How Mexican artists and intellectuals created a new identity for modern Mexico City through its ties to Aztec Tenochtitlan.
After archaeologists rediscovered a corner of the Templo Mayor in 1914, artists, intellectuals, and government officials attempted to revive Tenochtitlan as an instrument for reassessing Mexican national identity in the wake of the Revolution of 1910. What followed was a conceptual excavation of the original Mexica capital in relation to the transforming urban landscape of modern Mexico City.
Revolutionary-era scholars took a renewed interest in sixteenth century maps as they recognized an intersection between Tenochtitlan and the foundation of a Spanish colonial settlement directly over it. Meanwhile, Mexico City developed with modern roads and expanded civic areas as agents of nationalism promoted concepts like indigenismo, the embrace of Indigenous cultural expressions. The promotion of artworks and new architectural projects such as Diego Rivera’s Anahuacalli Museum helped to make real the notion of a modern Tenochtitlan. Employing archival materials, newspaper reports, and art criticism from 1914 to 1964, Resurrecting Tenochtitlan connects art history with urban studies to reveal the construction of a complex physical and cultural layout for Mexico’s modern capital.
Contributors to this issue reconfigure concepts of art, culture, and politics through the lens of cosmopolitanism. Focusing on the historical and cultural entanglement of Africa and Europe at the intersection of decolonization and modernity, the contributors emphasize the potential of cosmopolitanism to shape possibilities for coexistence and living with difference among all people. Visual and textual essays address the causes and consequences of migration between Africa and Europe; the classification of artistic practices whose roots are not confined to any particular nation; and mid-twentieth-century debates on decolonization, modernity/modernism, and identity through a cosmopolitan viewpoint. Examining cosmopolitanism through theoretical perspectives as well as visual art practices, contributors to this heavily illustrated issue fill in the gaps in contemporary understandings of cultural and political dynamics between Africa and Europe.
Contributors. Hans Belting, Susan Buck-Morss, Jareh Das, Naminata Diabate, Fatima El Tayeb, Salah M. Hassan, Achille Mbembe, Sandy Prita Meier, Chika Okeke-Agulu, Tejumola Olaniyan, Manuela Ribeiro Sanches, Berni Searle, Bahia Shehab, Brett M. Van Hoesen, Selene Wendt, Siegfried Zielinski
An innovative look at heritage in sustainable development, based on archival research on UN and World Bank documents and ethnographic fieldwork in Africa.
In 2015, the UN adopted Sustainable Development Goals (SDGs), which have since influenced international and intergovernmental organizations and governments and dictated priorities for international aid spending. Culture, including heritage, is often presented as fundamental to addressing the SDGs. Yet in practice heritage is marginalized when SDGs are being discussed and implemented.
This volume presents a substantial and original assessment of whether and how heritage has contributed to three key dimensions of sustainable development (poverty reduction, gender equality, and environmental sustainability) within the context of its marginalization from the SDGs and from previous international development agendas. The book adopts a novel, inclusive, large-scale, and systematic approach, providing the first comprehensive history of the international approaches to culture (including heritage) in development from 1970 to the present day. It critically assesses the international projects implemented in sub-Saharan Africa that aimed to demonstrate the contribution of heritage for development in time for the negotiation of the SDGs, reflecting on the shortcomings of selected projects and providing recommendations for rethinking heritage for development.
In Return Engagements artist and critic Việt Lê examines contemporary art in Cambodia and Việt Nam to rethink the entwinement of militarization, trauma, diaspora, and modernity in Southeast Asian art. Highlighting artists tied to Phnom Penh and Sài Gòn and drawing on a range of visual art as well as documentary and experimental films, Lê points out that artists of Southeast Asian descent are often expected to address the twin traumas of armed conflict and modernization, and shows how desirable art on these themes is on international art markets. As the global art market fetishizes trauma and violence, artists strategically align their work with those tropes in ways that Lê suggests allow them to reinvent such aesthetics and discursive spaces. By returning to and refashioning these themes, artists such as Tiffany Chung, Rithy Panh, and Sopheap Pich challenge categorizations of “diasporic” and “local” by situating themselves as insiders and outsiders relative to Cambodia and Việt Nam. By doing so, they disrupt dominant understandings of place, time, and belonging in contemporary art.
The Spy Museum, the Vacuum Cleaner Museum, the National Mustard Museum—not to mention the Art Institute, the Museum of Modern Art, and the Getty Center: museums have never been more robust, curating just about everything there is and assuming a new prominence in public life. The Return of Curiosity explores museums in the modern age, offering a fresh perspective on some of our most important cultural institutions and the vital function they serve as stewards of human and natural history.
Reflecting on art galleries, science and history institutions, and collections all around the world, Nicholas Thomas argues that, in times marked by incredible insecurity and turbulence, museums help us sustain and enrich society. Moreover, they stimulate us to think in new ways about our world, compelling our curiosity and showing us the importance of understanding one another. Thomas looks at museums not simply as storehouses of old things but as the products of meaningful relationships between curators, the public, history, and culture. These relationships, he shows, don’t always go smoothly, but they do always offer new insights into the many ways we value—and try to preserve—the world we live in.
The result is a refreshing and hopeful look at museums as a cultural force, one that, by gathering together paintings, tropical birds, antiques, or even our own bodies, offers an illuminating reflection of who we are.
In 2017, twenty-five years after its initial release, a new season of Mark Frost and David Lynch’s cultural touchstone Twin Peaks shook the world of television. In this volume, Franck Boulègue explores Twin Peaks: The Return through a philosophical, mythological, and spiritual lens.
Divided into three sections, the book first examines the third season as expanded storytelling through the lens of Gene Youngblood's theory of synesthetic cinema, intertextuality, integrationist, and segregationist approaches in the realm of fiction, and focuses on the role of audio and visual superimpositions in The Return. It goes on to question the nature of the reality depicted in the seasons via scientific approaches, such as electromagnetism, time theory, and multiverses. The third and final section aims to transcend this vision by exploring the role of theosophy, the occult, and other spiritual sources. With a foreword by Matt Zoller Seitz, editor at large at RogerEbert.com and television critic for New York magazine, this book is essential reading for fans of the landmark show and anyone who studies it.
Returning Home features and contextualizes the creative works of Diné (Navajo) boarding school students at the Intermountain Indian School, which was the largest federal Indian boarding school between 1950 and 1984. Diné student art and poetry reveal ways that boarding school students sustained and contributed to Indigenous cultures and communities despite assimilationist agendas and pressures.
This book works to recover the lived experiences of Native American boarding school students through creative works, student interviews, and scholarly collaboration. It shows the complex agency and ability of Indigenous youth to maintain their Diné culture within the colonial spaces that were designed to alienate them from their communities and customs. Returning Home provides a view into the students’ experiences and their connections to Diné community and land. Despite the initial Intermountain Indian School agenda to send Diné students away and permanently relocate them elsewhere, Diné student artists and writers returned home through their creative works by evoking senses of Diné Bikéyah and the kinship that defined home for them.
Returning Home uses archival materials housed at Utah State University, as well as material donated by surviving Intermountain Indian School students and teachers throughout Utah, Arizona, and New Mexico. Artwork, poems, and other creative materials show a longing for cultural connection and demonstrate cultural resilience. This work was shared with surviving Intermountain Indian School students and their communities in and around the Navajo Nation in the form of a traveling museum exhibit, and now it is available in this thoughtfully crafted volume. By bringing together the archived student arts and writings with the voices of living communities, Returning Home traces, recontextualizes, reconnects, and returns the embodiment and perpetuation of Intermountain Indian School students’ everyday acts of resurgence.
