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In New Philosophy for New Media, Mark Hansen defines the image in digital art in terms that go beyond the merely visual. Arguing that the "digital image" encompasses the entire process by which information is made perceivable, he places the body in a privileged position -- as the agent that filters information in order to create images. By doing so, he counters prevailing notions of technological transcendence and argues for the indispensability of the human in the digital era. Hansen examines new media art and theory in light of Henri Bergson's argument that affection and memory render perception impure -- that we select only those images precisely relevant to our singular form of embodiment. Hansen updates this argument for the digital age, arguing that we filter the information we receive to create images rather than simply receiving images as preexisting technical forms. This framing function yields what Hansen calls the "digital image." He argues that this new "embodied" status of the frame corresponds directly to the digital revolution: a digitized image is not a fixed representation of reality, but is defined by its complete flexibility and accessibility. It is not just that the interactivity of new media turns viewers into users; the image itself has become the body's process of perceiving it. To illustrate his account of how the body filters information in order to create images, Hansen focuses on new media artists who follow a "Bergsonist vocation"; through concrete engagement with the work of artists like Jeffrey Shaw, Douglas Gordon, and Bill Viola, Hansen explores the contemporary aesthetic investment in the affective, bodily basis of vision.
The gaunt woman, her face lined with care, stares past the camera while three children cling to her amidst the Great Depression. A soldier catches a nurse in a powerful embrace on VJ Day in Times Square as onlookers smile approvingly. A naked Vietnamese girl runs in terror from the napalm attack engulfing the road behind her. Plumes of smoke streak outward in silent array as the Challenger explodes in the blue air over Florida. A solitary Chinese man stands calmly before the barrel of a tank at Tiananmen Square.
This book provides a close examination of a comparatively limited number of representative artists and works of the Northern Renaissance, emphasizing the experiential qualities of the art. This is a book that reveals how the Northern Renaissance masters laid the foundations for the art of succeeding centuries.
Almost without exception, studies of the avant-garde take for granted the premise that the influential experimental practices associated with the avant-garde began primarily as a European phenomenon that in turn spread around the world. These ten original essays, especially commissioned for Not the Other Avant-Garde, forge a radically new conception of the avant-garde by demonstrating the many ways in which the first- and second-wave avant-gardes were always already a transnational phenomenon, an amalgam of often contradictory performance traditions and practices developed in various cultural locations around the world, including Africa, the Middle East, Mexico, Argentina, India, and Japan. Essays from leading scholars and critics-including Marvin Carlson, Sudipto Chatterjee, John Conteh-Morgan, Peter Eckersall, Harry J. Elam Jr., Joachim Fiebach, David G. Goodman, Jean Graham-Jones, Hannah Higgins, and Adam Versényi-suggest collectively that the very concept of the avant-garde is possible only if conceptualized beyond the limitations of Eurocentric paradigms. Not the Other Avant-Garde is groundbreaking in both avant-garde studies and performance studies and will be a valuable contribution to the fields of theater studies, modernist studies, art history, literature, and music history.
(From the Dust Jacket Flaps) "Originally delivered as a lecture shortly before the writer's own death, Henry David Thoreau's classic Autumnal Tints is an ode to autumn not as the season of death and decay, but of ripeness, fullness, and maturity. It is perhaps the best piece ever written on the subject of the fall color of the changing leaves. Thoreau hoped one day to turn it into an illustrated book called October, or Autumnal Tints. Thoreau's astute meditations are framed by a biographical essay by acclaimed scholar Robert D. Richardson that delves into the events and relationships influencing Thoreau's philosophy. Sensuous watercolors by Lincoln Perry bring to life the fall colors described so ecstatically by Thoreau, allowing longtime Thoreau fans and leaf-peepers alike to feel as though they are walking among the falling leaves alongside one of our best observers of the natural world."
Tips and techniques of how to use oil paints and materials.
Shows the step-by-step process of oil painting, and provides tips and techniques of oil painting for the perfect paint.
In this fascinating book, Edward Said looks at the creative contradictions that often mark the late works of literary and musical artists. