Search results

RSS feed for this result

130,175 results

Book
239 pages : illustrations (chiefly color) ; 32 cm
"In 1950, Indian prime minister Jawaharlal Nehru invited legendary French-Swiss architect Le Corbusier to embark on one of the greatest experiments in urban planning history: to build on the flat plains of Punjab a new capital--Chandigarh, a city whose monumental modernism promised to free India from the fetters of colonial tradition and lay the groundwork for an independent and utopian future. Nicknamed the City Beautiful, Chandigarh has been called one of "the perfect cities of the world in terms of architecture, cultural growth, and modernization, " and in 2016 was designated a UNESCO World Heritage Site. Six decades after its founding, photographer and Chandigarh resident Shaun Fynn was granted unprecedented access to turn his lens on Le Corbusier's city and capture what is rarely seen: the living metropolis behind the master plan. Fynn's captivating images of the city and its inhabitants observe how the poetry of the architect's compositions have been shaped by the tumult of everyday life and worn by the forces of time. Chandigarh Revealed combines striking photographs, texts by Le Corbusier authorities, an interview with one of the last remaining architects from Le Corbusier's team, and custom-designed maps to create an astonishing and intimate portrait of a legendary city"-- Provided by publisher.
Art & Architecture Library (Bowes)
Book
x, 288 pages : illustrations (some color) ; 30 cm.
Art & Architecture Library (Bowes)
Book
pages
Art & Architecture Library (Bowes)
Book
735 pages : many illustrations (partly color) ; 31 cm.
Art & Architecture Library (Bowes)
Book
244 pages : illustrations ; 30 cm
Art & Architecture Library (Bowes)
Book
295 pages : illustrations (chiefly color) ; 25 cm
Art & Architecture Library (Bowes)

87. Cinema de lágrimas [1995]

Video
1 videodisc (96 min.) : sound, color with black and white sequences ; 4 3/4 in. Sound: digital; optical. Video: NTSC. Digital: video file. DVD video; all regions.
An exploration of melodrama in Latin American cinema through the story of an emotionally distant film professor who is persuaded to look at a student project on the history of melodrama in Latin American cinema. Through his viewing, he finds a path to his own tears.
Art & Architecture Library (Bowes)
FILMSTUD-213/413-01
Book
x, 572 pages : chiefly illustrations (chiefly color) ; 29 cm
  • Portraying Dress
  • Identifying the Nation
  • Dressing Up
  • Painting Modern Life
  • Designing Artists.
An entirely new way of looking at the history of fashion through the eyes of artists There have always been important links between art and clothing. Artists have documented the ever-evolving trends in fashion, popularized certain styles of dress, and at times even designed fashions. This is the first book to explore in depth the fascinating points of contact between art and clothing, and in doing so it constructs a new and innovative history of dress in which the artist plays a central role. Aileen Ribeiro provides an illuminating account of the relationship between artists and clothing from the 17th century, when a more complex and sophisticated attitude to dress first appeared, to the early 20th century, when the boundaries between art and fashion became more fluid: haute couture could be seen as art, and art used textiles and clothes in highly imaginative ways. Her narrative encompasses such themes as the ways in which clothing has helped to define the nation state; how masquerade and dressing up were key subjects in art and life; and how, while many artists found increasing inspiration in high fashion, others became involved in designing "artistic" and reform dress. Sumptuously illustrated, Clothing Art also delves into the ways in which artists represent the clothes they depict in their work, approaches which range from photographic detail, through varying degrees of imaginative reality, to generalized drapery.
(source: Nielsen Book Data)9780300119077 20170306
Art & Architecture Library (Bowes)
Book
47 pages :; illustrations (chiefly color) ; 29 cm
Art & Architecture Library (Bowes)
Book
304 pages : illustrations (black and white, and colour) ; 22 cm
Art & Architecture Library (Bowes)
Book
xiii, 540 pages : illustrations ; 25 cm.
