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297 pages : illustrations (some color) ; 27 cm
  • Introduction brutalism : style, substance, sensibility
  • Parallel of life and art : brutalism's locus classicus
  • Building on ruins : East End ethnography and vernacular urbanism
  • Acid etched walls : Hammer Prints and domestic brutalism
  • Brutalist bodies and cybernetic time
  • Domestic anxiety and ideal homes : brutalism at the Ideal Home Exhibition
  • Epilogue : the aftermath of brutalism.
While most famously associated with numerous mid-century architects, Brutalism was a style of visual art that was also adopted by painters, sculptors, printmakers, and photographers. Taking into account Brutalist work by eminent artists such as Richard Hamilton and Eduardo Paolozzi, as well as lesser-known practitioners like Nigel Henderson and Magda Cordell , this volume focuses on a ten-year period between 1952 and 1962 when artists refused a programmatic set of aesthetics and began experimenting with images that had no set focal point, using non-traditional materials like bombsite debris in their work, and producing objects that were characterized by wit and energy along with anxiety, trauma, and melancholia. This original study offers insights into how Brutalism enabled British artists of the mid-20th century to respond ethically and aesthetically to the challenges posed by the rise of consumer culture and unbridled technological progress.
(source: Nielsen Book Data)9780300222746 20170814
Art & Architecture Library (Bowes)
282 pages, 24 unnumbered pages of plates : illustrations (some color), maps ; 27 cm
  • Maps Introduction Chapter 1. Culture, Contact, and Art History: Framing the Theoretical Landscape Chapter 2. Arts of Contact Chapter 3. Exceptional Greeks and Phantom Phoenicians Chapter 4. The Rise of Phoenicianism Chapter 5. Hybridity, the Middle Ground, and the "Conundrum of 'Mixing'" Conclusion Notes Works Cited Index Acknowledgments.
  • (source: Nielsen Book Data)9780812249088 20170724
The proem to Herodotus's history of the Greek-Persian wars relates the long-standing conflict between Europe and Asia from the points of view of the Greeks' chief antagonists, the Persians and Phoenicians. However humorous or fantastical these accounts may be, their stories, as voiced by a Greek, reveal a great deal about the perceived differences between Greeks and others. The conflict is framed in political, not absolute, terms correlative to historical events, not in terms of innate qualities of the participants. It is this perspective that informs the argument of The Art of Contact: Comparative Approaches to Greek and Phoenician Art. Becky Martin reconsiders works of art produced by, or thought to be produced by, Greeks and Phoenicians during the first millennium B.C., when they were in prolonged contact with one another. Although primordial narratives that emphasize an essential quality of Greek and Phoenician identities have been critiqued for decades, Martin contends that the study of ancient history has not yet effectively challenged the idea of the inevitability of the political and cultural triumph of Greece. She aims to show how the methods used to study ancient history shape perceptions of it and argues that art is especially positioned to revise conventional accountings of the history of Greek-Phoenician interaction. Examining Athenian and Tyrian coins, kouros statues and mosaics, as well as the familiar Alexander Sarcophagus and the sculpture known as the "Slipper Slapper, " Martin questions what constituted "Greek" and "Phoenician" art and, by extension, Greek and Phoenician identity. Explicating the relationship between theory, method, and interpretation, The Art of Contact destabilizes categories such as orientalism and Hellenism and offers fresh perspectives on Greek and Phoenician art history.
(source: Nielsen Book Data)9780812249088 20170724
Art & Architecture Library (Bowes)
vii, 354 pages : illustrations (chiefly color) ; 29 cm.
This is the exhibition catalogue for the joint exhibition of the American Numismatic Society hosted by the Frances Lehman Loeb Art Center, featuring the medallic art and posters of the Great War.
(source: Nielsen Book Data)9780897223485 20170703
Art & Architecture Library (Bowes)
181 pages : illustrations (chiefly color) ; 31 cm
The Art of Horizon Zero Dawn is the ultimate gallery of thehotly anticipated new IP from Guerrilla Games (Killzoneseries). It focuses on the stunning artwork used to developthe game, and includes over 300 images, sketches, andconcept art, commentary throughout from the artists andcreators. This is an in-depth insight into a world asbeautiful as it is dangerous.
