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Book
xviii, 201 pages : illustrations ; 26 cm.
  • Introduction Section 1 Material Agency Professor Andrew Morrall (The Bard Graduate Centre, New York) The Power of Nature and the Agency of Art. The Unicorn Cup of Jan Vermeyen Dr Barbara Baert, Dr Hannah Iterbeke and Dr Lieve Watteeuw (KU Leuven) Late Medieval Enclosed Gardens of the Low Countries. Mixed Media, Remnant Art, Recyclage and Gender in the Low Countries (16th c. onwards) Section 2 The Power of Things Rosa M. Rodriguez Porto (University of York) Knighted by the Apostle Himself: Political Fabrication and Chivalric Artifact in Compostela, 1332 Dr Robert Maniura (Birkbeck, University of London) Agency and Miraculous Images Dr Peter Dent (University of Bristol) Agency, Beauty and the Late Medieval Sculptural Encounter Section 3 Objects as Social Agents Dr Leah Clark (The Open University) Dispersal, Exchange and the Culture of Things in Fifteenth-century Italy Dr Alexander Lee (University of Warwick) Michelangelo, Tommaso de' Cavalieri and the Agency of the Gift-Drawing Dr Jaya Remond (Max Planck Institute for the History of Science, Berlin) Distributing Durer in the Netherlands: Gifts, Prints, and the Mediation of Fame in the Early Sixteenth Century Section 4 Agency of Physical Manipulations Professor Wim Francois (KU Leuven) The Early Modern Bible between Material Book and Immaterial Word Dr Karen Eileen Overbey (Tufts University) and Dr Jennifer Borland (Oklahoma State University) Diagnostic Performance and Diagrammatic Manipulation in the Physician's Folding Almanacs Dr Jack Hartnell (Columbia University) Surgical Saws and Cutting Edge Agency Professor Jacqueline E. Jung (Yale University) The Boots of Saint Hedwig: Thoughts on the Limits of the Agency of Things.
  • (source: Nielsen Book Data)9781138054226 20171204
This volume explores the late medieval and early modern periods from the perspective of objects. While the agency of things has been studied in anthropology and archaeology, it is an innovative approach for art historical investigations. Each contributor takes as a point of departure active things: objects that were collected, exchanged, held in hand, carried on a body, assembled, cared for or pawned. Through a series of case studies set in various geographic locations, this volume examines a rich variety of systems throughout Europe and beyond.
(source: Nielsen Book Data)9781138054226 20171204
Art & Architecture Library (Bowes)
Book
xv, 383 pages : illustrations ; 26 cm
"Less celebrated than their male counterparts, women have been vital contributors to the arts. Works by women of the colonial era represent treasured accomplishments of American culture and still impress us today, centuries after their creation. The breadth of creative expression is as impressive as the women themselves.In American Colonial Women and Their Art: A Chronological Encyclopedia, Mary Ellen Snodgrass follows the history of creative expression from the early 1600s to the late 1700s. Drawing upon primary sources--such as letters, diaries, travel notes, and journals--this timeline encompasses a wide variety of artistic accomplishments such as: stitchery, quilting, and rug hooking ; painting sculpture, and sketches ; essays, poems, and other writings ; Dance, acting, and oratory ; Musical composition and performance."--Back cover.
Art & Architecture Library (Bowes)
Book
xvii, 160 pages ; 24 cm
  • Preface Acknowledgements List of Contributors Chapter 1. Philosophy and pedagogy in Arts Education Christopher Naughton & David R Cole Chapter 2. What if? Art education beyond expression and creativityã Gert Biesta Chapter 3. Dicing the Meat: Bacon in the middle of an arts-based sandwich -ã David R Cole Chapter 4. Artists, Presence and The Gift of Being Unteacherlyã Mary Ann Hunter Chapter 5. The implications of `percepts, affects and concepts' for Arts educators Christopher Naughton Chapter 6. Jazz Departures: Sustaining a pedagogy of improvisation David Lines Chapter 7. Bodily Connectedness in Motion. A philosophy on Intercorporeity and the Art of Dance in Education Nico de Vos Chapter 8. Thinking school curriculum through Country with Deleuze and Whitehead: a process based synthesis David R Cole & Margaret Somerville Chapter 9. From the Artist to the Cosmic Artisan: The Educational Task for Art in Anthropogenic Times jan jagodzinski Chapter 10. Towards `grown-up ness in the world' through the Arts as critical, quality pedagogy Robyn Ann Ewing & John Nicholas Saunders Chapter 11. Authentic teaching assessment in graduate teacher education: becomings of pedagogical artistry and leadership Julianne Moss & Anne-Marie Morrissey Chapter 12. Beyond Belief: Visionary Cinema, Becoming Imperceptible and Pedagogical Resistanceã Jessie L. Beier & Jason J. Wallin Chapter 13. Flight from flight: Composing a pedagogy of affect John Roder & Sean Sturm Chapter 14. Weak subjects: On art's art of forgetting - an interview with John Baldacchino by Gert Biesta John Baldacchino & Gert Biesta Chapter 15. Walking the museum: Art, artists and pedagogy reconsidered Gert Biesta References.
