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1. 99 cents or less [2018]

Book
288 pages : color illustrations ; 30 cm
Art & Architecture Library (Bowes)
Book
185 pages : illustration ; 20 cm
"Ce livre nous invite à une visite aussi fabuleuse que documentée de la grotte Chauvet-Pont-d'Arc, où notre espèce inscrivit un trésor, il y a 36000 ans. "Lire, écouter les savants, prendre le train pour visiter la reconstitution, faire défiler les documentaires et les visites virtuelles à en avoir le tournis... quand c'est à la réalité que tant nous aspirons. Au moins, à voir vraiment de nos vrais yeux la vraie trace réelle d'une présence évanouie. Rien, rien n'y fait, notre désir est impossible à assouvir. Alors chacun s'agite, repeint sa maison, imprime des mains au plafond, s'enterre trois mois dans son jardin, ou écrit. Comme, enfant, on se construit des cabanes, j'ai bricolé ma grotte Chauvet avec les moyens du bord. En écrivant toutes les histoires et bouts de ficelles qui me poussaient de partout, tous les jours, tout le temps.""--Page 4 of cover.
Green Library
Book
xii, 165 pages, 8 unnumbered pages of plates : illustrations (some color) ; 26 cm.
  • Introduction Chapter 1: The Presence of Joseph Beuys and the Struggle Over his Legacy in Berlin Chapter 2: Absencing and Presencing in Exhibition Narratives Chapter 3: Collectors' Space and the Agents of Narration Chapter 4: The Ludwig Collection in Budapest and the Absent Eastern Europe Chapter 5: Interrogating the Archival Logic Chapter 6: Archival Absence Afterword: Turning Absence into Difficult Knowledge.
  • (source: Nielsen Book Data)9781138054288 20180219
This book analyzes practices of collecting in European art museums from 1989 to the present, arguing that museums actualize absence both consciously and unconsciously, while misrepresentation is an outcome of the absent perspectives and voices of minority community members which are rarely considered in relation to contemporary art. Difficult knowledge is proposed as a way of dealing with absence productively. Drawing on social art history, museology, postcolonial theory, and memory studies, Margaret Tali analyzes the collections of four modern and contemporary art museums across Europe: the Hamburger Bahnhof in Berlin, the Ludwig Museum of Contemporary Art in Budapest, the Kiasma Museum in Helsinki, and the Kumu Museum in Tallinn.
(source: Nielsen Book Data)9781138054288 20180219
SAL3 (off-campus storage)
Book
xvi, 414 pages : illustrations (some color) ; 27 cm
The Academie Royale assembled nearly all of the important French artists working at the time, maintained a virtual monopoly on teaching and exhibitions, enjoyed a priority in obtaining royal commissions, and deeply influenced the artistic landscape in France. Yet the institution remains little understood today: all commentary on it, during its existence and since its abolition, is based on prejudices, both favourable and critical, that have shaped the way the institution has been appraised. This book takes a different approach. Rather than judging the Academie Royale, Michel unravels existing critical discourse to consider the nuances and complexities of the academy's history, re-examining its goals, the shifting power dynamics both within the institution and in the larger political landscape, and its relationship with other French academies and guilds.
(source: Nielsen Book Data)9781606065358 20180319
Art & Architecture Library (Bowes)
Book
xvi, 296 pages : illustrations ; 24 cm.
  • List of figures Introduction: addressing the other woman Part I: Writing the 'I' otherwise: telegraphing black feminism in the work of Adrian Piper and Angela Davis 1 Adrian Piper's textual address 2 Letters from an imaginary enemy, Angela Davis Part II: Typing the poetry of monsters: Nancy Spero and Valerie Solanas write aggression 3 Writing the drives in Nancy Spero's Codex Artaud 4 Valerie Solanas' S.C.U.M. Manifesto and the texts of aggression Part III: Hieroglyphs of maternal desire: the collaborative texts of Mary Kelly and Laura Mulvey 5 Rewriting maternal femininity in Mary Kelly's Post-Partum Document 6 Feminist desires and collective reading in the work of Laura Mulvey Conclusion Bibliography Index -- .
