminate the context for the subsequent study. The second half of the book focuses on the essay as a genre used in creative nonfiction and film in order to enact the concept of critical thinking in art education. In this way, the book sheds light on a new landscape of thinking arts education and thinking scholarship through the essay that is practiced in creative nonfiction and cinema.

This is the new edition of the award-winning guide to social justice education. Accessible to students from high school through graduate school, this comprehensive resource includes many new features such as discussion of contemporary activism. The text includes many user-friendly features, examples, and vignettes to not just define but illustrate key concepts.

Visual literacy is an increasingly critical skill in a globalizing, digital world. This book addresses the core issues concerning visual literacy in education, underscoring its importance for the instruction of students and educators. Professor Billie Eilam argues that the incorporation of visual skill development in teacher training programs will help break the cycle of visual illiteracy. Understanding the pedagogical benefits and risks of visual representation can help educators develop effective strategies to produce visually literate students. Eilam presents a broad overview of theoretical knowledge regarding visual representation, as well as a discussion of best practices for the use of visual elements in schools. In addition to theory, Eilam includes practical exercises for introducing visual literacy into teacher education, offering strategies for analyzing visualization in curricula and for increasing awareness of visual culture.

The training of teachers in arts universities is changing. It is confronted by the great challenge of essential cultural, technological, social and economic changes. The symposium "Perspectives on Art Education" (Vienna, May 28 - 30, 2015) is dedicated to these changes: What does the training need today in terms of artistic practice, research, and communication skills? What explanations do historical and contemporary approaches offer? What new strategies are needed in teaching and learning? How can the diverse approaches to art education in different cultures, embedded in various national structures and school types complement and empower each other and jointly develop? 

This is the third volume in The Art Seminar, James Elkin's series of conversations on art and visual studies. Is Art History Global? stages an international conversation among art historians and critics on the subject of the practice and responsibility of global thinking within the discipline. Participants range from Keith Moxey of Columbia University to Cao Yiqiang, Ding Ning, Cuautemoc Medina, Oliver Debroise, Renato Gonzalez Mello, and other scholars.

A Companion to the Philosophy of Education is a comprehensive guide to philosophical thinking about education. Offers a state-of-the-art account of current and controversial issues in education, including issues pertaining to multiculturalism, special education, sex education, and academic freedom. Written by an international team of leading experts, who are directly engaged with these profound and complex educational problems. Serves as an indispensable guide to the field of philosophy of education.

The award-winning illustrations of 57 Caldecott Books (1938-1994) have inspired a multitude of lessons that guide students in creating art with similar qualities. Focusing on such principles and elements as line, color, texture, shape, value, and space, these classroom-tested projects have step-by-step instructions, materials lists, and detailed illustrations for teachers who have little or no art training. Various art media are explored, including pencil, crayon, marker, colored pencil, chalk, stencils, collage, watercolor, tempera, color mixing, and printmaking. These projects use limited materials so they're great for the classroom as well as the art room.

The Important Books takes a look at some of the most significant and talked about authors, illustrators, and titles in the genre, including Maurice Sendak, Margaret Wise Brown, William Joyce, and Chris Van Allsburg. While focusing on those books that are distinguished by some degree of originality in both word and image, the author points out that the importance of picture books is not primarily pedagogical--they are not intended to serve as dumbed down versions of young adult or adult novels--and the audience for these great books is not solely children. Because the children's picture book is designed to provide the context for an intimate transaction involving the imaginations of both parent and child, there is a social value to the form that lends a special poignancy to the pleasure it provides.

Discover beautiful and inspiring illustrations from children's stories in 1000 Illustrations for Children! Colorful, whimsical drawings fill the pages, brought to you by expert contributors from around the world, including: --Wolf Erlbruch (Germany) --Julia Wauters (France) --Nadia Budde (Germany) --Marije Tolman (The Netherlands) --Kitty Crowther (Belgium) --Suzy Lee (Korea) --Komako Sakai (Japan) --Owen Davey (UK) --Oliver Jeffers (USA) --Renato Moriconi (Brazil) --Rilla Alexander (Australia) --And many others

Alice to the Lighthouse is the first and only full-length study of the relation between children's literature and writing for adults. Lewis Carroll's Alice books created a revolution in writing for and about children which had repercussions not only for subsequent children's writers - such as Stevenson, Kipling, Nesbit, Frances Hodgson Burnett and Mark Twain - but for Virginia Woolf and her generation. Virginia Woolf's celebration of writing as play rather than preaching is the twin of the Post-Impressionist art championed by Roger Fry. Dusinberre connects books for children in the late nineteenth century with developments in education and psychology, all of which feed into the modernism of the early twentieth century.

