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Roland Paris is one of the most recognisable artists of the Art Deco world, yet his work remains something of an enigma. His art is caricature-like, bordering grotesque, and he delivers critical perspectives on society's downtrodden via jesters and devils. His mediums range from sculpture and painting to porcelain and wood, including woodcuts and the written word. This never-before-seen study focuses on the artist's trials and tribulations while living in Nazi-ruled Germany, and the tragic end to his life, hours before the end of World War Two.
This comprehensive survey of sculpture in Britain from the Reformation to the accession of Queen Victoria aims to shed light on English taste in the period. It examines the family tomb and the portrait bust, the forms of sculpture most favoured in Britain at that time.
Reveals how young children use drawing to play with ideas. Through engaging anecdotes, Ursula Kolbe gives insight into the rich possibilities of drawing, and celebrates it as a powerful fool for thinking and imagining. This book includes many practical suggestions.
The fourth title in the innovative New Mexico Artist Series, "3-D art/techn" spotlights once again the extraordinary art and artistic life in New Mexico today. "3-D art/techn" explores the work of more than thirty artists based in New Mexico who use traditional skills in non-traditional ways or who use non-traditional materials in traditional ways.
Recognizing that many people who work this way produce three-dimensional work, the book will focus on those who produce free-standing objects and those who may work on the wall but project out from it as well. Ranging from metal, wood, stone, clay and fiber to assemblage and glass, these works of art pose post-modern questions about modernist considerations of form and function. Among those featured are Tom Waldron, Barbara Zusman, Gail Rieke, and Tracy Krumm.
This book is a creative guide to the making of arguably the most
extraordinary art object to be made in the 21st century. Published
to accompany the 2007 exhibition "Damien Hirst: Beyond Belief" at
White Cube, it gives a fascinating pictorial insight into how
Hirst's diamond skull piece "For the Love of God" was conceived and
Comprehensive and beautifully illustrated, this expanded edition of Tiffany Lamps and Metalware presents an inexhaustible selection of items manufactured by Tiffany Studios over more than thirty years of uninterrupted production. As Tiffany Studios never published an official catalogue raisonne, this book is the closest one can come to a record of their prolific output. Endless in its variety, this book is the ultimate pictorial reference work. Vibrantly coloured table and floor lamps, chandeliers and sconces, as well as Tiffany's famous leaded lampshades are represented here. The book also features numerous metalware items, from inkstands and candlesticks to book ends, tea screens, clocks and tobacco jars. An index cross-references the firms' original model numbers and sales descriptions to the illustrations, further enabling identification. Updated and reorganised, this latest edition of Tiffany Lamps and Metalware is an accessible and functional guide to Tiffany's wide-spanning oeuvre.
Expressing one of many Luba sub-styles, the tall, standing male figures created by master carvers of the Hemba culture in southeastern Congo since at least the mid-1800s arguably rank among the noblest sculptural depictions of the human figure in sub-Saharan Africa. With their serene gaze and meditative expression, they exude a tranquility and dignity that befits these idealised likenesses memorialising esteemed leaders of the past. Infused with a life-force or vital energy, these spirit-invested objects were able to communicate between the living and the dead. Thanks to their inner power they had the capacity to impact the material sphere by allowing the ancestors to positively influence the well-being of their surviving relatives. In this publication, through the perceptive lens of art photographer Luigi Spina, we discover nine of the most accomplished Hemba creations whose classical style has triggered comparisons with some kouroi sculptures of ancient Greece. Spina's photographic interpretations help us understand why these proportionally balanced and symmetrically conceived ancestral figures have earned the admiration of African art lovers around the world. These personal readings of the beloved Hemba commemorative portraits also confirm why these sensitive renderings of the human anatomy deserve inclusion in the universal history of artistic creativity and a place in Andre Malraux's 'Museum Without Walls'. Text in English and French.
Covers modelling from casts, live models; measurements; frameworks; scale of proportions; compositions; reliefs, drapery, medals, etc. 107 full-page photographic plates. 27 other photographs. 175 drawings and diagrams.
Projected-image art occupies an increasingly important place in the contemporary art-world. But does the projected image have its own specificity, beyond the histories of experimental film and video on the one hand, and installation art on the other? What is a projected image, and what is the history of projected-image art? These questions and others are explored in this thoughtful collection of nine essays by leading international scholars of film and projected-image art. Clearly structured in three sections - 'Histories', 'Screen', 'Space' - the book argues for recognition of the projected image as a distinctive category in contemporary art, which demands new critical and theoretical approaches. The contributors explore a range of interpretive perspectives, offering new insights into the work of artists including Michael Snow, Carolee Schneemann, Pipilotti Rist, Stan Douglas, Gillian Wearing, Tacita Dean, Jane and Louise Wilson, amongst others. The Introduction supplies a concise summary of the history of projected-image art and its interpretation, and there is a focus throughout the book on detailed analysis of individual artworks. -- .
