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• Preface Part One: Getting Things Done Introduction to Part One Ch 1 Pain in the Arts: Decline or Renewal Ch 2 Surviving the Downturn Ch 3 The Case for the Arts Ch 4 Mind your Language - Alphabets of Abomination Ch 5 Learning on the Job - A Personal Road to Responsibility Ch 6 The Do's and Don'ts of Running the Arts Ch 7 The Leader, the Manager - What's the Difference? Ch 8 What do you Know? - Inside the Mind of a Leader Ch 9 An Arts Policy for a Floating Utopia Ch 10 Keeping Things Simple Part Two: Arguing for the Arts Ch 11 Introduction to Part Two Ch 12 'If Music is the Staff of Life, Play Up!': Who is Playing Whom? Ch 13 The Great Arts Education Debate: Slam the Door on the Past - Betray the Future Ch 14 A Special Case for Treatment: Special Pleading for the Arts Ch 15 The Arts and Civil Society: Standing Up to the Stand Off-ish Ch 16 The Arts and Humanities: Defending the Undefendable Ch 17 An Agenda for the Future: Making the Arts Matter Index.
• (source: Nielsen Book Data)

Over a distinguished career in cultural leadership, management and journalism spanning almost 30 years, John Tusa has amassed a unique experience of the arts world, the political controversies it faces and the battles it continues to fight. His new book is a fearless and passionate defence of the performing and visual arts at a time of increasing 'Pain in the Arts.' Tusa explains how the arts are run and why they are worth speaking up for. He addresses the controversies in the arts that must be resolved today: should they be useful before they are excellent? Can they ever turn their backs on the past if they are to be creative in the present? He offers guidance on how the arts can survive in a downturn and why they should always make the case that they deserve special treatment. He also draws on his five years to date as Chair of the Clore Leadership Programme to discuss the increasingly complex questions- practical, personal, professional- that today's and tomorrow's cultural leaders must face, including the qualities of character needed to succeed and what a revolution in arts leadership might achieve. He also reveals the pitfalls of managerialist language. The backdrop throughout is John Tusa's personal story of discovery and love of the culture he strives to defend in hard times.
(source: Nielsen Book Data)

本书是由OCAT北京馆(OCATInstitute)组织编辑, 由岭南美术出版社出版的中文艺术史理论学术丛书, 每年以不同主题的研究出版一本.丛书主要编辑以艺术史理论及相关的语言史, 心理学史, 哲学史, 文化史, 宗教史, 社会史与思想史的前沿性研究课题和译文, 也对相关学术课题的国际资讯, 图书, 展览和研究机构进行报道与评介, 将通过为这一学术领域的研究成果提供出版平台, 力图为这一领域新的汉语思想模式和知识形式的形成创造条件, 并为汉语学术界提供与国际同类学术丛书的交流机会. 本书是由OCAT北京馆(OCATInstitute)组织编辑, 由岭南美术出版社出版的中文艺术史理论学术丛书, 每年以不同主题的研究出版一本.丛书主要编辑以艺术史理论及相关的语言史, 心理学史, 哲学史, 文化史, 宗教史, 社会史与思想史的前沿性研究课题和译文, 也对相关学术课题的国际资讯, 图书, 展览和研究机构进行报道与评介, 将通过为这一学术领域的研究成果提供出版平台, 力图为这一领域新的汉语思想模式和知识形式的形成创造条件, 并为汉语学术界提供与国际同类学术丛书的交流机会.

• Foreword / William R. Acquavella
• Dedication / Herbert and Lenore Schorr
• Jean-Michel Basquiat drawing / Fred Hoffman
• Works in exhibition

Published on the occasion of an exhibition of the same name, Jean-Michel Basquiat Drawing is the first book on the Schorr Collection of Basquiat's works on paper. Jean-Michel Basquiat (1960-1988) was barely out of his teens when he rocketed to the center of New York's art scene; he was 27 when he died of a heroin overdose. A friend of Keith Haring and Andy Warhol, and always controversial, Basquiat is now established as a major contemporary painter whose unique work continues to enthrall. Herbert and Lenore Schorr began collecting the work of Basquiat in 1981, before his first New York exhibition. During the artist's seminal years of 1982-83, the Schorrs acquired several of his most important paintings, but in contrast to virtually every other early collector, the Schorrs also pursued and acquired a great number of works on paper both directly from the artist and from his first dealer. Their collection demonstrates the focus and ambition that the artist invested in the medium of drawing.
(source: Nielsen Book Data)

• 1. Introduction: Ethics and the Arts / Paul Macneill
• PART I. THE ARTS AND ETHICS
• 2. Literature and Ethics: Learning to Read with Emma Bovary / Iain Bamforth
• 3. Music and Morality / Philip Alperson
• 4. Modern Painting and Morality / Paul Macneill
• 5. The Photograph Not as Proof but as Limit / Sarah Sentilles
• 6. Of Redemption: The Good of Film Experience / Brian Bergen-Aurand
• 7. Movies and Medical Ethics / Henri Colt
• 8. The House of the Dead--The Ethics and Aesthetics of Documentary / Debora Diniz
• 9. Embracing the Unknown, Ethics and Dance / Philipa Rothfield
• 10. Burning Daylight: Contemporary Indigenous Dance, Loss and Cultural Intuition / Rachael Swain
• 11. Toward an Intersubjective Ethics of Acting and Actor Training / Phillip Zarrilli
• 12. Politics and Ethics in Applied Theatre: Face-to- Face and Disturbing the Fabric of the Sensible / James Thompson
• 13. Presence in Performance: An Enigmatic Quality / Paul Macneill
• 14. Ethics and Performance: Enacting Presence / Paul Macneill.

• PART II. WHAT IS THE RELATION BETWEEN ETHICS AND THE ARTS?
• 15. Ethics and the Arts: A Critical Review of the New Moralisms / Paul Macneill
• 16. Ethics and Aesthetics--Joined at the Hip? / Miles Little
• PART III. BIOART AND BIOETHICS
• 17. Taking Responsibility for Life: Bioethics and Bioart / Joanna Zylinska
• 18. The Unnatural Relations Between Artistic Research and Ethics Committees: An Artist's Perspective / Ionat Zurr and Oron Catts
• PART IV. ART AND ETHICS IN RELATION TO SCIENCE AND MEDICINE
• 19. Ethics and the Arts in the Medical Humanities / Claire Hooker
• 20. The Songs of Spring: Quest Myths, Metaphors, and Medical Progress / George J. Annas
• 21. Art, Place, Climate: Situated Ethics / Ruth Little
• PART V. CONCLUSION
• 22. Art's Rich Contribution to Ethics / Paul Macneill.

This book proposes that the highest expression of ethics is an aesthetic. It suggests that the quintessential performance of any field of practice is an art that captures an ethic beyond any literal statement of values. This is to advocate for a shift in emphasis, away from current juridical approaches to ethics (ethical codes or regulation), toward ethics as an aesthetic practice-away from ethics as a minimal requirement, toward ethics as an aspiration. The book explores the relationship between art and ethics: a subject that has fascinated philosophers from ancient Greece to the present. It explores this relationship in all the arts: literature, the visual arts, film, the performing arts, and music. It also examines current issues raised by 'hybrid' artists who are working at the ambiguous intersections between art, bio art and bioethics and challenging ethical limits in working with living materials. In considering these issues the book investigates the potential for art and ethics to be mutually challenged and changed in this meeting. The book is aimed at artists and students of the arts, who may be interested in approaching ethics and the arts in a new way. It is also aimed at students and teachers of ethics and philosophy, as well as those working in bioethics and the health professions. It will have appeal to the 'general educated reader' as being current, of considerable interest, and offering a perspective on ethics that goes beyond a professional context to include questions about how one approaches ethics in one's own life and practices.
(source: Nielsen Book Data)

• Acknowledgments; Introduction; Part I. Name No One;
• 1: Name No One Man;
• 2: Name No One Name; Part II. Naked;
• 3: Naked Sharing;
• 4: Naked Image; Part III. Neutral and Unbecoming;
• 5: Neutral Mourning;
• 6: Unbecoming Community; Notes; Bibliography; Index.