(source: Nielsen Book Data)9781785653636 20170403
Art & Architecture Library (Bowes)
vii, 192 pages : illustrations ; 26 cm
Art & Architecture Library (Bowes)
160 pages : color illustrations ; 26 cm
Discover the totally unexpected, beautiful and intricate art created using the easily accessible medium. The Art of Spray Paint showcases the grand and imaginative scale of spray paint art and design. Inside, you'll find jaw-dropping spray paint creations from around the world! You'll discover the process of each art form, as well as tricks of the trade, from small clever projects to huge art installations. Much more than a book about "cool" spray paint designs, Lori Zimmer guides you through amazing large-scale art production, immersive environments, working from intuition, collaboration, the artist's role in society, alternative creative economies, contemporary mythology, storytelling, DIY projects and more. With such a readily available medium, what will you create? Contributors include: CRASH, PichiAvo, BR163, Logan Hicks, Joe Iurato, Nick Walker, Caroline Caldwell, Casey Gray, Tristan Eaton, Matt Eaton, Hueman, Elle, Tatiana Suarez, Conor Harrington, Remi Rough, Will Hutnick, Rubin415, Rebecca Paul, Zac Braun, Ian Kuali'i, Ele Pack, Dana Oldfather.
(source: Nielsen Book Data)9781631591464 20170515
Art & Architecture Library (Bowes)
175 pages (some folded) : illustrations ; 30 cm.
Art & Architecture Library (Bowes), SAL3 (off-campus storage)
379 pages : illustrations (chiefly color) ; 35 cm
Art & Architecture Library (Bowes)
xix, 511 pages : illustrations ; 23 cm.
Art & Architecture Library (Bowes)

90. Art record covers [2017]

447 pages : illustrations (some color) ; 30 cm
Sound art An unprecedented collection of artists' record covers from the 1950s to today Since the dawn of modernism, visual and music production have had a particularly intimate relationship. From Luigi Russolo's 1913 Futurist manifesto L'Arte dei Rumori (The Art of Noise) to Marcel Duchamp's 1925 double-sided discs Rotereliefs, the 20th century saw ever more fertile exchange between sounds and shapes, marks and melodies, and different fields of composition and performance. In Francesco Spampinato' unique anthology of artists' record covers, we discover the rhythm of this particular cultural history. The book presents 500 covers and records by visual artists from the 1950s through to today, exploring how modernism, Pop Art, Conceptual Art, postmodernism, and various forms of contemporary art practice have all informed this collateral field of visual production and supported the mass distribution of music with defining imagery that swiftly and suggestively evokes an aural encounter. Along the way, we find Jean-Michel Basquiat's urban hieroglyphs for his own Tartown record label, Banksy's stenciled graffiti for Blur, Damien Hirst's synecdoche skull for The Hours, and a skewered Salvador Dali butterfly on Jackie Gleason's Lonesome Echo. There are insightful analyses and fact sheets alongside the covers listing the artist, performer, album name, label, year of release, and information on the original artwork. Interviews with Tauba Auerbach, Shepard Fairey, Kim Gordon, Christian Marclay, Albert Oehlen, and Raymond Pettibon add personal accounts on the collaborative relationship between artists and musicians.Text in English, French, and German.
(source: Nielsen Book Data)9783836540292 20170418
Art & Architecture Library (Bowes)
xiii, 307 pages : color illustrations ; 23 cm.
  • Introduction. Dakar's art world city
  • Making the city's scene: visibility, exhibition culture, and mediatization
  • Mapping the Dak'art Biennale in Dakar
  • A place from which to speak: artists' studios as infrastructure of opportunity
  • From street to studio: sourcing the materials for art from urban life
  • Picturing the city
  • Market space and urban space: the business of selling art in the city
  • Epilogue. Reflections on Dakar's art world city: infrastructures, vision-oriented subjectivities, and implications.
Art World City' focuses on contemporary art and artists in the city of Dakar, a famously thriving art metropolis in the West African nation of Senegal. Joanna Grabski illuminates how artists earn their livelihoods from the city s resources, possibilities, and connections. She examines how and why they produce and exhibit their work and how they make an art scene and transact with art world mediators such as curators, journalists, critics, art lovers, and collectors from near and far. Grabski shows that Dakar-based artists participate in a platform that has a global reach. They extend Dakar's creative economy and the city's urban vibe into an "art world city."