In contemporary culture, existing audiovisual recordings are constantly reused and repurposed for various ends, raising questions regarding the ethics of such appropriations, particularly when the recording depicts actual people and events. Every reuse of a preexisting recording is, on some level, a misuse in that it was not intended or at least anticipated by the original maker, but not all misuses are necessarily unethical. In fact, there are many instances of productive misuse that seem justified. At the same time, there are other instances in which the misuse shades into abuse. Documentary scholars have long engaged with the question of the ethical responsibility of documentary makers in relation to their subjects. But what happens when this responsibility is set at a remove, when the recording already exists for the taking and repurposing? Reuse, Misuse and Abuse surveys a range of contemporary films and videos that appropriate preexisting footage and attempts to theorize their ethical implications.
Collected articles on Iranian art from the Qajar dynasty.
The thirteen articles in this volume were originally given as presentations at the symposium of the same name organized in June 2018 by the Musée du Louvre and the Musée du Louvre-Lens in conjunction with the exhibition The Empire of Roses: Masterpieces of 19th Century Persian Art. The exhibition explored the art of Iran in the nineteenth and early twentieth centuries, while the nation was under the rule of the Qajar dynasty. The symposium set out to present research on previously unknown and unpublished objects from this rich period of art history.
This volume, published with the Louvre Museum in France, is divided into four sections. The first, “Transitions and Transmissions,” is dedicated to the arts of painting, illumination, and lithography. The focus of the second section, entitled “The Image Revealed,” also considers works on paper, looking at new themes and techniques. “The Material World” examines the use of materials such as textiles, carpets, and armor. The articles in the final section discuss the history of two groups of artifacts acquired by their respective museums.
Among postimpressionist painters, Van Gogh, Seurat, Cézanne, and Gauguin produced a remarkable body of work that responded to a cultural and spiritual crisis in the avant-garde world—influences that pushed them toward an increasing reliance on science, literature, and occultism. In Revelation of Modernism, renowned art historian Albert Boime reappraises specific works by these masters from a perspective more appreciative of the individuals’ inner conflicts, offering the art world a new understanding of a period fraught with apocalyptic fears and existential anxieties.
Building on the seminal observations of Sven Lövgren from a half-century ago, Boime rejects popular notions of “art for art’s sake” and rethinks an entire movement to suggest that history, rather than expressive urge, is the driving force that shapes art. He reconsiders familiar masterpieces from a fresh perspective, situating the art in the contexts of history both real and speculative, of contemporary philosophy, and of science to depict modernism as a development that ultimately failed.
Boime expands on what we think we know about these figures and produces startling new revelations about their work. From the political history of Seurat’s Parade de cirque to the astronomical foundations of Van Gogh’s Starry Night, he draws analogies between literary sources and social, personal, and political strategies that have eluded most art historians. He offers a richer and more complex vision of Cézanne, considering the artist as an Old Testament figure in search of the Promised Landscape. And he provides a particularly detailed look at Gauguin—on whom Boime has never previously published—that takes a closer look at the artist’s The Vision after the Sermon and its allusions to Eliphas Lévi’s writings, sheds light on the sources for From whence do we come? and offers new thoughts about Gauguin’s various self-portraits.
Boime’s latest contribution further testifies to his status as one of our most important living art historians. As entertaining as it is eloquent, Revelation of Modernism is a bold and groundbreaking work that should be required reading for all who wish to understand the contradictory origins and development of modernism and its role in history.
Formulated around a number of key thematic concerns—new creative trends; the politics and practices of memory; auteurship, genre, and stardom in a transnational age—this reassessment of contemporary Spanish cinema from 1992 to 2012 brings leading academics from a broad range of disciplinary and geographical backgrounds into dialogue with critically and commercially successful practitioners to suggest the need to redefine the parameters of one of the world’s most creative national cinemas. This volume will appeal not only to students and scholars of Spanish film, but also to anyone with an interest in contemporary world cinema.
Abel Gance's silent masterpiece, Napoleon, was given a limited run on its debut in 1927, but soon afterwards distributors in France and America, unwilling to deal with its nine-hour running time, subjected it to savage cuts - with devastating results for the movie and for film history. The struggle across ensuing decades to restore and reintegrate Gance's film has formed a backdrop to an array of formal, contextual, and ideological battles. In this book, Paul Cuff takes account of those battles and challenges received opinion on Gance's view of both his film and its subject.
An international movement that followed specific geographical-cultural patterns, Conceptual Art built on the legacy of Marcel Duchamp, redefining the institutional and social relationships among production, work and audience in ways which have comprehensively transformed the nature of the art object and forms of artistic practice, both historically and in the present.
Investigating and documenting the histories, theories and forms of Conceptual Art, this timely book, including both established writers and a new generation of art historians, shows that Conceptual Art was a broad movement encompassing a range of artistic tendencies. This is the most stimulating account of the movement to date, arguing forcefully for its vitality and potential as well as examining its influence on art today.
With essays by Alex Alberro, Stephen Bann, Jon Bird, David Campany, Helen Molesworth, Michael Newman, Peter Osborne, Birgit Pelzer, Desa Philipagesi, Anne Rorimer, Peter Wollen and William Wood.
Zombies, vampires, and mummies are frequent stars of American horror films. But what does their cinematic omnipresence and audiences’ hunger for such films tell us about American views of death? Here, Outi Hakola investigates the ways in which American living-dead films have addressed death through different narrative and rhetorical solutions during the twentieth century. She focuses on films from the 1930s, including Dracula, The Mummy, and White Zombie, films of the 1950s and 1960s such as Night of the Living Dead and The Return of Dracula, and more recent fare like Bram Stoker’s Dracula, The Mummy, and Resident Evil. Ultimately, the book succeeds in framing the tradition of living dead films, discussing the cinematic processes of addressing the films’ viewers, and analyzing the films’ socio-cultural negotiation with death in this specific genre.
Perspective determines how we, as viewers, perceive painting. We can convince ourselves that a painting of a bowl of fruit or a man in a room appears to be real by the way these objects are rendered. Likewise, the trick of perspective can prevent us from being absorbed in a scene. Connecting contemporary critical theory with close readings of seventeenth-century Dutch visual culture, The Rhetoric of Perspective puts forth the claim that painting is a form of thinking and that perspective functions as the language of the image.
Aided by a stunning full-color gallery, Hanneke Grootenboer proposes a new theory of perspective based on the phenomenological aspects of non-narrative still-life, trompe l'oeil, and anamorphic imagery. Drawing on playful and mesmerizing baroque images, Grootenboer characterizes what she calls their "sophisticated deceit," asserting that painting is more about visual representation than about its supposed objects.
Offering an original theory of perspective's impact on pictorial representation, the act of looking, and the understanding of truth in painting, Grootenboer shows how these paintings both question the status of representation and explore the limits and credibility of perception.
“An elegant and honourable synthesis.”—Keith Miller, Times Literary Supplement
The rhinoceros’s horn and massive leathery frame belie its docile and solitary nature, causing the animal to be consistently perceived by humans as a monster to be feared. Kelly Enright now deftly sifts fact from fiction in Rhinoceros.
Enright chronicles the vexed interactions between humans and rhinos, from early sightings that mistook the rhinoceros for the mythical unicorn to the eighteenth-century display of the rhinoceros in Europe as a wonder of nature and its introduction to the American public in 1830. The rhinoceros has long been a prized hunting object as well, whether for its horn as a valuable ingredient in Asian medicine or as a coveted trophy by nineteenth-century big-game hunters such as Theodore Roosevelt, and the book explains how such practices have led to the rhino’s status as an endangered species. Enright also considers portrayals of the animal in film, literature, and art, all in the service of discovering whether the reputed savagery of the rhino is a reality or a legacy of its mythic past.
A wide-ranging, highly illustrated study, Rhinoceros will be essential for scholars and animal lovers alike.