The Decision Between Us combines an inventive reading of Jean-Luc Nancy with queer theoretical concerns to argue that while scenes of intimacy are spaces of sharing, they are also spaces of separation. John Paul Ricco shows that this tension informs our efforts to coexist ethically and politically, an experience of sharing and separation that informs any decision. Using this incongruous relation of intimate separation, Ricco goes on to propose that "decision" is as much an aesthetic as it is an ethical construct, and one that is always defined in terms of our relations to loss, absence, departure, and death. Laying out this theory of "unbecoming community" in modern and contemporary art, literature, and philosophy, and calling our attention to such things as blank sheets of paper, images of unmade beds, and the spaces around bodies, The Decision Between Us opens in 1953, when Robert Rauschenberg famously erased a drawing by Willem de Kooning, and Roland Barthes published Writing Degree Zero, then moves to 1980 and the "neutral mourning" of Barthes' Camera Lucida, and ends in the early 1990s with installations by Felix Gonzalez-Torres. Offering surprising new considerations of these and other seminal works of art and theory by Jean Genet, Marguerite Duras, and Catherine Breillat, The Decision Between Us is a highly original and unusually imaginative exploration of the spaces between us, arousing and evoking scenes of passionate, erotic pleasure as well as deep loss and mourning.
(source: Nielsen Book Data)

• Introduction: Inventing schizoanalysis / Ian Buchanan and Lorna Collins
• Part 1. Genealogy of Art and Schizoanalysis: 1. The 'Clutter' Assemblage / Ian Buchanan; 2. Schizo-Revolutionary Art: Deleuze, Guattari and Communisation Theory / Stephen Zepke
• Part 2. Raw Data for Schizoanalysis: Outsider Art: 3. Pragmatics of Raw Art (For the Post-Autonomy Paradigm) /\ Alexander Wilson; 4. Passional Bodies: The Interstitial Force of Artaud's Drawings / Anna Powell; 5. Art, Therapy and the Schizophrenic / Lorna Collins
• Part 3. Art as an Abstract Machine: 6. The Audience and the Art Machine: Janet Cardiff and George Bures Miller's Opera for a Small Room / Susan Ballard; 7. 1780 and 1945: An Avant-Garde Without Authority, Addressing the Anthropocene / jan jagodzinski; 8. Strategies of Camouflage: Depersonalisation, Schizoanalysis and Contemporary Photography / Ayelet Zohar
• Part 4. Mobilizing Schizoanalysis: Collaborative Art Practice: 9. The Event of Painting / Andrea Eckersley; 10. In Response to the 'Indiscreet Questioner' / Jac Saorsa; 11. The Sinthome/Z-point Relation or Art as Non-Schizoanalysis / David Burrows and Simon O'Sullivan (Plastique Fantastique); 12. Art as Schizoanalysis: Creative Place-Making in South Asia / Leon Tan.

The concept of schizoanalysis is Deleuze and Guattari's fusion of psychoanalytic-inspired theories of the self, the libido and desire with Marx-inspired theories of the economy, history and society. Schizoanalysis holds that art's function is both political and aesthetic - it changes perception. If one cannot change perception, then, one cannot change anything politically. This is why Deleuze and Guattari always insist that artists operate at the level of the real (not the imaginary or the symbolic). Ultimately, they argue, there is no necessary distinction to be made between aesthetics and politics. They are simply two sides of the same coin, both concerned with the formation and transformation of social and cultural norms. Deleuze and the Schizoanalysis of Visual Art explores how every artist, good or bad, contributes to the structure and nature of society because their work either reinforces social norms, or challenges them. From this point of view we are all artists, we all have the potential to exercise what might be called a 'aesthetico-political function' and change the world around us; or, conversely, we can not only let the status quo endure, but fight to preserve it as though it were freedom itself. Edited by one of the world's leading scholars in Deleuze Studies and an accomplished artist, curator and critic, this impressive collection of writings by both academics and practicing artists is an exciting imaginative tool for a upper level students and academics researching and studying visual arts, critical theory, continental philosophy, and media.
(source: Nielsen Book Data)

• Colección CNAP: apuesta al futuro = CNAP collection: challenge for the future / Rubén del Valle Lantarón
• Colección CNAP: en la búsqueda del tiempo perdido = CNAP collection: in search of lost time / Isabel María Pérez Pérez
• Recorrido por el arte contemporáneo cubano = A tour of Cuban contemporary art / Virginia Alberdi
• Una oportunidad única = A unique opportunity / Gilbert Brownstone
• Rodando se encuentran = Rolling, they meet / Ph.D. Maria Cruz Alonso
• Artistas = Artists
• Síntesis curricular = Curricular data-Índice onomástico. Artistas en la Colección CNAP 2008
• 2013 = Alphabetical list of names. Artists in the 2008
• 2013 CNAP collection

• Introduction: from medium to site
• Rhetorics of expansion
• Leaving the movie theater
• Moving images in the gallery
• Cinema on stage
• The festival, the factory, and feedback
• Epilogue: the homelessness of the moving image.

Today, the moving image is ubiquitous in global contemporary art. The first book to tell the story of the postwar expanded cinema that inspired this omnipresence, Between the Black Box and the White Cube travels back to the 1950s and 1960s when the rise of television caused movie theaters to lose their monopoly over the moving image, leading cinema to be installed directly alongside other forms of modern art. Explaining that the postwar expanded cinema was a response to both developments, Andrew V. Uroskie argues that, rather than a formal or technological innovation, the key change for artists involved a displacement of the moving image from the familiarity of the cinematic theater to original spaces and contexts. He shows how newly available, inexpensive film and video technology enabled artists such as Nam June Paik, Robert Whitman, Stan VanDerBeek, Robert Breer, and especially Andy Warhol to become filmmakers. Through their efforts to explore a fresh way of experiencing the moving image, these artists sought to reimagine the nature and possibilities of art in a postcinematic age and helped to develop a novel space between the "black box" of the movie theater and the "white cube" of the art gallery. Packed with one hundred illustrations, Between the Black Box and the White Cube is a compelling look at a seminal moment in the cultural life of the moving image and its emergence in contemporary art.
(source: Nielsen Book Data)

• Introduction
• 1. Beyond Theories of Art
• 2. After the Beginning of Art
• 3. Passing the Buck on Art
• 4. Art in Culture
• 5. The Myth of Artistic Value
• 6. Beyond Bricolage
• 7. Appreciative Kinds and Media
• 8. Appreciative Practices
• 9. Aesthetic Appreciation
• 10. Much Ado about Art
• Afterword
• References
• Index.
• (source: Nielsen Book Data)

Dominic McIver Lopes articulates and defends a 'buck passing theory of art', namely that a work of art is nothing but a work in one of the arts. Having traced philosophical interest in theories of art to a reaction to certain puzzle cases of avant-garde art, he argues that none of the theories that have dominated philosophy since the 1960s adequately copes with these works. Whereas these theories have reached a dialectical impasse wherein they reiterate, and cannot resolve, disagreement over the puzzle cases, the buck passing theory illuminates the radical provocations of avant-garde art. In addition, when supplemented by a systematic framework for crafting theories of the individual arts, the buck passing theory grounds our empirical inquiries into the arts as well as our practices of appreciation and art criticism. Lopes seeks to model the diverse strategies employed by humanists and social and behavioural scientists who study the different arts. He gives the specificity of each art form a central role in our appreciative endeavours, and yet he stresses the continuity of the arts with similar, non-art activities such as fashion design, sports and games, cuisine, nature appreciation, and non-literary writing.
(source: Nielsen Book Data)

• Preliminary material / Editors Reworlding Art History
• Contemporary 'Southeast Asian' Art / Editors Reworlding Art History
• Mapping Regional Difference / Editors Reworlding Art History
• Exhibiting Southeast Asian Difference / Editors Reworlding Art History
• Trans/Localities? / Editors Reworlding Art History
• Memoryscapes / Editors Reworlding Art History
• Corporeographies / Editors Reworlding Art History
• Epilogue / Editors Reworlding Art History
• Bibliography / Editors Reworlding Art History
• Index / Editors Reworlding Art History.

Reworlding Art History highlights the significance of contemporary Southeast Asian art and artists, and their place in the globalized art world and the internationalizing field of ¿́¿contemporary art¿́¿. In the light of the region¿́¿s modern art history, the book surveys this relatively under-examined area of contemporary art which first found broad international recognition in the 1990s. Traced here are significant exhibitions that featured contemporary Southeast Asian art and brought it to regional and international attention. Examined are seminal foundational art histories, and dominant methods and thematic frameworks for engaging with Southeast Asian art. Key artists, exhibitions, collections, scholarship, ideologies, and discourses shaping its developing history are discussed, as are major works by artists associated with Indonesia, Malaysia, the Philippines, and Singapore. Far from being peripheral, Southeast Asian art has helped create the very conditions of international contemporary art, compelling us to examine the Euro-American biases of art history. The book stresses local creative contexts and cultural histories of the rich modern and contemporary art of the region and its diaspora, revealing its plurality and diversity. The concept ¿́¿Southeast Asia¿́¿ is treated as a crucial entry-point for examining art and artists associated with this unique region and for extending debate on the local/global constitution of contemporary art. Of central importance is the aesthetic agency of contemporary Southeast Asian art ¿́¿ its invitation to sensory and affective response ¿́¿ and its capacity for dialogue and diverse significations across borders. Also considered is the effect of shifting art-historical frameworks on engagement with this stimulating art. Richly illustrated and incorporating cross-cultural and interdisciplinary methods, Reworlding Art History is a foundational reference work for those interested in Southeast Asia¿́¿s contemporary art, including scholars of art history, Asian studies, curatorship, museology, visual culture, and anthropology, as well as professionals working in art and museum contexts.

