An essay in the representation of politics, these large-format panoramic photographs of town council meetings across the United States are the result of four years of traveling by artist-photographer Paul Shambroom. Photographing civic meetings as staged tableaux, his pictures resemble epic history paintings, describing the humble practice of local government and the character of small town America on a grand scale. The images are accompanied by the minutes of each meeting--40,000 words reproduced on bible paper at the back of the book.
Sometimes seeing is more difficult for the student of art than believing. Taylor, in a book that has sold more than 300,000 copies since its original publication in 1957, has helped two generations of art students learn to look.This handy guide to the visual arts is designed to provide a comprehensive view of art, moving from the analytic study of specific works to a consideration of broad principles and technical matters. Forty-four carefully selected illustrations afford an excellent sampling of the wide range of experience awaiting the explorer. The second edition of Learning to Look includes a new chapter on twentieth-century art. Taylor's thoughtful discussion of pure forms and our responses to them gives the reader a few useful starting points for looking at art that does not reproduce nature and for understanding the distance between contemporary figurative art and reality.
The avant-garde movements of Central Europe were an integral part of modernism's evolution as it reached its peak throughout the continent during the 1920s. Written documents--manifestoes, artists' statements, and reviews--were the lifeblood of these movements and, during the periods when political events conspired to isolate them, one of their few means of communication and exchange. Much of this crucial evidence has become lost to us, and the artistic avant-gardes of Central Europe have been a blind spot of modernist studies. Until their narratives have been recovered, the story of modernism will remain incomplete. In this book an international team of scholars has selected an essential compendium of documents that take an important step toward regaining this lost perspective. Between Worlds contains primary documents of the avant-gardes in Austria, the Czech lands, Germany, Hungary, Poland, Romania, and Yugoslavia from 1910 to 1930. The manifestoes and magazines of Western European radical art circles are well known to Western scholars, but few have researched the pages of magazines such as Zenit, Integral, Punct, 75 HP, Tank, and Ma. We know about Italian Futurism but not about Polish Futurism. Few Westerners are aware that French surrealist magazines drew much of their inspiration from Czech publications. The hundreds of documents in the book, almost all of them translated into English for the first time, bring back into circulation landmark texts by the major writers, editors, artists, magazines, and movements of Central Europe. With this publication they are restored to their rightful place in the pantheon of modernism. Between Worlds is distributed for the Los Angeles County Museum of Art.
The story of one of the most famous statues in history is fully told here, from the unearthing of the statue in 1820 through quibbles among the French, Germans, and Turks, over who should possess her.
A lively and lavishly illustrated history of decorative arts from 1950 through 2000, this survey presents 130 key examples of later twentieth-century design in their cultural contexts. The primary focus is furniture-- both one-of-a-kind examples and mass-produced works-- by international designers and architects. Here are classic designs for chairs, shelving units, and lamps by well-known masters from Aarnio to Zanuso, as well as provocative works by newcomers. All the works in "Design for Living" are from the Liliane and David M. Stewart Collection of the Montreal Museum of Decorative Arts/Montreal Museum of Fine Arts.
The furniture is presented in five chapters which establish decade by decade, the historical, artistic, and technical currents that led from "Good Design" and traditional Modernism to Pop Art and Post-Modernism, and to concerns for ecology, pluralism, and spirituality. Full-color photographs and entries on each object profile the design process and the designer, while illustrations show these works in their original period settings. All this recommends "Design for Living" to the general reader, as well as to the designer, collector, and scholar. Here is an accessible guide and resource to the fifty years of exuberant creativity that mark the second half of the twentieth century.
In a fascinating series of case studies, this book looks at the ways in which European colonizers interpreted the arts of the people they colonized, as well the ways in which they have tended to view art produced by the colonized and their descendants in post-colonial times.In the European colonial past, the dominant view of difference represented the culture of the colonized as inferior and inalterable or slow to change. This book discusses perspectives on pre-colonial Indian art expressed in the mid-nineteenth century, the early twentieth century, and the present day. It also considers the effects of imperialist ways of looking even in places without direct European colonial control. European colonizers tended to see their own artistic traditions as continually progressing but the art of colonized or non-European peoples as traditional and incapable of generating its own modernity. And, the studies in the book show, colonizers and their heirs in the twentieth century have doubted that a colonial subject could appropriate European art forms or handle them independently--a view that continues to uphold the notion of modernity as a Europeans only enterprise. This is the fifth volume in the series Art and its Histories, created to accompany the Open University undergraduate course by the same title.
Why did medieval dramatists weave so many scenes of torture into their plays? Exploring the cultural connections among rhetoric, law, drama, literary creation, and violence, Jody Enders addresses an issue that has long troubled students of the Middle Ages. Theories of rhetoric and law of the time reveal, she points out, that the ideology of torture was a widely accepted means for exploiting such essential elements of the stage and stagecraft as dramatic verisimilitude, pity, fear, and catharsis to fabricate truth. Analyzing the consequences of torture for the history of aesthetics in general and of drama in particular, Enders shows that if the violence embedded in the history of rhetoric is acknowledged, we are better able to understand not only the enduring theater of cruelty identified by theorists from Isidore of Seville to Antonin Artaud, but also the continuing modern devotion to the spectacle of pain.
Mark Doty's prose has been hailed as tempered and tough, sorrowing and serene (The New York Times Book Review) and achingly beautiful (The Boston Globe). In Still Life with Oysters and Lemon he offers a stunning exploration of our attachment to ordinary things-how we invest objects with human store, and why.