Between present and past, visible and invisible, and sensation and idea, there is resonance—so philosopher Maurice Merleau-Ponty argued and so Jessica Wiskus explores in The Rhythm of Thought. Holding the poetry of Stéphane Mallarmé, the paintings of Paul Cézanne, the prose of Marcel Proust, and the music of Claude Debussy under Merleau-Ponty’s phenomenological light, she offers innovative interpretations of some of these artists’ masterworks, in turn articulating a new perspective on Merleau-Ponty’s philosophy.
More than merely recovering Merleau-Ponty’s thought, Wiskus thinks according to it. First examining these artists in relation to noncoincidence—as silence in poetry, depth in painting, memory in literature, and rhythm in music—she moves through an array of their artworks toward some of Merleau-Ponty’s most exciting themes: our bodily relationship to the world and the dynamic process of expression. She closes with an examination of synesthesia as an intertwining of internal and external realms and a call, finally, for philosophical inquiry as a mode of artistic expression. Structured like a piece of music itself, The Rhythm of Thought offers new contexts in which to approach art, philosophy, and the resonance between them.
Over the course of her career, Barbara Stafford has established herself the preeminent scholar of the intersections of the arts and sciences, articulating new theories and methods for understanding the sublime, the mysterious, the inscrutable. Omnivorous in her research, she has published work that embraces neuroscience and philosophy, biology and culture, pinpointing connections among each discipline’s parallel concerns. Ribbon of Darkness is a monument to the scope of her work and the range of her intellect. At times associative, but always incisive, the essays in this new volume take on a distinctly contemporary purpose: to uncover the ethical force and moral aspects of overlapping scientific and creative inquiries. This shared territory, Stafford argues, offers important insights into—and clarifications of—current dilemmas about personhood, the supposedly menial nature of manual skill, the questionable borderlands of gene editing, the potentially refining value of dualism, and the limits of a materialist worldview.
Stafford organizes these essays around three concepts that structure the book: inscrutability, ineffability, and intuitability. All three, she explains, allow us to examine how both the arts and the sciences imaginatively infer meaning from the “veiled behavior of matter,” bringing these historically divided subjects into a shared intellectual inquiry and imbuing them with an ethical urgency. A vanguard work at the intersection of the arts and sciences, this book will be sure to guide readers from either realm into unfamiliar yet undeniably fertile territory.
From monumental church mosaics to fresco wall-paintings, the medieval period produced some of the most impressive art in history. But how, in a world without the array of technology and access to materials that we now have, did artists produce such incredible works, often on an unbelievably large scale? In The Riddle of the Image, research scientist and art restorer Spike Bucklow discovers the actual materials and methods that lie behind the production of historical paintings.
Examining the science of the tools and resources, as well as the techniques of medieval artists, Bucklow adds new layers to our understanding and appreciation of paintings in particular and medieval art more generally. He uses case studies—including The Wilton Diptych, one of the most popular paintings in the National Gallery in London and the altarpiece in front of which English monarchs were crowned for centuries—and analyses of these works, presenting previously unpublished technical details that shed new light on the mysteries of medieval artists. The first account to examine this subject in depth for a general audience, The Riddle of the Image is a beautifully illustrated look at the production of medieval paintings.
In The Right to Look, Nicholas Mirzoeff develops a comparative decolonial framework for visual culture studies, the field that he helped to create and shape. Casting modernity as an ongoing contest between visuality and countervisuality, or “the right to look,” he explains how visuality sutures authority to power and renders the association natural. An early-nineteenth-century concept, meaning the visualization of history, visuality has been central to the legitimization of Western hegemony. Mirzoeff identifies three “complexes of visuality”—plantation slavery, imperialism, and the present-day military-industrial complex—and explains how, within each, power is made to seem self-evident through techniques of classification, separation, and aestheticization. At the same time, he shows how each complex of visuality has been countered—by the enslaved, the colonized, and opponents of war, all of whom assert autonomy from authority by claiming the right to look. Encompassing the Caribbean plantation and the Haitian revolution, anticolonialism in the South Pacific, antifascism in Italy and Algeria, and the contemporary global counterinsurgency, The Right to Look is a work of astonishing geographic, temporal, and conceptual reach.
The Right to Play Oneself collects for the first time Thomas Waugh’s essays on the politics, history, and aesthetics of documentary film, written between 1974 and 2008. The title, inspired by Walter Benjamin’s and Joris Ivens’s manifestos of “committed” documentary from the 19 0s, reflects the book’s theme of the political potential of documentary for representing the democratic performance of citizens and artists.
Waugh analyzes an eclectic international selection of films and issues from the 1920s to the present day. The essays provide a transcultural focus, moving from documentaries of the industrialized societies of North America and Europe to those of 1980s India and addressing such canonical directors as Dziga Vertov, Emile de Antonio, Barbara Hammer, Rosa von Praunheim, and Anand Patwardhan. Woven through the volume is the relationship of the documentary with the history of the Left, including discussions of LGBT documentary pioneers and the firebrand collectives that changed the history of documentary, such as Challenge for Change and ACT UP’s Women’s Collective.
Together with the introduction by the author, Waugh’s essays advance a defiantly and persuasively personal point of view on the history and significance of documentary film.
Few art collections in the world can rival that of the Rijksmuseum in Amsterdam. Built in 1885, the iconic museum holds more than a million works, with a particular focus on Dutch masters—its collection of works by Van Gogh, Vermeer, and Rembrandt are unparalleled.
The museum recently reopened after a ten-year renovation that cost more than $400 million, and the result is stunning: never before has the Rijksmuseum’s collection been displayed so well. This book offers a lavishly illustrated chronicle of both the collection and the building that houses it. Though nothing can replace an actual trip to the Rijksmuseum—as the more than two million annual visitors can attest—this book comes as close as possible, taking art lovers on a virtual tour of the greatest masterworks of Western art in a building that is brilliantly designed to show them at their best.
Rembrandt's life and art had an almost mythic resonance in nineteenth-century France with artists, critics, and collectors alike using his artistic persona both as a benchmark and as justification for their own goals. This first in-depth study of the traditional critical reception of Rembrandt reveals the preoccupation with his perceived "authenticity," "naturalism," and "naiveté," demonstrating how the artist became an ancestral figure, a talisman with whom others aligned themselves to increase the value of their own work. And in a concluding chapter, the author looks at the play Rembrandt, staged in Paris in 1898, whose production and advertising are a testament to the enduring power of the artist's myth.
Ritual and Capital
Edited by Bard Graduate Center and Wendy's Subway Bard Graduate Center, 2020 Library of Congress PS507R55 2019 | Dewey Decimal 810.8006
Ritual and Capital is an expansive volume that collects an interdisciplinary range of voices and genres that reflect on ritual as a form of resistance against capitalism. The poems, essays, and artworks included in this anthology explore habits and practices formed to subvert, subsist, and survive under the repression of capital. These works explore the refuge in ritual, how ritual practices might endow objects with qualities that resist market values, the use of ritual in embodied practices of healing and care, and how ritual strengthens communities.
The publication of Ritual and Capital is the culmination of a series of public readings organized by Wendy’s Subway, a nonprofit organization in Brooklyn, as part of their Spring 2017 Reading Room residency at the Bard Graduate Center. Copublished by the Bard Graduate Center and Wendy’s Subway, Ritual and Capital is the first title in the BGCX series, a publication series designed to expand time-based programming after the events themselves have ended. Springing from the generative spontaneity of conversation, performance, and hands-on engagement as their starting points, these experimental publishing projects will provide space for continued reflection and research in a form that is inclusive of a variety of artists and makers.
Surrender to a wild river and unexpected things can happen. Time on the water can produce moments of pristine clarity or hatch wild thoughts, foster a deep connection with the real world or summon the spiritual.