  • (source: Nielsen Book Data)9781138500600 20180115
This volume has been brought together to generate new ideas and provoke discussion about what constitutes arts education in the twenty-first century, both within the institution and beyond. Art, Artists and Pedagogy is intended for educators who teach the arts from early childhood to tertiary level, artists working in the community, or those studying arts in education from undergraduate to Masters or PhD level. From the outset, this book is not only about arts in practice but also about what distinguishes the `arts' in education. Exploring two different philosophies of education, the book asks what the purpose of the arts is in education in the twenty-first century. With specific reference to the work of Gert Biesta, questions are asked as to the relation of the arts to the world and what kind of society we may wish to envisage. The second philosophical set of ideas comes from Deleuze and Guattari, looking in more depth at how we configure art, the artist and the role played by the state and global capital in deciding on what art education has become. This book provides educators with new ways to engage with arts, focusing specifically on art, music, dance, drama and film studies. At a time when many teachers are looking for a means to re-assert the role of the arts in education this text provides many answers with reference to case studies and in-depth arguments from some of the world's leading academics in the arts, philosophy and education.
(source: Nielsen Book Data)9781138500600 20180115
Art & Architecture Library (Bowes)
Book
xii,155 pages : illustrations ; 26 cm.
Art & Architecture Library (Bowes)
Book
ix, 236 pages : color illustrations ; 23 cm.
  • IntroductionChapter 1. Restoring Pedagogic Work to the Incipience and Immanence of Learning: Disobedient Pedagogies Chapter 2. Spinoza and the Challenge of Building a Life Chapter 3. The Force of Art and Learning: Building a LifeChapter 4. Whitehead's AdventureChapter 5. Ethics and Politics in Pedagogic WorkChapter 6. Becoming in the MiddleChapter 7. The Force of ArtChapter 8. Pedagogy and Events of DisobedienceChapter 9. Pedagogic Work: An Ethics of Building a Life.
  • (source: Nielsen Book Data)9783319626383 20171106
This book explores art practice and learning as processes that break new ground, through which new perceptions of self and world emerge. Examining art practice in educational settings where emphasis is placed upon a pragmatics of the `suddenly possible', Atkinson looks at the issues of ethics, aesthetics, and politics of learning and teaching. These learning encounters drive students beyond the security of established patterns of learning into new and modified modes of thinking, feeling, seeing, and making.
(source: Nielsen Book Data)9783319626383 20171106
Art & Architecture Library (Bowes)
Book
ix, 217 pages : illustrations ; 24 cm.
Art Nouveau was a style for a new age, but it was also one that continued to look back to the past. This new study shows how in expressing many of their most essential concerns - sexuality, death and the nature of art - its artists drew heavily upon classical literature and the iconography of classical art. It challenges the conventional view that Art Nouveau's adherents turned their backs on Classicism in their quest for new forms. Across Europe and North America, artists continued to turn back to the ancient world, and in particular to Greece, for the vitality with which they sought to infuse their creations. The works of many well-known artists are considered through this prism, including those of Gustav Klimt, Aubrey Beardsley and Louis Comfort Tiffany. But, breaking new ground in its comparative approach, this study also considers some of the movement's less well-known painters, sculptors, jewellers and architects, including in central and eastern Europe, and their use of classical iconography to express new ideas of nationhood.0Across the world, while Art Nouveau was a plural style drawing on multiple influences, the Classics remained a key artistic vocabulary for its artists, whether blended with Orientalist and other iconographies, or preserving the purity of classical form.
Art & Architecture Library (Bowes)
Book
xvi, 153 pages : illustrations ; 26 cm.
