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.

    The first part deals with the subject of our aesthetic sensibility; we respond to certain natural phenomena as beautiful, says Kant, when we recognize in nature a harmonious order that satisfies the mind's own need for order. The second half of the critique concentrates on the apparent teleology in nature's design of organisms. Kant argues that our minds are inclined to see purpose and order in nature and this is the main principle underlying all of our judgments. Although this might imply a super sensible Designer, Kant insists that we cannot prove a supernatural dimension or the existence of God. Such considerations are beyond reason and are solely the province of faith.

    The book contains pictures of their pyramids and palaces, jades and brightly coloured paintings. The author of this work provides fresh readings of Mesoamerican works of art while offering archaeological interpretations. Also included in the book are hieroglyphic decipherments which give insights into ancient works, confirming the connections between the Maya and their neighbours.

    But to do so robs the millions who suffered in bondage of their full legacy.As historian Edward Baptist reveals in The Half Has Never Been Told, the expansion of slavery in the first eight decades after American independence drove the evolution and modernization of the United States. In the span of a single lifetime, the South grew from a narrow coastal strip of worn-out tobacco plantations to a continental cotton empire, and the United States grew into a modern, industrial, and capitalist economy. Until the Civil War, Baptist explains, the most important American economic innovations were ways to make slavery ever more profitable. Through forced migration and torture, slave owners extracted continual increases in efficiency from enslaved African Americans. Thus the United States seized control of the world market for cotton, the key raw material of the Industrial Revolution, and became a wealthy nation with global influence.Told through intimate slave narratives, plantation records, newspapers, and the words of politicians, entrepreneurs, and escaped slaves, The Half Has Never Been Told offers a radical new interpretation of American history. It forces readers to reckon with the violence at the root of American supremacy, but also with the survival and resistance that brought about slavery’s end—and created a culture that sustains America’s deepest dreams of freedom.

    Has the 21st century resolved the question of postmodernism or are we more than ever ensnared in its perplexities? Postmodernism seemed to promise an end to the grim Cold War era of nuclear confrontation and oppressive ideologies. Fukuyama's notoriously proclaimed end of history, the triumph of liberal democracy over Communist tyranny, has proved an illusion. We awoke in the anxious grip of globalization, unpredictable terrorism and unforeseen war. Introducing Postmodernism traces the pedigrees of postmodernism in art, theory, science and history, providing an urgent guide to the present. Derrida, Baudrillard, Foucault and many other icons of postmodern complexity are brilliantly elucidated by Richard Appignanesi and enlivened by the Guardian's Biff cartoonist Chris Garratt.

    This timely anthology calls on twenty eminent humanists and scientists to revitalize curiosity, observation, and transdisciplinary conversation about life on earth.As human-induced environmental change threatens multispecies livability, Arts of Living on a Damaged Planet puts forward a bold proposal: entangled histories, situated narratives, and thick descriptions offer urgent “arts of living.” Included are essays by scholars in anthropology, ecology, science studies, art, literature, and bioinformatics who posit critical and creative tools for collaborative survival in a more-than-human Anthropocene. The essays are organized around two key figures that also serve as the publication’s two openings: Ghosts, or landscapes haunted by the violences of modernity; and Monsters, or interspecies and intraspecies sociality. Ghosts and Monsters are tentacular, windy, and arboreal arts that invite readers to encounter ants, lichen, rocks, electrons, flying foxes, salmon, chestnut trees, mud volcanoes, border zones, graves, radioactive waste—in short, the wonders and terrors of an unintended epoch.Contributors: Karen Barad, U of California, Santa Cruz; Kate Brown, U of Maryland, Baltimore; Carla Freccero, U of California, Santa Cruz; Peter Funch, Aarhus U; Scott F. Gilbert, Swarthmore College; Deborah M. Gordon, Stanford U; Donna J. Haraway, U of California, Santa Cruz; Andreas Hejnol, U of Bergen, Norway; Ursula K. Le Guin; Marianne Elisabeth Lien, U of Oslo; Andrew Mathews, U of California, Santa Cruz; Margaret McFall-Ngai, U of Hawaii, Manoa; Ingrid M. Parker, U of California, Santa Cruz; Mary Louise Pratt, NYU; Anne Pringle, U of Wisconsin, Madison; Deborah Bird Rose, U of New South Wales, Sydney; Dorion Sagan; Lesley Stern, U of California, San Diego; Jens-Christian Svenning, Aarhus U.

