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Why is everything that compromises greatness in art coded as 'feminine'? Has the feminist critique of Art History yet effected real change? With a new preface by Griselda Pollock, this edition of a truly groundbreaking book offers a radical challenge to a women-free Art History. Parker and Pollock's critique of Art History's sexism leads to expanded, inclusive readings of the art of the past. They demonstrate how the changing historical social realities of gender relations and women artists' translation of gendered conditions into their works provide keys to novel understandings of why we might study the art of the past. They go further to show how such knowledge enables us to understand art by contemporary artists who are women and can contribute to the changing self-perception and creative work of artists today. In March 2020 Griselda Pollock was awarded the Holberg Prize in recognition of her outstanding contribution to research and her influence on thinking on gender, ideology, art and visual culture worldwide for over 40 years. Old Mistresses was her first major scholarly publication which has become a classic work of feminist art history.
During his lifetime, Herbert Read acquired a considerable international reputation as a poet, anarchist, novelist and biographer, critic of art, literature and life, aesthetic philosopher and revolutionary theorist of education. This book is a critical study of his intellectual career.
Since the 1979 publication of The Writings of Robert Smithson, Robert Smithson's significance as a spokesman for a generation of artists has been widely acknowledged and the importance of his thinking to contemporary artists and art critics continues to grow. In addition to a new introduction by Jack Flam, The Collected Writings includes previously unpublished essays by Smithson and gathers hard-to-find articles, interviews, and photographs. Together these provide a full picture of his wide-ranging views on art and culture.
The ability to adapt to a changing environment has ensured the continued survival of the human race into the 21st century. The challenges to be faced in this century are now well documented by the United Nations Intergovernmental Panel on Climate Change. The effects of drought, melting polar ice and increased incidences of extreme weather events will impact on the diverse landscapes of the earth and a human population predicted to be 9 billion by the middle of the 21st century, a three-fold increase in less than one hundred years.
This book provides a valuable insight into landscaping activity worldwide by those tasked with housing, feeding and nurturing all species that share the planet. Research for this publication reveals the growth of non-anthropised design philosophies, acknowledging that humanity cannot be indefinitely sustained if animal, bird and plant life are excluded. The precious resources of water and the air that we breathe are no longer taken for granted; rivers flowing through the world s mega-cities are now being cleaned, restored and given pride of place in the landscapes they flow through. Conservation projects provide evidence that even fragile island and desert landscapes can be protected from the negative impacts of population. Eco-Landscape Design demonstrates that an intelligent and thoughtful approach to landscape design can not only ensure survival, it can reap compound benefits and rewards far in excess of those originally envisaged."
The Art of Eliza Ivanova is an evocative, edgy, and beautiful book filled with the work of this exciting artist. A graduate of the California Institute of Arts, Bulgarian-born Eliza now lives in San Francisco where she created much of the art on these pages. She produces effortless movement with her sketched lines and animation-influenced dynamic touches. Well known for her portraits and figures of women and children, Eliza's style is distinctive and rich in detail. In addition to a gallery filled with a mix of old favorites, new creations and bespoke commissions for this book, you will be invited into Eliza's world. Enter her studio to discover her workspace and favorite tools. Eliza also shares techniques with us in step-by-step workshops to help us capture some of that dynamic movement that infuses her work. Both aspiring and established artists will benefit from Eliza's technical tips and words of wisdom about life, work, and more.
A provocative and challenging new conceptual framework for the study of images This book builds on the groundbreaking theoretical framework established in Whitney Davis's acclaimed previous book, A General Theory of Visual Culture, in which he shows how certain culturally constituted aspects of artifacts and pictures are visible to informed viewers. Here, Davis uses revealing archaeological and historical case studies to further develop his theory, presenting an exacting new account of the interaction that occurs when a viewer looks at a picture. Davis argues that pictoriality--the depiction intended by its maker to be seen--emerges at a particular standpoint in space and time. Reconstruction of this standpoint is the first step of the art historian's craft. Because standpoints are inherently mutable and mobile, pictoriality constantly shifts in form and possible meaning. To capture this complexity, Davis develops new concepts of radical pictorial ambiguity, including "bivisibility" (the fact that pictures can always be seen in ways other than intended), pictorial naturalism, and the behavior of pictures under changing angles of view. He then applies these concepts to four cases--Paleolithic cave painting; ancient Egyptian tomb decoration; classical Greek architectural sculpture, with a focus on the Parthenon frieze; and Renaissance perspective as invented by Brunelleschi. A profound new theory of the work of both makers and viewers by one of the discipline's most esteemed and engaged thinkers, Visuality and Virtuality is essential reading for art historians, architects, archaeologists, and philosophers of art and visual theory.
