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Author : Henry Moore Institute (Leeds, England)
Publisher : Unknown
Page : 322 pages
File Size : 47,8 Mb
Release : 2003
Category : Sculptors
ISBN : UCSD:31822034172585
Author : Catherine Jolivette
Publisher : Routledge
Page : 306 pages
File Size : 48,5 Mb
Release : 2017-07-05
Category : Art
ISBN : 9781351573160
Rooted in the study of objects, British Art in the Nuclear Age addresses the role of art and visual culture in discourses surrounding nuclear science and technology, atomic power, and nuclear warfare in Cold War Britain. Examining both the fears and hopes for the future that attended the advances of the nuclear age, nine original essays explore the contributions of British-born and ?gr?rtists in the areas of sculpture, textile and applied design, painting, drawing, photo-journalism, and exhibition display. Artists discussed include: Francis Bacon, John Bratby, Lynn Chadwick, Prunella Clough, Naum Gabo, Barbara Hepworth, Peter Lanyon, Henry Moore, Eduardo Paolozzi, Peter Laszlo Peri, Isabel Rawsthorne, Alan Reynolds, Colin Self, Graham Sutherland, Feliks Topolski and John Tunnard. Also under discussion is new archival material from Picture Post magazine, and the Festival of Britain. Far from insular in its concerns, this volume draws upon cross-cultural dialogues between British and European artists and the relationship between Britain and America to engage with an interdisciplinary art history that will also prove useful to students and researchers in a variety of fields including modern European history, political science, the history of design, anthropology, and media studies.
Author : Jane Hill,Gertrude Hermes
Publisher : Ashgate Publishing, Ltd.
Page : 160 pages
File Size : 45,6 Mb
Release : 2011
Category : Art
ISBN : 0853318654
"A graduate of Leon Underwood's Brook Green School of Art in London, Gertrude Hermes (1901-83) trained as a painter and sculptor. Hermes and her husband, Blair Hughes-Stanton, who she met at Brook Green, went on to become leading lights in the early twentieth-century's wood-engraving revival. Although their marriage was short-lived, their exuberant visual inventions for Bunyan;s 'The Pilgrim's Progress' and T.E. Lawrence's 'Seven Pillars of Wisdom' Brought them critical acclaim. Much has been written about Hermes' career as a wood engraver. In contrast, her contribution as a sculptor has been somewhat eclipsed--until now. 'The Sculpture of Gertrude Hermes' presents for the first time a full analysis of the artist's entire sculptural oeuvre. Along with a comprehensive catalogue of Hermes' sculpture, Jane Hill provides a full account of the artist's life in the context of her career as a sculptor. What results is a picture of a pioneering spirit who created busts and heads, functional designs, decorative work and reliefs that are dynamic and unpredictable. Featuring over 140 images, 'The Sculpture of Gertrude Hermes' is a groundbreaking study of an artist so long associated with one art form. This book redresses the imbalance and creates a new and fresh perspective on an important female artist of the twentieth century."--Publisher's website.
Author : Tobin Claudia Tobin
Publisher : Edinburgh University Press
Page : 256 pages
File Size : 45,7 Mb
Release : 2020-03-02
Category : Art
ISBN : 9781474455152
Explores the 'still life spirit' in modern painting, prose, dance, sculpture and poetryChallenges the conventional positioning of still life a 'minor' genre in art historyProposes a radical alternative to narratives of modernism that privilege speed and motion by revealing forms of stillness and still life at the heart of modern literature and visual cultureProvides the first study of still life to consider the genre across modern literature, visual cultures and danceUncovers connections and cultural exchange between networks of European and American artists including the Bloomsbury Group and Wallace StevensThe late nineteenth and early twentieth centuries have been characterised as the 'age of speed' but they also witnessed a reanimation of still life across different art forms. This book takes an original approach to still life in modern literature and the visual arts by examining the potential for movement and transformation in the idea of stillness and the ordinary. It ranges widely in its material, taking Czanne and literary responses to his still life painting as its point of departure. It investigates constellations of writers, visual artists and dancers including D. H. Lawrence, Virginia Woolf, David Jones, Winifred Nicholson, Wallace Stevens, and lesser-known figures including Charles Mauron and Margaret Morris. Claudia Tobin reveals that at the heart of modern art were forms of stillness that were intimately bound up with movement: the still life emerges charged with animation, vibration and rhythm; an unstable medium, unexpectedly vital and well suited to the expression of modern concerns.
Author : Katie Lloyd Thomas
Publisher : Routledge
Page : 396 pages
File Size : 47,8 Mb
Release : 2006-12-05
Category : Architecture
ISBN : 9781134228232
Bringing together texts and work by theorists and practitioners who are making material central to their work, this book reflects the diverse areas of inquiry which are expanding current material discourse. Focusing on the cultural, political, economic, technological and intellectual forces which shape material practices in architecture, the contributors draw on disciplines ranging from philosophy, history and pedagogy to art practice and digital and low-tech fabrication. By paying critical attention to material, a wide range of issues emerge which are otherwise excluded from architectural discourse, issues that shape and determine the buildings we make, the processes we use and the ways we understand them. Beautifully illustrated and designed, this book is a unique collection which will be of great interest to architectural practitioners and theorists who want to consider the wider implications of material practice, and to students who are developing their own approach to making buildings.
Author : Joy Sleeman
Publisher : Lund Humphries Publishers
Page : 208 pages
File Size : 48,9 Mb
Release : 2007
Category : Art
ISBN : UOM:39015074057798
William Tucker (born 1935) is a British-born sculptor who moved to North America in 1976 and became an American citizen in 1986. Tucker began making sculpture in the late 1950s and came to public prominence in the New Generation 1965 exhibition at the Whitechapel Art Gallery in London. Moving to the US, Tucker established his reputation in a newly expressive and increasingly bodily sculptural form. This is the first major monograph on his work and includes a complete catalogue of his sculpture to date. It will be essential reading for artists, art historians, curators, dealers and all those with an interest in the recent history and current practice of sculpture.
Author : Anonim
Publisher : Unknown
Page : 300 pages
File Size : 46,6 Mb
Release : 2008
Category : Monuments
ISBN : STANFORD:36105133537212
Author : Penelope Curtis
Publisher : Unknown
Page : 418 pages
File Size : 55,5 Mb
Release : 2003
Category : Electronic
ISBN : 1900081040
Author : Anonim
Publisher : Unknown
Page : 214 pages
File Size : 47,6 Mb
Release : 2006
Category : Art
ISBN : UCSD:31822034344887
Author : Penelope Curtis,Henry Moore Sculpture Trust
Publisher : Unknown
Page : 708 pages
File Size : 54,6 Mb
Release : 2003-01-01
Category : Electronic
ISBN : 1556603452
Preface by Penelope Curtis. Essays by Yves Abrioux, Michael Archer, Dore Ashton, Paul Atterbury, Nick Baker, Stephen Bann, Anne Barlow, Martin Barlow, Bruce Bateman, Lee Beard, Jonathan Black, Jonathan Blackwood, Iwona Blazwick, Stacy Boldrick, Nigel Boonham, Paul Bonaventura, Alison Bracker, Will Bradley, Tim Brennan, Katrina Brown, Ron Brown, Ann Bukantas, Stuart Burch, Robert Burstow, Eric Cameron, Roger Cardinal, Andrew Causey, Keith Chapman, Zelda Cheatle, Andrew Clay, Elizabeth Clegg, David Cohen, Judith Collins, Judy Collischan, Ann Compton, Lynne Cooke, Suzanne Cotter, Cathy Courtney, Sacha Craddock, J Craig Stirling, Sarah Crellin, Andrew Cross, Penelope Curtis, Simon Cutts, Jo Darke, Fiona Darling-Glinski, Charles Darwent, Amanda Davidson, Richard Deacon, Hilary Diaper, Richard Dorment, Jonathan Drake, Martina Droth, Jason Edwards, Patrick Eyres, Jes Fernie, Ellie Finch, Tina Fiske, Penny Florence, David Fraser-Jenkins, William Furlong, Matthew Gale, Margaret Garlake, Steven Gartside, Sam Gathercole, David Getsy, Liam Gillick, David Gilmour, Alison Glew, Claire Glossop, Tony Godfrey, Mel Gooding, Hilary Gresty, Alastair Grieve, Hans Kurt Gross, John Haldane, Martin Harrison, Tanya Harrod, Arie Hartog, Gill Hedley, Simon Herbert, Jane Hill, Greg Hilty, Antony Hudek, Jonathan Hughes, Celina Jeffery, Alex Kader, Stefan Kalmar, Julia Kelly, Mike King, Catherine Kinley, Gabriel Koureas, Catherine Lampert, Axel Lapp, Margaret Lewis, Jeremy Lewison, Clare Lilley, James Lingwood, Stephen Little, Fran Lloyd, David Lomas, Sue Malvern, Jonathan Marsden, Tim Martin, Miranda Mason, John McEwen, Ray McKenzie, Catherine McMahon, Corinne Miller, Claudine Mitchell, Catherine Moriarty, Catherine Moseley, Paula Murphy, Martin Myrone, Andrew Naylor, Vanessa Nicolson, Claire Obussier, Paul Overy, Lisa Panting, Alexandra Parigoris, Toby Paterson, Lisette Pelsers, Inés Plant, Alex Potts, Cathy Putz, Niru Ratnam, Ben Read, Jasia Reichardt, Margaret Reid, Alastair Rider, Treve Rosoman, Natalie Rudd, Julian Satterthwaite, Alex Seago, Joseph Sharples, Robert Short, Evelyn Silber, Peyton Skipworth, Joy Sleeman, Stephen Snoddy, Robin Spencer, Chris Stephens, Andrew Stephenson, Mark Stocker, Anthony Stones, Angela Summerfield, Adam Sutherland, Allan Swan, Barbara Thompson, David Thorp, Edward Tillotson, Toby Treves, Paul Usherwood, Adriaan van Ravesteijn, Jonathan Vickery, Anne Wagner, Nigel Walsh, Victoria Walsh, Philip Ward-Jackson, Dennis Wardleworth, Stan Whatmore, Michael White, Gillian Whiteley, Alison Wilding, Keith Wilson, Matthew Withey, Jon Wood, Tamsyn Woollcombe, Greville Worthington, Victoria Worsley. This handbook represents the culmination of a long-held ambition. The Henry Moore Institute is proud to represent ''sculpture'' across various media, not simply sculpture itself. We regard graphic, archive and library material as equally important in terms of studying sculpture, and in terms of seeing how it has been studied in the past. Though we have earlier produced concise catalogues of the sculpture, graphics and archive holdings of Leeds Museums and Galleries, it is infinitely preferable to have, here in one handbook, a guide to all the 20th-century holdings and to see them as representing one collectionVolume I Identity, Infrastructures, Aesthetics, Display, Reception Volume II A Guide to Sculptors in the Leeds Collections ¿ Only now can we begin to fashion an understanding of 20th-century Britain, and with it, the meaning of sculpture, in this country, in these years. These two volumes start to retell the story of sculpture in Britain as being as much outside as inside the gallery, by immigrants as much as by the ''British'', and in the form of printed material as much as in primary production. Published to mark the tenth anniversary of the Henry Moore Institute, these books are a sign of the fact that the Institute has come to function as the centre of a network or community of information. - Volume I provides a new survey of the period, drawing on recent scholarship by twenty authors, which examines the various contexts in which sculpture was produced and interpreted. - Volume II offers lively introductions to 175 sculptors practising in 20th-century Britain, and is supplemented by a concise catalogue of the sculpture, archive and library holdings in Leeds.
Author : Miwon Kwon
Publisher : MIT Press
Page : 236 pages
File Size : 55,7 Mb
Release : 2004-02-27
Category : Architecture
ISBN : 026261202X
A critical history of site-specific art since the late 1960s. Site-specific art emerged in the late 1960s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality. Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra's famous dictum "to remove the work is to destroy the work" is being challenged by new models of site specificity and changes in institutional and market forces. One Place after Another offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.
Author : Michael Dawson
Publisher : Archaeopress Publishing Ltd
Page : 256 pages
File Size : 53,8 Mb
Release : 2021-05-20
Category : History
ISBN : 9781789698329
Antiquarian interest in the Roman period mosaics of Britain began in the 16th century. This book is the first to explore responses and attitudes to mosaics, not just at the point of discovery but during their subsequent history. It is a field which has received scant attention and provides a compelling insight into the agency of these remains.
Author : Anonim
Publisher : Unknown
Page : 348 pages
File Size : 42,5 Mb
Release : 2008
Category : Dissertations, Academic
ISBN : UOM:39015079680594
Author : Claire Bishop
Publisher : Verso Books
Page : 483 pages
File Size : 53,8 Mb
Release : 2012-07-24
Category : Art
ISBN : 9781781683972
Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.
Author : Dustin Friedman
Publisher : JHU Press
Page : 249 pages
File Size : 48,6 Mb
Release : 2019-09-03
Category : Literary Criticism
ISBN : 9781421431499
A reimagining of how the aesthetic movement of the Victorian era ushered in modern queer theory. Late Victorian aesthetes were dedicated to the belief that an artwork's value derived solely from its beauty, rather than any moral or utilitarian purpose. Works by these queer artists have rarely been taken seriously as contributions to the theories of sexuality or aesthetics. But in Before Queer Theory, Dustin Friedman argues that aestheticism deploys its "art for art's sake" rhetoric to establish a nascent sense of sexual identity and community. Friedman makes the case for a claim rarely articulated in either Victorian or modern culture: that intellectually, creatively, and ethically, being queer can be an advantage not in spite but because of social hostility toward nonnormative desires. Showing how aesthetes—among them Walter Pater, Oscar Wilde, Vernon Lee, and Michael Field—harnessed the force that Georg Wilhelm Friedrich Hegel called "the negative," Friedman reveals how becoming self-aware of one's sexuality through art can be both liberating and affirming of humanity's capacity for subjective autonomy. Challenging one of the central precepts of modern queer theory—the notion that the heroic subject of Enlightenment thought is merely an effect of discourse and power—Friedman develops a new framework for understanding the relationship between desire and self-determination. He also articulates an innovative, queer notion of subjective autonomy that encourages reflecting critically on one's historical moment and envisioning new modes of seeing, thinking, and living that expand the boundaries of social and intellectual structures. Before Queer Theory is an audacious reimagining that will appeal to scholars with interests in Victorian studies, queer theory, gender and sexuality studies, and art history.