  • (source: Nielsen Book Data)9781526121264 20180319
This book analyses how three artists - Adrian Piper, Nancy Spero and Mary Kelly - worked with the visual dimensions of language in the 1960s and 1970s. These artists used text and images of writing to challenge female stereotypes, addressing viewers and asking them to participate in the project of imagining women beyond familiar words and images of subordination. The book explores this dimension of their work through the concept of 'the other woman', a utopian wish to reach women and correspond with them across similarities and differences. To make the artwork's aspirations more concrete, it places the artists in correspondence with three writers - Angela Davis, Valerie Solanas, and Laura Mulvey - who also addressed the limited range of images through which women are allowed to become visible. -- .
(source: Nielsen Book Data)9781526121264 20180319
Art & Architecture Library (Bowes)
Book
276 pages : illustrations (some color) ; 25 cm
Art & Architecture Library (Bowes)
Book
239 pages : color illustrations, color maps ; 29 cm
  • Rencontres avec l'Afrique : de l'absolu à la trace -- Afrique centrale, Afrique de l'Est, Afrique australe -- Présence des esprits -- Agir sur le monde -- Des visages expressifs -- Humain/Animal -- Les insignes du pouvoir -- Afrique de l'Ouest -- Mythes et histoire -- Les masques de l'initiation -- Les êtres de l'autre monde -- Parures et trésors sacrés des Baule -- Offrandes et repas communiels -- Sièges royaux -- L'or tout-puissant -- L'univers yoruba -- Sculptures en pierre de Sierra Leone -- Art contemporain -- L'Afrique, l'art et le contemporain -- Interroger L'histoire -- Noblesse de la résistance, Ousmane Sow -- La diaspora d'Omar Victor Diop -- Négritude/Tigritude vues par Hassan Musa -- Dialogues avec l'histoire. Malala Andrialavidrazana -- Le Chef, celui qui a vendu l'Afrique aux colons, de Samuel Fosso -- Chéri Samba, le tambour parleur -- Glimpses of the fifties and sixties, Sam Nhlengethwa -- Cyprien Tokoudagba, quand un initié peint la légende -- Fragments du présent -- Ouattara Watts, The Woman of Magic Power -- Regards et métaphores d'Omar Ba -- Les jeux sans frontières de Barthélémy Toguo -- Corps présents, Kudzanai-Violet Hwami -- Les fantômes du fleuve Congo, de Nyaba Léon Ouedraogo -- Ransome Stanley, "Demi-teintes" -- L'art transgressif de Soly Cissé -- Freddy Tsimba, l'incorruptible métal -- Non indemnes. Sur Joana Choumali.
"Que disent une figure fang du Gabon, un couple dogon du Mali ou un masque dan de Côte d'Ivoire ? Comment les plasticiens liés à des cultures ancestrales regardent-ils aujourd'hui une Afrique plurielle dont ils interrogent les transformations ? Ces questions sont au coeur de cet ouvrage édité à l'occasion de l'exposition organisée par la Fondation Dapper à la Fondation Clément (Martinique). Consacrée aux arts anciens, la première partie du livre montre à travers des oeuvres majeures de la Fondation Dapper combien l'esthétique est liée aux rôles dévolus aux objets dans leurs sociétés : communiquer avec les esprits, protéger, guérir, annoncer une naissance, une prise de pouvoir, des funérailles ou accompagner une initiation. La seconde partie donne à voir des démarches où sculptures, peintures, photographies, photomontages, collages constituent autant de moyens utilisés par des artistes talentueux pour sonder la mémoire collective, questionner les cultes et les rites, s'approprier une histoire enfin partagée ou dire leur place dans un monde marqué par la diversité."--Page 4 of cover.
SAL3 (off-campus storage)
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
364 pages : illustrations, portraits ; 21 cm
"This is an intimate and revealing biography of Agnes Martin, renowned American painter, considered one of the great women artists of the 20th and 21st Century. A resident of both New Mexico and New York City, Martin has always remained an enigma due to her fiercely guarded private life. Henry Martin, award-winning writer, and art scholar, having access to those who were close to Agnes Martin--friends, family, former lovers--has given (gives) us a full portrait of this universally revered artist. Readers will learn of her bouts with mental illness, her several significant lesbian relationships, and her lifelong yearning for recognition despite her reclusive lifestyle and need for privacy. Arriving in the wake of major international retrospective exhibitions of her work from London's Tate Modern, LACMA in Los Angeles, and the Guggenheim in New York City, this book provides a perspective of Agnes Martin that has not been seen in earlier, more academic works or fine-art monographs. Certain to be a mainstay for readers of the arts, and admirers of the creative spirit, this book also includes rare photographs from Martin's family and friends, many of which have never appeared in a book before"-- Provided by publisher.