• 1. The profession of art history
• 2. The art of fiction
• 3. Girl guides: travel, translation, ekphrasis
• 4. Women's periods
• 5. Feminine arts.

This book sets out to correct received accounts of the emergence of art history as a masculine field. It investigates the importance of female writers from Anna Jameson, Elizabeth Eastlake and George Eliot to Alice Meynell, Vernon Lee and Michael Field in developing a discourse of art notable for its complexity and cultural power, its increasing professionalism and reach, and its integration with other discourses of modernity. Proposing a more flexible and inclusive model of what constitutes art historical writing, including fiction, poetry and travel literature, this book offers a radically revisionist account of the genealogy of a discipline and a profession. It shows how women experienced forms of professional exclusion that, whilst detrimental to their careers, could be aesthetically formative; how working from the margins of established institutional structures gave women the freedom to be audaciously experimental in their writing about art in ways that resonate with modern readers.
(source: Nielsen Book Data)

• Artists: Firmin Baes
• Leon Devos
• Charles Doudelet
• James Ensor
• Willy Finch
• Pierre-Louis Flouquet
• Leon Frédéric
• Floris Jespers
• Oscar Jespers
• Paul Joostens
• Karel Maes
• Frans Masereel
• Xavier Mellery
• George Minne
• Constant Montald
• Constant Permeke
• Felicien Rops
• Leon Spilliaert
• Henri Van de Velde
• Frits Van de Berghe.

• Preface / Emily Kass
• Joseph McCrindle and education / John T. Rowe
• The collector : a personal impression of Joseph McCrindle / Timothy A. Riggs
• An eye for the unexpected / Timothy A. Riggs and Sara K. Berkowitz
• Exhibition checklist
• Works of art form the McCrindle Collection in other North Carolina museums.

• Latin American Art at the Allen: building a collection / Denise Birkhofer
• Art and evidence: teaching the Mexican Revolution at the Allen Memorial Art Museum / Steven S. Volk.

• Introduction ; Hofmann's hints: a journey through the Meyerhoff Collection / Harry Cooper
• Plates. Barnett Newman
• Josef Albers
• William Baziotes
• Anthony Caro
• Joseph Cornell
• Burgoyne Diller
• Jean Dubuffet
• Eric Fischl
• Nancy Graves
• Philip Guston
• Grace Hartigan
• Howard Hodgkin
• Hans Hofmann
• Jasper Johns
• Ellsworth Kelly
• Roy Lichtenstein
• Brice Marden
• Agnes Martin
• Robert Rauschenberg
• Ad Reinhardt
• James Rosenquist
• Mark Rothko
• David Salle
• Frank Stella
• Clyfford Still
• Bradley Walker Tomlin
• Terry Winters.

• Introduction: By Way of the Law
• Chapter 1: By Way of Negation
• Chapter 2: By Way of Beauty
• Chapter 3: By Way of Truth
• Chapter 4: By Way of Deception - With Efrat Biberman (Holon Institute of Technology, Design)
• Chapter 5: By Way of Prohibition Conclusion.
• (source: Nielsen Book Data)

Ever since Plato expelled the poets from his ideal state, the ethics of art has had to confront philosophy's denial of art's morality. In Art before the Law, Ruth Ronen proposes a new outlook on the ethics of art by arguing that art insists on this tradition of denial, affirming its singular ethics through negativity. Ronen treats the mechanism of negation as the basis for the relationship between art and ethics. She shows how, through moves of denial, resistance, and denouncement, art exploits its negative relation to morality. While deception, fiction, and transgression allegedly locate art outside morality and ethics, Ronen argues they enable art to reveal the significance of the moral law, its origins, and the idea of the good. By employing the thought of Freud and Lacan, Ronen reconsiders the aesthetic tradition from Plato through Kant and later philosophers of art in order to establish an ethics of art. An interdisciplinary study, Art before the Law is sure to be of interest both to academic philosophers and to those interested in psychoanalytic theory and practice.
(source: Nielsen Book Data)

• Foreword; Disclaimers; BOOK ONE: Initiation; 1 HOT-WIRED; 2. OLD COWBOYS; 3. SONGLINES; 4. CULTURAL REVIVAL IS SURVIVAL; 5. KITH AND KIN; BOOK TWO: Beyond the Horizon; 6. CAVE PAINTING; 7. ARTEFACTS
• EASTERN AUSTRALIA; 8. THE FIRST ABORIGINAL 'ARTISTS'; 9. EARLY COLLECTORS; BOOK THREE: The Developing Market; 10. ANTHROPOLOGISTS, MISSIONARIES AND ETHNOGRAPHERS; 11. EARLY COLLECTORS; 12. THE PASSPORT TO ARNHEM LAND; 13. EARLY BARK PAINTERS OF WESTERN AND CENTRAL ARNHEM LAND; 14. NORTH EAST ARNHEM LAND; 15. QUEENSLAND
• THE SUNSHINE STATE; 16. LAND OF THE WANDJINA.

• BOOK FOUR: Go West Young Man17. THE BIRTH OF A HOME-GROWN ART INDUSTRY; 18. HOME OF THE HONEY ANT; 19. EARLY DESERT MASTERS; 20. CREATING A MARKET: DESERT ART'S TAKEOVER; 21. THE END OF THE 1970s
• A SNAPSHOT; 22. ORIGINS OF ART IN THE EAST KIMBERLEY; BOOK FIVE: The Goose that Laid the Golden Egg; 23. ARNHEM LAND; 24. SPREAD OF WESTERN DESERT ART; 25. FOR THE LOVE OF ARTEFACTS; 26. DON'T BRING YOUR LOVE TO TOWN; 27. ACROSS THE TANAMI
• THE EMERGING WARLPIRI ARTISTS; 28. EASTERN DESERT
• UTOPIA; 29. BALGO HILLS; 30. ON THE ROAD; 31. ARNHEM LAND ARTISTS OF RENOWN; 32. BAD BALANDA BLOOD.

• 33. URBAN ART34. THE MAINSTREAMING OF ABORIGINAL ART; 35. THE DEMISE OF THE COMPANY; 36. AN ACCIDENT WAITING TO HAPPEN; BOOK SIX: Highway to Hell; 37. THE ADVENT OF 'AUTHENTICITY'; 38. STAR QUALITY; 39. THE BIRTH OF THE SECONDARY MARKET; 40. ACROSS THE PHILOSOPHICAL DIVIDE
• THE DEVELOPING MARKET INFRASTRUCTURE; 41. SERIOUSLY COLLECTABLE; 42. ROVING IN THOMAS TOWN; 43. FAKERY; 44. AUTHORSHIP; 45. SLANDER; 46. INDEPENDENCE; 47. ATTRIBUTION; 48. TOYOTA DREAMING; 49. BOGUS!; 50. OWNERSHIP; 51. FIN DE SIÈCLE; BOOK SEVEN: Art Goes into Overdrive; 52. FUN AND GAMES; 53. DESERT BLUSH.

• 54. pride and prejudice55. the star has left the building
• the rise and rise of tommy watson; 56. fire, fire, burning bright; 57. status anxiety; 58. who's afraid of the big bad wolf?; 59. une guerre de territoire; 60. off the beaten track; 61. twinkle twinkle, tinkle tinkle; 62. auction wars; 63. renewing the dreaming; 64. reckon silly nation; 65. it's not just black and white; 66. imagine; epilogue
• email from a mate in the outback; author's note; endnotes; timeline; abbreviations, reports, and acronyms; bibliography; acknowledgements; photographic credits and copyright.

Adrian Newstead's explosive memoir lifts the lid on what Robert Hughes once described as ""the last great art movement of the 20th century."" After thirty years sitting round campfires with Aboriginal artists all over Australia, Newstead has produced the definitive expose of ""the first great art movement of the 21st century"". From remote indigenous communities with their dispossessed populations of tribal elders and troubled youth, to the gleaming white box galleries, high powered auction houses, and formidable art institutions of major cities all over the world. Newstead combines personal a.