    Attracted by the simplicity and clarity of his writing, readers of all ages and backgrounds have found in Professor Gombrich a true master, and one who combines knowledge and wisdom with a unique gift for communicating his deep love of the subject. The Story of Art, one of the most famous and popular books on art ever written, has been a world bestseller for over four decades. Attracted by the simplicity and clarity of his writing, readers of all ages and backgrounds have found in Professor Gombrich a true master, and one who combines knowledge and wisdom with a unique gift for communicating his deep love of the subject.For the first time in many years the book has been completely redesigned. The illustrations, now in colour throughout, have all been improved and reoriginated, and include six fold-outs. The text has been revised and updated where appropriate, and a number of significant new artists have been incorporated. The bibliographies have been expanded and updated, and the maps and charts redrawn. The Story of Art has always been admired for two key qualities: it is a pleasure to read and a pleasure to handle. In these respects the new edition is true to its much-loved predecessors: the text runs as smoothly as ever and the improved illustrations are always on the page where the reader needs them. In its new edition, this classic work continues its triumphant progress tirelessly for yet another generation, to remain the title of first choice for any newcomer to art or the connoisseur. The Story of Art has always been admired for two key qualities: it is a pleasure to read and a pleasure to handle. In these respects the new edition is true to its much-loved predecessors: the text runs as smoothly as ever and the improved illustrations are always on the page where the reader needs them. In its new edition, this classic work continues its triumphant progress tirelessly for yet another generation, to remain the title of first choice for any newcomer to art or the connoisseur.

     Amari's life was once perfect. Engaged to the handsomest man in her tribe, adored by her family, and living in a beautiful village, she could not have imagined everything could be taken away from her in an instant. But when slave traders invade her village and brutally murder her entire family, Amari finds herself dragged away to a slave ship headed to the Carolinas, where she is bought by a plantation owner and given to his son as a birthday present. Survival seems all that Amari can hope for. But then an act of unimaginable cruelty provides her with an opportunity to escape, and with an indentured servant named Polly she flees to Fort Mose, Florida, in search of sanctuary at the Spanish colony. Can the elusive dream of freedom sustain Amari and Polly on their arduous journey, fraught with hardship and danger?

    Lucian Freud: Eyes Wide Open is the first biography to assess Freud's work and life, showing how the two converge.   In Hoban's dramatic and fast-paced narrative, we follow Freud from his birthplace in Berlin to London, where he fled with his family in the 1930s, and then to Paris, where he mixed with Picasso and Giacometti. He led a dissolute life in Soho after the war, gambling and womanizing with fierce energy. He painted his wives nude, his children nude, himself nude. He married twice, had an uncountable number of children, and kept working through it all, painting everyone from close friend and rival Francis Bacon to Kate Moss and Queen Elizabeth. He sometimes spent years on a single painting, which could require hundreds of hours of sittings. However various his subjects, his intent was always the same: to find and reveal the character hidden within by means of his intense visual imagination.   Along with its startling biographical revelations, the great thrill of Lucian Freud: Eyes Wide Open is the way Hoban deconstructs the art itself—its influences, models, and technique—to show how Freud reproduced reality on the canvas while breaking down the illusion that what we see is real.

    This edition has been updated and includes a new preface.

    Arranged chronologically for easy reference and illustrated throughout with artwork, photographs, and documents, this is a information-packed overview of the lives and legacies of America's first ladies. What's more, The First Ladies Fact Book features selections of the most intimate correspondence of all the first ladies. Delightful surprises abound, including little-known information about the women's hobbies, styles of dress, habits of socializing, and quirks. With more than 700 photographs and illustrations, this is a eye-catching history of the nation's first ladies.

    Concise and original, this engaging book is an antidote to the behemoth art history textbooks from which we were all taught. As he demonstrates so persuasively, there can never be one story of art. Cultures have their own stories - about themselves, about other cultures - and to hear them all is one way to hear the multiple stories that art tells. But each of us also has our own story of art, a kind of private art history made up of the pieces we have seen, and loved or hated, the effects they had on us, and the connections that might be drawn among them.Elkins opens up the questions that traditional art history usually avoids. What about all the art not produced in Western Europe or in the Europeanized Americas? Is it possible to include Asian art and Indian art in 'the story?' What happens when one does? To help us find answers, he uses both Western and non-Western artworks, tables of contents from art histories written in cultures outside the centre of Western European tradition, and strangely wonderful diagrams of how artworks might connect through a single individual. True multiculturalism may be an impossibility, but art lovers can each create a 'story of art' that is right for themselves.

    From the Florence of Lorenzo the Magnificent and Savonarola to the splendour of the papal Rome; the tormented life of a Renaissance genius.

    In many of them he described, in painstaking detail and beautiful prose, the progress of his work. Van Gogh's Letters presents more than 150 of these stirring letters, excerpted and newly translated, and set side-by-side with the art it describes, including sketches, drawings, and paintings. The result is an elegantly rendered collection that allows us to see the world through the eyes of one of the greatest artists of all time. Previously published in hardcover as Vincent van Gogh: A Self-Portrait in Art and Letters

    A short illustrated survey of the use of photography in contemporary art since the mid-1980s.