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• 1. Art and Identity Production
• 2. Curios and Artefacts: the legacy of QAC
• 3. The ATSI Art Studio: the development of an Indigenous method
• 4. The Studio and Artists Today
• 5. Disciplining the Artist
• 6. Value Creation and the Market
• 7. Content Analysis Part I: Indexical Elements
• 8. Content Analysis Part II: Cultural Content
• 9. Conclusions.
• (source: Nielsen Book Data)

Aboriginal and Torres Strait Islander Art explores the effects of Queensland government policies on urban First Nation artists. While such art has often been misinterpreted as derivative lesser copies of 'true' Indigenous works, this book unveils new histories and understandings about the mixed legacy left for Queensland Indigenous artists. Gretchen Stolte uses rich ethnographic detail to illuminate how both Aboriginal and Torres Strait Islander artists understand and express their heritage. She specifically focuses on artwork at the Aboriginal and Torres Strait Islander art studio in the Tropical North Queensland College of Technical and Further Education (TNQT TAFE), Cairns. Stolte's ethnography further develops methodologies in art history and anthropology by identifying additional methods for understanding how art is produced and meaning is created.
(source: Nielsen Book Data)

• Preface and Acknowledgements Introduction: The Mid-Century Celluloid Museum, Steven Jacobs (Ghent University & Antwerp University, Belgium) & Dimitrios Latsis (Ryerson University, Canada)
• 1. The Institutional Breeding Grounds of the Postwar Film on Art, Birgit Cleppe (Ghent University, Belgium)
• 2. American Art Comes of Age: Documentaries and the Nation at the Dawn of the Cold War, Dimitrios Latsis (Ryerson University, Canada)
• 3. Art History with a Camera: Rubens (1948) and Paul Haesaerts's Concept of Cinema Critique, Steven Jacobs (Ghent University & Antwerp University, Belgium) & Josephine-Charlotte Vandekerckhove (Ghent University, Belgium & Verona University, Italy)
• 4. Carlo Ludovico Ragghianti's Critolfims and Beyond: From Cinema to Information Technology, Emanuele Pellegrini (IMT School for Advanced Studies, Italy)
• 5. Andre Bazin's Art Documentary in Saintonge, Angela Dalle Vacche (Georgia Institute of Technology, USA)
• 6. Projecting Cultural Diplomacy: Cold War Politics, Films on Art, and Willard Van Dyke's The Photographer, Natasha Ritsma (Loyola University Museum of Art, USA)
• 7. Henry Moore and A Sculptor's Landscape: Modernity, the Land and the Bomb in Two Television Films by John Read, John Wyver (University of Westminster, UK)
• 8. Creative Process, Material Inscription and Dudley Shaw Ashton's Figures in a Landscape (1953), Lucy Reynolds (University of Westminster, UK)
• 9. Neoplasticism and Cinema: Ilya Bolotowsky's Experimental Films on Art, Henning Engelke (Goethe University Frankfurt, Germany) Mid-Twentieth-Century Art Documentaries: A Selected Bibliography About the Authors Index.
• (source: Nielsen Book Data)

In the 1940s and 1950s, hundreds of art documentaries were produced, many of them being highly personal, poetic, reflexive and experimental films that offer a thrilling cinematic experience. With the exception of Alain Resnais's Van Gogh (1948), Henri-Georges Clouzot's Le Mystere Picasso (1956) and a few others, most of them have received only scant scholarly attention. This book aims to rectify this situation by discussing the most lyrical, experimental and influential post-war art documentaries, connecting them to contemporaneous museological developments and Euro-American cultural and political relationships. With contributors with expertise across art history and film studies, Art in the Cinema draws attention to film projects by Andre Bazin, Ilya Bolotowsky, Paul Haesaerts, Carlo Ragghianti, John Read, Dudley Shaw Aston, Henri Storck and Willard Van Dyke among others.
(source: Nielsen Book Data)