• Introduction: Rethinking Relevance: Studying the Visual in Canada / LYNDA JESSUP, ERIN MORTON, AND KIRSTY ROBERTSON
• PART ONE PREPOSTEROUS HISTORIES OF THE PRESENT / ERIN MORTON. 1 Struck by Likening: Homer Watson, Jack Chambers, Gerhard Richter, and the Force of Art World Analogies / MARK A. CHEETHAM
• 2 Feminist Art History in Canada: A "Limited Pursuit"? / KRISTY A. HOLMES
• 3 Dealing with Chiastic Perspectives: Global Art Histories in Canada / ALICE MING WAI JIM
• 4 The Location of / The Conditions for Art: On-Site Specifics and Site Adjustments / ANNIE GÉRIN.

• PART TWO OUT WITH THE NEW / IMRE SZEMAN. 5 National Cultural Policy and the International Liberal Order / BARBARA JENKINS
• 6 Visualizing the "New" North American Landscape / SARAH E.K. SMITH
• 7 Arctic Culture/Global Indigeneity / HEATHER IGLOLIORTE
• 8 The Vacant Lot: Who's Buying It? / RICHARD WILLIAM HILL.

• PART THREE DISCONTIGUOUS DEPENDENCIES / KIRSTY ROBERTSON. 9 The Aesthetics of the Territory-Nation-State and the "Canadian Problematique" / ROB SHIELDS
• 10 Our Vacant Lot Is a Trailer Park: Why English Canada's Perpetual Threat of Disappearing Keeps Film and Television Alive / JENNIFER VANDERBURGH
• 11 The Art of Conflict: Liberal Development after Neo-liberalism / SUSAN CAHILL
• 12 Considering Sovereignty and Neo-liberalism within Indeterminate States and Self-Determined Spaces / PETER CONLIN.

• Artistic activity
• Violent becomings
• Neo-aesthetics and the study of the arts of the present
• The groundless realities of art photography
• The ruse of the ruins, or: Detroit's nonreal estate
• Visualizing the face.

Instead of asking questions about the symbolic meaning or underlying "truth" of a work of art, renee c. hoogland is concerned with the actual "work" that it does in the world (whether intentionally or not). Why do we find ourselves in tears in front of an abstract painting? Why do some cartoons of the prophet Muhammad generate worldwide political outrage? What, in other words, is the compelling force of visual images, even-or especially-if they are nonfigurative, repulsive, or downright "ugly"? Rather than describing, analyzing, and interpreting artworks, hoogland approaches art as an event that obtains on the level of actualization, presenting "retellings" of specific artistic events in the light of recent interventions in aesthetic theory, and proposing to conceive of the aesthetic encounter as a potentially disruptive, if not violent, force field with material, political, and practical consequences.
(source: Nielsen Book Data)

• Preliminary Material
• Introduction / Erberto Lo Bue and John Bray
• 1 Ancient Petroglyphs of Ladakh: New Discoveries and Documentation / Tashi Ldawa Thsangspa
• 2 Embedded in Stone--Early Buddhist Rock Art of Ladakh / Phuntsog Dorjay
• 3 Historic Ruins in the Gya Valley, Eastern Ladakh, and a Consideration of Their Relationship to the History of Ladakh and Maryul With an Appendix on the War of Tsede (rTse lde) of Guge in 1083 CE by Philip Denwood / Neil Howard and Kath Howard
• 4 An Archaeological Account of Ten Ancient Painted Chortens in Ladakh and Zanskar / Quentin Devers , Laurianne Bruneau and Martin Vernier
• 5 The Chorten (mChod rten) with the Secret Chamber near Nyarma / Gerald Kozicz
• 6 The Dating of the Sumtsek Temple at Alchi / Philip Denwood
• 7 The Iconography and the Historical Context of the Drinking Scene in the Dukhang at Alchi, Ladakh / Marjo Alafouzo
• 8 The Wood Carvings of Lachuse. A Hidden Jewel of Early Mediaeval Ladakhi Art / Heinrich Poell
• 9 The mGon khang of dPe thub (Spituk): A Rare Example of 15th Century Tibetan Painting from Ladakh / Chiara Bellini
• 10 Chigtan Castle and Mosque: A Preliminary Historical and Architectural Analysis / Kacho Mumtaz Ali Khan , John Bray , Quentin Devers and Martin Vernier
• 11 Lamayuru (Ladakh)--Chenrezik Lhakang: The Bar Do Thos Grol Illustrated as a Mural Painting / Kristin Blancke Kristin Blancke
• 12 The Lost Paintings of Kesar / John Bray
• 13 Tshogs zhing: a Wall Painting in the New 'Du khang of Spituk (dPe thub) / Filippo Lunardo
• 14 From Benaras to Leh--The Trade and Use of Silk-brocade / Monisha Ahmed
• 15 Conservation of Leh Old Town--Concepts and Challenges / André Alexander and Andreas Catanese
• 16 Revealing Traditions in Earthen Architecture: Analysis of Earthen Building Material and Traditional Constructions in the Western Himalayas / Hubert Feiglstorfer
• 17 Conservation of Architectural Heritage in Ladakh / John Harrison
• Bibliography
• Index.

Art and Architecture in Ladakh shows how the region's cultural development has been influenced by its location across the great communications routes linking India with Tibet and Central Asia. Edited by Erberto Lo Bue and John Bray, the collection contains 17 research papers by experienced international art historians and architectural conservationists, as well as emerging scholars from Ladakh itself. Their topics range widely over time, from prehistoric rock art to mediaeval Buddhist stupas and wall paintings, as well as early modern castle architecture, the inter-regional trade in silk brocades, and the challenges of 21st century conservation. Taken together, these studies complement each other to provide a detailed view of Ladakh's varied cultural inheritance in the light of the latest research. Contributors include: Monisha Ahmed, Marjo Alafouzo, Andre Alexander, Chiara Bellini, Kristin Blancke, John Bray, Laurianne Bruneau, Andreas Catanese, Philip Denwood, Quentin Devers, Phuntsog Dorjay, Hubert Feiglstorfer, John Harrison, Neil and Kath Howard, Gerald Kozicz, Erberto Lo Bue, Filippo Lunardo, Kacho Mumtaz Ali Khan, Heinrich Poell, Tashi Ldawa Thsangspa and Martin Vernier.
(source: Nielsen Book Data)

• Acknowledgements Introduction PART 1. CRAFTS, TRADES, ARTISANS AND GUILDS 1. Art& mystery 2. The guilds& livery companies 3. Guild regulation& training 4. Indentured apprenticeships 5. The craft trades& the visual arts PART 2. PAINTERS 6. The art of picture craft 7. The materials of painters 8. Painter stainers 9. The painters: mechanic and liberal 10. Easel painting 11. The trade of painting in oil House and decorative painting Sign painting& making coach painting marine painting 12. Size painting Stained hangings Stained transparencies Scene painting for the theatre The plasterers 13. Limning& watercolour painting Limning Watercolour painting PART 3. SCULPTORS, CARVERS& RELATED TRADES 14. Sculpture7 15. Modelling& casting in plaster Modelling in clay Casting in plaster 16. The pointing machine 17. Carving Woodcarving Stone& marble carving 18. Metalwork& related trades The foundry Chasers& chasing Die-sinking& seal-cutting
• PART 4. ACADEMIES OF ART& THE FOUNDATIONS OF ARTISTIC PROFESSIONS 19. The origin& function of academies of art 20. Conclusion Appendix I: Indenture of 1788: Isaac Dell Appendix II: Advertisement for a Stationer and Picture Dealer c. 1750-1759 Appendix III: Samuel Wale (?-d. 1786) as sign painter Appendix IV: Charles Catton (1728-1798)"The Prince of Coach Painters" Appendix V: John Baker RA (1736-1771), coach painter Appendix VI: Luke (Marmaduke) Cradock (1660-1717) the"Ornamental Painter" Appendix VII: Sign painting in Colonial and early Federal America Appendix VIII: Prices of house painters'work of 1799 Appendix IX: Stained hangings: early seventeenth and eighteenth century Appendix X: A sampling of individual painters or sculptors who left the English Provinces for Apprenticeships in London, Westminster or Southwark Appendix XI: Some of the many woodcarvers who later worked in stone and marble Appendix XII: The construction of an armature in John Flaxman's studio Appendix XIII: Prices in 1797 for ship-carving on Royal Navy vessels in relationship to tonnage Appendix XIV: Price list for lead statuary Appendix XV: Some members of the St Martin's Lane Academy Appendix XVI: Proposed accommodation and prospectus for the Royal Academy Schools Appendix XVII: Part of Gustav Waagen'S (1794-1868) evidence before the Select Committee of the House of Commons in 1834, on the value of Academies of Art Glossary Bibliography Index.
• (source: Nielsen Book Data)