This innovative new volume offers an in-depth exploration of scale, one of the most crucial elements in the creation and reception of art. * Illustrates how scale has compelled audiences to rethink the significance and importance of specific works of art * Takes a comparative art historical approach exploring issues of scale in an array of forms, from Islamic architecture to contemporary photography * A global consideration of scale, with examples of work from ancient Egypt, eighteenth-century Korea, and contemporary Europe * The newest addition to the Art History Special Issue Book Series
Blender is the world's premier open source 3D software, created by some of the best digital artists working in creative industries around the globe. This book will give those interested in this versatile and expansive tool all the information they will need as they start their journey into 3D. Beginning with the fundamentals of working with 3D, this thorough tutorial book will help you piece together a skill set that will have you creating stunning 3D character in no time at all. Four complete projects will walk you through the creation of multiple characters, covering topics such as modeling, sculpting, and rendering.
A beautifully illustrated visual and cultural history of the color blue throughout the ages Blue has had a long and topsy-turvy history in the Western world. The ancient Greeks scorned it as ugly and barbaric, but most Americans and Europeans now cite it as their favorite color. In this fascinating history, the renowned medievalist Michel Pastoureau traces the changing meanings of blue from its rare appearance in prehistoric art to its international ubiquity today. Any history of color is, above all, a social history. Pastoureau investigates how the ever-changing role of blue in society has been reflected in manuscripts, stained glass, heraldry, clothing, paintings, and popular culture. Beginning with the almost total absence of blue from ancient Western art and language, the story moves to medieval Europe. As people began to associate blue with the Virgin Mary, the color became a powerful element in church decoration and symbolism. Blue gained new favor as a royal color in the twelfth century and became a formidable political and military force during the French Revolution. As blue triumphed in the modern era, new shades were created and blue became the color of romance and the blues. Finally, Pastoureau follows blue into contemporary times, when military clothing gave way to the everyday uniform of blue jeans and blue became the universal and unifying color of the Earth as seen from space. Beautifully illustrated, Blue tells the intriguing story of our favorite color and the cultures that have hated it, loved it, and made it essential to some of our greatest works of art.
In Six Years Lucy R. Lippard documents the chaotic network of ideas that has been labeled conceptual art. The book is arranged as an annotated chronology, into which is woven a rich collection of original documents including texts by and taped discussions among and with the artists involved and by Lippard, who has also provided a new preface for this edition. The result is a book with the character of a lively contemporary forum that provides an invaluable record of the thinking of the artists - an historical survey and essential reference book for the period.
Art, Truth, and Time is a book which endeavours to show that artistic creation depends as much upon the body, as it does the soul, and the soul's intelligent use of the body's way of understanding. When there occurs a complete disjunction between the two, as occurs in much of contemporary art, art is stripped of its inherent beauty, its wholeness. In this book the author considers the nature of art from its earliest manifestations to the present day, endeavouring to show that its truth transcends time and place through the unity of soul and body and man's awareness of this unity, not a barren unity, but a unity which is profoundly creative.
All great achievements of science must start from intuitive knowledge", wrote Albert Einstein. In Structural Intuitions, a fascinating exploration of the commonalities between two seemingly disparate realms, renowned art historian Martin Kemp applies Einstein's notion both to science and to art. Kemp argues that in both fields, work begins at the intuitive level, curiosity aroused by our recognition of patterns or order. Kemp's ""structural intuitions,"" then, are the ways we engage fundamental perceptual and cognitive mechanisms to bring order to our observed world. Through stimulating juxtaposition, Kemp considers connections between naturally occurring patterns, cognitive processes, and artistic and scientific expression, drawing on an array of examples from the Renaissance through the present. Taking a broadly historical approach, Kemp examines forms and processes such as the geometry of Platonic solids, the dynamics of growth, and the patterns of fluids in motion while placing the work of contemporary artists, engineers, and scientists in dialogue with that of visionaries such as Leonardo da Vinci and D'Arcy Thompson. Richly illustrated, lucidly written, and wonderfully thought-provoking, Structural Intuitions is essential reading for anyone seeking insight into common ground in the arts and sciences.