  • List of Figures Acknowledgements Introduction: Adrian Rifkin, or from Art History in Ruins to a Lost Object Steve Edwards Re-reading by Torchlight Adrian Rifkin SECTION 1. NEW ART HISTORIES 1.1 Art's Histories (1986) 1.2. Can Gramsci Save Art History? (1981) 1.3 Marx' Clarkism (1985) 1.4 Carmenology (1988) 1.5 History, Time and the Morphology of Critical Language or Publicola's Choice (1994) 1.6 Bi-Centennial Literature on Art and the French Revolution (1990) 1.7 The Words 'Art', the Artist's Status: Technique and Affectivity in France (1789-98) (1991) 1.8 From Structure to Enigma, and Back, Perhaps (2005) SECTION 2. SOCIETY, IMAGE, SOCIAL DIFFERENCE: BETWEEN THE PARIS COMMUNE, THE SALON AND THE PEOPLE 2.1 Cultural Movement and the Paris Commune (1979) 2.2 The Sex of French Politics (1983) 2.3 No Particular Thing to Mean (1983) 2.4 Well Formed Phrases (1986) 2.5 Ingres and the Academic Dictionary (1983) 2.6 Success Disavowed: The Schools of Design in Mid-Nineteenth-Century Britain. (An Allegory) (1988) 2.7 Murals of the Buvette de La Commune - A Pictorial Dossier SECTION 3. PARIS AND MORE ON THE PEOPLE 3.1 Musical Moments (1987) 3.2 Parvenu Or Palimpsest: Some Tracings Of The Jew In Modern France (1995) 3.3 Il y a des mots qu'on souhaiterait plus lire (2005) 3.4 Gay Paris, Trace And Ruin (2002) 3.5 americans go home, which is more american, Paris-Texas or Paris-France? (2004) SECTION 4 ALTERNATIVES TO THE GRANDER SCHEMAS, OR RESISTANCE TO THE CRITIQUE OF GRAND NARRATIVE AS A FORM OF GRAND NARRATIVE 4.1 A Down On The Upbeat: Adorno, Benjamin And The Jazz Question (1989) 4.2 Total Ellipsis: Zola, Benjamin And The Dialectics Of Kitsch (1996) 4.3 The Long Run Of Modernity, Or An Essay On Post-Dating (1992) 4.4 Benjamin's Paris, Freud's Rome, Whose London? ( 1999) 4.5 Bayreuth, World City? Or: The Provincial Village As Global Denkmal... (2011) POSTSCRIPTS: DIFFERENT BEGINNINGS 5.1 The Paris Commune Of 1871 and the Political Print (1979) 5.2 For An Artist... (2008) 5.3 Object Lessons (2001) Bibliography of Writings by Adrian Rifkin. Bibliography Index.
  • (source: Nielsen Book Data)9789004231887 20170130
This collection of some 32 articles and essays by Adrian Rifkin were written over a period of forty years. It contains innovative and influential studies of the archives of art, urbanism, music and popular life in France and Britain during the nineteenth and twentieth centuries. Arranged around a number of studies of the representation of the Paris Commune, the book also contains chapters on Edith Piaf's role in French culture, histories of art education, opera and queer life in the city as well as analytical accounts of the commodity and cultural theory in Adorno and Benjamin. An extended introduction by Steve Edwards works over the questions of uneven time in Marxist cultural theory and the disciplinary formations that underpin many of Rifkin's essays.
(source: Nielsen Book Data)9789004231887 20170130
Art & Architecture Library (Bowes)
Book
x, 233 pages : illustrations ; 26 cm.
  • Contents: Introduction: Some Stakes of Comparison, by Stanley K. Abe and Jas Elsner Chapter 1: Our Literal Speed, by Our Literal Speed Chapter 2: Locations of Comparison: Some Personal Observations, by Wu Hung Chapter 3: Bivisibility: Why Art History is Comparative, by Whitney Davis Chapter 4: Redundacy, Transformation, Impersonation, by Margaret Olin Chapter 5: The Object in the Comparative Context, by Ittai Weinryb Chapter 6: Sculpture: A Comparative History, by Stanley K. Abe Chapter 7: Intersecting Historiographies: Henri Pirenne, Ernst Herzfeld, and the Myth of Origin, by Avinoam Shalem Chapter 8: Comparativism in Anthropology: Big Questions and Scaled Comparison - An Illusive Dream?, by Susanne Kuchler Chapter 9: Was the Knidia a Statue? Art History and the Terms of Comparison, by Richard Neer Chapter 10: Christian Marclay's Real Time Fiction, by Robert Slifkin Chapter 11: Narrative, Naturalism and the Body in Classical Greek and Early Imperial Chinese Art, by Jeremy Tanner.
  • (source: Nielsen Book Data)9781472418845 20170403
Featuring some of the major voices in the world of art history, this volume explores the methodological aspects of comparison in the historiography of the discipline. The chapters assess the strengths and weaknesses of comparative practice in the history of art, and consider the larger issue of the place of comparative in how art history may develop in the future. The contributors represent a comprehensive range of period and geographic command from antiquity to modernity, from China and Islam to Europe, from various forms of art history to archaeology, anthropology and material culture studies. Art history is less a single discipline than a series of divergent scholarly fields - in very different historical, geographic and cultural contexts - but all with a visual emphasis on the close examination of objects. These fields focus on different, often incompatible temporal and cultural contexts, yet nonetheless they regard themselves as one coherent discipline - namely the history of art. There are substantive problems in how the sub-fields within the broad-brush generalization called 'art history' can speak coherently to each other. These are more urgent since the shift from an art history centered on the western tradition to one that is consciously global.