Before the foundation of academies of art in London in 1768 and Philadelphia in 1805, most individuals who were to emerge as artists trained in workshops of varying degrees of relevance. Easel painters began their careers apprenticed to carriage, house, sign or ship painters, whilst a few were placed with those who made pictures. Sculptors emerged from a training as ornamental plasterers or carvers. Of the many other trades in a position to offer an appropriate background were `limning', staining, engraving, surveying, chasing and die-sinking. In addition, plumbers gained the right to use oil painting and, for plasterers, the application of distemper was an extension of their trade. Central to the theme of this book is the notion that, for those who were to become either painters or sculptors, a training in a trade met their practical needs. This `training' was of an altogether different nature to an `education' in an art school. In the past, prospective artists were offered, by means of apprenticeships, an empirical rather than a theoretical understanding of their ultimate vocation. James Ayres provides a lively account of the inter-relationship between art and trade in the late 17th to early 19th centuries, in both Britain and North America. He demonstrates with numerous, illustrated examples, the many cross-overs in the`art and mystery' of artistic training, and, to modern eyes, the sometimes incongruous relationships between the various trades that contributed to the blossoming of many artistic careers, including some of the most illustrious names of the `long' 18th century.
(source: Nielsen Book Data)

• Art/commerce : blurring the line
• Art spaces/commercial spaces
• Art objects/brand products
• Artist/entrepreneur
• Art/commerce : the question of autonomy.

This book offers a compelling perspective on the striking similarity of art and commerce in contemporary culture. Combining the history and theory of art with theories of contemporary culture and marketing, Maria A. Slowinska chooses three angles (space, object/experience, persona) to bridge present and past, aesthetic appearance and theoretical discourse, and traditional divisions between art and commerce. Beyond both pessimistic and celebratory rhetorics, "Art/Commerce" illuminates contemporary phenomena in which the aestheticization of commerce and the commercialization of aesthetics converge.
(source: Nielsen Book Data)

• Machine generated contents note: pt. I PAINTING IN THEORY
• First Moment
• Hegel's Aesthetics
• Second Moment
• pt. 1 Kandinsky's Uber das Geistige in der Kunst
• pt. 2 Kandinsky's Punkt und Linie zu Flache and Related Essays
• Third Moment
• Kojeve's "Les Peintures concretes de Kandinsky"
• pt. II PAINTING IN PRACTICE
• The Development Of Kandinsky's Oeuvre.

This book examines the art and writings of Wassily Kandinsky, who is widely regarded as one of the first artists to produce non-representational paintings. Crucial to an understanding of Kandinsky's intentions is On the Spiritual in Art, the celebrated essay he published in 1911. Where most scholars have taken its repeated references to "spirit" as signaling quasi-religious or mystical concerns, Florman argues instead that Kandinsky's primary frame of reference was G.W.F. Hegel's Aesthetics, in which art had similarly been presented as a vehicle for the developing self-consciousness of spirit (or Geist, in German). In addition to close readings of Kandinsky's writings, the book also includes a discussion of a 1936 essay on the artist's paintings written by his own nephew, philosopher Alexandre Kojeve, the foremost Hegel scholar in France at that time. It also provides detailed analyses of individual paintings by Kandinsky, demonstrating how the development of his oeuvre challenges Hegel's views on modern art, yet operates in much the same manner as does Hegel's philosophical system. Through the work of a single, crucial artist, Florman presents a radical new account of why painting turned to abstraction in the early years of the twentieth century.
(source: Nielsen Book Data)

• Introduction: The semantic codes of the global contemporary / Anna Maria Guasch Ferrer and Nasheli Jiménez del Val
• Part I: Archives and networks
• Deconstruction, relational aesthetics and techno-cultural networks: 1990-2010 / Anna Maria Guasch
• Postcolonial art: a living archive of border-crossings and migrant matters / Celeste Ianniciello
• Re-performing the archive: a feminist act / El Colectivo
• An art of condensation, a political relationship: archiving the crisis, claiming the future / Elpida Karaba
• Part II: The utopian globalists
• Utopian globalists, modernism and the arts of austerity in the 1970s / Jonathan Harris
• DIY utopias: the rebel urbanism of Madrid's "Acampadasol" / Julia Romírez Blanco
• WeltKarten: panorama / Laura F. Gibellini
• The ut(r)opian globalization of contemporary Central American art: tracing the pale of history or (furtively) stealing from the global pier? / Sergio Villena Fiengo
• Part III: Labour, woman and politics
• Leaving home: stories of feminisation, work and non-work / Angela Dimitrakaki
• The domestic is political: the feminization of domestic labour and its critique in feminist art practice / Elke Krasny
• From psedo-emancipation to outright subjugation: the representation of "women's" work in contemporary Hungarian women's art / Erzsébet Tatai
• Decolonisation: women and the politics of authenticity, between sirens, witches and human zoos ... : subverting the labyrinth of solitude, and bringing sincerity and humor -- black and exhilarating -- from Santiago of Chile to Long Island / Lynda E. Avendaño Santana
• Towards a socio-political ethics of art and technology in the era of globalization. Fighting gender violence in the public sphere / Mau Monleón Pradas
• Part IV: Art and the post-natural condition
• Gardens beyond Eden: bio-aesthetics, eco-futurism, and dystopia at dOCUMENTA (13) and beyond / T.J. Demos
• Global Latin American art: an eye on Earth / Andrea Diaz Mattei
• Mechanical monsters of the cyber-technological imaginarium: technological dysfunctions in contemporary art / Juliana Gontijo
• Towards an ecological hermeneutics of the exhibition space: the case of Alberto Carneiro's Envolvimentos and ecological art in the 1960s and 1970s / Mariella Franzoni
• Transforming the way of looking by using technology, and its application in contemporary art practice / Salim Malla Gutiérrez
• Afterword: Global interculturality for a critical cartography of art and visuality / Anna Maria Guasch Ferrer and Nasheli Jiménez del Val.

Critical Cartography of Art and Visuality in the Global Age poses fundamental questions and pinpoints topical discussions central to the field of contemporary art studies in the global age. Resulting from a series of conversations that took place at the international conference "Critical Cartography of Art and Visuality in the Global Age" (Barcelona 2013), the volume brings together current debates in cultural and identity-based art histories as a means of expanding the territory of contemporary art into the field of culture. With key contributions by Anna Maria Guasch, Jonathan Harris, Angela Dimitrakaki and T.J. Demos, the essays included here are grouped into four sections corresponding to central debates in global art studies: Archives and Networks; Utopian Globalists; Labour, Woman and Politics; and Art and the Post-Natural Condition. For each topic, a selection of leading scholars and arts practitioners from a range of geographic, disciplinary and institutional contexts have contributed their ideas, arguments, and approaches to contemporary art studies in the global age. Through its engagement with interdisciplinarity and practice-based research, the volume provides important coordinates for current debates in global art, as well as a cartography of the conceptual and methodological intersections that global art studies addresses today.
(source: Nielsen Book Data)

• Pages:1 to 25
• Pages:26 to 50
• Pages:51 to 75
• Pages:76 to 100
• Pages:101 to 125
• Pages:126 to 145.