River of Light: A Conversation with Kabir is centered in one man’s meditations and revelations while traveling on a river. John Morgan spent a week traveling the Copper River in Southcentral Alaska, and the resulting encounters form the heart of this book-length poem. The river’s shifting landscape enriches the poem’s meditative mood while currents shape the poem and the pacing of its lines. The mystic poet Kabir is Morgan’s internal guide and serves as a divine foil through quiet stretches that bring to mind questions about war and human nature. Artwork by distinguished Alaska artist Kesler Woodward is a sublime companion to the text.
A combination of adventurer’s tale and spiritual quest, River of Light: A Conversation with Kabir takes the reader on a soulful journey that is both deeply personal and profoundly universal.
Known as an iconoclast and maverick, film director Robert Altman has consistently pushed against the boundaries of genre. From refashioning film noir in The Long Goodbye, the western in McCabe & Mrs. Miller, the psychological drama in Images, science fiction in Quintet, and the romantic comedy in A Perfect Couple, he has always tested the limits of what film can and should do. In this book, Frank Caso examines the development of Altman’s artistic method from his earliest days in industrial film to his work in television and feature films.
Altman is one of those directors whose films audiences can easily recognize, but what exactly are the distinctive elements that have become his signature? Caso identifies more than twenty such elements in Altman’s style, tracing some—such as his use of free-hand cameras and engagement with Christian imagery—to the beginning of his career. Caso also examines Altman’s unsettling mix of offbeat comedic tone with a predominance of violence, murder, and death, showing how their counterpointing effects rendered his films at once naturalistic and otherworldly.
Exploring these and other aspects of the Altmanesque style, Caso maps the innovations that have made Altman a master filmmaker. Enriched with illustration throughout, Robert Altman will appeal to fans of this distinctive American auteur or anyone interested in ground-breaking cinema.
In the mid-1950s, Swiss-born New Yorker Robert Frank embarked on a ten-thousand-mile road trip across America, capturing thousands of photographs of all levels of a rapidly changing society. The resultant photo book, The Americans, represents a seminal moment in both photography and in America's understanding of itself. To mark the book’s fiftieth anniversary, Jonathan Day revisits this pivotal work and contributes a thoughtful and revealing critical commentary. Though the importance of The Americans has been widely acknowledged, it still retains much of its mystery. This comprehensive analysis places it thoroughly in the context of contemporary photography, literature, music, and advertising from its own period through the present.
Robert Irwin Getty Garden
Lawrence Weschler J. Paul Getty Trust, The, 2020 Library of Congress SB466.U7 | Dewey Decimal 635.0979494
A beautifully illustrated, accessible volume about one of the Getty Center’s best-loved sites. Among the most beloved sites at the Getty Center, the Central Garden has aroused intense interest from the moment artist Robert Irwin was awarded the commission. First published in 2002, Robert Irwin Getty Garden is comprised of a series of discussions between noted author Lawrence Weschler and Irwin, providing a lively account of what Irwin has playfully termed “a sculpture in the form of a garden aspiring to be art.” The text revolves around four garden walks: extended conversations in which the artist explains the critical choices he made—from plant materials to steel—in the creation of a living work of art that has helped to redefine what a modern garden can and should be. This updated edition features new photography of the Central Garden in a smaller, more accessible format.
Every work of art has a story behind it. In 1886 the German American artist Robert Koehler painted a dramatic wide-angle depiction of an imagined confrontation between factory workers and their employer. He called this oil painting The Strike. It has had a long and tumultuous international history as a symbol of class struggle and the cause of workers’ rights. First exhibited just days before the tragic Chicago Haymarket riot, The Strike became an inspiration for the labor movement. In the midst of the campaign for an eight-hour workday, it gained international attention at expositions in Paris, Munich, and the 1893 Chicago World’s Fair. Though the painting fell into obscurity for decades in the early twentieth century, The Strike lived on in wood-engraved reproductions in labor publications. Its purchase, restoration, and exhibition by New Left activist Lee Baxandall in the early 1970s launched it to international fame once more, and collectors and galleries around the world scrambled to acquire it. It is now housed in the Deutsches Historisches Museum in Berlin, Germany.
Art historian James M. Dennis has crafted a compelling “biography” of Koehler’s painting: its exhibitions, acclaim, neglect, and rediscovery. He introduces its German-born creator and politically diverse audiences and traces the painting’s acceptance and rejection through the years, exploring how class and sociopolitical movements affected its reception. Dennis considers the significance of key figures in the painting, such as the woman asserting her presence in the center of action. He compellingly explains why The Strike has earned its identity as the iconic painting of the industrial labor movement.
Robert Motherwell was by far the most intellectual and articulate of the Abstract Expressionists. This book, written by a friend of the artist, the well-known writer and critic Mary Ann Caws, examines Motherwell’s way of thinking and writing in relation to his paintings. The artist, American by birth, yet simultaneously American and European in his way of visualizing and vocalizing artistic and philosophical traditions, always worked between these two poles, and it is this tension that imbues his œuvre with its particular intensity.
The author bases her analysis of Motherwell on the artist’s own writings and readings, as well as on extensive conversations and interviews with him. She considers his work and interests in relation to those of other Abstract Expressionists as well as to the work of the Surrealists. Her book highlights his deep attraction to France and French literature and art, and his concern with the idea of elegy and the tragedy of the Spanish Civil War. His singularly American spirit provided him with a manner of painting and thinking unique among the Abstract Expressionists, as well as with a distinctive and highly personal filter through which to interpret his fascination with European literature and history.
Teeming with convulsive energy, raw brush strokes, and Fauvist colors, the paintings of Robert Qualters reflect the multifaceted and kinetic spirit of the artist himself. In these pages, the art historian Vicky A. Clark presents the first in-depth study of the art and life of this iconic Pittsburgh artist. Complemented by over eighty color images, Clark follows Qualters’s development from early childhood sketches through his recent autobiographical work. As she reveals, Qualters is truly a quotidian raconteur, who infuses allegory, narrative, and memory into his paintings of urban landscapes, neighborhoods, lunch counters, and amusement parks. Here, we witness coming of age and sexuality, economic hardship, working-class identities, death and rebirth, and many other themes, both personal and universal.
As Clark shows, Qualters’s oeuvre is the culmination of a lifelong artistic journey, recalling a host of influences from Japanese prints to Matisse, Bruegel, and Rembrandt. Throughout his career, and despite the popularity of his contemporaries, many of whom adopted abstract painting, Qualters has maintained a distinctly representational style, keeping a close link to his audience through the power of visual storytelling.
Robert Qualters was named Pennsylvania Artist of the Year for 2014, part of the Governor's Awards for the Arts in Pennsylvania, sponsored by the Pennsylvania Council on the Arts.
Holy adolescence, Batman! Robin and the Making of American Adolescence offers the first character history and analysis of the most famous superhero sidekick, Robin. Debuting just a few months after Batman himself, Robin has been an integral part of the Dark Knight’s history—and debuting just a few months prior to the word “teenager” first appearing in print, Robin has from the outset both reflected and reinforced particular images of American adolescence. Closely reading several characters who have “played” Robin over the past eighty years, Robin and the Making of American Adolescence reveals the Boy (and sometimes Girl!) Wonder as a complex figure through whom mainstream culture has addressed anxieties about adolescents in relation to sexuality, gender, and race. This book partners up comics studies and adolescent studies as a new Dynamic Duo, following Robin as he swings alongside the ever-changing American teenager and finally shining the Bat-signal on the latter half of “Batman and—.”