Art & Architecture Library (Bowes)
Book
192 pages : illustrations (chiefly color) ; 25 x 28 cm
  • Chiura Obata: American illustrator / Greg Robinson
  • Obata's pictorial cosmopolitanism in Lake Basin in the High Sierra and Mother Earth / Asako Katsura
  • Moonlight over topaz : picturing displacement in the Japanese American internment / ShiPu Wang
  • Plates
  • Writings by Chiura Obata
  • Excerpt of an oral history interview with Chiura Obata, 1965 / Masuji Fujii, Kimi Kodani Hill, and Akiko Shibagaki.
Chiura Obata (1885-1975) was one of the most significant Japanese American artists working on the West Coast in the last century. Born in Okayama, Japan, Obata emigrated to the United States in 1903 and embarked on a seven-decade career that saw the enactment of anti-immigration laws and the mass incarceration of Japanese Americans during World War II. But Obata emerged as a leading figure in the Northern California artistic communities, serving not only as an influential art professor at UC Berkeley for nearly twenty years, but also as a founding director of art schools in the internment camps. With a prodigious and expansive oeuvre, Obata's seemingly effortless mastery of, and productive engagement with, diverse techniques, styles, and traditions defy the dichotomous categorizations of American/European and Japanese/Asian art. His faith in the power of art, his devotion to preserving the myriad grandeur of what he called "Great Nature," and his compelling personal story as an immigrant and an American are all as relevant to our contemporary moment as ever. Published in association with the Art, Design and Architecture Museum, UC Santa Barbara. 00Exhibition: Art, Design and Architecture Museum, UC Santa Barbara, USA (13.01-29.04.2018); Utah Museum of Fine Arts, Salt Lake City, USA (25.05-02.09.2018); Okayama Prefectural Museum of Art, Okayama, Japan (18.01-10.03.2019); Crocker Art Museum, Sacramento, USA (23.06-29.09.2019).
Art & Architecture Library (Bowes)
Book
xiii, 172 pages : illustrations, map ; 25 cm.
Art & Architecture Library (Bowes)
Book
x, 164 pages : illustrations ; 26 cm.
  • Table of Contents List of Figures Acknowledgments Introduction Part 1 The Exceptionality of the Human Spirit The Human Exception Natural Aesthetics Origin and Language Nature Created in Man's Image To Have and Have Not Part 2 The Animal and the Image Introduction: Discourse and Imagicity Condillac and Animal Imagination Rousseau and the Noble Visual Diderot's Suspicion A Concluding Note Part 3 Art and Evolution Introduction: Darwin's Century The Subjective and the Objective The Crisis of Symbolism and the Violent Other Evolution of the Species and the Creative Sentiment Nietzsche Part 4 The Poetic Lie The Primitive Origin of Art Gaze and the Invisible The World of Abstraction and the Revolution of the Beasts Dream, Debauchery, Myth Part 5 Conclusion: The Modern Other Animalization of Art The Formalist World of Creation The Surrealist Solutions The Animal Itself Afterword Bibliography Index Table of Contents List of Figures Acknowledgments Introduction Part 1 The Exceptionality of the Human Spirit The Human Exception Natural Aesthetics Origin and Language Nature Created in Man's Image To Have and Have Not Part 2 The Animal and the Image Introduction: Discourse and Imagicity Condillac and Animal Imagination Rousseau and the Noble Visual Diderot's Suspicion A Concluding Note Part 3 Art and Evolution Introduction: Darwin's Century The Subjective and the Objective The Crisis of Symbolism and the Violent Other Evolution of the Species and the Creative Sentiment Nietzsche Part 4 The Poetic Lie The Primitive Origin of Art Gaze and the Invisible The World of Abstraction and the Revolution of the Beasts Dream, Debauchery, Myth Part 5 Conclusion: The Modern Other Animalization of Art The Formalist World of Creation The Surrealist Solutions The Animal Itself Afterword Bibliography Index.
  • (source: Nielsen Book Data)9781138054264 20171017
This book examines the importance of the animal in modern art theory, using classic texts of modern aesthetics and texts written by modern artists to explore the influence of the human-animal relationship on nineteenth- and twentieth-century artists and art theorists. The book is unique due to its focus on the concept of the animal, rather than on images of animals, and it aims towards a theoretical account of the connections between the notions of art and animality in the modern age. Roni Gren's book spans various disciplines, such as art theory, art history, animal studies, modernism, postmodernism, posthumanism, philosophy, and aesthetics.