• Chapter One: Let's Teach Art 1 Chapter Two: Day-To-Day Survival Skills-The Nitty-Gritty 35 Chapter Three: Art History 63 Chapter Four: Drawing 85 Chapter Five: Painting 111 Chapter Six: Mixed Media 141 Chapter Seven: Multicultural Art 175 Chapter Eight: Ceramics 205 Chapter Nine: Sculpture 237 Chapter Ten: Computer Graphics and Digital Photography 261.
• (source: Nielsen Book Data)

The perennial bestseller-now in a new edition Authoritative and practical, this comprehensive guide offers everything a teacher needs to know for conducting an effective art instruction and appreciation program. The Third Edition of The Art Teacher's Survival Guide for Elementary and Middle Schools includes a complete update on public-relations guidelines, and reference material examples. The revised edition also features many new projects, an update on current projects and includes an explanation of the hot topic amongst art educators, Teaching Artistic Behavior (TAB/choice). Choice-based art education is reflected in the authors' discussion of teaching in mixed-media, ceramics, photography, sculpture, and art history. More than 100 creative art projects, from drawing to digital media Offers teaching tools, tips, and multicultural curriculum resources Includes new material on logical ways to encourage individual and personal solutions to a problem Gives teachers more latitude as to how individuality is suggested in a lesson This is an invaluable compendium for art educators and classroom teachers alike. .
(source: Nielsen Book Data)

• 1. On Severance
• 2. Fugitive Matter
• 3. Anthropofugal Transformations
• 4. Modular Concrescence
• 5. Clandestine Resphiliacs
• 6. Architecture and Ignorance
• 7. An Infinite Periphery
• 8. Toward Irrelation.
• (source: Nielsen Book Data)

This book offers a reassessment of how "matter" - in the context of art history, criticism, and architecture - pursued a radical definition of "multiplicity", against the dominant and hierarchical tendencies underwriting post-fascist Japan. Through theoretical analysis of works by artists and critics such as Okamoto Taro, Hanada Kiyoteru, Kawara On, Isozaki Arata, Kawaguchi Tatsuo, and Nakahira Takuma, this highly illustrated text identifies formal oppositions frequently evoked in the Japanese avant-garde, between cognition and image, self and other, human and thing, and one and many, in mediums ranging from painting and photography, to sculpture and architecture. In addition to an "aesthetics of separation" which refuses the integrationist implications of the human, the author proposes the "anthropofugal" - meaning fleeing the human - as an original concept through which to understand matter in the epistemic universe of the postwar Japanese avant-garde. Chapters in this publication offer critical insights into how artists and critics grounded their work in active disengagement, to advance an ethics of nondominance. Avant-Garde Art and Nondominant Thought in Postwar Japan will appeal to students and scholars of Japanese studies, art history, and visual cultures more widely.
(source: Nielsen Book Data)

• 1. On Severance
• 2. Fugitive Matter
• 3. Anthropofugal Transformations
• 4. Modular Concrescence
• 5. Clandestine Resphiliacs
• 6. Architecture and Ignorance
• 7. An Infinite Periphery
• 8. Toward Irrelation.
• (source: Nielsen Book Data)

This book offers a reassessment of how "matter" - in the context of art history, criticism, and architecture - pursued a radical definition of "multiplicity", against the dominant and hierarchical tendencies underwriting post-fascist Japan. Through theoretical analysis of works by artists and critics such as Okamoto Taro, Hanada Kiyoteru, Kawara On, Isozaki Arata, Kawaguchi Tatsuo, and Nakahira Takuma, this highly illustrated text identifies formal oppositions frequently evoked in the Japanese avant-garde, between cognition and image, self and other, human and thing, and one and many, in mediums ranging from painting and photography, to sculpture and architecture. In addition to an "aesthetics of separation" which refuses the integrationist implications of the human, the author proposes the "anthropofugal" - meaning fleeing the human - as an original concept through which to understand matter in the epistemic universe of the postwar Japanese avant-garde. Chapters in this publication offer critical insights into how artists and critics grounded their work in active disengagement, to advance an ethics of nondominance. Avant-Garde Art and Nondominant Thought in Postwar Japan will appeal to students and scholars of Japanese studies, art history, and visual cultures more widely.
(source: Nielsen Book Data)