Now that we 'curate' even lunch, what happens to the role of the connoisseur in contemporary culture? 'Curate' is now a buzzword, applied to everything from music festivals to artisanal cheese. Inside the art world, the curator reigns supreme, acting as the face of high-profile group shows and biennials in a way that can eclipse and assimilate the contributions of individual artists. Curatorial-studies programs continue to grow, and the business world is adopting curation as a means of adding value to content. Everyone, it seems, is a curator. But what is a curator, exactly? And what does the explosive popularity of curating say about our culture's relationship with taste, labour and the avant-garde? In this vibrant, revelatory and original study, David Balzer travels through art history and around the globe to explore the cult of curation, from superstar curator Hans Ulrich Obrist's war with sleep to Subway's 'sandwich artists.' Recalling such landmark works of cultural criticism as Tom Wolfe's The Painted Word and John Berger's Ways of Seeing, Curationism will change the way you look at art - and maybe even the way you see yourself. 'This is an unusual art book. It is a book you should read and one that you can. Balzer traces the history and current hegemony of curationism, a practice of jumped-up interior decorators who double as priests explaining the gospel to the unlettered masses. A good read, if you don't mind reading things that you don't want to know.' - Dave Hickey David Balzer has contributed to publications including the Believer, Modern Painters, Artforum.com, and The Globe and Mail, and is the author of Contrivances, a short-fiction collection. He is currently Associate Editor at Canadian Art magazine. Balzer was born in Winnipeg and currently resides in Toronto, where he makes a living as a critic, editor and teacher.
(source: Nielsen Book Data)

• Preface and Acknowledgements Chapter One: Introduction Chapter Two: Language Chapter Three: Temporality Chapter Four: The Sensorium Chapter Five: Social Rites and Rituals Chapter Six: Systems of Economic Exchange Chapter Seven: Conclusion: The Logic and Legacy of Fluxing Bibliography Index.
• (source: Nielsen Book Data)

Focusing on the most definition-resistant art movement in history and departing from its two chief characteristics: intermediality and interactivity, this book develops an original theory of practice, the experiential philosophy of non-duality, which is the philosophy of dynamic co-constitutivity. This is done by tracing the performativity of intermedial works - works that fall conceptually between the art and the life media, such as Bengt af Klintbergs's event score: "Eat an orange as if it were an apple" - in five key areas of human experience: language, temporality, the sensorium, social rites and rituals, and systems of economic exchange. The main argument, woven with the aid of the Derridian blind tactics, the Gramscian production of social life and the Zen-derived interexpression of Kitaro Nishida, is that the practical philosophy of co-constitutivity arises from the logic of the intermedium. In pursuing this argument, the book does three things: (1) it theorises an oeuvre that has remained under-theorised due to its fundamentally non-discursive nature and in doing so reinstates Fluxus as an influential cultural, rather than a "merely" artistic paradigm; (2) it serves as a companion to thinking by doing since most Fluxus intermedia are ready-mades, and, as such, readily available in the everyday environment; and (3) it establishes the counter-hegemonic logic of fluxing while tracing its legacy in contemporary practices as diverse as the culture-jamming activism of The Yes Men, the paradoxical performance work of Song Dong and the pervasive game worlds of Blast Theory.
(source: Nielsen Book Data)

• pt. 3. Spirits
• Spirits and their doubleness
• The necessity of spirits
• Spirits and the mind
• Spirits and nature
• Spirits and society
• Spirits and culture
• The contingency of spirits
• pt. 4. Conclusion
• Conclusion-the future of the visual arts
• Beyond techniques and spirits
• In relation to method
• In relation to structure
• In relation to process
• In relation to agency
• In relation to outcome
• Towards the post-human ephemerality --Bibliography
• Index.

Are the visual arts really so central in our time that, as Doug Adams once said, "people under 60, raised on television remember by what they see. "[F]ilm and television are really the language of today"? (TE 2013) This central view on the visual arts can be contrasted with an opposing view by Camille Paglia, who wrote that "the visual is sorely undervalued in modern scholarship. Art history has attained only a fraction of the conceptual sophistication of literary criticism. Drunk with self-love, criticism has hugely overestimated the centrality of language to western culture. It has failed to see the electrifying sign language of images." (TE 2013a) Contrary to these opposing views (and other ones as will be discussed in the book), the visual arts (in relation to techniques and spirits) are neither possible (nor impossible) nor desirable (or undesirable) to the extent that the respective ideologues (on different sides) would like us to believe. Needless to say, this questioning of the opposing views on the visual arts does not mean that the study of techniques and spirits is useless, or that those fields (related to the visual arts) -- like drawing, cosmetics, manicure, painting, landscape, calligraphy, photography, digital art, computer technology, advertisement, graphic design, filmmaking, fashion, sculpture, architecture, and so on -- are unimportant. (WK 2013) Of course, neither of these extreme views is reasonable. Instead, this book offers an alternative (better) way to understand the future of the visual arts in regard to the dialectic relationship between techniques and spirits -- while learning from different approaches in the literature but without favoring any one of them (nor integrating them, since they are not necessarily compatible with each other). More specifically, this book offers a new theory (that is, the ephemeral theory of the visual arts) to go beyond the existing approaches in a novel way and is organized in four chapters. This seminal project will fundamentally change the way that we think about the visual arts in relation to techniques and spirits from the combined perspectives of the mind, nature, society, and culture, with enormous implications for the human future and what I originally called its "post-human" fate.
(source: Nielsen Book Data)

• pt. 1. Introduction
• Introduction: the attraction of the visual arts
• A debate on the centrality of the visual arts
• Definition and history of the visual arts
• Techniques and spirits of the visual arts
• Diverse aspects of the visual arts
• The theoretical debate
• The ephemeral theory of the visual arts
• Theory and meta-theory
• The logic of existential dialectics
• Sophisticated methodological holism
• Chapter outline
• Some clarifications
• pt. 2. Techniques
• Techniques and their duality
• The significance of techniques
• Techniques and the mind
• Techniques and nature
• Techniques and society-- Techniques and culture
• The insignificance of techniques.

Are the visual arts really so central in our time that, as Doug Adams once said, "people under 60, raised on television remember by what they see. "[F]ilm and television are really the language of today"? (TE 2013) This central view on the visual arts can be contrasted with an opposing view by Camille Paglia, who wrote that "the visual is sorely undervalued in modern scholarship. Art history has attained only a fraction of the conceptual sophistication of literary criticism. Drunk with self-love, criticism has hugely overestimated the centrality of language to western culture. It has failed to see the electrifying sign language of images." (TE 2013a) Contrary to these opposing views (and other ones as will be discussed in the book), the visual arts (in relation to techniques and spirits) are neither possible (nor impossible) nor desirable (or undesirable) to the extent that the respective ideologues (on different sides) would like us to believe. Needless to say, this questioning of the opposing views on the visual arts does not mean that the study of techniques and spirits is useless, or that those fields (related to the visual arts) -- like drawing, cosmetics, manicure, painting, landscape, calligraphy, photography, digital art, computer technology, advertisement, graphic design, filmmaking, fashion, sculpture, architecture, and so on -- are unimportant. (WK 2013) Of course, neither of these extreme views is reasonable. Instead, this book offers an alternative (better) way to understand the future of the visual arts in regard to the dialectic relationship between techniques and spirits -- while learning from different approaches in the literature but without favoring any one of them (nor integrating them, since they are not necessarily compatible with each other). More specifically, this book offers a new theory (that is, the ephemeral theory of the visual arts) to go beyond the existing approaches in a novel way and is organized in four chapters. This seminal project will fundamentally change the way that we think about the visual arts in relation to techniques and spirits from the combined perspectives of the mind, nature, society, and culture, with enormous implications for the human future and what I originally called its "post-human" fate.
(source: Nielsen Book Data)

• Front Cover; Title Page; Half Title; Copyright; Contents; Preface; Introduction: Manifesting Visual Rebellion; Remixing Creative Revitalization-Disrupting the Matrix; Peripheral Getting In; Multispective and Social Action; Counterculture and Consciousness; Pa'l Pueblo/For the People; Stand Up, Speak Up; Acknowledgments; Bibliography; Other Books; Back Cover.

Getting Up for the People tells the story of the Assembly of Revolutionary Artists of Oaxaca (ASARO) by remixing their own images and words with curatorial descriptions. Part of a long tradition of socially conscious Mexican art, ASARO gives respect to Mexican national icons; but their themes are also global, entering contemporary debates on issues of corporate greed, genetically modified organisms, violence against women, and abuses of natural resources. This book interjects into the growing body of work on street art and social justice-not just ASARO's art, but also their collective success.

• Finding nepantla: Liliana Wilson, artivist / Norma E. Cantu
• Ofrenda / Antonia Castaneda and Liliana Wilson
• Bearing witness: their eyes anticipate the healing / Gloria E. Anzaldua
• Las imagenes de Liliana Wilson / Marjorie Agosin, translated by Monica Bruno Galmozzi
• Liliana Wilson: learning to live finally / Kay Turner
• "Ella tiene su tono": conocimiento and mestiza consciousness in Liliana Wilson's art / Alicia Gaspar de Alba
• Exiled creativity and immigrant aesthetics: the politically transformative work of Liliana Wilson / Guisela Latorre
• The inviolate erotic in the paintings of Liliana Wilson / Laura E. Perez
• A Chilean painter in the city of ideas: Liliana Wilson, memory recorder and dream shaper / George Vargas
• Liliana Wilson: shards of the past in her oeuvre / Patricia Ruiz-Healy
• Tango al que sopla la hoja / Lourdes Perez
• The artwork.