Examines a host of rock art sites from Nova Scotia to Maryland
Rock art, petroglyphs, and pictographs have been made by indigenous peoples for thousands of years. Images have been found on bedrock, cliff faces, ridge tops, and boulders and in rock shelters. Some rock surfaces are covered with abstract and geometric designs such as concentric circles, zigzag lines, grids, and cross-hatched and ladder-like patterns. Others depict humans, footprints and handprints, mammals, serpents, and mythic creatures. All were meticulously pecked, incised or painted. This ancient art form connects us to Native Americans’ past, traditions, world views, and sacred places.
Rock Art in an Indigenous Landscape: From Atlantic Canada to Chesapeake Bay is the culmination of the research of preeminent rock art scholar Edward J. Lenik. Here, he profiles more than 64 examples of rock art in varied locations from Nova Scotia to Maryland. Chapters are organized geographically and lead the reader through coastal sites, rivers and streams, lakes and ponds, and upland sites.
Lenik discusses the rock art examples in the context of the indigenous landscape, noting the significance of the place of discovery. Coverage includes a meticulous description of the design or motif and suggestions of time frame, artist-makers, and interpretations. Where possible, indigenous views on the artifacts enrich the narrative. Other invaluable elements are a discussion of how to identify indigenous rock art; a glossary of rock art terms and features and archaeological culture periods; an up-to-date bibliography; and an appendix of a number of reported but unconfirmed petroglyph sites in the regions.
Two tiny trilobites in a vast Cambrian ocean drift past sea cucumber parasols and a shaggy, tree-like sponge. Snail tracks loop enigmatically against brushed-gray Silurian slate, and ghostly white crinoids feather a Devonian seascape. A delicate pterosaur flies bravely into the Jurassic gloom, while a Tyrannosaurus rex so big that its teeth fill our field of vision stalks the deep orange sands that mark the end of the Cretaceous period.
These are just a few scenes from the magnificent drama that unfolds in glorious full color and three-dimensional texture in Rock of Ages, Sands of Time. Each of Barbara Page's 544 contiguous painted panels represents a million years of the history of life on earth, with fossil plants and animals depicted at the same scale and in association with each other just as they might be found by a paleontologist in the field. A muted rainbow of background colors evoke the rocks in which the fossils were found—the Texas Red Beds, for instance, or the yellow Solnhofen limestone—and keystone events are shown metaphorically, with fat rolls of paint marking major extinctions or continental drift.
To fully experience the awesome impact of an eon's worth of time spread across 500 feet of bas-relief panels, you'd have to visit the Museum of the Earth in Ithaca, New York, where Page's specially commissioned work will be installed when the museum opens in 2002. But this book is the next best thing. Not only does it contain crisp color reproductions of each painting, but it also includes an accessible essay from paleontologist Warren Allmon giving the scientific context behind the art.
For fossil lovers of all ages, and anyone interested in the merging of art and science, Rock of Ages, Sands of Time will be the find of a lifetime.
Showcases the wealth of new research on sacred imagery found in twelve states and four Canadian provinces
In archaeology, rock-art—any long-lasting marking made on a natural surface—is similar to material culture (pottery and tools) because it provides a record of human activity and ideology at that site. Petroglyphs, pictographs, and dendroglyphs (tree carvings) have been discovered and recorded throughout the eastern woodlands of North America on boulders, bluffs, and trees, in caves and in rock shelters. These cultural remnants scattered on the landscape can tell us much about the belief systems of the inhabitants that left them behind.
The Rock-Art of Eastern North America brings together 20 papers from recent research at sites in eastern North America, where humidity and the actions of weather, including acid rain, can be very damaging over time. Contributors to this volume range from professional archaeologists and art historians to avocational archaeologists, including a surgeon, a lawyer, two photographers, and an aerospace engineer. They present information, drawings, and photographs of sites ranging from the Seven Sacred Stones in Iowa to the Bald Friar Petroglyphs of Maryland and from the Lincoln Rise Site in Tennessee to the Nisula Site in Quebec.
Discussions of the significance of artist gender, the relationship of rock-art to mortuary caves, and the suggestive link to the peopling of the continent are particularly notable contributions. Discussions include the history, ethnography, recording methods, dating, and analysis of the subject sites and integrate these with the known archaeological data.
A Roger Fry Reader
Roger Fry University of Chicago Press, 1996 Library of Congress N7445.2.F77 1996 | Dewey Decimal 700
In the first decades of the twentieth century, the art critic Roger Fry introduced English-speaking audiences to modern French art and formalist aesthetic theory. A Roger Fry Reader, edited by Christopher Reed, brings together for the first time a comprehensive selection of Fry's essays. Most appear here for the first time since their original publication in scholarly journals and art magazines, while some have never been published before. Representing 40 years of engagement with the arts, the essays cover a broad spectrum of topics, from Fry's influential promotion of Post-Impressionism to art education, museums, architecture, decorative art, and the implications of literature and dance for the visual arts. Reed also provides valuable historical background and considers Fry's legacy for the present. A Roger Fry Reader affords an opportunity to examine both the foundations of modern art criticism from the point of view of one of its foremost practitioners and current debates about the nature ofart and aesthetic experience.
In recent decades, the study of Roman art has shifted focus dramatically from issues of connoisseurship, typology, and chronology to analyses of objects within their contemporary contexts and local environments. Scholars challenge the notion, formerly taken for granted, that extant historical texts—the writings of Vitruvius, for example—can directly inform the study of architectural remains. Roman-era statues, paintings, and mosaics are no longer dismissed as perfunctory replicas of lost Greek or Hellenistic originals; they are worthy of study in their own right. Further, the scope of what constitutes Roman art has expanded to include the vast spectrum of objects used in civic, religious, funerary, and domestic contexts and from communities across the Roman Empire.
The work gathered in Roman Artists, Patrons, and Public Consumption displays the breadth and depth of scholarship in the field made possible by these fundamental changes. The first five essays approach individual objects and artistic tropes, as well as their cultural contexts and functions, from fresh and dynamic angles. The latter essays focus on case studies in Pompeii, demonstrating how close visual analysis firmly rooted in local and temporal contexts not only strengthens understanding of ancient interactions with monuments but also sparks a reconsideration of long-held assumptions reinforced by earlier scholarship.
These rigorous essays reflect and honor the groundbreaking scholarship of Elaine K. Gazda. In addition to volume editors Brenda Longfellow and Ellen E. Perry, contributors include Bettina Bergmann, Elise Friedland, Barbara Kellum, Diana Y. Ng, Jessica Powers, Melanie Grunow Sobocinski, Lea M. Stirling, Molly Swetnam-Burland, Elizabeth Wolfram Thill, and Jennifer Trimble.
The mosaics in the collection of the J. Paul Getty Museum span the second through the sixth centuries AD and reveal the diversity of compositions found throughout the Roman Empire during this period. Elaborate floors of stone and glass tesserae transformed private dwellings and public buildings alike into spectacular settings of vibrant color, figural imagery, and geometric design. Scenes from mythology, nature, daily life, and spectacles in the arena enlivened interior spaces and reflected the cultural ambitions of wealthy patrons. This online catalogue documents all of the mosaics in the Getty Museum’s collection, presenting their artistry in new color photography as well as the contexts of their discovery and excavation across Rome's expanding empire—from its center in Italy to provinces in southern Gaul, North Africa, and ancient Syria.
The free online edition of this open-access catalogue, available at www.getty.edu/publications/romanmosaics/, includes zoomable high-resolution photography, embedded glossary terms and additional comparative images, and interactive maps drawn from the Digital Atlas of the Roman Empire. Also available are free PDF, EPUB, and Kindle/MOBI downloads of the book, CSV and JSON downloads of the object data from the catalogue, and JPG and PPT downloads of the main catalogue images.
Meyer Schapiro (1904-96), renowned for his critical essays on nineteenth- and twentieth-century painting, also played a decisive role as a young scholar in defining the style of art and architecture known as Romanesque. And, appropriately, when he was invited to deliver the prestigious Charles Eliot Norton Lectures at Harvard, he chose Romanesque architectural sculpture as his topic. These lectures, acclaimed for the verve and freshness with which Schapiro delivered them, languished unpublished for decades. But Linda Seidel, who knew Schapiro well and attended the 1967 lectures, has now expertly transcribed and edited them, presenting them for the first time to an audience beyond the halls of Harvard.
In editing the lectures, Seidel closely followed the recordings of the originals. Sentences are rendered as Schapiro spoke them, affording readers a unique opportunity to experience the legendary teacher as he rarely appears in print: forming his thoughts spontaneously, interrupting himself to develop related ideas, and responding to the audience’s interests by introducing humorous asides. Nonetheless, these lectures are carefully constructed, demonstrating Schapiro’s commitment to the originality and value of artistic production and affirming his lifelong belief in artists’ engagement with their cultures. Amply illustrated with many key works and augmented with Seidel’s indispensable introduction, this long-awaited volume will delight students and scholars of art history, as well as anyone interested in seeing a new side of a profoundly influential mind.
Our thoughts are shaped as much by what things make of us as by what we make of them. Lyric poetry is especially concerned with things and their relationship to thought, sense, and understanding. In Romantic Things, Mary Jacobus explores the world of objects and phenomena in nature as expressed in Romantic poetry alongside the theme of sentience and sensory deprivation in literature and art.
Jacobus discusses objects and attributes that test our perceptions and preoccupy both Romantic poetry and modern philosophy. John Clare, John Constable, Rainer Maria Rilke, W. G. Sebald, and Gerhard Richter make appearances around the central figure of William Wordsworth as Jacobus explores trees, rocks, clouds, breath, sleep, deafness, and blindness in their work. While she thinks through these things, she is assisted by the writings of Maurice Merleau-Ponty, Jacques Derrida, and Jean-Luc Nancy. Helping us think more deeply about things that are at once visible and invisible, seen and unseen, felt and unfeeling, Romantic Things opens our eyes to what has been previously overlooked in lyric and Romantic poetry.
The Romare Bearden Reader brings together a collection of new essays and canonical writings by novelists, poets, historians, critics, and playwrights. The contributors, who include Toni Morrison, Ralph Ellison, August Wilson, Farah Jasmine Griffin, and Kobena Mercer, contextualize Bearden's life and career within the history of modern art, examine the influence of jazz and literature on his work, trace his impact on twentieth-century African American culture, and outline his art's political dimensions. Others focus on specific pieces, such as A Black Odyssey, or the ways in which Bearden used collage to understand African American identity. The Reader also includes Bearden's most important writings, which grant readers insight into his aesthetic values and practices and share his desire to tell what it means to be black in America. Put simply, The Romare Bearden Reader is an indispensable volume on one of the giants of twentieth-century American art.
Contributors. Elizabeth Alexander, Romare Bearden, Mary Lee Corlett, Rachel DeLue, David C. Driskell, Brent Hayes Edwards, Ralph Ellison, Henri Ghent, Farah Jasmine Griffin, Harry Henderson, Kobena Mercer, Toni Morrison, Albert Murray, Robert G. O’Meally, Richard Powell, Richard Price, Sally Price, Myron Schwartzman, Robert Burns Stepto, Calvin Tomkins, John Edgar Wideman, August Wilson
A unique, portable guidebook that sketches Rome’s great philosophical tradition while also providing an engaging travel companion to the city.
This is a guidebook to Rome for those interested in both la dolce vita and what the ancient Romans called the vita beata—the good life. Philosopher Scott Samuelson offers a thinker’s tour of the Eternal City, rooting ideas from this philosophical tradition within the geography of the city itself. As he introduces the city’s great works of art and its most famous sites—the Colosseum, the Forum, the Campo de’ Fiori—Samuelson also gets to the heart of the knotty ethical and emotional questions they pose. Practicing philosophy in place, Rome as a Guide to the Good Life tackles the profound questions that most tours of Rome only bracket. What does all this history tell us about who we are?
In addition to being a thoughtful philosophical companion, Samuelson is also a memorable tour guide, taking us on plenty of detours and pausing to linger over an afternoon Negroni, sample four classic Roman pastas, or explore the city’s best hidden gems. With Samuelson’s help, we understand why Rome has inspired philosophers such as Lucretius and Seneca, poets and artists such as Horace and Caravaggio, filmmakers like Fellini, and adventurers like Rosa Bathurst. This eclectic guidebook to Roman philosophy is for intrepid wanderers and armchair travelers alike—anyone who wants not just a change of scenery, but a change of soul.
At the turn of the fifteenth century, Rome was in the midst of a dramatic transformation from what the fourteenth-century poet Petrarch had termed a “crumbling city” populated by “broken ruins” into a prosperous Christian capital. Scholars, artists, architects, and engineers fascinated by Rome were spurred to develop new graphic modes for depicting the city—and the genre known as the city portrait exploded.
In Rome Measured and Imagined, Jessica Maier explores the history of this genre—which merged the accuracy of scientific endeavor with the imaginative aspects of art—during the rise of Renaissance print culture. Through an exploration of works dating from the fifteenth to the eighteenth centuries, her book interweaves the story of the city portrait with that of Rome itself.
Highly interdisciplinary and beautifully illustrated with nearly one hundred city portraits, Rome Measured and Imagined advances the scholarship on Renaissance Rome and print culture in fascinating ways.
Ronald Searle in Le Monde
Ronald Searle University of Chicago Press, 2002 Library of Congress D860.S4 2002 | Dewey Decimal 741.5942
Ronald Searle, a master of modern caricature, has tremendously influenced the work of other artists. His biting, darkly satirical wit and unique graphic style have also earned him admirers from far and wide; Groucho Marx called him a genius, and John Lennon named him as one of two people (along with Lewis Carroll) who most affected his life.
Since 1995, Searle has plied his sardonic trade on the coveted op-ed pages of the French daily newspaper Le Monde. This book presents more than a hundred of the best of these cartoons, ranging across politics, the new Europe, the nature of the contemporary economy, social games, and various "angels," both benign and mischievous. Whether skewering the greed of the rich with images of men in suits padding each other's pockets with cash or conducting business under the table, or making a poignant comment about how much harder peace has to work than war to stay in the same place, Searle displays the same pungent, incisive, yet infinitely humane wit. The deceptive simplicity of his lines and shadings combine with meticulously observed details of dress, background, and facial expression to produce arresting images that convey his messages powerfully and beautifully.
By turns delightful, amusing, and disturbing, but always deeply thought provoking, Searle's work reaches well beyond the specific occasion that inspired a given cartoon to illuminate key aspects of public life in the West at the end of the millennium. This book contains twenty-five illustrations not found in the French edition, together with a new preface for English-speaking readers written by Searle himself.
In this insightful study of Hollywood cinema since 1969, film historian Nick Smedley traces the cultural and intellectual heritage of American films, showing how the more thoughtful recent cinema owes a profound debt to Hollywood’s traditions of liberalism, first articulated in the New Deal era. Although American cinema is not usually thought of as politically or socially engaged, Smedley demonstrates how Hollywood can be seen as one of the most value-laden of all national cinemas. Drawing on a long historical view of the persistent trends and themes in Hollywood cinema, Smedley illustrates how films from recent decades have continued to explore the balance between unbridled individualistic capitalism and a more socially engaged liberalism. He also brings out the persistence of pacifism in Hollywood’s consideration of American foreign policy in Vietnam and the Middle East. His third theme concerns the treatment of women in Hollywood films, and the belated acceptance by the film community of a wider role for the American post-feminist woman. Featuring important new interviews with four of Hollywood’s most influential directors—Michael Mann, Peter Weir, Tony Gilroy, and Paul Haggis—The Roots of Modern Hollywood is an incisive account of where Hollywood is today and the path it has taken to get there.