• Introduction: Reanimating Art--
• 1. Human Animals--
• 2. Surrealism Into Cobra--
• 3. War, Memory, and Renewal--
• 4. Expression for All--
• 5. Coda: New Networks.
• (source: Nielsen Book Data)

This book examines the art of Cobra, a network of poets and artists from Copenhagen, Brussels, and Amsterdam (1948-1951). Although the name stood for the organizers' home cities, the Cobra artists hailed from countries in Europe, Africa, and the United States. This book investigates how a group of struggling young artists attempted to reinvent the international avant-garde after the devastation of the Second World War, to create artistic experiments capable of facing the challenges of postwar society. It explores how Cobra's experimental, often collective art works and publications relate to broader debates in Europe about the use of images to commemorate violent events, the possibility of free expression in an art world constrained by Cold War politics, the breakdown of primitivism in an era of colonial independence movements, and the importance of spontaneity in a society increasingly dominated by the mass media. This book will be of interest to scholars in art history, 20th-century modern art, avant-garde arts, and European history.
(source: Nielsen Book Data)

• Introduction
• Ugochukwu-Smooth Nzewi and Thomas Fillitz
• Part 1: Historical Perspectives
• 1. The Foundation and History of the Biennale of Dakar
• Ugochukwu-Smooth Nzewi
• 2. A Politico-Economic History of Modern and Contemporary Art in Senegal: From Negritude Current to the Logics of the Open Society
• Massamba Mbaye
• 3. The 'Distancing Children' from Senghor's Openness Take a Stance
• Viye Diba
• Part 2: Dak'Art-The Biennale of Contemporary African Art
• 4. Selection Committees, Selection Processes and Application Procedures
• Ugochukwu-Smooth C. Nzewi and Thomas Fillitz
• 5. Encounters and Exchanges: An Intellectual History of the Biennale of Dakar
• El Hadji Malick NDiaye
• 6. Dak'Art and the Production of its Public
• Thomas Fillitz
• 7. The Biennale of Dakar and the State of Senegal
• Sylvain Sankale
• 8. Reimagining the Biennal of Dakar
• Koyo Kouoh and Eva Barois De Caevel
• Part 3: Contemporary African Art at Dak'Art
• 10. The Making of a Canon: Historicizing Contemporary African Art at Dak'Art
• Ugochukwu-Smooth Nzewi
• 11. All the City is an Exhibition: The Dak'Art-Off in the Biennale and in Dakar's Art World City
• Joanna Grabski
• 12. Dak'Art's Ecosystem: In and Out of Senegal
• Iolanda Pensa
• 13. EPILOGUE: Global Biennial Discourses: A Critical View from Dak'Art
• Thomas Fillitz and Ugochukwu-Smooth Nzewi.
• (source: Nielsen Book Data)

What can an art biennale in Dakar, Senegal, tell us about current discourses surrounding the place of art in the world, and in the academic study of anthropology? This volume investigates the Dak'Art biennale, ranked among the world's top 20 biennials, drawing upon fieldwork, archival research, and the experiences of those involved. In so doing, the chapters make a statement about the impact of globally-acting art biennials, contributing to current scholarship both on biennales and the anthropology of art scene more widely. Part I opens with the history of its foundation and considers it in conjunction with the rise of contemporary art in Senegal. Part II deals with the biennale's various objectives, selection strategies, exhibition spaces, platforms for debate, and discourses between the State, the secretariat and local artists and art world professionals. Part III examines the cyclical creation of contemporary African art, and questions if the Biennial creates local canonical practices. The Epilogue uses the Dak'art biennale to question assumptions around practice in general biennale scholarship and work. Featuring a dialogic structure between practitioners of art and anthropologists, this unique volume will be of interest to students of anthropology, art history and practice, African studies and curatorial practice.
(source: Nielsen Book Data)