(source: Nielsen Book Data)9781138054264 20171017
Art & Architecture Library (Bowes)
Book
xv, 263 pages : illustrations (some color), maps ; 25 cm
Art & Architecture Library (Bowes)
Book
xvii, 194 pages, 30 unnumbered pages of plates : illustrations (some color) ; 26 cm.
  • Table of contents: Introduction: New Insights into Barocci's Senigallia Entombment and Suggestions on his Late Workshop Practice Babette Bohn and Judith Mann From Altar to Hearth: Barocci and the Brancaleoni of Piobbico Carol Plazzotta Just what is it that makes Barocci's painting so different, so appealing? Claudio Pizzorusso Federico Barocci and the Artistic Legacy of his Homeland Alessandra Giannotti Federico Barocci and the Corpus of High Renaissance Art Stuart Lingo "Though this be madness, yet there is method in it:" Barocci's Design Process Babette Bohn Drawing the Virgin: Federico Barocci's Doctrine of the Virgin Mary Judith W. Mann "God Knows When He'll Finish": Barocci and the Art Market Richard E. Spear The Tip of the Iceberg: Barocci's Post Mortem Inventory and the Survival of Renaissance Drawings David Eckserdjian.
  • (source: Nielsen Book Data)9781472449603 20171211
Reviewers of a recent exhibition termed Federico Barocci (ca. 1533-1612), 'the greatest artist you've never heard of'. One of the first original iconographers of the Counter Reformation, Barocci was a remarkably inventive religious painter and draftsman, and the first Italian artist to incorporate extensive color into his drawings. The purpose of this volume is to offer new insights into Barocci's work and to accord this artist, the dates of whose career fall between the traditional Renaissance and Baroque periods, the critical attention he deserves. Employing a range of methodologies, the essays include new ideas on Barocci's masterpiece, the Entombment of Christ; fresh thinking about his use of color in his drawings and innovative design methods; insights into his approach to the nude; revelations on a key early patron; a consideration of the reasons behind some of his most original iconography; an analysis of his unusual approach to the marketing of his pictures; an exploration of some little-known aspects of his early production, such as his reliance on Italian majolica and contemporary sculpture in developing his compositions; and an examination of a key Barocci document, the post mortem inventory of his studio. A translated transcription of the inventory is included as an appendix.
(source: Nielsen Book Data)9781472449603 20171211
Art & Architecture Library (Bowes)
Book
xv, 157 pages : illustrations (chiefly color) ; 24 cm.
  • Introduction 1 - The 1960s: from Figurative Art to Colour Abstraction Introduction 1.1 "Art or Mathematics?" 1.2 From Figurative Art to Black and White Abstraction (1960-1962) 1.3 From Black and White to Colour Abstraction (1962-1966) 1.4 Consolidating a Constructivist Approach: Nineteen (1967-69) 2 - The 1970s - Logic, Computers and Communication Introduction 2.1 The Systems Group 2.2 Art, Technology and Participation in the United Kingdom 2.2.1 Malcom Hughes 2.2.2 Edward Ihnatowicz 2.2.3 Roy Ascott 2.2.4 Stephen Willats 2.3 Ernest Edmonds' Early Interactive Art 2.3.1 1970: Computer Graphics'70 -*DATAPACK and Jigsaw 2.3.2 1971: Invention of Problems II - The Communications Game 2.3.3 1972: Cognition and Control - The Communications Game 2 2.4 1974-78: Systems Approaches in Edmonds' Paintings and Drawings Chapter 3 - The 1980s: Constructivism and Systems Introduction 3.1 Personal Networks and Connections 3.2 Ernest Edmonds' Themes 3.2.1 Structure 3.2.2 Time 3.2.3 Colour 3.3 Exhibiting Space, Duality and Co-existence 3.4 Null Dimension (1988) 3.5 Constructivism: Man versus Environment (1989) Chapter 4 - The 1990s - Correspondences and Intersections Introduction 4.1 A Busy 1990 4.2 A Key Collaboration: Correspondences 4.3 Residencies and Exhibitions in the 1990s Chapter 5 - Interactive Generative Art: 2000-2015 Introduction 5.1 The Years 2000 to 2005 5.1.1 Expanding and Evolving Video Constructs (2000-2003) 5.1.2 Audio-Visual Artworks: Ernest Edmonds with Mark Fell (2003-2004) 5.1.3 New Interactive Generative Works (2004-2005) 5.2 2005-2010 5.2.1. Tango Tangle (2006) 5.2.2 Shaping Form (from 2007) 5.2.3 Cities Tango: Between Belfast and Sydney (2009) 5.3 2010-2015 5.3.1 Automatic Art, London 2014 5.3.2 Primary Codes, Rio de Janeiro 2015 Chapter 6 - Structure and Systems Introduction 6.1 Structure and Interaction 6.2 Fifty Two (1980) 6.3 Four Shaped Forms (2014) Chapter 7 - New Media, New Technologies and New Systems Introduction 7.1 Technical Innovations 7.1.1 Iterative Software Design Methods 7.1.2 Adaptable User Interfaces 7.1.3 User Interface Architectures 7.1.4 Creativity Support Tools 7.2 Art and Technology Crossovers 7.2.1 Creativity and Cognition 7.2.2 Living Laboratories for Interactive Art 7.2.3 Logic, Constructive Mathematics and Generative Art 7.2.4 Logic Programming for Time-based Generative Art Conclusions Bibliography Endorsements.