Enter an ultra-patriotic era of "military mood" fashions, replete in red, white, and blue. One in a series of books from Schiffer Publishing documenting fashion trends in America, this is an invaluable resource for fashion designers looking to revive and rework retro styles, for costume designers working to recreate an era, and for collectors and historians wanting to document vintage clothing. A visual treasure chest, this book offers more than 400 full-color photographs, with thousands of items of clothing, shoes, and accessories pictured, along with detailed descriptions. A guide to retail values for these items on today's market is featured as well.
For four decades the internationally renowned French artist ORLAN has interrogated every defining aspect of being human-gender, ethnicity, religion, beauty, physiognomy, and even physiology itself-through an endlessly mutating oeuvre that defies categorization. Performance, sculpture, photography, poetry, design-ORLAN not only creates within these media, she disappears into them, willfully dissolving and reconfiguring her identity through her work. ORLAN is most famous for her series of cosmetic-surgery performances in the 1990s in which she reconfigured her face and body as a critique of the standards of beauty imposed on women. In 2008, in a seemingly radical departure, ORLAN chose to disappear from her work entirely, effacing her famously protean features from her creations. In fact, she had chosen an even more dramatic way to dismantle her identity and perform it anew. With her Harlequin Coat project ORLAN borrows the commedia dell'arte trickster hero, the harlequin, as her alter ego, using his patchwork motif as a metaphor for the fragmented, multicolored, multilayered performance of the human signature. It is her most collaborative work to date, involving, at different stages, artists from the worlds of fashion, design, film, and technology. In reaching back to this Italian Renaissance character ORLAN simultaneously reaches forward into the most pressing of contemporary concerns: How can we be sure of who and what we are? Fabulous Harlequin showcases photographs of ORLAN's projects along with critical essays on ORLAN's work.
The opening of the New Acropolis Museum in Athens in spring 2008 provides the opportunity to re-state the case for the return of the Elgin Marbles to Athens. The British Museum's long-standing objection that there is nowhere in Athens to house the Marbles is answered in emphatic style. Meanwhile, decisions concerning the restitution of cultural artefacts are increasingly recognized as of national importance, and are no longer left solely to curators and museum directors. With new contributions from leading authorities, this new edition of Christopher Hitchens' elegantly argued and characteristically forthright book will make a powerful contribution to ensuring that the Marbles return to their place of origin.
What to do with the fragments of a love affair? A postcard from a childhood sweetheart. A wedding dress in a jar. Barbed wire. Silicone breast implants. Red stilettos, never worn. These objects and many others make up the inspiring, whimsical, sometimes bizarre, and always unforgettable population of the real-life Museum of Broken Relationships. A decade ago, two lovers were struggling through their own painful breakup, desperate to heal their heartbreak without destroying the memory of the love they had shared. Then, an idea struck: they would create a communal space, a kind of refuge for - and cathartic celebration of - the everyday objects that had outlasted love. These items, along with the anonymous, intimate stories each piece represented, quickly captured hearts and imaginations across the globe. As word spread, the tiny museum became a worldwide sensation. Collected here are 203 of the best, funniest, most heartwarming and thought-provoking pieces that offer an irresistible experience of human connection. The Museum of Broken Relationships is a poignant celebration of modern love - and a must-read for anyone who has ever loved and lost.
Cinema mon amour focuses on the mutual fascination that art and film have for one another. It features work by international artists, including Martin Arnold, John Baldessari, Fiona Banner, Marc Bauer, Pierre Bismuth, Candice Breitz, Janet Cardiff & George Bures Miller, collectif_fact, Tacita Dean, Stan Douglas, Thomas Galler, Christoph Girardet & Matthias Muller, Douglas Gordon, Teresa Hubbard / Alexander Birchler, Samson Kambalu, Daniela Keiser, Urs Luthi, Philippe Parreno, Julian Rosefeldt, Hiroshi Sugimoto, Sam Taylor-Johnson, and Mark Wallinger. All of them have engaged with different themes surrounding cinema and filmmaking. The well-founded essays discuss topics such as cinema as space, the film industry, found footage, specific movies and genres, the mechanisms of film, as well as the filmmakers' gaze at art. This lavishly illustrated book, published to coincide with an exhibition at Aargauer Kunsthaus in Switzerland, offers an insight into the allure that film and cinema have on us. Cinema mon amour, Aargauer Kunsthaus, Aarau, Switzerland, 22 January to 17 April 2017.
In Brave Birds, cut-paper artist and writer Maude White presents an entirely new collection of sixty-five stunning cut-paper birds. As a source of inspiration, each bird is paired with an original message of kindness and strength associated with its particular traits to encourage bravery and perseverance. Inside, you'll find birds for experiencing Joy, Creativity, Patience, Kindness, Resilience, Communication, Strength, Awareness, Action, and Transformation, and each composition, beautifully photographed by Laura Glazer, reflects thousands of intricate cuts, lending an astounding level of texture to these delicate and ethereal creatures. Appealing to any bird lover or collector of bird art, Brave Birds is a beautiful resource for those wishing to practice a life of kindness and empathy.