• Section 1. Multiple voices and engaging experiences in art museum education.
• Chapter 1. Engaging refugee audiences through process and performance in multivocal, community-based programs ;
• Chapter 2. Engaging communities with supported interpretation: a step-by-step guide to developing visitor-centered exhibitions using the SI model ;
• Chapter 3. Building a racial identity: African American students' learning experiences at the Florence County Museum ;
• Chapter 4. Beyond inclusion: meaningfully engaging visitors with disabilities
• Section 2. School partnerships in art museums.
• Chapter 5. Re-discovering graphics: a transformative museum-school-community partnership ;
• Chapter 6. School and teacher partnerships at the Memphis Brooks Museum of Art ;
• Chapter 7. Bringing arts integration to youth (BRAINY) at Colorado State University
• Section 3. University-museum-community collaborations.
• Chapter 8. Socially responsive museum pedagogy: education at the Wexner Center for the Arts ;
• Chapter 9. Thoughts and highlights involving an urban museum education partnership and a university ;
• Chapter 10. Integrating student workers into museum practice ;
• Chapter 11. Decorating up a few acres of the Rocky Mountains: engaging art and design students in a historic house museum
• Section 4. Adult learning and intergenerational connections to museum programs.
• Chapter 12. Docents and museum education: the past, present, and future ;
• Chapter 13. Stay gold: an intergenerational LGBTQIA arts program ;
• Chapter 14. The 50 year reunion: considering adults 55 and better as an essential audience in the art museum

As art museum educators become more involved in curatorial decisions and creating opportunities for community voices to be represented in the galleries of the museum, museum education is shifting from responding to works of art to developing authentic opportunities for engagement with their communities. Current research focuses on museum education experiences and the wide-reaching benefits of including these experiences into art education courses. As more universities add art museum education to their curricula, there is a need for a text to support the topic and offer examples of real-world museum education experiences. Engaging Communities Through Civic Engagement in Art Museum Education deepens knowledge on museum and art education and civic engagement and bridges the gap from theory to practice. The chapters focus on various sectors of this research, including diversity and inclusion in museum experiences, engaging communities through new techniques, and museum and university partnerships. As such, it includes coverage on timely topics that include programs and audience engagement with the LGBTQ+, refugee, disability, and senior communities; socially responsive museum pedagogy; and the use of student workers. This book is ideal for museum educators, museum directors, curators, professionals, practitioners, researchers, academicians, and students who are interested in updated knowledge and research in art education, curriculum development, and civic engagement.
(source: Nielsen Book Data)

• 1. Field
• 2. Studio
• 3. Laboratory
• 4. Community
• 5. Residency
• 6. Thesis
• 7. Page
• 8. Exhibition.
• (source: Nielsen Book Data)

This book explores the intersection of geographical knowledge and artistic research in terms of both creative methods and practice-based research. In doing so it brings together geography's 'creative turn' with the art world's 'research turn.' Based on a decade and a half of ethnographic stories of working at the intersection of creative arts practices and geographical research, this book offers a much-needed critical account of these forms of knowledge production. Adopting a geohumanities approach to investigating how these forms of knowledge are produced, consumed, and circulated, it queries what imaginaries and practices of the key sites of knowledge making (including the field, the artist's studio, the PhD thesis, and the exhibition) emerge and how these might challenge existing understandings of these locations. Inspired by the geographies of science and knowledge, art history and theory, and accounts of working within and beyond disciplines, this book seeks to understand the geographies of research at the intersection of geography and creative arts practices, how these geographies challenge existing understandings of these disciplines and practices, and what they might contribute to our wider discussions of working beyond disciplines, including through artistic research. This book offers a timely contribution to the emerging fields of artistic research and geohumanities, and will appeal to undergraduate and postgraduate students and researchers.
(source: Nielsen Book Data)