  • (source: Nielsen Book Data)9781472436009 20171211
In this unique book the author explores the history of pioneering computer art and its contribution to art history by way of examining Ernest Edmonds' art from the late 1960s to the present day. Edmonds' inventions of new concepts, tools and forms of art, along with his close involvement with the communities of computer artists, constructive artists and computer technologists, provides the context for discussion of the origins and implications of the relationship between art and technology. Drawing on interviews with Edmonds and primary research in archives of his work, the book offers a new contribution to the history of the development of digital art and places Edmonds' work in the context of contemporary art history.
(source: Nielsen Book Data)9781472436009 20171211
Art & Architecture Library (Bowes)
Book
xiv, 263 pages : illustrations ; 25 cm.
  • Prologue: Henry Ossawa Tanner, "Negro Painter" Introduction: Creativity and Racism in the Nineteenth Century 1. Of the Father and of the Son: the Rise of Benjamin and Henry Tanner 2. Into the South and Across the Sea: Atlanta and Paris Beckon 3. The American Interlude: Race and Religion on Canvas 4. Crossing Over Jordan: Salon Triumph and Spiritual Crisis 5. A Salon Master in a Modern Century 6. The Great War, the New Negro, and the Celestial City Epilogue: The Redemption of Memory.
  • (source: Nielsen Book Data)9781138241947 20170925
Over the last forty years, renewed interest in the career of Henry Ossawa Tanner (1859-1937) has vaulted him into expanding scholarly discourse on American art. Consequently, he has emerged as the most studied and recognized representative of African American art during the nineteenth century. In fact, Tanner, in the spirit of political correctness and racial inclusiveness, has gained a prominent place in recent textbooks on mainstream American art and his painting, The Banjo Lesson (1893), has become an iconic symbol of black creativity. In addition, Tanner achieved national recognition when the Philadelphia Museum of Art in 1991 and the Pennsylvania Academy of the Fine Arts in 2012 celebrated him with major retrospectives. The latter exhibition brought in a record number of viewers. While Tanner lived a relatively simple life where his faith and family dictated many of the choices he made daily, his emergence as a prominent black artist in the late nineteenth century often thrust him openly into coping with the social complexities inherent with America's great racial divide. In order to fully appreciate how he negotiated prevailing prejudices to find success, this book places him in the context of a uniquely talented black man experiencing the demands and rewards of nineteenth-century high art and culture. By careful examination on multiple levels previously not detailed, this book adds greatly to existing Tanner scholarship and provides readers with a more complete, richly deserved portrait of this preeminent American master.
(source: Nielsen Book Data)9781138241947 20170925
Art & Architecture Library (Bowes)
Book
xvi, 209 pages : illustrations (some color) ; 24 cm.
  • Introduction 1 'A far greater Genius than Sir Joshua': some issues and complexities around the portraiture 2 'This melancholy employment': portraits from the life to 1780 3 'I yielded to importunity': portraits from the life 1781-1791 4 Prints and posthumous portraits: spreading and selling the image 5 Scene paintings 6 Pottery and sculpture - a note 7 No striking likeness? Images and ambiguities 8 'The Pious Preacher': satire 9 'Of pictures I do not pretend to be a judge': John Wesley and art 10 Image, identity and institution: constructing a canon 11 Conclusions: visualising Mr. Wesley Plates Appendix A - Iconography of principal paintings of John Wesley, with selected prints Appendix B - References in John Wesley's Journal and diaries to portraits and painters.