(source: Nielsen Book Data)9781472418845 20170403
Art & Architecture Library (Bowes)
Book
419 pages : illustrations (some color), color map ; 25 cm
Art & Architecture Library (Bowes)
Book
viii, 288 pages : illustrations (some color), maps (some color) ; 25 cm.
Based on Guilliam Forchondt's surviving business documentation in Antwerp and applying an aggregate and data-driven approach, Connecting Art Markets focuses on the role of art dealers in mediating the supply and demand for art, behaving in particular ways as to influence the markets for artworks in which they were strategically invested. Van Ginhoven presents her findings on Guilliam Forchondt's workshop production volumes and transatlantic art trade flows, and evaluates the relationship between the production of paintings in the Southern Netherlands, their local, regional and overseas distribution channels, and the markets for these works in Europe and the Americas during the seventeenth century.
(source: Nielsen Book Data)9789004319745 20170306
Art & Architecture Library (Bowes)
Book
xxi, 294 pages ; 25 cm.
In 'The Conspiracy of Modern Art' the Brazilian critic and art-historian Luiz Renato Martins presents a new account of modern art from David to Abstract Expressionism. The once vibrant debate on these touchstones of modernism has gone stale. Viewed from the Sao Paulo megalopolis the art of Paris and New York - embodying Revolution, Thermidor, Bonapartistm and Bourgeois ?Triumph' - once more pulsates in tragic key. Equally attentive to form and politics, Martins invites us to look again at familiar pictures. In the process, modern art appears in a new light. These essays, largely unknown to an English-speaking audience, may be the most important contribution to the account of modern painting since the important debates of the 1980s.
Art & Architecture Library (Bowes)
Book
ix, 220 pages : illustrations ; 24 cm
  • Introduction: Beyond the Visible Image Chapter One: Reproducibility and Appropriation in the Twentieth Century: Precursors to the Digital Age Chapter Two: Cybernetics and the Posthuman: The Emergence of Art Systems Chapter Three: Challenges to Immateriality: Posthumanist Thought and Digitality Chapter Four: Violence and the Surveilled Internet Chapter Five: Identity, Language and the Body Online Chapter Six: The Art World Infrastructure Post-Internet.
  • (source: Nielsen Book Data)9781138936447 20170418
Contemporary Art and Digital Culture analyses the impact of the internet and digital technologies upon art today. Art over the last fifteen years has been deeply inflected by the rise of the internet as a mass cultural and socio-political medium, while also responding to urgent economic and political events, from the financial crisis of 2008 to the ongoing conflicts in the Middle East. This book looks at how contemporary art addresses digitality, circulation, privacy, and globalisation, and suggests how feminism and gender binaries have been shifted by new mediations of identity. It situates current artistic practice both in canonical art history and in technological predecessors such as cybernetics and net.art, and takes stock of how the art-world infrastructure has reacted to the internet's promises of democratisation. An invaluable resource for undergraduate and postgraduate students of contemporary art - especially those studying history of art and art practice and theory - as well as those working in film, media, curation, or art education. Melissa Gronlund is a writer and lecturer on contemporary art, specialising in the moving image. From 2007-2015, she was co-editor of the journal Afterall, and her writing has appeared there and in Artforum, e-flux journal, frieze, the NewYorker.com, and many other places.
(source: Nielsen Book Data)9781138936447 20170418
Art & Architecture Library (Bowes)
Book
151 pages : illustrations (some color) ; 27 cm.
  • Vivons-nous à contretemps ? -- Exposer le temps à l'oeuvre -- Du passé au présent : de l'exposition -- Le temps à l'ouvreau colloque contre temps -- L'art du temps au XXIe siècle : enjeux et perceptions -- Temps "objectif" ? -- Peut-on penser le temps ? -- Face-à-face avec une oeuvre d'art : un voyage sous les contraintes de l'instant présent -- Accélération décélération -- Retards en acte : actualités du retard -- Ilots de la décélération : l'utopie contemporaine face à l'accélération du rythme de la vie -- Le temps au travail des médiums intemporels -- Les temps du dessin ou dessiner le temps -- L'énuméré et l'enfoui -- Les temps coïncidés de la performance -- Le temps au travers des médiums ultracontemporains -- "Qui est le maître du temps?" -- Le temps à travers des pratiques artistiques liées aux terminaux mobiles -- Nouveaux rythmes des corps à l'ère contemporaine -- Laboratoire -- Le temps partagé -- Fil d'Ariane.