• Chapter 1. Cai Yuanpei: His Vision for Art Reform in China.
• Chapter 2. The Other Lu Xun: Graphic Designer, Book Collector and Art Reformer.
• Chapter 3. Xu Zhimo: Public Intellectual and Art Reformer.
• Chapter 4. Art Exhibition, Art Reforms and the Debates.
• Chapter 5. Chinese Art Students in Lyon: Individuals and Institutions
• Part 1.
• Chapter 5. Chinese Art Students in Lyon: Individuals and Institutions
• Part 2.
• Chapter 6. Afterword: Questioning the Agency of the Semi-Colonised. Glossaries. Chinese and Japanese Names and Expressions-- Schools, Associations, Institutions and Exhibitions. References.
• (source: Nielsen Book Data)

How did art reform fit into the many initiatives for social and cultural change that contributed to the New Cultural Movement that transformed the Chinese cultural landscape during the Republican period? "Modern art for a modern China" was the rallying cry of Chinese intellectuals, many of whom were artists, critics, writers, poets and educators. Wang describes how these groups discussed and implanted changes in China's conception and practice of art. She demonstrates how art reforms fit into the many initiatives for social and cultural change that contributed to the New Cultural Movement that transformed the Chinese cultural landscape during the Republican period. In doing so, she analyses two key areas in the intellectual history of Republican China: China's art reform in the early decades of the twentieth century; and the connection and intersection between colonialism, nationalism and cosmopolitanism, including their direct impact on the development of art and art practice in China. Modern Art for a Modern China is an invaluable resource for scholars and students of China's twentieth-century intellectual history and art history.
(source: Nielsen Book Data)

• Chapter 1. Cai Yuanpei: His Vision for Art Reform in China.
• Chapter 2. The Other Lu Xun: Graphic Designer, Book Collector and Art Reformer.
• Chapter 3. Xu Zhimo: Public Intellectual and Art Reformer.
• Chapter 4. Art Exhibition, Art Reforms and the Debates.
• Chapter 5. Chinese Art Students in Lyon: Individuals and Institutions
• Part 1.
• Chapter 5. Chinese Art Students in Lyon: Individuals and Institutions
• Part 2.
• Chapter 6. Afterword: Questioning the Agency of the Semi-Colonised. Glossaries. Chinese and Japanese Names and Expressions-- Schools, Associations, Institutions and Exhibitions. References.
• (source: Nielsen Book Data)

How did art reform fit into the many initiatives for social and cultural change that contributed to the New Cultural Movement that transformed the Chinese cultural landscape during the Republican period? "Modern art for a modern China" was the rallying cry of Chinese intellectuals, many of whom were artists, critics, writers, poets and educators. Wang describes how these groups discussed and implanted changes in China's conception and practice of art. She demonstrates how art reforms fit into the many initiatives for social and cultural change that contributed to the New Cultural Movement that transformed the Chinese cultural landscape during the Republican period. In doing so, she analyses two key areas in the intellectual history of Republican China: China's art reform in the early decades of the twentieth century; and the connection and intersection between colonialism, nationalism and cosmopolitanism, including their direct impact on the development of art and art practice in China. Modern Art for a Modern China is an invaluable resource for scholars and students of China's twentieth-century intellectual history and art history.
(source: Nielsen Book Data)

• Chapter 1: In the Beginnings: Introducing Poetics of Deconstruction
• Chapter 2: The Animal Cure: inhaling the other in Dean Spanley
• Chapter 3: Raising Animals: between the basement and the kennel in The Woman
• Chapter 4: Speculations: gesture in Conceiving Ada and Absent Presence
• Chapter 5: Outlaws: towards a posthumanist feminine in Dancer in the Dark
• Chapter 6: 'Unfamiliar Unconscious': the performativity of Infinity Kisses
• Chapter 7: In Lieu of Conclusion: White God.
• (source: Nielsen Book Data)