A beautifully written study of three pioneering artists, entwining their work and our understanding of creativity Bringing the creative process of three contemporary artists into conversation, Architectures of the Unforeseen stages an encounter between philosophy and art and design. Its gorgeous prose invites the reader to think along with Brian Massumi as he thoroughly embodies the work of these artists, walking the line that separates theory from art and providing equally nurturing sustenance for practicing artists and working philosophers. Based on Massumi's lengthy-and in two cases decades-long-relationships with digital architect Greg Lynn, interactive media artist Rafael-Lozano Hemmer, and mixed-media installation creator Simryn Gill, Architectures of the Unforeseen delves into their processes of creating art. The book's primary interest is in what motivates each artist's practice-the generative knots that inspire creativity-and in how their pieces work to give off their unique effects. More than a series of profiles or critical pieces, Massumi's essays are creative, developing new philosophical concepts and offering rigorous sentiments about art and creativity. Asking fundamental questions about nature, culture, and the emergence of the new, Architectures of the Unforeseen is important original research on artists that are pioneers in their field. Equally valuable to the everyday reader and those engaged in scholarly work, it is destined to become an important book not only for the fields of digital architecture, interactive media, and installation art, but also more basically for our knowledge of art and creativity.
With dramatic expressions of futurism alongside rustic eco-trends, this book collects the best of 1970s design in one expertly curated and annotated volume, drawn from the now-classic collectible, Decorative Art, The Studio Yearbook. Across metalware, textiles, ceramics, and more, explore a decade of fast-moving ideas and vehemently opposing schools and movements.
This book explores the role of description in the interpretation of ancient Greek statuary. Although scholars have emphasised the importance of separating objective evaluation of evidence from interpretation, in practice it has proved difficult to draw this distinction. Even at the level of observation and vocabulary, the scholarship on Greek sculpture has been moulded by concepts and convictions that impose particular interpretations on the material. This study examines the scholarship on a select number of well-known Greek statues from the eighteenth century through the present. The impact of the historical, cultural and intellectual contexts that produced this specialised scholarship is demonstrated through considerations of issues such as ethnicity, psychology, theories about artistic form, and evolving conceptions of nude and clothed figures.
The Elgin Marbles, designed and executed by Phidias to adorn the Parthenon, are some of the most beautiful sculptures of ancient Greece. In 1801 Lord Elgin, then British ambassador to the Turkish government in Athens, had pieces of the frieze sawn off and removed to Britain, where they remain, igniting a storm of controversy which has continued to the present day. In the first full-length work on this fiercely debated issue, Christopher Hitchens recounts the history of these precious sculptures and forcefully makes the case for their return to Greece. Drawing out the artistic, moral, legal and political perspectives of the argument, Hitchens's eloquent prose makes The Elgin Marbles an invaluable contribution to one of the most important cultural controversies of our times.
This volume is both a companion to the editors' Greek Historical Inscriptions, 404-323 BC, and a successor to the later part of the Selection of Greek Historical Inscriptions to the End of the Fifth Century BC, edited by Russell Meiggs and David M. Lewis and published in 1969. As with the editors' earlier collection, it seeks to make a selection of historically significant inscribed texts accessible to scholars and students of fifth-century Greek history. Since the publication of Meiggs and Lewis' collection, a number of significant new inscriptions and fragments have been unearthed and new interpretations of previously known examples developed. As well as updating the scholarly corpus, this volume aims to broaden the thematic range of inscriptions discussed and to include a greater selection of material from outside Athens, while still adhering to the intention of presenting texts which are important not just as typical of their genre but in their own right. In doing so, it offers an entry point to all aspects of fifth-century history, from political and institutional, to social, economic, and religious, and in order to make the material as accessible as possible for a broad readership concerned with the study of these areas, the Greek texts are presented here alongside both English translations and incisive commentaries, which will be of utility both to the specialist academic and to those less familiar with the areas in question. The inclusion of photographs depicting inscribed stones and bronzes complements discussion of the inscriptions themselves and enables parallel consideration of their nature, appearance, and transmission history, resulting in a work of thoroughly comprehensive, cutting-edge scholarship and an invaluable reference text for the study of fifth-century Greek history.
Alberto Giacometti (1901-66) is inarguably one of the greatest
sculptors of the twentieth century. Immensely gifted and prolific,
Giacometti gave physical expression to his twin obsessions of the
human form and the alienation of modern life. Because of his
canonical position in the history of art and the reams of
scholarship produced about him, Giacometti remains to many the
elusive master artist, distant and remote on the Olympus of
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