Art & Architecture Library (Bowes)
Book
247 pages : illustrations (chiefly color) ; 31 cm
  • Paris, le 17 avril 2016 -- La barque et la charrette bleue : Alfred Latour selon la beauté libre -- Alfred Latour, un rêve de peintre -- Un maître du genre -- Ennoblir la modernité -- Alfred Latour, la position du peintre -- Repères biographiques -- Le graveur Alfred Latour -- Arts et métiers graphiques, n° 7, 15 septembre 1928 -- Un décorateur du livre, Alfred Latour -- Art et décoration, mars 1929 -- Sur le graphisme des tissus imprimés, à propos des toiles d'Alfred Latour éditées par Bianchini Arts et métiers graphiques, n° 27, 15 janvier 1932.
"Cet ouvrage présente l'oeuvre d'Alfred Latour, peintre, graveur, aquarelliste de talent, mais aussi illustrateur et relieur de livres, photographe salué, publiciste, designer de tissus reconnu et recherché. Membre de l'Union des artistes modernes (uAM) fondée par Robert Mallet-Stevens, Alfred Latour excellera dans tous les champs d'expression dont il se saisira. Célébré par la critique entre les années 1928 et 196o, primé dans les salons européens de l'époque, il vécut à Eygalières, en dehors du bruit des capitales. Aujourd'hui, on trouve ses oeuvres au Centre Pompidou, à la Bibliothèque nationale de France, au musée Cantini et au musée des Tissus de Lyon, ainsi qu'au British Museum, au Victoria and Albert Museum et au Philadelphia Museum of Arts, entre autres."--Page 4 of cover.
SAL3 (off-campus storage)
Book
205 pages : illustrations (some color) ; 28 cm.
Art & Architecture Library (Bowes)
Book
351 pages : illustrations (some color), portraits ; 30 cm
Art & Architecture Library (Bowes)
Book
vi, 285 pages : illustrations ; 24 cm.
Art & Architecture Library (Bowes)
Book
427 pages : illustrations (chiefly color) ; 21 cm.
  • Das Altarbild als Kunstgattung und Sein Kontext
  • Paradigmen der Betrachtung des Altarbildes
  • Kunsttopographie
  • Ikonologie
  • Heilsgeschichtliche Theologie
  • Der Christliche Altar
  • Biblische Vorgaben für den christlichen Gottesdienst
  • Altar und Gottesdienst im frühchristlichen Schrifttum
  • "Abendmahlstisch" und "Opferaltar" : Formen des christlichen Altars und ihre Bedeutung
  • Der Sigma-Altar
  • Der runde Altar
  • Der Kastenaltar
  • Der Tischaltar
  • Der Cippus, Stipes oder Pfeileraltar
  • Der ort des christlichen Altars
  • Der christliche Altar und die Altarweihe
  • Altartücher
  • Der Ritus des christlichen Gottesdienstes auf dem Altar
  • Altar und Bild
  • Der bilderlose Altar
  • Der Altar als Bildträger
  • Der Raum um den Altar als Bildträger
  • Voraussetzungen für das Entstehen Christlicher Bilder
  • Sehen als Erkenntnisquelle
  • Die Allegorese als Interpretationsmethode
  • Typologie
  • Der dreifache und der vierfache Schriftsinn
  • Bilderstreit
  • Christliche Bildstrukturen
  • Frühchristliche Altar-Bilder
  • Ikonologie Formaler Element
  • Die Ädikula als Ort der göttlichen Epiphanie
  • Die Überwölbung des Ziboriums als Abbild des Himmels : Sternenzelt und "Umbraculum"
  • Ikonologie der Denkmäler
  • Das Fastigium Kaiser Konstantins in der Basilica Salvatoris (San Giovanni in Laterano), der ersten römischen Bischofskirche : Christus das "ewige Wort" und Christus der menschgewordene Sohn Gottes, nach 313
  • Auszeichnung des Petrusgrabes als liturgischer ort durch Kaiser Konstantin
  • Die Vorhänge in den Interkolumnien der Pergola : Velum und Revelatio als Bildmotiv
  • Apsismosaik von Alt-Sankt-Peter, 352-361
  • Jonasmosaik im dom von Aquileja, um 320
  • Elfenbeinkasten in Brescia aus der zweiten Hälfte des 4. Jahrhunderts
