Introduction with 30 photographs plus a timeline of the most important political, cultural, scientific and sporting events that took place during the movement; 35 most important works and artists included.

    It is aimed at the novice, concentrating purely on the principles of shooting - still the best way to tell a visual story.Written in simple, easy-to-follow language and illustrated with clear uncomplicated line drawings, the book sets down the fundamental knowledge needed to achieve acceptable results.The book: - is a sister volume to Grammar of the Edit- has been extensively tested in Europe, Asia and Africa- lists, examines and explains the conventions and working practices of taking pictures.

    Great for the beginner and the expert, this book offers readers exercises to improve their work.

    

    Its rather absurd to identify a first-century homeless Jew as God revealed, but a bunch of us do anyway. In this book, Tripp Fuller examines the historical Jesus, the development of the doctrine of Christ, the questions that drove christological innovations through church history, contemporary constructive proposals, and the predicament of belief for the church today.Recognizing that the battle over Jesus is no longer a public debate between the skeptic and believer but an internal struggle in the heart of many disciples, he argues that we continue to make christological claims about more than an event or simply the Jesus of history. On the other hand, C. S. Lewiss infamous liar, lunatic, and Lord scheme is no longer intellectually tenable. This may be a guide to Jesus, but for Christians, Fuller is guiding us toward a deeper understanding of God. He thinks its good newsgood news about a God who is so invested in the world that God refuses to be God without us.

    To draw the figure, the artist must "have an idea of what the figure to be drawn is doing" — he must "sense the nature and condition of the action, or inaction." In this book, Mr. Bridgman, who for nearly 50 years lectured and taught at the Art Students League of New York, explains in non-technical terms and illustrations in hundreds of finely rendered anatomical drawings how best to find the vitalizing forces in human forms and how best to realize them in drawing.Mr. Bridgman begins by examining movement. After abstracting the main masses of the body — head, chest, and hips — into their rough geometrical equivalents, he gives complete instructions for building a simple model which mounts these masses on wire. By manipulating this scale model, the student may observe how these masses move in space and into what relationships such movement brings them.Once the student understands how the human form moves, the author tackles the actual problems of drawing the human figure in motion. He first covers simple drawing and building of the figure, then balance, rhythm, turning or twisting, wedging, passing and locking, and the more complex relationship of the masses — distribution, light and shade, mouldings (concave and convex), proportion and how to measure it, and movable masses. From here instruction turns to specific areas of the anatomy; the head and features, including the neck; the torso, front and back views; the abdominal arch; the shoulder girdle; the upper limbs, hands, and fingers; and the lower limbs, thigh and leg, knee, and finally foot. Every point of instruction and principle is illustrated in one of nearly 500 of Mr. Bridgman's own "life" drawings.There is no student nor serious artist, either amateur or professional, who cannot profit greatly from Bridgman's instruction. Like his famous anatomy course at the Art Students League, it is likely to vitalize your work with the human form.

    Manifestoes of Surrealism is a book by André Breton, describing the aims, meaning, and political position of the Surrealist movement.The translators of this edition were finalists of the 1970 National Book Awards in the category of translation.

    Now legendary, these men have emerged as the most prominent figures of the famed Mexican mural movement, which lasted from the '20s through the early '70s and was hailed as the most significant achievement in public art of the 20th century. The dramatic story of the movement is told here in a fascinating history of the artists, accompanied by over 100 spectacular color reproductions of the murals. Showcasing popular as well as lesser-known works from around the US and Mexico, this is the first high-quality paperback to do justice to a subject that will captivate every lover of Mexican art and culture, Rivera fan, and art historian, as well as anyone who appreciates a beautiful, intelligent art book.

    Sarah Sentilles enters the lives of female ministers—women of various ages and races, in a range of churches—to paint the first real portrait of what it’s like to serve as a woman of faith today.Sometimes triumphant, sometimes hilarious, sometimes painful, their stories take us from their calls to the pulpit through their ordinations and service in congregations. These women show us how the church can be more welcoming to the women who are its lifeblood. And in their inspiring determination to perform the ministry to which they are called, no matter what the obstacles, we might well see the future of the church itself.

    From the art of the Greeks to that of Renoir and Moore, this work surveys the ever-changing fashions in what has constituted the ideal nude as a basis of humanist form.