Children Draw is a concise, richly illustrated book, aimed at parents, teachers, and caretakers, that explores why children draw and the meaning and value of drawing for youngsters--from toddlers aged two to pre-adolescents aged twelve. Informed by psychology and practical teaching with children, it guides readers through the progressive stages and characteristics of drawing development as children grow and change mentally, physically, socially, emotionally, and creatively. It offers parents tips about encouraging children to express their ideas visually, age-appropriate art materials, workspaces, and different media, as well as suggestions for making an art museum visit more meaningful--not to mention more fun--for both parents and kids. Packed with many delightful examples of children's art, Children Draw is an essential book for parents interested in their child's art activities.

Literature-Based Art & Music is both a guide to exciting books and a blueprint for rewarding activities that contribute to student achievement within elementary school programs. This book is the ideal handbook for achieving the goals of your curriculum, and an exciting addition to the Oryx Press Literature-Based Series.

A pioneering study of a unique narrative form, Words about Pictures examines the special qualities of picture books--books intended to educate or tell stories to young children. Drawing from a number of aesthetic and literary sources, Perry Nodelman explores the ways in which the interplay of the verbal and visual aspects of picture books conveys more narrative information and stimulation than either medium could achieve alone. Moving from "baby" books, alphabet books, and word books to such well-known children's picture books as Nancy Ekholm Burkert's Snow White and the Seven Dwarfs, Gerald McDermott's Arrow to the Sun, Maurice Sendak's Where the Wild Things Are, and Chris Van Allsburg's The Garden of Abdul Gasazi, Nodelman reveals how picture-book narrative is affected by the exclusively visual information of picture-book design and illustration as well as by the relationships between pictures and their complementary texts.

Two of the most striking manifestations of Soviet image culture were the children s book and the poster. Both of these forms testify to the alliance between experimental aesthetics and radical socialist ideology that held tenuously from the 1917 revolutions to the mid-1930s and did so much to shape a distinctly Soviet civilization. The children s books and posters in "Adventures in the Soviet Imaginary" plot the development of this new image culture alongside the formation of new social and cultural identities.Described here and set in context by experts in the field, the University of Chicago Library s collections of Soviet graphic art allow one to trace the complex relationship between Soviet ideology and aesthetic culture over a crucial period, from the beginning of Stalin s Great Breakthrough in 1928 to the reconstruction and regrouping that followed World War II."

Exploring both principles and best practice of the spiritual care of sick children and young people, this remarkable and inspiring book equips the reader to think critically and creatively about how to provide care in hospitals, hospices and other care contexts for ill and disabled children. Written for staff from any allied health discipline, the authors explore the potential spiritual needs and issues faced by sick children and young people. They provide evidence-based practice principles, and a range of activity-based interactions that empower the child or young person and expand discussion of meaning and identity. The book includes stories and multidisciplinary practice examples, as well as many ideas; practical activities; discussion of work with families, and also of the various tensions and issues that can emerge. Based on evidence-based practice and research carried out by the Chaplaincy Team at Birmingham Children's Hospital, the book will be helpful and inspiring reading for chaplains, nurses, play and youth workers, therapists and anyone else involved in the care of sick children and young people.

With the art in 43 award-winning books as your palette, and the author's constructive insight and guidance for support, you can introduce the elements of design and explore the various media used by illustrators. Clear explanations of terms and styles, and exciting new ways to extend art and social studies activities are included along with explanations of the techniques that artists employ to achieve their desired effects.

The legacy of Graeme Chalmers's research in art education underpins a foundational understanding of critical multiculturalism and offers a rigorous analysis of oppression and institutionalization of unequal power relations. His work begins in stories involving disruption and advocacy, and how when working in collaboration, we may then begin to share lived knowledge in ways that bring sociopolitical dimensions to the fore to help us move towards breaking cycles of divisiveness. International scholars share both reflective commentaries that look back upon Graeme Chalmers's contributions, as well as offer diverse perspectives that look forward to the enduring potentialities and possibilities of his work today and into the future. These perspectives are presented alongside thirty years of his scholarship creating new insights and provocations that will continue to influence our collective work for social justice. Art, Culture, and Pedagogy: Revisiting the Work of F. Graeme Chalmers holds timeless wisdom, articulating Graeme's deep respect for cultural pluralism, his passionate embrace of inclusivity and diversity, and his dedication to social justice issues - all issues of compelling urgency today. His distinguished international leadership and his pioneering ideas continue to be adopted, engaged, and applied at all levels of art education.