The Black Chicago Renaissance emerged from a foundational stage that stretched from the 1893 World's Columbian Exposition to the start of the Great Depression. During this time, African American innovators working across the landscape of the arts set the stage for an intellectual flowering that redefined black cultural life.
Richard A. Courage and Christopher Robert Reed have brought together essays that explore the intersections in the backgrounds, education, professional affiliations, and public lives and achievements of black writers, journalists, visual artists, dance instructors, and other creators working in the late nineteenth and early twentieth centuries. Organized chronologically, the chapters unearth transformative forces that supported the emergence of individuals and social networks dedicated to work in arts and letters. The result is an illuminating scholarly collaboration that remaps African American intellectual and cultural geography and reframes the concept of urban black renaissance.
Contributors: Richard A. Courage, Mary Jo Deegan, Brenda Ellis Fredericks, James C. Hall, Bonnie Claudia Harrison, Darlene Clark Hine, John McCluskey Jr., Amy M. Mooney, Christopher Robert Reed, Clovis E. Semmes, Margaret Rose Vendryes, and Richard Yarborough
Hailed by her contemporaries as the most popular animal-painter, male or female, of the nineteenth century, the French artist Rosa Bonheur (1822-99) lived to see her name become a household word. In a century that did its best to keep women "in their place," Bonheur, like George Sand--to whom she was often compared--defined herself outside of the social and legal codes of her time. To the horror and bewilderment of many, she earned her own money, managed her own property, wore trousers, hunted, smoked, and lived in retreat with female companions in a little chateau near Fountainebleau named The Domain of Perfect Affection. Rosa Bonheur: The Artist's (Auto)Biography brings this extraordinary woman to life in a unique blend of biography and autobiography. Coupling her own memories with Bonheur's first-person account, Anna Klumpke, a young American artist who was Bonheur's lover and chosen portraitist, recounts how she came to meet and fall in love with Bonheur. Bonheur's account of her own life story, set nicely within Klumpke's narrative, sheds light on such topics as gender formation, institutional changes in the art world, governmental intervention in the arts, the social and legal regulation of dress codes, and the perceived transgressive nature of female sexual companionship in a repressive society, all with the distinctive flavor of Bonheur's artistic personality.
Gretchen van Slyke's translation provides a rare glimpse into the unconventional life of this famous French painter, and renders accessible for the first time in English this public statement of Bonheur's artistic credo. More importantly, whether judged by her century's standards (or perhaps even our own), it details a story of lesbian love that is bold, unconventional, and courageous.
"The remarkable life of Rosa Bonheur, one of the most highly decorated artists and certainly the best known female artist of her time in nineteenth-century France, is long overdue for further scrutiny." --Therese Dolan, Temple University
Gretchen van Slyke is Associate Professor of French, University of Vermont.
Could a book by any other name smell as sweet? Absolutely not. The rose is the world’s favorite flower—and always has been. It is our greatest floral symbol of love and romance, and it is a bloom that touches our hearts as the flower most often chosen to celebrate significant milestones—weddings, anniversaries, births, and indeed, deaths. In this book, Catherine Horwood traces the botanical, religious, literary, and artistic journeys of the rose across the centuries, from battles to bridal bouquets.
From Cleopatra’s rose petal–filled bed to Nijinsky’s Spectre de la Rose, from the highly prized Attar of Rose oil so beloved by the ancient Persians to the rosy scents of top perfume labels today, from Shakespearean myths about the War of the Roses to the significance of roses in Queen Elizabeth I’s embroidered dresses, and even to blockade-running during the Napoleonic Wars to satisfy Empress Josephine’s passion for collecting her favorite flower, Rose blossoms with the many stories of our ardor for this botanical family. Featuring a bower of illustrations and drawing on an array of sources as rich and many-hued as roses themselves, Horwood’s tale opens our eyes and noses to the world’s major rose-growing nations. With operatic tales of medieval bestsellers, nurserymen’s rivalries, and changing tastes in our personal flower beds, Rose is certain to woo both gardeners and non-gardeners alike.
Dorothy’s ruby slippers. Michael Myers’s mask. Marilyn Monroe’s billowy white dress. Indiana Jones’s trusty hat. These objects are icons of popular culture synonymous with the films they appear in, and, at long last, a book has come along that sorts and chronicles fifty of them.
Rosebud Sleds and Horses’ Heads presents incisive discussion of fifty of the most significant objects in cinema history and explores their importance within their films and within the popular imagination. With original full color illustrations, this book surveys objects from a range of genres, from the birth of cinema to the present day.
Curated and written by a prominent film critic who routinely writes for some of the leading publications in the English language, as well as broadcasts for the BBC, Rosebud Sleds and Horses’ Heads is the only book of its kind. With a fascinating, original, and instantly understandable concept, it will find grateful audiences in film buffs around the world.
A photographic diary of a small Midwestern farm and the family who’ve made it their home
In Roshara Journal, father-and-son team Jerry and Steve Apps share the monthly happenings at their family’s farm in central Wisconsin. Featuring Steve’s stunning photos and fifty years of Jerry’s journal entries, Roshara Journal captures the changes—both from month to month and over the decades—on the landscape and farmstead.
The Apps family has owned Roshara since 1966. There they nurture a prairie restoration and pine plantation, maintain a large garden that feeds three generations, observe wildlife species by the dozens, and support a population of endangered butterflies. In documenting life on this piece of land, Jerry and Steve remind us how, despite the pace and challenges of modern life, the seasons continue to influence our lives in ways large and small. Jerry explains that his journal entries become much more than mere observations: "It seems that when I write about something—a bur oak tree, for example—that old tree becomes a part of me. . . . Writing takes me to a place that goes beyond observation and understanding, a place filled with feeling and meaning."
In the tradition of Bernd Heinrich in Maine, Barry Lopez in the Canadian Arctic, and Aldo Leopold just an hour down the road in Baraboo, Jerry and Steve Apps combine observation, experience, and reflection to tell a profound story about one place in the world.
The first book-length study to examine the materials and techniques used in the fabrication and painting of the American pop artist Roy Lichtenstein’s outdoor sculpture.
Vibrant color was essential to the paintings of the American pop artist Roy Lichtenstein (1923–1997), and when he began exploring the creation of outdoor sculpture in the late 1970s, vivid hues remained an important part of his artistic vocabulary. Today, preserving these remarkable works after they have endured decades in outdoor environments around the world is an issue of pressing concern.
This abundantly illustrated volume is based on extensive archival research of Lichtenstein’s studio materials, interviews with his assistants, and a thorough technical analysis of the sculpture Three Brushstrokes. The book concludes with a chapter showing various options for the care, conservation, and restoration of his sculptural works, making this an essential resource for conservators, curators, and others interested both in the iconic artist and modern sculpture in general.
Winner of the Latin American Studies Association's 2022 Best Book in Colonial Latin American Studies.
This book examines the reception in Latin America of prints designed by the Flemish artist Peter Paul Rubens, showing how colonial artists used such designs to create all manner of artworks and, in the process, forged new frameworks for artistic creativity.
Peter Paul Rubens (1577–1640) never crossed the Atlantic himself, but his impact in colonial Latin America was profound. Prints made after the Flemish artist’s designs were routinely sent from Europe to the Spanish Americas, where artists used them to make all manner of objects.