Art & Architecture Library (Bowes)
254 pages : illustrations (chiefly color) ; 31 cm
  • L'arbre et l'art -- Le cri pour la vie -- Manifeste du Rio Negro: du naturalisme intégral -- Le Cri -- Le passe-muraille -- Capteuse de sens -- L'Arbre aux couteaux -- Trognes en danger -- Territoires désanchantés -- Quel paradis? -- Forêts d'emballages -- Semeur d'histoire -- Retour de colonies -- Cueilleur de nature -- Renversement -- Cri Nord-Sud -- Perturbateur de vision -- Air en péril -- Fac-similé -- Producteur de signes -- Esthétique d'un désastre -- La Vie -- Ar(t)bre peau -- L'apposeur de vie -- L'alchimiste -- Lignes rouges -- L'arbre me l'a dit... -- Intense essence -- Jardin des métamorphoses -- Révélateur d'âmes -- Peaux sensuelles -- Lumière naturelle -- Corps et âme -- Présence-Absence -- Impressions d'ar(t)bre -- Variations sur le sens -- Réflexion à fleur de peau -- Les incongrus -- Hors limite -- Sculpteur de nature -- Utopies -- Le respireur de mondes -- Espace mental -- Rêve de nature -- Histoires d'ar(t)bre -- Expériences physiques -- Basculement -- Racines des mots -- Paysages habités -- Releveur de traces -- La plume dans la plaie -- Tisseur d'histoires -- Troncs d'encre -- Mémoire des origines -- Esprits vivants -- Condition d'arbre -- Sentinelles mémorables -- Ar(t)bre urbain -- Le sorcier blanc -- Flèches rouge sang -- Retour aux sources -- Lettre à un mur -- Zuman ou l'étincelle de la révolte -- Racines goudronnées -- Les couleurs de la ville -- Archi ar(t)bre -- Dans la peau d'un peuple -- Paradoxe sacré -- Murs de bambou -- Dialogue archi-nature -- Réflecteur de vie -- L'Arbre de la Terre -- Forêt dans la ville -- L'Arbre.
"Soixante-quatre artistes de tout premier plan portent un regard écologique, symbolique ou politique sur l'arbre révélant l'urgence et la nécessité de le protéger. Véritable "arbre-corps", l'artiste brésilien d'origine polonaise, Frans Krajcberg, ouvre l'ouvrage et en incarne le propos. Dans sa continuité, Pierre Alechinsky, Ai Weiwei, Jean Nouvel, Gloria Friedmann, Antony Gormley, Nils-Udo, Maurizio Cattelan, Fabrice Hyber, Ernest Pignon Ernest, Zang Xiaogang ou encore JR rendent visible le combat pour la protection de l'arbre en privilégiant le sensible, l'esthétique et le symbolique. Qu'ils soient "éco sensibles" ou à l'écoute du pouls ou de la beauté du monde, leur vision conceptuelle ou figurative de l'arbre transcende nos questionnements."--Page 4 of cover.
Art & Architecture Library (Bowes)
297 pages : illustrations (chiefly color) ; 30 cm
Art & Architecture Library (Bowes)
64 ungezählte Seiten.
Art & Architecture Library (Bowes)
301 pages : illustrations ; 23 cm.
Art & Architecture Library (Bowes)
ix, 243 pages : illustrations ; 25 cm
  • Table of Contents to come.
  • (source: Nielsen Book Data)9781472409560 20160906
By uniquely treating Gerhard Richter's entire oeuvre as a single subject, Darryn Ansted combines research into Richter's first art career as a socialist realist with study of his subsequent decisions as a significant contemporary artist. Analysis of Richter's East German murals, early work, lesser known paintings, and destroyed and unfinished pieces buttress this major re-evaluation of Richter's other well known but little understood paintings. By placing the reader in the artist's studio and examining not only the paintings but the fraught and surprising decisions behind their production, Richter's methodology is deftly revealed here as one of profound yet troubled reflection on the shifting identity, culture and ideology of his period. This rethinking of Richter's oeuvre is informed by salient analyses of influential theorists, ranging from Theodor Adorno to Slavoj Zizek, as throughout, meticulous visual analysis of Richter's changing aesthetic strategies shows how he persistently attempts to retrace the border between an objective reality structured by ideology and his subjective experience as a contemporary painter in the studio. Its innovative combination of historical accuracy, philosophical depth and astute visual analysis will make this an indispensible guide for both new audiences and established scholars of Richter's painting.