The German writer and art critic Carl Einstein (1885-1940) has long been acknowledged as an important figure in the history of modern art, and yet he is often sidelined as an enigma. In Form as Revolt Sebastian Zeidler recovers Einstein's multifaceted career, offering the first comprehensive intellectual biography of Einstein in English. Einstein first emerged as a writer of experimental prose through his involvement with the anarchist journal Die Aktion. After a few limited forays into art criticism, he burst onto the art scene in 1915 with his book Negro Sculpture, at once a formalist intervention into the contemporary theory and practice of European sculpture and a manifesto for the sophistication of African art. Einstein would go on to publish seminal texts on the cubist paintings of Georges Braque and Pablo Picasso. His contributions to the surrealist magazine Documents (which Einstein cofounded with Georges Bataille), including writings on Picasso and Paul Klee, remain unsurpassed in their depth and complexity. In a series of close visual analyses-illustrated with major works by Braque, Picasso, and Klee-Zeidler retrieves the theoretical resources that Einstein brought to bear on their art. Form as Revolt shows us that to rediscover Einstein's art criticism is to see the work of great modernist artists anew through the eyes of one of the most gifted left-wing formalists of the twentieth century.
How to Read Paintings is a valuable visual guide to Western European painting. Through a gallery of artworks accompanied by informative commentary, it enables readers to swiftly develop their understanding of the grammar and vocabulary of painting, and to discover how to look at diverse paintings in detail, closely reading their meanings and methods. In the first part of the book, the Grammar of Paintings, the author reveals how to read paintings by considering five key areas: shape and support, medium and materials, composition, style and technique, and signs and symbols, as well as the role of the artist. In the second part, we explore fifty paintings through extracted details, accompanied by insightful commentary, training the reader and viewer to understand context and discover meaning within art. As a collection, the pictures featured in How to Read Paintings have a strong relationship with one another, and underpin the story of painting. This book will be a valuable tool whether you are viewing the real thing on a gallery wall, or simply reading around the subject to learn more about Western art.
Controversial but lasting thesis that design and great art can be created by application of easily followed mathematics. 118 illustrations.
Michael Bracewell approaches visual art through its cultural context, the lens of the recent past and prolonged looking. He focuses on detailed descriptions of artworks, expanding their interpretation to include media, politics, music, poetry and other areas of cultural production. Together, the texts read as a history of the UK and British art from 1959 to the present day, featuring artists such as Richard Hamilton, Bridget Riley, Gilbert & George and Damien Hirst. Each essay is accompanied by an illustration selected by Bracewell himself. The collection concludes with a body of recent autobiographical writings, entitled 'Germany is Your America'.
Human beings have made images continuously for more than thirty thousand years. The oldest known cave paintings are between six and ten times older than the first forms of written language. Images help us organize our thoughts and represent them in our memory. We make images, Jonathan Fineberg argues, because we need them to aid not only in structuring our social and psychological self-conceptions but also in developing the circuitry of our brains. Modern Art at the Border of Mind and Brain is a broad investigation by one of the foremost scholars of modern art of the relationship between modern art and the structure of the mind and brain. Based on Fineberg's Presidential Lectures at the University of Nebraska, his book examines the relationship between artistic production, neuroscience, and the way we make meaning in form. Drawing on the art of Robert Motherwell, Joan Miro, Alexander Calder, Christo, Jean Dubuffet, and others, Fineberg helps us understand the visual unconscious, the limits of language, and the political impact of art. Throughout, he works from the conviction that looking is a form of thinking that has a profound impact on the structure of the mind.
When these essays first appeared in Artforum in 1976, their impact was immediate. They were discussed, annotated, cited, collected, and translated-the three issues of Artforum in which they appeared have become nearly impossible to obtain. Having Brian O'Doherty's provocative essays available again is a signal event for the art world. This edition also includes "The Gallery as Gesture," a critically important piece published ten years after the others. O'Doherty was the first to explicitly confront a particular crisis in postwar art as he sought to examine the assumptions on which the modern commercial and museum gallery was based. Concerned with the complex and sophisticated relationship between economics, social context, and aesthetics as represented in the contested space of the art gallery, he raises the question of how artists must construe their work in relation to the gallery space and system. These essays are essential reading for anyone interested in the history and issues of postwar art in Europe and the United States. Teeming with ideas, relentless in their pursuit of contradiction and paradox, they exhibit both the understanding of the artist (Patrick Ireland) and the precision of the scholar. With an introduction by Thomas McEvilley and a brilliantly cogent afterword by its author, Brian O'Doherty once again leads us on the perilous journey to center to the art world: Inside the White Cube.
In 12 essays by a distinguished group of art historians, Art and Technology in Early Modern Europe explores the relationship between artistic and technological advances from the Renaissance to the Industrial Revolution. * Provides a broad definition of technology for this period and addresses the influence of technological shifts on the history of early modern art * Covers c.1420-1820, the time period between the advent of the printed image and that of the photographically produced image * Discusses a wide range of early modern artists tools, instruments, skills, and techniques and their historical applications * Highlights a frequently overlooked aspect of research within art history that yields substantial insights into the analysis of the making and viewing of art
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