Rubens in Repeat is the first comprehensive study of this transatlantic phenomenon, despite broad recognition that it was one of the most important forces to shape the artistic landscapes of the region. Copying, particularly in colonial contexts, has traditionally held negative implications that have discouraged its serious exploration. Yet analyzing the interpretation of printed sources and recontextualizing the resulting works within period discourse and their original spaces of display allow a new critical reassessment of this broad category of art produced in colonial Latin America—art that has all too easily been dismissed as derivative and thus unworthy of sustained interest and investigation. This book takes a new approach to the paradigms of artistic authorship that emerged alongside these complex creative responses, focusing on the viceroyalties of New Spain and Peru in the seventeenth and eighteenth centuries. It argues that the use of European prints was an essential component of the very framework in which colonial artists forged ideas about what it meant to be a creator.
Peter Paul Rubens was the most inventive and prolific northern European artist of his age. This book discusses his life and work in relation to three interrelated themes: spirit, ingenuity, and genius. It argues that Rubens and his reception were pivotal in the transformation of early modern ingenuity into Romantic genius. Ranging across the artist’s entire career, it explores Rubens’s engagement with these themes in his art and life. Alexander Marr looks at Rubens’s forays into altarpiece painting in Italy as well as his collaborations with fellow artists in his hometown of Antwerp, and his complex relationship with the spirit of pleasure. It concludes with his late landscapes in connection to genius loci, the spirit of the place.
Ruins of Modernity
Julia Hell and Andreas Schönle, eds. Duke University Press, 2009 Library of Congress CB425.R85 2010 | Dewey Decimal 909.83
Images of ruins may represent the raw realities created by bombs, natural disasters, or factory closings, but the way we see and understand ruins is not raw or unmediated. Rather, looking at ruins, writing about them, and representing them are acts framed by a long tradition. This unique interdisciplinary collection traces discourses about and representations of ruins from a richly contextualized perspective. In the introduction, Julia Hell and Andreas Schönle discuss how European modernity emerged partly through a confrontation with the ruins of the premodern past.
Several contributors discuss ideas about ruins developed by philosophers such as Immanuel Kant, Georg Simmel, and Walter Benjamin. One contributor examines how W. G. Sebald’s novel The Rings of Saturn betrays the ruins erased or forgotten in the Hegelian philosophy of history. Another analyzes the repressed specter of being bombed out of existence that underpins post-Second World War modernist architecture, especially Le Corbusier’s plans for Paris. Still another compares the ways that formerly dominant white populations relate to urban-industrial ruins in Detroit and to colonial ruins in Namibia. Other topics include atomic ruins at a Nevada test site, the connection between the cinema and ruins, the various narratives that have accrued around the Inca ruin of Vilcashuamán, Tolstoy’s response in War and Peace to the destruction of Moscow in the fire of 1812, the Nazis’ obsession with imperial ruins, and the emergence in Mumbai of a new “kinetic city” on what some might consider the ruins of a modernist city. By focusing on the concept of ruin, this collection sheds new light on modernity and its vast ramifications and complexities.
Contributors. Kerstin Barndt, Jon Beasley-Murray, Russell A. Berman, Jonathan Bolton, Svetlana Boym, Amir Eshel, Julia Hell, Daniel Herwitz, Andreas Huyssen, Rahul Mehrotra, Johannes von Moltke, Vladimir Paperny, Helen Petrovsky, Todd Presner, Helmut Puff, Alexander Regier, Eric Rentschler, Lucia Saks, Andreas Schönle, Tatiana Smoliarova, George Steinmetz, Jonathan Veitch, Gustavo Verdesio, Anthony Vidler
What do Renaissance poetry and painting have in common? What are the social, ideological, and aesthetic bases for the links between them? And what role do those links play in creating the humanistic culture that still has power over us today?
These are the questions Clark Hulse takes up in this sophisticated interdisciplinary study of Renaissance aesthetics. Proposing an archeology of artistic knowledge, Hulse examines the theoretical language through which the poets, painters, and patrons of the Renaissance conceived of the relationship between the arts. That language is embedded in what he calls a "rule of art," a specific set of categories, assumptions, and practices that defined the two art forms and the relationship between them. Hulse charts the rise of both forms to the status of liberal arts requiring special intellectual training for artist and patron alike. In the process, he uncovers the history of the practice of theory in the Renaissance, revealing how artistic discourse lived in the world.
Throughout its modern history, Russia has seen a succession of highly performative social acts that play out prominently in the public sphere. This innovative volume brings the fields of performance studies and Russian studies into dialog for the first time and shows that performance is a vital means for understanding Russia's culture from the reign of Peter the Great to the era of Putin. These twenty-seven essays encompass a diverse range of topics, from dance and classical music to live poetry and from viral video to public jubilees and political protest. As a whole they comprise an integrated, compelling intervention in Russian studies.
Challenging the primacy of the written word in this field, the volume fosters a larger intellectual community informed by theories and practices of performance from anthropology, art history, dance studies, film studies, cultural and social history, literary studies, musicology, political science, theater studies, and sociology.
In Rustic Cubism, Bruce Adams tells the fascinating story of Moly-Sabata, an art colony founded in the Rhône Valley during the height of French modernism by Cubist pioneer Albert Gleizes. Following his social and spiritual agenda of earthly labor and a Celtic-medievalist view of Christianity, Gleizes' disciples worked to fuse Cubism with a revival of ancient agrarian, artisanal traditions. The most important and committed member of this experimental commune was ceramicist Anne Dangar (1885-1951).
In part a gripping biography of this Australian expatriate, Rustic Cubism chronicles Dangar's personal battles and the tumult of the World War II era during her tempestuous tenure at Moly-Sabata. Dangar dedicated herself to the colony's aims by working in the region's village potteries, combining their vernacular elements with Gleizes' design methods to arrive at a type of rustic Cubism. Her work there would ultimately be rewarded; her pieces can today be found in the Musée des Arts Décoratifs in Paris, the Musée d'Art Moderne de la Ville de Paris, the Museo Internazionale delle Ceramiche in Faenza, the National Gallery of Australia, Canberra, and many other museums.
Rustic Cubism places Dangar at the heart of Moly-Sabata's alternative art movement—one that, in its nostalgic present, attempted to construct a culture based on the distant past. Generously illustrated with photographs of the art and social milieu of the period, this captivating and original narrative makes a considerable contribution to our understanding of French modernism and early twentieth-century cultural politics as well as of the life of a most talented and intriguing female artist.
"Oh, do tell the American people that I am a normal man; that I am a devoted husband and father, that I have three fine children, that I go to the theatre." These words were spoken by Matisse just before the Armory Show in 1913—a pivotal moment, after which his work was seen in America as an example of what should be admired or deplored in modern art.
In this ambitious study, John O'Brian argues that Matisse's sober presentations of himself were calculated to fit with the social constraints and ideological demands of the times. Matisse's strategy included cooperating with museums, cultivating private collectors, playing off dealers one against another, and reassuring the media that, whatever his reputation as an avant-gardist, the conduct of his life was solidly bourgeois.
Moving from the late 1920s, when Matisse's output was shedding its outlaw reputation, to the early 1950s, when his work was canonized, O'Brian shows how the way Matisse's work was viewed changed as attention shifted away from the seductiveness of his subject matter to the seductiveness of his paint. The art's resolute rejection of political concerns, its deployment of decorative design for visual satisfaction, and its representations of pleasure encouraged American audiences, who in the 1930s deemed the art disreputable, to celebrate its gratifications by the early years of the Cold War.
This intriguing, wide-ranging investigation of Matisse's self-promotion, America's uneasy embrace of modernism, and America's consumer culture and politics provides a rich context to Clement Greenberg's words published in the Nation in 1947: "Matisse's cold hedonism and ruthless exclusion of everything but the concrete, immediate sensation will in the future, once we are away from the present Zeitgeist, be better understood as the most profound mood of the first half of the twentieth century."