Teacher identity resides in the foundational beliefs and assumptions educators have about teaching and learning. These beliefs and assumptions develop both inside and outside of the classroom, blurring the lines between the professional and the personal. Examining the development of teacher identity at this intersection requires a unique reflexive capacity. Reflexive inquiry is both established and continually emerging. At its most basic, reflexivity refers to researchers' consciousness of their role in and effect on both the act of doing research and arriving at research findings. In making central the role of the researcher in the research process, reflexive inquiry interrogates agency while examining philosophical notions about the nature of knowledge. While advancements have been made in investigating the relationship between teacher knowledge and teacher practice, the research often fails to connect this meaning with self-knowledge and issues of identity. Through a consideration of these tenets, the authors in this collection embrace critical, qualitative, creative, and arts-integrated approaches to examine ways that reflexive inquiry supports studies in teacher identity. Moving between theory and lived experience, the authors individually and collectively lay bare teacher identity as negotiated while evidencing the epistemological merits of reflexive inquiry.

An invaluable compendium of 75 creative art projects for art educators and classroom teachers This authoritative, practical, and comprehensive guide offers everything teachers need to know to conduct an effective arts instruction and appreciation program. It meets secondary art teacher's unique needs for creating art lessons that cover everything from the fundamentals to digital media careers for aspiring artists. The book includes ten chapters that provide detailed instructions for both teachers and students, along with creative lesson plans and practical tools such as reproducible handouts, illustrations, and photographs. Includes 75 fun and creative art projects Fully updated to reflect the latest changes in secondary art instruction, including digital media and digital photography Heavily illustrated with photographs and drawings For art teachers, secondary classroom teachers, and homeschoolers, this is the ideal hands-on guide to art instruction for middle school and high school students.

Aimed at museum educators, Multiculturalism in Art Museums Today seeks to marry museum and multicultural education theories. It reveals how the union of these theories yields more equitable educational practices and guides museum educators to address misrepresentation, exclusivity, accessibility, and educational inequality. This contemporary text is directive; it encourages museum educators to consider the critical multicultural education theoretical framework in their day-to-day functions in order to illuminate and combat shortcomings at the crux of museum education: Museum Educators as Change AgentsInclusion versus ExclusionCollaboration with Diverse AudiencesResponsive Pedagogy This book adopts a broad definition of multiculturalism, which names not only race and ethnicity as concerns, but also gender, sexual orientation, religion, ability, age, and class. While focusing on these various facets of identity, the authors demonstrate how museums are social systems that should offer comprehensive, diverse educational experiences not only through exhibitions but through other educational activities. The authors pull from their own research and practical experiences which exemplify how museums have been and can be attentive to these areas of identity. Multiculturalism in Art Museums Today is hopeful and inspiring, as it identifies and commends the positive and effective practices that some museum educators have enacted in an effort to be inclusive. Museum educators are at the front-line interacting with the public on a daily basis. Thus, these educators can be the real vanguard of change, modeling critical multicultural behavior and practices.

For over a decade, Contemporary Art and Multicultural Education has served as the guide to multicultural art education, connecting everyday experience, social critique, and creative expression with classroom learning. The much-anticipated Rethinking Contemporary Art and Multicultural Education continues to provide an accessible and practical tool for teachers, while offering new art, essays, and content to account for transitions and changes in both the fields of art and education. A beautifully-illustrated collaboration of over one hundred artists, writers, curators, and educators from in and around the contemporary art world, this volume offers thoughtful and innovative materials that challenge the normative practices of arts education and traditional art history.  Rethinking Contemporary Art and Multicultural Education builds upon the pedagogy of the original to present new possibilities and modes of understanding art, culture, and their relationships to students and ourselves. 　 The fully revised second edition provides new theoretical and practical resources for educators and students everywhere, including:　　　　 Educators' perspectives on contemporary art, multicultural education, and teaching in today's classroom Full-color reproductions and writings on over 50 contemporary artists and their works, plus an additional 150 black-and-white images throughout Lesson plans for using art to explore topic