In Poetics of Deconstruction, Lynn Turner develops an intimate attention to independent films, art and the psychoanalyses by which they might make sense other than under continued license of the subject that calls himself man. Drawing extensively from Jacques Derrida's philosophy in precise dialogue with feminist thought, animal studies and posthumanism, this book explores the vulnerability of the living as rooted in non-oppositional differences. From abjection to mourning, to the speculative and the performative, it reposes concepts and buzzwords seemingly at home in feminist theory, visual culture and the humanities more broadly. Stepping away from the carno-phallogocentric legacies of the signifier and the dialectic, Poetics of Deconstruction asks you to welcome nonpower into politics, always sexual but no longer anchored in sacrifice.
(source: Nielsen Book Data)

• Lessons from the Art nexus
• The index and indexicality
• The prototype and the model
• Immanent relationality and its consequences
• Virtuosity and style
• Aesthetics and the ethics of relation
• Generativity and transformation
• Agency (social)
• Material agency
• Colour, palette and gestalt
• Patterns and their transposition
• Motile animacy.

"This book draws on the work of anthropologist Alfred Gell to reinstate the importance of the object in art and society. Rather than presenting art as a passive recipient of the artist's intention and the audience's critique, the authors consider it in the social environment of its production and reception. A Return to the Object introduces the historical and theoretical framework out of which an anthropology of art has emerged, and examines the conditions under which it has renewed interest. It also explores what art 'does' as a social and cultural phenomenon, and how it can impact alternative ways of organising and managing knowledge. Making use of ethnography, museological practice, the intellectual history of the arts and sciences, material culture studies and intangible heritage, the authors present a case for the re-orientation of current conversations surrounding the anthropology of art and social theory. This text will be of key interest to students and scholars in the social and historical sciences, arts and humanities, and cognitive sciences"-- Provided by publisher.

Tandem Dances: Choreographing Immersive Performance is the first book to propose dance and choreography as frames through which to examine immersive theatre, more broadly known as immersive performance. Indicative of a larger renaissance in storytelling during the digital age, immersive performance is influenced by emerging computer technologies, such as virtual reality and advances in video-gaming, as well as increased interest in new forms of experiential entertainment. The idea of tandemness - suggesting motion that is achieved by two bodies working together and acting in conjunction with one another - is critical throughout the book. Author Julia M. Ritter persuasively argues that practitioners of immersive productions deploy choreography as a structural mechanism to mobilize the bodies of cast and audience members to perform together. Furthermore, choreography is contextualized as an effective tool for facilitating audience participation towards immersion as an affect. Through a focus on Western dance histories, theories, and practices, Ritter's close choreographic analysis of immersive productions, along with unique insights from choreographers, directors, performers, and spectators, enlivens discourse across dramaturgy, kinesthesia, affect, and co-authorship. By foregrounding the choreographic in order to examine its specific impact on the evolution of immersive theater, Tandem Dances explores choreography as a discursive domain that is fundamentally related to creative practice, agendas of power and control, and concomitant issues of freedom and agency.
(source: Nielsen Book Data)

• Prehistoric Proust / Andř Benha̐m
• Fant̥mas and the shudder of history / Jonathan P. Eburne
• Inventing, collecting and classifying in the margins: the work of Eug̈ne Atget, a shift in photographic representation / Guillaume Le Gall
• The anxious centre / Effie Rentzou
• 1913, the year of the arrïre-garde? / William Marx
• A modernism that has not yet been: untimely Segalen / Christopher Bush
• On situating French modernism: the strange location(s) of Le Grand Meaulnes / David R. Ellison
• Les Caves du Vatican and the real novel / Gerald Prince
• 1913, between peace and war: Chagall's Homage to Apollinaire and the European avant-garde / Annette Becker
• Camille Flammarion's flash-forward: the cinematicization of French thought and aesthetics (1867-1913) / Christophe Wall-Romana
• How 'simultaneous' is it? Revisiting the Delaunay-Cendrars collaboration on La Prose du Transsib̌rien / Marjorie Perloff
• Mallarm̌'s modernity in 1913 / Virginie A. Duzer
• Poetry displaced: Nijinsky, Delaunay, Duchamp / Mary Shaw
• Behind Picasso's pins / Lisa Florman
• 1913, the future in the past / Jean-Michel Rabať
• The paradox and promise of the 'new' French Modernist Studies / Susan Stanford Friedman