  • Silberkästchen aus dem Altarsepulcrum von san Nazaro Maggiore in Mailand, zwischen 374 und 386
  • Kanne mit Apostelbildern aus Trier, 4. Jahrhundert
  • Genfer Kasten-Altar vom Ende des 4. Jahrhunderts
  • Eucharistische Elfenbeinpyxis in Berlin, entstanden in Alexandria oder Trier um 400
  • Altarplatte aus Saint-Victor in Marseille, um 430, und ähnliche Arbeiten
  • Kreuz aus dem 5. Jahrhundert, auf der Vorder- und Rückseite mit Bildern versehen, in Privatbesitz
  • Türe von Santa Sabina in Rom, um 430
  • Buchkasten im Mailänder dom aus der zweiten Hälfte des 5. Jahrhunderts
  • Apsismosaik von Hosios David in Thessalonike, Mitte des 5. Jahrhunderts
  • Kelch aus Antiochia, erste Hälfte des 6. Jahrhunderts
  • Maximianskathedra in Ravenna, 545-553
  • Ravenna, san Apollinare in Classe, Mosaiken im Altarraum, vor 549
  • Patene aus Stuma, um 570
  • Liturgischer Vorhang aus dem 6., 7. Jahrhundert in Cleveland
  • Bebilderte liturgische Handschriften des 6., 7. Jahrhunderts
  • Eucharistische Bildsysteme des Frühen Christentums
  • Das Frühe Mittelalter und die Zeit der Karolinger
  • Deckel des Buchkastens für das Evangeliar der Königin Theodolinde von Monza, erstes Viertel des 7. Jahrhunderts
  • Bild des Erlösers am Kreuz als Altar-Bild in Santa Maria Antiqua in rom um 705 und weitere monumentale Kruzifixe aus dem 8. und 9. Jahrhundert
  • Bilder über der Altarmensa : Vorläufer des Retabels
  • Kasten-Altar der Herzöge Pemmo und Ratchis, zwischen 734 und 744, im Museo Cristiano des Doms von Cividale und ein Fragment eines Kasten-Altars aus St. Peter in Metz aus dem 8. Jahrhundert
  • Tassilokelch in Kremsmünster, um 770
  • Frühkarolingisches Eucharistiekästchen im Churer Domschatz und die "Bursenreliquiare"
  • Godescalc-Evangelistar Karls des Grossen von 781-83
  • Reliquiendecke der heiligen Ewalde in Sankt Kunibert in Köln, spätes 8. Jahrhundert und Zeugnisse figurativ gestalteter textiler Antependien aus dem frühen Mittelalter und der Zeit der Karolinger
  • Mosaiken von Santa Prassede in Rom, 817-824
  • Altarfrontale aus Lauterach in Bregenz, 1. Hälfte 9. Jahrhundert
  • Einhardsbogen, um 825
  • Kasten-Altar des Volvinius in Sant'Ambrogio in Mailand, um 840
  • Karolingische Wandbilder der Benediktinerklosterkirche in Müstair, um 840
  • Drogo-Sakramentar, Metz um 850-855
  • Reliquiengrab und Altar des Hl. Bonifatius in Mainz, um 854
  • Flabellum aus Tournus, gegen 868
  • Buchkasten des Codex Aureus von St. Emmeram in Regensburg, um 870
  • Miniaturziborium König Arnulfs von Kärnten aus St. Emmeram in Regensburg, nach 887
  • Eucharistische Bildsysteme des Frühen Mittelalters und der Karolingerzeit
  • Das Zeitalter der Ottonen im 10. Jahrhundert und in der Zeit um 1000
  • Altarziborium von S. Ambrogio in Mailand, vollendet 972-973
  • Göttinger Sakramentar, Universitätsbibliothek Cod. theol. 231, Fulda um 975-980
  • Ottonische Evangeliare und Evangelistare
  • "Lotharkreuz" Kaiser Ottos III. für das Aachener Münster, um 1000
  • Eucharistische "Area" aus Elfenbein, Niederrhein, spätes 10. Jahrhundert
  • Altarausstattungen Kaiser Heinrichs II. (1002-1024)
  • Stiftungen Heinrichs II. für die Krönungskirche in Aachen
  • Einband des Schatzkammer-Evangeliars, zwischen 1002 und 1014
  • Ambo König Heinrichs, zwischen 1002 und 1014
  • Die "Pala d'Oro" König Heinrichs II., zwischen 1002 und 1014
  • Stiftungen Heinrichs II. für den dom des von ihm 1007 gegründeten Bistums Bamberg
  • Kasel des Fürsten Ismael, 1018-1024 ("Sternenmantel Kaiser Heinrichs II.")