Liliana Wilson's art of resistance and protest, dissidence and dreams, consistently calls attention to injustice. Wilson belongs to a group of Chilean artists who were intimately shaped by the political turmoil and repression in Chile in the 1970s and 1980s and who have become self-exiled artists working outside of Chile but who are still tied to the political period and to its issues and concerns. From a working class family that struggled financially, Wilson nonetheless was able to study law, which facilitated her successful immigration to the United States in 1977. She moved to Texas and in Austin found a cultural oasis that permitted her art to blossom. Now, after some thirty years of artistic work in Texas, she is recognized as a major Latina artist, whose influence extends beyond US borders. A crusader for justice and against oppression, she paints and draws in various media and has become an inspiration for younger artists concerned with not only political repression and inequality but also individual fear and despair. Ofrenda: Liliana Wilson's Art of Dissidence and Dreams highlights some of Wilson's most representative works, accompanied by biographical background and scholarly interpretation.
(source: Nielsen Book Data)

• Chronology; ENGLISH ART IN 1844; THE PRE-RAPHAELITE BATTLE; THE DEFINITION AND RESULTS OFPRE-RAPHAELITISM; INTENTIONS; Index.

In the Victorian era, England - swept along by the Industrial Revolution, the Pre-Raphaelite fold, William Morris, and the Arts and Crafts movement - aspired to return to traditional values. Wishing to resurrect the pure and noble forms of the Italian Renaissance, a group of painters including John Everett Millais, Dante Gabriel Rossetti, and Edward Burne-Jones, favoured Realism and Biblical themes. This work, with its informed text and rich illustrations, enthusiastically describes this singular movement which provided the inspiration for Art Noveau and Symbolism.

• Zen
• Target
• Sound
• A line is a dot
• Nursery rhymes
• Typographic portraits
• Taxi
• Clouds
• Notebook
• Typographic diary
• Ego
• Hello my name is ...
• Point of view.

The Process: A New Foundation in Art and Design is a compendium of 13 experimental projects designed to teach conceptual thinking and problem solving to art and design students. The projects, created by Judith Wilde and Richard Wilde, focus on developing formal excellence and a strong sense of aesthetics, along with the ability to generate new ideas. Each project is illustrated with multiple visual solutions, provided to inspire creativity and illustrate that there can be multiple solutions to a single problem.
(source: Nielsen Book Data)

• Part I. Blending Chinese and foreign cultures
• Part II. Envisioning Chinese landscape art
• Part III. Conceptualising Chinese art through display
• Part IV. Positioning contemporary Chinese artists in the globe.

The Reception of Chinese Art Across Cultures is a collection of essays examining the ways in which Chinese art has been circulated, collected, exhibited and perceived in Japan, Europe and America from the fourteenth century to the twenty-first. Scholars and curators from East Asia, Europe and North America jointly present cutting-edge research on cultural integration and aesthetic hybridisation in relation to the collecting, display, making and interpretation of Chinese art and material culture. Stimulating examples within this volume emphasise the Western understanding of Chinese pictorial art, while addressing issues concerning the consumption of Chinese art and Chinese-inspired artistic productions from early times to the contemporary period; the roles of collector, curator, museum and auction house in shaping the taste, meaning and conception of art; and the art and cultural identity of the Chinese diaspora in a global context. This book espouses a multiplicity of aesthetic, philosophical, socio-cultural, economic and political perspectives, and encourages academics, students, art and museum practitioners to re-think their encounters with the objects, practices, people and institutions surrounding the study of Chinese art and culture in the past and the present.
(source: Nielsen Book Data)

• Cover; Imprint; Contents; Preface; I. Bodies of Transgression; Anja Grebe: Inside Out. Scatology in Medieval Art; Bernd Krysmanski: Warnings of Morality or Downright Twisted Pleasure? William Hogarth's Depiction of Violence; Patricia Bass: The Post-edible in Art: The Limits of the Abject at the Whitney Museum; II. VisualPleasuresandSexualActs; Thomas Martin: 'Bestial Desire': About the Silent Sin against Nature. Sodomia and Bestiality in Early Modern Art; Kassandra Nakas: "Taming the Subject through Gracefulness". Erotic Literature in German Art Nouveau.

• Massimo Perinelli: Queering Bestiality. Visual Pleasure and the ObsceneIII. Violence and Death; Barbara Baert: Cutting the throat. Obscenity and the Case of the Johannesschüssel; Karen Gonzalez Rice: Cocking the Trigger: Explicit Male Performance and Its Consequences; Jessica Ullrich: "Animals were Harmed in the Making of this Artwork". The Visibility of Animal Death in Artworks; List of Illustrations; List of Contributors.

Artists and the public alike have always been fascinated by obscene imagery. The Obscene, however, is difficult to define. One of the earliest interpretations is of Greek origin and argues that the word derives from ""ob skene"", indicating the space behind the stage or scene. ""Off-scene"" remains what should be hidden from public view, be it morally questionable, offensive, disgusting or unbearable to look at. This book presents a collection of essays that cast light on some ""Scene of the Obscene"" in art and visual culture from the Middle Ages to today, taking into consideration the mallea.

• Introduction[-][overview of the field. Analysis of other studies/works on this subject. Explanation of method. Definitions of occultism etc.][-]I. The time of slumbers [-][early 1920s. Spiritualism, mediumism, parapsychology. The "Sleeping Sessions". Breton: various essays][-]II. The period of reason[-][late 1920s. clairvoyance, seership. Rimbaudian alchemy. Breton: Nadja (1928)][-]III. The 'Golden Age'[-][the 1930s. The demand for "the occultation" (2nd Manifesto). Objective chance. Myth. Breton: Mad Love][-]IV. Intermezzo: Surrealism in arcanum: the war[-][1938
• -1945. SUR in the US. Christian heterodox throught. Myth and magic. Breton: Arcanum 17.][-]V. The international exposition of Surrealism, 1947[-][1947ff. The exhibition as display of SUR's occultation. Most occult period in SUR. Breton: L'Art Magique (1957). Alchemy. Petering out of SUR.][-]Conclusion [-].
• (source: Nielsen Book Data)

Surrealism - Andr Breton - occultism - esotericism - Modernism.
(source: Nielsen Book Data)

• POSTERS: 33 bienal de São Paulo [afinidades afetivas]
• O ensaio: um filme de Tamar Guimaraes
• Vania Mignone
• Sofia Borges
• Alejandro Cesarco
• Claudia Fontes
• Maria Laet.

• 33 / Gabriel Perez-Barreiro
• O que seus olhos não vem: Alejandro Corujeira
• [A-1 53 167]: Aníbal López
• A origem da vida e a origem do viver: Antoni Ballester Moreno
• Homo Sapiens: Bruno Moreschi
• Quartzotekários: Denise Millan
• Ornamento extremo: Feliciano Centurión / Ticio Escobar
• As palavras e as coisas de Lucia Nogueira / Jacopo Crivelli Visconti
• Um esboço de feitiço como e por que especular novas dinâmicas institucionais / Luiza Crosman
• Mamma Andersson
• Césio rua 57 : Siron [Franco]: coincidências e circunstancias / Charles Cosac
• Da arte: Waltercio Caldas
• Wura-Natasha Ogunji / conversas Lhola Amira, Mame-Diarra Niang, Nicole Vlado, Ruby Onyinyechi Amanze, Wura-Natasha Ogunji, Youmna Chiala Você não está solo aqui: Nelson Felix.

• Part One: The Basics
• Time for critique!
• Critiques aren't tests
• Critiques aren't just conversations
• Critique formats
• Skills versus meaning
• Talking about composition is easier than talking about race
• What if you're asked to talk about your work?
• What if you didn't put in much work on your art?
• Teachers make their own artworks, different from yours
• Thinking about the critique afterward
• Part Two: BFA Issues
• A sample critique
• How long should a critique be?
• The first ten seconds of the critique
• The last ten minutes of the critique
• Five kinds of critiques: A. The silent teacher critique
• -- Five kinds of critiques: B. The conceptual critique
• Five kinds of critiques: C. The boot camp critique
• Five kinds of critiques: D. The silent student critique
• Five kinds of critiques: E. The anti-critique
• Student + teacher + artwork = confusion
• All the ways to fail
• Being close to your work, being too close to your work
• Does your teacher like the other teachers?
• Therapy
• Critiques don't always build on one another, but start again and again from scratch
• Critiques drift from topic to topic
• That critique room
• Part Three: MFA Issues
• What if you make very different kinds of work?
• Managing interdisciplinary critiques
• Being behind the times, being average
• Some teachers are judicative, and others descriptive
• Teachers make idiosyncratic pronouncements
• Music critiques, dance critiques, theater critiques
• Part Four: Theories
• Criticism, critique, crit, criticality, Kritik
• Five purposes of criticism
• A sixth purpose of criticism, and some words for success
• M.H. Abrams's theory
• Five allegories for critiques: A. Critiques are like seductions, full of emotion
• Five allegories for critiques: B. Critiques are like different languages, all spoken at once
• Five allegories for critiques: C. Critiques are like storytelling
• Five allegories for critiques: D. Critiques are like battles
• Five allegories for critiques: E. Critiques are like trials
• Critiques are polyglot
• Part Five: Projects
• Tinkering with the critique format
• Three big projects: A Investigate the chain of questions
• Three big projects: B. Transcribe your critique
• Three big projects: C. Do a six-hour critique
• Part Six: PhD Issues
• The world of the PhD
• Why PhD programs leave critiques behind
• PhD programs are mainly concerned with research ...
• ... and knowledge
• The future of the PhD.