    This is apparent in the many attempts to purge colour from art, literature and architecture, either by making it the property of some "foreign" body - the oriental, the feminine, the infantile the vulgar or the pathological - or by relegating it to the realm of the superficial, the inessential or the cosmetic, which in many cases amounts to the same thing. In Chromophobia, David Batchelor analyzes the history of, and motivations behind, chromophobia, from its beginnings through examples of nineteenth-century literature, twentieth-century architecture and film, to Pop art, minimalism and the art and architecture of the present day. Batchelor suggests how colour fits, or fails to fit, into the cultural imagination of the West, exploring such diverse themes as Melville's "great white whale," Le Corbusier's "journey to the East," Huxley's experiments with mescaline. Dorothy's travels in the Land of Oz and the implication of modern artists' experiments with industrial paints and materials.

    Modern media are replete with alarm over jihad, underage marriage and the threat of amputation or stoning under Shariah law. Sometimes rumor, sometimes based in fact and often misunderstood, the tenets of Islamic law and dogma were not set in the religion’s founding moments. They were developed over centuries by the clerical class of Muslim scholars.Misquoting Muhammad takes the reader back in time through Islamic civilization and traces how and why such controversies developed, offering an inside view into how key and controversial aspects of Islam took shape. From the protests of the Arab Spring to Istanbul at the fall of the Ottoman Empire, and from the ochre red walls of Delhi’s great mosques to the trade routes of Islam’s Indian Ocean world, Misquoting Muhammad lays out how Muslim intellectuals have sought to balance reason and revelation, weigh science and religion, and negotiate the eternal truths of scripture amid shifting values.

    Sacramental. Pentecostal. Christian communities tend to identify with one of these labels over the other two. Evangelical churches emphasize the importance of Scripture and preaching. Sacramental churches emphasize the importance of the eucharistic table. And pentecostal churches emphasize the immediate presence and power of the Holy Spirit. But must we choose between them? Could the church be all three? Drawing on his reading of the New Testament, the witness of Christian history, and years of experience in Christian ministry and leadership, Gordon T. Smith argues that the church not onlycan be all three, but in fact must be all three in order to truly be the church. As the church navigates the unique global challenges of pluralism, secularism, and fundamentalism, the need for an integrated vision of the community as evangelical, sacramental, and pentecostal becomes ever more pressing. If Jesus and the apostles saw no tension between these characteristics, why should we?

    It is the very question that Nigel Warburton demystifies in this brilliant and accessible little book. With the help of varied illustrations and photographs, from C�zanne and Francis Bacon to Andy Warhol and Damien Hirst, best-selling author Warburton brings a philosopher's eye to art in a refreshing jargon-free style.With customary clarity, he explains art theories, that are much discussed but little understood, by thinkers such as Clive Bell, R.G Collingwood and Wittgenstein. He illuminates other perplexing problems in art, such as the artist's intention, representation and emotion. Drawing on photographs of Cindy Sherman and Tiananmen Square, Warburton shows that, if we are ever to answer the art question, we must consider each work of art on its own terms.A stimulating and handy guide through the art maze, The Art Question is essential reading for anyone interested in art, philosophy or those who simply like looking at and thinking about pictures.

    In Where Is Ana Mendieta? art historian Jane Blocker provides an in-depth critical analysis of Mendieta’s diverse body of work. Although her untimely death in 1985 remains shrouded in controversy, her life and artistic legacy provide a unique vantage point from which to consider the history of performance art, installation, and earth works, as well as feminism, multiculturalism, and postmodernism. Taken from banners carried in a 1992 protest outside the Guggenheim Museum in New York, the title phrase “Where is Ana Mendieta?” evokes not only the suspicious and tragic circumstances surrounding her death but also the conspicuous absence of women artists from high-profile exhibitions. Drawing on the work of such theorists as Judith Butler, Joseph Roach, Edward Said, and Homi Bhabha, Blocker discusses the power of Mendieta’s earth-and-body art to alter, unsettle, and broaden the terms of identity itself. She shows how Mendieta used exile as a discursive position from which to disrupt dominant categories, analyzing as well Mendieta’s use of mythology and anthropology, the ephemeral nature of her media, and the debates over her ethnic, gender, and national identities. As the first major critical examination of this enigmatic artist’s work, Where Is Ana Mendieta? will interest a broad audience, particularly those involved with the production, criticism, theory, and history of contemporary art.