  • Blauer Kunigundenmantel, 1012-1023
  • Evangeliar Ottos III. aus dem Bamberger dom in der Bayerischen Staatsbibliothek München clm 4453, um 1000
  • "Reichenauer Evangeliar" aus dem Bamberger dom in der Bayerischen Staatsbibliothek München clm 4454, um 1010
  • "Perikopenbuch Heinrichs II." aus dem Bamberger dom in der Bayerischen Staatsbibliothek München Clm 4452, Anfang 11. Jahrhundert
  • "Regensburger Sakramentar" aus dem Bamberger dom in der Bayerischen Staatsbibliothek München Clm 4456, bald nach 1002
  • Tragaltar für den Bamberger dom aus der Sammlung Spitzer im Musée de Cluny in Paris, vor 1024
  • Watterbacher Tragaltar aus Kloster Amorbach im Bayerischen Natio-nalmuseum München, um 1020
  • Rückseite der Reliquientafel des Kreuzreliquiars Heinrichs II. in der Schatzkammer der Münchner Residenz, um 1020
  • Kastenförmiger Tragaltar aus dem dom in Hildesheim, nach 1007 : um 1015
  • Eucharistische Bildsysteme im Zeitalter der Ottonen
  • Ikonologische "Stile"? die Frage Nach der "Entwicklung"
  • Literaturverzeichnis
  • Abbildungsverzeichnis und Bildnachweis
  • Register
  • Personenregister
  • Ortsregister
  • Register der Sachwörter und Begriffe.
SAL3 (off-campus storage)
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 accomplishment, such as: *Stitchery, quilting, and rug hooking *Painting, sculpture, and sketches *Essays, poems, and other writings *Dance, acting, and oratory *Musical composition and performance Individual talents highlighted in this volume include miniature portraits by Mary Roberts, pastel likenesses by Henrietta Dering Johnston, stagecraft by Elizabeth Sampson Sullivan Ashbridge, basketry by Namumpum Weetamoo, dance by Mary Stagg, metalwork by blacksmith Elizabeth Hager Pratt, calligraphy by Anna "Anastasia" Thomas Wuster, city planning by Deborah Dunch Moody, poems and essays by Phillis Wheatley, and fabric design by Anne Pogue McGinty. Featuring appendices that list individuals by skill and by state-as well as a glossary that clarifies the parameters of genres-this volume is essential to the study of Colonial women's art. Resurrecting the efforts of women to record, adorn, and illustrate the spirit of their times, American Colonial Women and Their Art is a valuable resource that will be of interest to students and scholars of gender and women's studies, art history, and American history.
(source: Nielsen Book Data)9781442270961 20180205
Art & Architecture Library (Bowes)
Book
144 pages : illustrations (chiefly color) ; 29 cm
  • Foreword / Timothy Rub
  • Seeing takes time: American Modernism at the Philadelphia Museum of Art / Jessica Todd Smith
  • Plates: Modern life ; Rhythm, light, and sound ; Close-up on still life ; A modern palette ; Nature abstracted ; Urban geometry ; The animated figure.
With an emphasis on painting and sculpture made in the United States between 1910 and 1950, this gorgeously illustrated volume offers a rich introduction to American modernism through the world-class collection of the Philadelphia Museum of Art. The lively text, which includes previously unpublished archival photos, examines the roles that the museum and the city of Philadelphia played in promoting modernism from its inception. Works by internationally acclaimed artists from the circle of photographer and gallerist Alfred Stieglitz, including Arthur Dove, Marsden Hartley, Georgia O'Keeffe, and Charles Sheeler, are featured here alongside works by artists left outside the mainstream of art history. The book draws visual connections across works by these artists while creating compelling juxtapositions that tell a story of modern American art that is unique to the Philadelphia Museum of Art.