"Contre Temps a été réalisé en écho au colloque international qui a eu lieu en juillet 2013 au musée du Louvre-Lens, dans le cadre de son exposition inaugurale Le temps à l'oeuvre. Le musée du Louvre-Lens, le CNRS et l'université Paris 1 Panthéon-Sorbonne ont réuni un panel d'experts pluridisciplinaires autour d'un sujet commun : le temps. Ce livre met en regard une vaste gamme de réflexions contemporaines autour de cette notion complexe. Le thème est abordé sous ses multiples facettes par des scientifiques, des philosophes, des historiens et des créateurs : chacune des interventions entre en dialogue avec les autres et permet ainsi un échange entre les disciplines représentées. La migration de la perception spatiale du temps, son accélération et sa décélération, les nouveaux rythmes de la vie humaine et leurs enjeux, les temps physiques et biologiques font partie des multiples thématiques abordées dans cet ouvrage. L'institution muséale elle-même, son rapport au temps, son rôle qui, au-delà de la conservation des oeuvres, consiste à les préserver du temps, les mettre hors temps, tout en les ancrant dans leur propre temps, sont questionnés à travers les oeuvres documentées et analysées d'un chapitre à l'autre. Face à la contrainte d'une relation "objective" avec le temps dans le monde contemporain, les auteurs proposent une expérimentation ou résistance par l'analyse scientifique. À partir d'expérimentations plastiques, scientifiques et philosophiques, le but est de trouver un point de départ dans une appropriation des référentiels et des systèmes de mesure établis, pour vivre le temps autrement."--Page 4 of cover.
Art & Architecture Library (Bowes)
Book
203 pages : colored illustrations ; 27 cm
In the rapidly changing world of the early Middle Ages, depictions of the cosmos represented a consistent point of reference across the three dominant states-the Frankish, Byzantine, and Islamic Empires. As these empires diverged from their Greco-Roman roots between 700 and 1000 A.D. and established distinctive medieval artistic traditions, cosmic imagery created a web of visual continuity, though local meanings of these images varied greatly. Benjamin Anderson uses thrones, tables, mantles, frescoes, and manuscripts to show how cosmological motifs informed relationships between individuals, especially the ruling elite, and communities, demonstrating how domestic and global politics informed the production and reception of these depictions. The first book to consider such imagery across the dramatically diverse cultures of Western Europe, Byzantium, and the Islamic Middle East, Cosmos and Community in Early Medieval Art illuminates the distinctions between the cosmological art of these three cultural spheres, and reasserts the centrality of astronomical imagery to the study of art history.
(source: Nielsen Book Data)9780300219166 20170306
Art & Architecture Library (Bowes)
Book
79 pages : color illustrations ; 31 cm
Walter De Maria (1935-2013) was a pioneering American artist associated with the Minimal, Conceptual, and Land Art movements. This insightful book is the definitive source on his renowned Large Rod Series, exemplary works that represent the artist's contribution to the development of Minimalism. De Maria's penchant for mathematical patterns and precise measurements can be seen throughout his oeuvre and is particularly evident in these floor-based sculptures produced between 1984 and 1989. Incorporating an analysis of De Maria's early musical compositions, this book explores a previously unexamined historical precedent in his percussion recordings and provides a new framework in which to understand the series. The inclusion of detailed artist's notes, archival photographs, and new documentation of the work's installation provide additional context for these deceptively simple works.
(source: Nielsen Book Data)9780300225730 20170327
Art & Architecture Library (Bowes)
Book
97 pages : illustrations ; 21 cm.
"Gustave Courbet (1819-1877) fut un épistolier prodigue, qui échangea avec d'innombrables interlocuteurs et travailla par l'écrit à asseoir une carrière d'artiste et un destin hors norme. Suivre Courbet dans ses lettres, c'est prendre la mesure de ses visions sociales et esthétiques, c'est aussi découvrir un tempérament sensible, un caractère éruptif et une plume aiguisée. Ces facettes de l'homme, derrière sa légende, furent révélées par Petra ten-Doesschate Chu lorsqu'elle publia, dans les années 1990, la correspondance du peintre, une somme documentaire exceptionnelle. Le présent ouvrage rassemble 24 lettres inédites qui constituent un apport d'informations fascinant pour tous ceux qui s'intéressent au "maître d'Ornans". Ce sont tout à la fois ses pratiques techniques, ses stratégies commerciales, ses inclinations personnelles et ses luttes politiques qui y apparaissent d'une manière plus affinée encore. Dans cette correspondance inédite, tout fait sens, depuis les légers détails jusqu'aux faits les plus visibles car, comme on peut le lire ici sous la plume du peintre lui-même : "En art, il n'y a rien de petit ; il n'y a rien de grand.""--Page 4 of cover.
Art & Architecture Library (Bowes)