Her "floating abstractions," in which lines and free bands of color emerge almost imperceptibly, can be reproduced only with difficulty. Her writings, on the other hand--although certainly not intended as programmatic statements--offer valuable clarity regarding her own works and poetic insight about art in general. Since its original publication in 1991, this volume of Martin's writings has been a fundamental document for libraries of artists, collectors, and critics. Rather than identifying herself with her Minimalist peers, Martin has aligned herself with the ancient Greeks, Egyptians, and Chinese, asserting that "the function of art work is . . . the renewal of memories of moments of perfection." In combination with illustrations of her works, these texts--including lectures, stories recorded by critic Ann Wilson, passages ostensibly arranged in associative sequences, and "fragmentary ideas"--form an eloquent artist's statement by the creator of "silent paintings."

    Marina Abramovic: The Artist Is Present accompanies an exhibition at The Museum of Modern Art that documents approximately 50 of the artist's ephemeral time- and media-based works from throughout her career. The book also discusses a unique element of the Museum's retrospective, live performance: a new work created for the occasion, and performed by Abramovic herself; and re-creations of the artist's works by other performers-the first such to be undertaken in a museum setting. The book spans over four decades of Abramovic's early interventions and sound pieces, video works, installations, photographs, solo performances and collaborative performances made with the Dutch artist Ulay (Uwe Laysiepen). Essays by Klaus Biesenbach, Chief Curator of Media and performance art at MoMA, and four distinguished scholars examine Abramovic's ideas of time, duration and the reperformance of performance art as a way to extend it into posterity. The Artist Is Present also includes a CD with audio commentary by the artist that guides the reader through the publication. The artist is present not only in the exhibition but also in the experience of the book.Born in Belgrade just after the end of the Second World War, Marina Abramovic was raised in the Serbian Orthodox Church (her great uncle was a Patriarch and a canonized saint in the Church) and left Yugoslavia in 1976, having already established herself as a performance artist, living in Amsterdam and eventually New York, where she presently lives.

    Offering a rich array of examples, he describes different approaches to the teaching of the arts and shows how these refine forms of thinking that are valuable in dealing with our daily life“Not since John Dewey has an American author written about art, education, and the creation of mind with such power and sensitivity.”—Michael Day, International Journal of Arts Education“A primer for the future. . . . This book will serve as an inspiration for those needing the language to convince policy makers and curriculum developers of the value of the arts in education, while also serving as a vehicle for illustrating the educational aspirations the very best education can offer.”—Rita L. Irwin, Journal of Critical Inquiry Into Curriculum and Instruction“[Eisner] has composed a text that is as insightful and inspirational as the educational research he envisions.”—James G. Henderson, International Journal of Education & the Arts

    Would you know one if you held it in your hand?In Dark Archives, Megan Rosenbloom seeks out the historic and scientific truths behind anthropodermic bibliopegy--the practice of binding books in this most intimate covering. Dozens of such books live on in the world's most famous libraries and museums. Dark Archives exhumes their origins and brings to life the doctors, murderers, innocents, and indigents whose lives are sewn together in this disquieting collection. Along the way, Rosenbloom tells the story of how her team of scientists, curators, and librarians test rumored anthropodermic books, untangling the myths around their creation and reckoning with the ethics of their custodianship.A librarian and journalist, Rosenbloom is a member of The Order of the Good Death and a cofounder of their Death Salon, a community that encourages conversations, scholarship, and art about mortality and mourning. In Dark Archives--captivating and macabre in all the right ways--she has crafted a narrative that is equal parts detective work, academic intrigue, history, and medical curiosity: a book as rare and thrilling as its subject.