(source: Nielsen Book Data)9780300233100 20180611
Art & Architecture Library (Bowes)
Book
184 pages : illustrations (chiefly color) ; 28 cm
As some American artists began to eliminate people and remove extraneous details from their compositions, they often employed neat, orderly brushwork or close-up, unemotional photography. Artists as diverse as Patrick Henry Bruce, John Covert, Georgia O'Keeffe, Paul Strand and Arthur Dove navigated European and American avant-garde circles, picking and choosing new ideas and methods. Inspiration ranged from cubism and machine parts to new technologies, and they found ways to bring order to the modern world through extreme simplification. For them, abstraction involved absence and presence - the evacuation of human beings but also the desire to depict something that would not otherwise be visible or to render visible unseen natural processes like the passage of time, sound waves, or weather patterns. Their artworks provide a new context for the precisionist works in the subsequent sections and point to modern ideas about what art could be. How does a crisp painting technique relate to an aesthetic of absence?
(source: Nielsen Book Data)9781910807217 20180521
Art & Architecture Library (Bowes)
Book
xvi, 201 pages : illustrations (some color) ; 27 cm.
  • Contents List of Illustrations Foreword (Inge Reist) Introduction: Acquisitive Passions: Observations on Collecting the Art of the Americas in the United States (Edward J. Sullivan) 1. Evolving Taxonomies at The Museum of Modern Art in the 1930s and '40s and the Definitions of the "Latin American Collection" (Miriam Margarita Basilio) 2. Hot Styles and Cold War: Collecting Practices at MoMA and Other Museums in the Sixties (Delia Solomons) 3. The Philadelphia Story (Joseph Rishel) 4. Cargadores: Collecting Rivera, Mexican Modernism, and Bearing the Burdens of Historiography (Anna Indych-Lopez) 5. An American Museum: Representing the Arts of Mexico at The Metropolitan Museum of Art (Ronda Kasl) 6. Building a Model of Diversity: Grace McCann Morley and Collecting Modern Latin American Art in San Francisco (Berit Potter) 7. Inverted Strategies: An Exhibition as Matrix for a Permanent Collection (Mari Carmen Ramirez) 8. Beyond Mexico: The Evolution of the Phoenix Art Museum's Latin American Collection (Vanessa K. Davidson) 9. Roberta and Richard Huber's Adventures in Collecting (Suzanne Stratton-Pruitt) 10. Expanding Paradigms: The Coleccion Patricia Phelps de Cisneros and the Changing Landscape of Latin American Art (Gabriel Perez-Barreiro) 11. Collecting Latin American Art in the United States from New Spain to Today: A Life's Story (Estrellita B. Brodsky) Notes References List of Contributors Index.
  • (source: Nielsen Book Data)9780271079523 20180530
In The Americas Revealed, distinguished art historian and curator Edward J. Sullivan brings together a vibrant group of essays that explore the formation, in the United States, of public and private collections of art from the Spanish- and Portuguese-speaking Americas. The contributors to this volume trace the major milestones and emerging approaches to collecting and presenting Spanish Colonial and modern Latin American art by museums, galleries, private collections, and corporations from the late nineteenth to the twenty-first century. In chronicling the roles played by determined collectors from New York to San Francisco, the essays examine a range of subjects from MoMA's mid-twentieth-century acquisition strategies to the growing taste on the West Coast for the work of Diego Rivera. They consider the impact of various political shifts on art collecting, from reactions against the "American exceptionalism" of the Monroe Doctrine to the aesthetic biases of government-sponsored art academies in Mexico, Rio de Janeiro, and Havana. The final three chapters focus on living collectors such as Roberta and Richard Huber, Patricia Phelps de Cisneros, and Estrellita B. Brodsky. A thorough and definitive account of the changing course of private and public collections and their important connection to underlying political and cultural relations between the United States and Latin American countries, this volume gives a rare glimpse into the practice of collecting from the collectors' own point of view. In addition to the editor, contributors to this volume are Miriam Margarita Basilio, Estrellita B. Brodsky, Vanessa K. Davidson, Anna Indych-Lopez, Ronda Kasl, Gabriel Perez-Barreiro, Berit Potter, Mari Carmen Ramirez, Joseph Rishel, Delia Solomons, and Suzanne Stratton-Pruitt.
(source: Nielsen Book Data)9780271079523 20180530
Art & Architecture Library (Bowes)
Book
311 pages : illustrations (chiefly color), maps, facsimiles ; 32 cm
  • Terra incognita -- Rodolphe Rapetti -- Kaléidoscope balte : aux origines de trois cultures nationales -- Julien Gueslin -- Les symbolistes, premiers artistes estoniens -- Llis Pâhlapuu -- La Lettonie : un pays aux influences multiples -- Dace Lamberga -- Vilnius et les artistes lituaniens face à l'histoire -- Osvaldas Daugelis.