(source: Nielsen Book Data)9781472409560 20160906
Art & Architecture Library (Bowes)
xvi, 264 pages, 32 unnumbered pages of plates : illustrations (some color) ; 24 cm
  • List of Illustrations Ackowledgements Introduction Chapter 1: What Are You Looking At? Bodies, Desire, and Portraits Chapter 2: Working Hard or Hardly Working: Labor, Race, and Manhood Chapter 3: Sex Sells: Desire, Money, and Male Bodies Chapter 4: Men Seeking Men Epilogue Selected Bibliography Index.
  • (source: Nielsen Book Data)9781501325755 20170621
Arriving in New York City in the first decade of the twentieth century, six painters-Robert Henri, John Sloan, Everett Shinn, Glackens, George Luks, and George Bellows, subsequently known as the Ashcan Circle-faced a visual culture that depicted the urban man as a diseased body under assault. Ashcan artists countered this narrative, manipulating the bodies of construction workers, tramps, entertainers, and office workers to stand in visual opposition to popular, political, and commercial cultures. They did so by repeatedly positioning white male bodies as having no cleverness, no moral authority, no style, and no particular charisma, crafting with consistency an unspectacular man. This was an attempt, both radical and deeply insidious, to make the white male body stand outside visual systems of knowledge, to resist the disciplining powers of commercial capitalism, and to simply be with no justification or rationale. Ashcan Art, Whiteness, and the Unspectacular Man maps how Ashcan artists reconfigured urban masculinity for national audiences and reimagined the possibility and privilege of the unremarkable white, male body thus shaping dialogues about modernity, gender, and race that shifted visual culture in the United States.
(source: Nielsen Book Data)9781501325755 20170621
Art & Architecture Library (Bowes)
265 pages, 8 unnumbered pages of plates : illustrations (some color) ; 26 cm
  • Introduction: recovering audience
  • The politics of participation
  • The pedagogical subject of participation
  • Photography, agency, and participation
  • Art, affect, crisis
  • Conclusion: partcipation in the present.
Art & Architecture Library (Bowes)
ix, 288 pages ; 24 cm.
  • Einleitung
  • Begriffsgeschichte : von der physischen zur epistemologischen Faszination
  • Der Begriff 'Faszination' von der Antike bis zum 18. Jahrhundert
  • Konzeptionen physischer fascinatio in der Antike
  • Metaphorisierung physischer fascinatio im frühen Christentum
  • Diskussion von Avicennas voluntativer Konzeption von fascinatio im Mittelalter
  • Psychologisierung des epistemologischen Faszinationsbegriffs in der Frühen Neuzeit
  • Merkmale, Metaphorik und emotionales Profil von Faszination am Beispiel der Sokrates-Rezeption
  • Begriffsverständnis und emotionales Profil von Faszination im 20. Jahrhundert
  • Faszinationsbeschreibung und Faszinationsbegriff bei Platon
  • Applizierung des fascinatio-Begriffs auf Sokrates durch Marsilio Ficino
  • Faszination als Diskrepanz-Effekt in Nietzsches Sokrates-Bild
  • Konzeption : von der epistemologischen zur ästhetischen Faszination
  • Sinnestäuschung : Kants epistemologischer Faszinations-Begriff
  • Aufmerksamkeit und Sinnestäuschung bei Baumgarten und Kant
  • Fascinatio : Definition, Vergleich, anthropologische Anmerkung
  • Exkurs : zum Begriff der dunklen Vorstellungen bei Kant und Sulzer
  • Fascinatio : Beispiele und lustökonomische Bilanz
  • Ästhetische Idee : Faszination in Kants Kritik der Urteilskraft
  • Formale Ästhetik : Lustökonomie des Schönen und des Erhabenen
  • Diskussion : Faszination des Hässlichen und des Erhabenen, interpretiert nach dem Modell des Schönen
  • Ästhetische Idee : Faszination des Schönen, interpretiert nach dem Modell des Erhabenen
  • Reiz und Imagination : Ästhetische Faszination bei Stewart und Alison
  • Geheimnis und Problem : Ästhetische Faszination bei Goethe
  • Sinnenschein und zwiespältige Semantik : Rosalien-Episode