    Drawing from street culture, high art, and traditional Japanese painting, Murakami takes the contemporary art trend of mixing high and low to an unprecedented level (critics call him the new Warhol), producing original paintings and sculptures as well as mass-produced consumer objects such as toys, books, and most famously, a line of handbags for Louis Vuitton. A committed supporter and spokesperson for Japanese artists and a powerful commentator on postwar culture and society, Murakami has organized influential exhibitions of Japanese art as well as a biannual art fair in Tokyo. Murakami has positioned himself as a new type of artist for the twenty-first century: a hybrid of creator, entrepreneur, and cultural ambassador.In conjunction with the first major retrospective of his work, Murakami traces Murakami’s global impact socially, culturally, and art historically. Essays focus on Murakami’s early works, which were based on a social critique of Japan’s rampant consumerism; the development of his characters; his work with anime, fantasy; otaku culture; and his engagement with global pop culture. Representing output from original works of art to mass-produced multiples, the catalogue also considers the implications of Murakami’s working methods within the tradition of the Western avant-garde.

    It provides scriptural solutions to life altering problems such as low self-esteem, abuse, and depression. Black Girls Don’t Cry frees us from the bondage of regrets, encourages us to drop the baggage from our past, and moves us forward towards a renewed strength in Christ.

    But questions about the categories of "art" and "art history" acquired increased urgency during the 1970s, when new developments in critical theory and other intellectual projects dramatically transformed the discipline. The first edition of Critical Terms for Art History both mapped and contributed to those transformations, offering a spirited reassessment of the field's methods and terminology.Art history as a field has kept pace with debates over globalization and other social and political issues in recent years, making a second edition of this book not just timely, but crucial. Like its predecessor, this new edition consists of essays that cover a wide variety of "loaded" terms in the history of art, from sign to meaning, ritual to commodity. Each essay explains and comments on a single term, discussing the issues the term raises and putting the term into practice as an interpretive framework for a specific work of art. For example, Richard Shiff discusses "Originality" in Vija Celmins's To Fix the Image in Memory, a work made of eleven pairs of stones, each consisting of one "original" stone and one painted bronze replica. In addition to the twenty-two original essays, this edition includes nine new ones—performance, style, memory/monument, body, beauty, ugliness, identity, visual culture/visual studies, and social history of art—as well as new introductory material. All help expand the book's scope while retaining its central goal of stimulating discussion of theoretical issues in art history and making that discussion accessible to both beginning students and senior scholars.Contributors: Mark Antliff, Nina Athanassoglou-Kallmyer, Stephen Bann, Homi K. Bhabha, Suzanne Preston Blier, Michael Camille, David Carrier, Craig Clunas, Whitney Davis, Jas Elsner, Ivan Gaskell, Ann Gibson, Charles Harrison, James D. Herbert, Amelia Jones, Wolfgang Kemp, Joseph Leo Koerner, Patricia Leighten, Paul Mattick Jr., Richard Meyer, W. J. T. Mitchell, Robert S. Nelson, Margaret Olin, William Pietz, Alex Potts, Donald Preziosi, Lisbet Rausing, Richard Shiff, Terry Smith, Kristine Stiles, David Summers, Paul Wood, James E. Young

    But as the end of the millennium neared, cutting-edge bands began emerging from Seattle, Austin, and London, pushing New York further from the epicenter. The behemoth music industry, too, found itself in free fall, under siege from technology. Then 9/11/2001 plunged the country into a state of uncertainty and war—and a dozen New York City bands that had been honing their sound and style in relative obscurity suddenly became symbols of glamour for a young, web-savvy, forward-looking generation in need of an anthem.Meet Me in the Bathroom charts the transformation of the New York music scene in the first decade of the 2000s, the bands behind it—including The Strokes, The Yeah Yeah Yeahs, LCD Soundsystem, Interpol, and Vampire Weekend—and the cultural forces that shaped it, from the Internet to a booming real estate market that forced artists out of the Lower East Side to Williamsburg. Drawing on 200 original interviews with James Murphy, Julian Casablancas, Karen O, Ezra Koenig, and many others musicians, artists, journalists, bloggers, photographers, managers, music executives, groupies, models, movie stars, and DJs who lived through this explosive time, journalist Lizzy Goodman offers a fascinating portrait of a time and a place that gave birth to a new era in modern rock-and-roll.