"Le symbolisme européen et l'émancipation de la conscience qu'il véhicule sont indissociables dans les pays baltes de leur indépendance, survenue peu après la fin de la Première Guerre mondiale. Par le recours à la légende ou au folklore, l'Estonie, la Lettonie et la Lituanie, au-delà de l'influence de Munch, de Gallen-Kallela, de Gauguin ou encore de Van Gogh, ont forgé un langage qui leur est propre, empreint de la beauté des paysages de ces pays entre mer et forêt. La découverte de ces oeuvres singulières oblige à porter un regard nouveau sur ce mouvement artistique majeur à la charnière des XIXe et XXe siècles, le symbolisme. "Je suis un sauvage", écrivait Paul Gauguin en route vers les îles Marquises. Un siècle plus tard, ces "âmes sauvages" sont enfin ici à l'honneur."--Page 4 of cover.
SAL3 (off-campus storage)
Book
xi, 252 pages : illustrations ; 25 cm
  • List of Illustrations Contributors Acknowledgments Notes on Texts Introduction (Paul Van der Grijp and Thomas Fillitz) PART 1. PICTURE AND MEDIUM 1.1. The Making of Images (Philippe Descola, College de France, France) 1.2. To Swallow or to Get Swallowed, This is the Question: On Viewing, Viewers and Frames in the Context of `New' Images (Paolo S. H. Favero, University of Antwerp, Belgium) PART 2. WORLD ART STUDIES AND GLOBAL ART 2.1. The Design of Pictorial Ontologies: From Unstitched Imaginaries to Stitched Images (Leyla Belkaid-Neri, Parsons Paris, France) 2.2. How Global Art Came to Istanbul: The Context of the Istanbul Bienal (Danila Mayer, St. Poelten University of Applied Sciences, Austria) 2.3. Concepts of `Art World' and the Particularity of the Biennale of Dakar (Thomas Fillitz, University of Vienna, Austria) PART 3. ART MARKETS, MAECENAS AND COLLECTORS 3.1. Contemporary Art in a Renaissance Setting: The Local Art System in Florence, Italy (Stuart Plattner, USA) 3.2. Brazil's Booming Art Market: Calculations, Images, and the Promotionof a Market of Contemporary Art(Dayana Zdebsky de Cordova, Universidade Federal de Sao Carlos, Brazil) 3.3.Awkward Art and Difficult Heritage: Nazi Collectors and Postcolonial Archives (Jonas Tinius, Humboldt-Universitat zu Berlin, Germany) 3.4. Collecting Art in Asia and the Pacific (Paul Van der Grijp, Institut d'Asie Orientale, France) PART 4. PARTICIPATORY ART AND COLLABORATION 4.1. Trespassing Borders: Encounters and Resistances in Performance Art (Alicja Khatchikian, University of Vienna, Austria) 4.2. Contemporary Art in the Global South: Occupation // Participation // Knowledge (Alex Flynn, Durham University, UK) 4.3. The Idle Goddess: Notes about Post-Relational Anthropology and Art (Roger Sansi University of Barcelona, Spain) INDEX.
  • (source: Nielsen Book Data)9781350016323 20180306
Drawing on the exciting developments that have occurred in the anthropology of art over the last twenty years, this study uses ethnographic methods to explore shifts in the art market and global contemporary art. Recognizing that the huge diversity of global phenomena requires research on the ground, An Anthropology of Contemporary Art examines the local art markets, biennials, networks of collectors, curators, artists, patrons, auction houses, and museums that constitute the global art world. Divided into four parts - Picture and Medium; World Art Studies and Global Art; Art Markets, Maecenas and Collectors; Participatory Art and Collaboration - chapters go beyond the standard emphasis on Europe and North America to present first-hand fieldwork from a wide range of areas, including Brazil, Turkey, and Asia and the Pacific. With contributions from distinguished anthropologists such as Philippe Descola and Roger Sansi Roca, this book provides a fresh approach to key topics in the discipline. A model for demonstrating how contemporary art can be studied ethnographically, this is a vital read for students in anthropology of art, visual anthropology, visual culture, and related fields.
(source: Nielsen Book Data)9781350016323 20180306
Art & Architecture Library (Bowes)