  • Geheimnis, Problem, Symbol
  • Faszination als Nicht-Scheiden-Können : zu Goethes Faust
  • Poetik I : Aspekte von Faszination in antiken Wirkungstheorien
  • Stimulierung durch Abweichendes : die Metapher bei Aristoteles
  • Lust an der Metapher durch Ähnlichmachen
  • Reichtum an Gedanken durch Verknappung und Entgegensetzung
  • Wirkungssteigerung durch Dunkelheit : Ps-Demetrios' De elocutione
  • Faszination als Aspekt von Erhabenheit : Ps-Longins vom Erhabenen
  • Doppelcharakter des Erhabenen : Destruktion und Elevation
  • Faszination des Emphatisch-Angedeuteten
  • Erlebnismimetische Funktion der Stilmittel
  • Erhabene Stimulation der Gedanken : Mehr meinen oder anderes meinen
  • Poetik II : Aspekte von Faszination in Wirkungstheorien des 18. Jahrhunderts
  • Gewalt der Imagination : Addison und Burke
  • Schweigegeste und Gedankensog
  • Lust der Einbildungskraft am Grossen
  • Imaginationssteigerung durch Bildkombination
  • Starren auf Mannigfaltigkeit : Erhabene Fülle, Mehrdeutigkeit und naives Zeichen bei Mendelssohn
  • Erhabenheit und Mannigfaltigkeit bei Mendelssohn
  • Eindeutige und mehrdeutige Andeutung : der 'Wink mit der Augenbraue' bei Mendelssohn, Addison und Lessing
  • Bildbruch und Imaginationsverbindung : Mendelssohn, Lessing, Lowth und Klopstock im Gespräch
  • Anschauung und Bildbrüche : Mendelssohns Anmerkungen zu Lessings Laokoon-Entwurf
  • Faszinierende Bildmontage, sinnlicher Kohärenzdruck : Klopstocks Messias
  • Assoziationskalkül der Ode : Mendelssohns von der lyrischen Poesie
  • Hamanns Begründung einer Poetik der Faszination
  • Kommunikationsmodell Faszination : Adressierung der Bedürfnisstruktur
  • Stilmodell Faszination : Lakonismus, Bildlichkeit, Montage
  • Resümee : Faszination in poetischer Hinsicht
  • Verzeichnis der zitierten Literatur
  • Personenregister
  • Sachregister.
Green Library, Art & Architecture Library (Bowes)
xix, 324 pages, 16 unnumbered pages of plates : illustrations (some color) ; 27 cm.
  • Part I: New York's Museum of Modern Art
  • The Rivera retrospective
  • Part II: Rockefeller Center
  • The art program and the Rivera mural commission
  • Producing a mural, removing it from view
  • Destruction of the mural
  • Part III: Mexico City's Palace of Fine Arts
  • Commissioning the mural, painting it anew.
Collaborations during the Great Depression between the Mexican artist and Communist activist Diego Rivera and institutions in the United States and Mexico were fraught with risk, as the artist occasionally deviated from course, serving and then subverting his patrons. Catha Paquette investigates controversies surrounding Rivera's retrospective at the Museum of Modern Art in New York City, his Rockefeller Center mural Man at the Crossroads, and the Mexican government's commissioning of its reconstruction at the Palace of Fine Arts in Mexico City. She proposes that both the artist and his patrons were using art for extraordinary purposes, leveraging clarity and ambiguity to weigh in on debates concerning labor policies and speech rights; relations between the United States, Mexico, and the Soviet Union; and the viability of capitalism, communism, and socialism. Rivera and his patrons' shared interest in images of labor-a targeted audience-made cooperative ventures possible. In recounting Rivera's shifts in strategy from collaboration/exploitation to antagonism/conflict, Paquette highlights the extent to which the artist was responding to politico-economic developments and facilitating alignment/realignment among leftist groups for and against Stalin. Although the artwork that resulted from these instances of patronage had the potential to serve conflicting purposes, Rivera's images and the protests that followed the destruction of the Rockefeller Center mural were integral to a surge in oppositional expression that effected significant policy changes in the United States and Mexico.
(source: Nielsen Book Data)9781477311004 20170306
Art & Architecture Library (Bowes)