    With their compelling composition and glowing colour, these works are admired for their beauty and for their power to transport the viewer into a romantic world of myth and legend. At the same time, Waterhouse's wistful heroines also reflect the troubled attitudes of nineteenth-century male artists towards women.In this carefully researched new study, Peter Trippi presents a fresh and absorbing analysis of the artist's seductresses, martyrs and nymphs, and the cultural and historical circumstances in which they were produced. He also draws on new research to provide an accessible biography of the artist. Themes explored include Waterhouse's passion for Italy, literature and the classical world, the role of the Royal Academy in his life, his stylistic influences and studio practice, and his relations with collectors, dealers, critics and curators.Neglected throughout much of the twentieth century, Waterhouse has enjoyed a dramatic revival of fortune. Trippi's monograph provides a timely re-evaluation that combines a close reading of Waterhouse's imagery with a candid appraisal of the milieu in which he worked.

    The Lady and Her Monsters by Roseanne Motillo brings to life the fascinating times, startling science, and real-life horrors behind Mary Shelley’s gothic masterpiece, Frankenstein.Montillo recounts how—at the intersection of the Romantic Age and the Industrial Revolution—Shelley’s Victor Frankenstein was inspired by actual scientists of the period: curious and daring iconoclasts who were obsessed with the inner workings of the human body and how it might be reanimated after death.With true-life tales of grave robbers, ghoulish experiments, and the ultimate in macabre research—human reanimation—The Lady and Her Monsters is a brilliant exploration of the creation of Frankenstein, Mary Shelley’s horror classic.

    Over 100 additional new images are integrated into Volume I, and appear online as full size digital images with discussions written by the author. These bonus images are complemented by groundbreaking media support for students including video study tools and a robust eBook.

    The Charles of the painting was young—too young to be king—and yet also too young to be painted by the Flemish painter to which the work was attributed. Snare had found something incredible—but what?His research brought him to Diego Velazquez, whose long-lost portrait of Prince Charles has eluded art experts for generations. Velázquez (1599–1660) was the official painter of the Madrid court, during the time the Spanish Empire teetered on the edge of collapse. When Prince Charles of England—a man wealthy enough to help turn Spain’s fortunes—ventured to the court to propose a marriage with a Spanish princess, he allowed just a few hours to sit for his portrait. Snare believed only Velázquez could have met this challenge. But in making his theory public, Snare was ostracized, victim to aristocrats and critics who accused him of fraud, and forced to choose, like Velázquez himself, between art and family.A thrilling investigation into the complex meaning of authenticity and the unshakable determination that drives both artists and collectors of their work, The Vanishing Velázquez travels from extravagant Spanish courts in the 1700s to the gritty courtrooms and auction houses of nineteenth-century London and New York. But it is above all a tale of mystery and detection, of tragic mishaps and mistaken identities, of class, politics, snobbery, crime, and almost farcical accident. It is a magnificently crafted page-turner, a testimony to how and why great works of art can affect us to the point of obsession.

    In this e-book you will learn what exactly is needed to run a successful Design Thinking Workshop which is fun and at the same time generates great results. In this e-book Pauline Tonhauser, founder of designthinkingcoach.de, shares her best practices.

    It has been inspired by the scientific ferment that swept through Britain at the end of the 18th century, and which Holmes now radically redefines as 'the revolution of Romantic Science'.

    Kathy Peiss follows working women into saloons, dance halls, Coney Island amusement parks, social clubs, and nickelodeons to explore the culture of these young women between 1880 and 1920 as expressed in leisure activities. By examining the rituals and styles they adopted and placing that culture in the larger context of urban working-class life, she offers us a complex picture of the dynamics shaping a working woman's experience and consciousness at the turn-of-the-century. Not only does her analysis lead us to new insights into working-class culture, changing social relations between single men and women, and urban courtship, but it also gives us a fuller understanding of the cultural transformations that gave rise to the commercialization of leisure. The early twentieth century witnessed the emergence of "heterosocial companionship" as a dominant ideology of gender, affirming mixed-sex patterns of social interaction, in contrast to the nineteenth century's segregated spheres. Cheap Amusements argues that a crucial part of the "reorientation of American culture" originated from below, specifically in the subculture of working women to be found in urban dance halls and amusement resorts.