  • (source: Nielsen Book Data)9781138207899 20171106
The face of John Wesley (1703-91), the Methodist leader, became one of the most familiar images in the English-speaking and transatlantic worlds through the late eighteenth and nineteenth centuries. After the dozen or so painted portraits made during his lifetime came numbers of posthumous portraits and moralising 'scene paintings', and hundreds of variations of prints. It was calculated that six million copies were produced of one print alone - an 1827 portrait by John Jackson R.A. as frontispiece for a hymn book. Illustrated by nearly one hundred images, many in colour, with a comprehensive appendix listing known Wesley images, this book offers a much-needed comprehensive and critical survey of one of the most influential religious and public figures of eighteenth-century Britain. Besides chapters on portraits from the life and after, scene paintings and prints, it explores aspects of Wesley's (and Methodism's) attitudes to art, and the personality cult which gathered around Wesley as Methodism expanded globally. It will be of interest to art historians as a treatment of an individual sitter and subject, as well as to scholars engaged in Wesley and Methodist studies. It is also significant for the field of material studies, given the spread and use of the image, on artefacts as well as on paper.
(source: Nielsen Book Data)9781138207899 20171106
Art & Architecture Library (Bowes)

16. Pop art and design [2018]

Book
208 pages : illustrations (some color) ; 26 cm
  • Introduction / Anne Massey and Alex Seago
  • 1. Popular art, Pop Art, and 'the boys who turn out the fine arts' / Catherine Moriarty
  • 2. Cecil Beaton, Richard Hamilton and the Queer, Transatlantic Origins of Pop Art / Dominic Janes
  • 3. Althea McNish and the British African diaspora / Christine Checinska
  • 4. Programming Pop Art and Design / Anne Massey
  • 5. ARK Magazine: the Royal College of Art and early British Art School Pop / Alex Seago
  • 6. Prologue to Edward Wright, 'Chad, Kilroy, the cannibal's footprint and the Mona Lisa' first published in ARK 19 (Spring 1957) / Ann Pillar
  • Facsimile of article / Edward Wright
  • 7. Pauline Boty: Pop Artist, pop persona, performing across the 'long front of culture' / Sue Tate
  • 8. A Dedicated Follower of Fashion' / Alistair O'Neill
  • 9. 'Where is this pop?' In Search of the British Pop Poster / Rick Poynor and Alex Seago.
"This book offers the first in-depth analysis of the relationship between art and design, which led to the creation of 'pop'. Challenging accepted boundaries and definitions, the authors seek out various commonalities and points of connection between these two exciting areas. Confronting the all-pervasive 'high art / low culture' divide, Pop Art and Design brings a fresh understanding of visual culture during the vibrant 1950s and 60s. This was an era when commercial art became graphic design, illustration was superseded by photography and high fashion became street fashion, all against the backdrop of a rapidly-evolving economic and political landscape, a glamorous youth scene and an effervescent popular culture. The book's central argument is that pop art relied on and drew inspiration from pop design, and vice versa. Massey and Seago assert that this relationship was articulated through the artwork, design, publications and exhibitions of a network of key practitioners. Pop Art and Design provides a case study in the broader inter-relationship between art and design, and constitutes the first interdisciplinary publication on the subject"-- Provided by publisher.
Art & Architecture Library (Bowes)
Book
xv, 295 pages : illustrations ; 26 cm
  • Introduction : between the Prado and the Pradera
  • A royal public institution, 1819-1833
  • Inscribing monarchy into the new regime, 1833-1868
  • Museum and revolution, 1868-1874
  • Becoming national, 1874-1902
  • The era of the masses, 1902-1936
  • Epilogue : "more important for Spain than the republic and the monarchy combined".
"Explores the history of Spain's most iconic art museum. Highlights the political history of the museum's relation to the monarchy, the church, and the liberal nation state, as well as its role as an extension of Madrid's social center, the Prado Promenade"--Provided by publisher.