1913: The year of French modernism is the first book to respond to two deceptively simple questions: "What constituted modernism in France?" and "What is the place of France on the map of global modernism?" Taking its cue from the seminal year 1913, an annus mirabilis for literature and art, the book captures a snapshot of vibrant creativity in France and a crucial moment for the quickly emerging modernism throughout the world. Essays from specialists on works of literature, art, photography and cinema which were created or made public in and around 1913, outline in a dazzling fresco the protagonists, strategies and genres, the dynamics, themes, and legacies of what was French modernism. -- .
(source: Nielsen Book Data)

• Foreword / by Joseph Leo Koerner
• Introduction: Baldung's polluted witches, poison maids, basilisks and crones
• The abject erotic feminine in Hans Baldung Grien
• The world of Baldung's 1510 Witches' Sabbath
• Baldung's 'Jewish' witches
• Baldung and the witch doctors
• Blood, visions, witch women and saints
• Baldung and the morality of vision
• Classical reception, toxic femininity and Hippomanes in The Bewitched Groom
• Humanist humour in Baldung
• Erudite obscenities and pious pornography
• Conclusion.

"Hans Baldung Grien, the most famous apprentice and close friend of German artist Albrecht Durer, was known for his unique and highly eroticised images of witches. In paintings and woodcut prints, he gave powerful visual expression to late medieval tropes and stereotypes, such as the poison maiden, venomous virgin, the Fall of Man, 'death and the maiden' and other motifs and eschatological themes, which mingled abject and erotic qualities in the female body. Yvonne Owens reads these images against the humanist intellectual milieu of Renaissance Germany, showing how classical and medieval medicine and natural philosophy interpreted female anatomy as toxic, defective and dangerously beguiling. She reveals how Hans Baldung exploited this radical polarity to create moralising and titillating portrayals of how monstrous female sexuality victimised men and brought them low. Furthermore, these images issued from - and contributed to - the contemporary understanding of witchcraft as a heresy that stemmed from natural 'feminine defect,' a concept derived from Aristotle. Offering new and provocative interpretations of Hans Baldung's iconic witchcraft imagery, this book will be essential for historians of art, culture and gender relations in the late medieval and early modern periods"-- Provided by publisher.

• Introduction * Multiple Beginnings * Constructing an Abstract Vocabulary * Abstract Expressionism and its Legacies * Global Geometries * Minimal, Conceptual and Process Art * Abstraction in the Digital Age.
• (source: Nielsen Book Data)

This lively introduction tells the ever-evolving story of abstract art, tracing its history from the early 1900s right up to the present day. Emerging out of western movements such as Cubism and Expressionism, abstract art quickly became a global phenomenon, changing the face of modern and contemporary art. Stephanie Straine weaves accounts of well-known pioneers with fascinating insights into lesser-known ground-breakers from across the world. Although abstraction in art is often associated with vagueness or the forbiddingly theoretical, for many artists the abstract represents pure simplicity. Straine's vivid discussion demystifies the work of over seventy innovative artists - from Wassily Kandinsky to Emma Kunz and Rana Begum - and develops our appreciation of their conceptual approach. A reference section includes a timeline of key exhibitions of abstract art, suggestions for further reading and a glossary of art terms.
(source: Nielsen Book Data)