This is a guidebook for art students at the college level (BA, BFA, MFA, PhD). Compared to other books on critique, this book is more colorful, more engaging, and less formal. -- Amazon.com.

• Foreword; Disclaimers; BOOK ONE: Initiation; 1 HOT-WIRED; 2. OLD COWBOYS; 3. SONGLINES; 4. CULTURAL REVIVAL IS SURVIVAL; 5. KITH AND KIN; BOOK TWO: Beyond the Horizon; 6. CAVE PAINTING; 7. ARTEFACTS
• EASTERN AUSTRALIA; 8. THE FIRST ABORIGINAL 'ARTISTS'; 9. EARLY COLLECTORS; BOOK THREE: The Developing Market; 10. ANTHROPOLOGISTS, MISSIONARIES AND ETHNOGRAPHERS; 11. EARLY COLLECTORS; 12. THE PASSPORT TO ARNHEM LAND; 13. EARLY BARK PAINTERS OF WESTERN AND CENTRAL ARNHEM LAND; 14. NORTH EAST ARNHEM LAND; 15. QUEENSLAND
• THE SUNSHINE STATE; 16. LAND OF THE WANDJINA.

• BOOK FOUR: Go West Young Man17. THE BIRTH OF A HOME-GROWN ART INDUSTRY; 18. HOME OF THE HONEY ANT; 19. EARLY DESERT MASTERS; 20. CREATING A MARKET: DESERT ART'S TAKEOVER; 21. THE END OF THE 1970s
• A SNAPSHOT; 22. ORIGINS OF ART IN THE EAST KIMBERLEY; BOOK FIVE: The Goose that Laid the Golden Egg; 23. ARNHEM LAND; 24. SPREAD OF WESTERN DESERT ART; 25. FOR THE LOVE OF ARTEFACTS; 26. DON'T BRING YOUR LOVE TO TOWN; 27. ACROSS THE TANAMI
• THE EMERGING WARLPIRI ARTISTS; 28. EASTERN DESERT
• UTOPIA; 29. BALGO HILLS; 30. ON THE ROAD; 31. ARNHEM LAND ARTISTS OF RENOWN; 32. BAD BALANDA BLOOD.

• 33. URBAN ART34. THE MAINSTREAMING OF ABORIGINAL ART; 35. THE DEMISE OF THE COMPANY; 36. AN ACCIDENT WAITING TO HAPPEN; BOOK SIX: Highway to Hell; 37. THE ADVENT OF 'AUTHENTICITY'; 38. STAR QUALITY; 39. THE BIRTH OF THE SECONDARY MARKET; 40. ACROSS THE PHILOSOPHICAL DIVIDE
• THE DEVELOPING MARKET INFRASTRUCTURE; 41. SERIOUSLY COLLECTABLE; 42. ROVING IN THOMAS TOWN; 43. FAKERY; 44. AUTHORSHIP; 45. SLANDER; 46. INDEPENDENCE; 47. ATTRIBUTION; 48. TOYOTA DREAMING; 49. BOGUS!; 50. OWNERSHIP; 51. FIN DE SIÈCLE; BOOK SEVEN: Art Goes into Overdrive; 52. FUN AND GAMES; 53. DESERT BLUSH.

• 54. pride and prejudice55. the star has left the building
• the rise and rise of tommy watson; 56. fire, fire, burning bright; 57. status anxiety; 58. who's afraid of the big bad wolf?; 59. une guerre de territoire; 60. off the beaten track; 61. twinkle twinkle, tinkle tinkle; 62. auction wars; 63. renewing the dreaming; 64. reckon silly nation; 65. it's not just black and white; 66. imagine; epilogue
• email from a mate in the outback; author's note; endnotes; timeline; abbreviations, reports, and acronyms; bibliography; acknowledgements; photographic credits and copyright.

Adrian Newstead's explosive memoir lifts the lid on what Robert Hughes once described as ""the last great art movement of the 20th century."" After thirty years sitting round campfires with Aboriginal artists all over Australia, Newstead has produced the definitive expose of ""the first great art movement of the 21st century"". From remote indigenous communities with their dispossessed populations of tribal elders and troubled youth, to the gleaming white box galleries, high powered auction houses, and formidable art institutions of major cities all over the world. Newstead combines personal a.

• Introduction: Rethinking Relevance: Studying the Visual in Canada / LYNDA JESSUP, ERIN MORTON, AND KIRSTY ROBERTSON
• PART ONE PREPOSTEROUS HISTORIES OF THE PRESENT / ERIN MORTON. 1 Struck by Likening: Homer Watson, Jack Chambers, Gerhard Richter, and the Force of Art World Analogies / MARK A. CHEETHAM
• 2 Feminist Art History in Canada: A "Limited Pursuit"? / KRISTY A. HOLMES
• 3 Dealing with Chiastic Perspectives: Global Art Histories in Canada / ALICE MING WAI JIM
• 4 The Location of / The Conditions for Art: On-Site Specifics and Site Adjustments / ANNIE GÉRIN.

• PART TWO OUT WITH THE NEW / IMRE SZEMAN. 5 National Cultural Policy and the International Liberal Order / BARBARA JENKINS
• 6 Visualizing the "New" North American Landscape / SARAH E.K. SMITH
• 7 Arctic Culture/Global Indigeneity / HEATHER IGLOLIORTE
• 8 The Vacant Lot: Who's Buying It? / RICHARD WILLIAM HILL.

• PART THREE DISCONTIGUOUS DEPENDENCIES / KIRSTY ROBERTSON. 9 The Aesthetics of the Territory-Nation-State and the "Canadian Problematique" / ROB SHIELDS
• 10 Our Vacant Lot Is a Trailer Park: Why English Canada's Perpetual Threat of Disappearing Keeps Film and Television Alive / JENNIFER VANDERBURGH
• 11 The Art of Conflict: Liberal Development after Neo-liberalism / SUSAN CAHILL
• 12 Considering Sovereignty and Neo-liberalism within Indeterminate States and Self-Determined Spaces / PETER CONLIN.

• IV. Period of Neo-Romanticist modernism, 1890-1915 / Eduards Kļaviņš, Kristiāna Ābele, Silvija Grosa, Valdis Villerušs ; edited by Eduards Kļaviņš
• V. Period of Classical Modernism and Traditionalism, 1915-1940 / Eduards Kļaviņš [and 7 others] ; edited by Eduards Kļaviņš

• Introduction : Art in the midst of the AIDS crisis
• Public art : Between activism and propaganda
• Group material : The legacy of a collective venture
• Act up : Personal identity and public action
• Act up through the storm : A visual essay / by Ellen Neipris and Tom McKitterick
• The social body electric / by Loring McAlpin
• Good luck ... Miss you / by Gran Fury.

This book tracks a movement that has as yet not been historicized in Europe on the subject of AIDS activism by various artistic collectives in New York in the 1980s. The approach is historic, yet activist-based, and combines a look at graphic design, with social, political, art historical, and curatorial reflections. 'Rebel Rebels' analyzes some of the activist art experiences born in New York between 1979 and 1989 (this is where the subtitle 'Art and Activism. New York 1979-1989' comes from), when in response to a conservative political and cultural climate artists began to work in groups and to realize projects concretely addressed to the problems of society. The book is conceived as a tribute to all those activist art collectives born in New York City at the beginning of the 80's (such as ACT UP, Gran Fury, Group Material), united by a common refusal of traditional aesthetic criteria, the synthesis of artistic strategies and commercial advertising for political propagandistic ends, and by a willingness to take direct action to end the AIDS crisis.

In 1972, 34 artists created works for a new building, most of which were destroyed during the coup in 1973. 40 years later, one of the sons of the artists attempts to track down his father's sculpture, or find out what happened to it.