Art & Architecture Library (Bowes)
Book
xiv, 239 pages : illustrations ; 24 cm
  • INTRODUCTION 1. On Encountering Public Art Martin Zebracki and Joni M. Palmer PART 1: POWER 2. Subverting Surveillance: Power and Incivility in Public Transit Art Martha Radice and Brenden Harvey 3. 'Awaken the Dragon': Participatory Art Making and the Grassroots in Authoritarian Singapore Jason Luger 4. The Construction of Post-Communist Ideologies and Re-branding of Budapest: The Case Study of Statue Park Museum Paul Clements 5. Sustainable Influences of Public Art: A View on Cultural Capital and Environmental Impact Cameron Cartiere and Ashley Guindon PART 2: AFFECT 6. Shaping Subjects, Connecting Communities, Imagining Futures? Critically Investigating Play your Place Harriet Hawkins and Ruth Catlow 7. The Production of Temporary Public Space: Site-Specific Installation and 'Vital Materialities' Gwen MacGregor 8. 'All Your Drains Belong to Us': Young People and the Non-Representational Geographies of Public Art in Drain Tunnels Candice Boyd PART 3: DIVERSITY 9. Mobilising the 'Right to Remain' in Vancouver's Paueru-gai: An Art-based Participatory Research Intervention Aaron Franks, Jeff Masuda, Audrey Kobayashi, and the Right to Remain Community Fair Team 10. The Art of (Re)crossing the Border: The Border Farm Project in Maroi, South Africa Pauline Guinard 11. The Birmingham Surrealist Laboratory: Unlocking Community and the Avant-Garde in a Super-Diverse City Saskia Warren and Stephen Forcer 12. A Cybergeography of Public Art Encounter: The Case of Rubber Duck Martin Zebracki Afterword 13. An Artist-Geographer's Lens Andrew Gorman-Murray.
  • (source: Nielsen Book Data)9781472468796 20171127
Public art is produced and 'lived' within multiple, interlaced and contested political, economic, social and cultural-symbolic spheres. This lively collection is a mix of academic and practice-based writings that scrutinise conventional claims on the inclusiveness of public art practice. Contributions examine how various social differences, across class, ethnicity, age, gender, religion, ability and literacy, shape encounters with public art within the ambits of the design, regeneration and everyday experiences of public spaces. The chapters richly draw on case studies from the Global North and South, providing comprehensive insights into the experiences of encountering public art at a variety of scales and realms. This book advances critical insights of how socially practiced public arts articulate and cultivate geographies of social difference, through the themes of power, affect and diversity. It will appeal to scholars, students and practitioners from a wide range of disciplines, including cultural geography, the visual arts, urban studies, political studies and anthropology.
(source: Nielsen Book Data)9781472468796 20171127
Art & Architecture Library (Bowes)
Book
540 pages : color illustrations ; 25 cm
  • An Introduction1. The Historical Center2. Modern Masters of Sacred Art3. The Sculptor's Story4. Markets for Sacred Art5. Ibimirim: Carvers in the Sertao6. Maragojipinho: Sacred Clay in Bahia7. Tracunhaem: Sacred Clay in Pernambuco8. Painting in Olinda9. Carving in Cachoeira10. Return to Pelourinho11. Saints and Orixas in Pelourinho12. Smiths of the Sacred13. The Painter of Orixas14. Power and Beauty15. Time PassesAcknowledgmentsNotesBibliographyIndex.
  • (source: Nielsen Book Data)9780253032058 20171204
Sacred art flourishes today in northeastern Brazil, where European and African religious traditions have intersected for centuries. Professional artists create images of both the Catholic saints and the African gods of Candomble to meet the needs of a vast market of believers and art collectors.Over the past decade, Henry Glassie and Pravina Shukla conducted intense research in the states of Bahia and Pernambuco, interviewing the artists at length, photographing their processes and products, attending Catholic and Candomble services, and finally creating a comprehensive book, governed by a deep understanding of the artists themselves.Beginning with Edival Rosas, who carves monumental baroque statues for churches, and ending with Francisco Santos, who paints images of the gods for Candomble terreiros, the book displays the diversity of Brazilian artistic techniques and religious interpretations. Glassie and Shukla enhance their findings with comparisons from art and religion in the United States, Nigeria, Portugal, Turkey, India, Bangladesh, and Japan and gesture toward an encompassing theology of power and beauty that brings unity into the spiritual art of the world.
(source: Nielsen Book Data)9780253032058 20171204
Art & Architecture Library (Bowes)
Book
xii, 180 pages : illustrations (some color) ; 25 cm
Art & Architecture Library (Bowes)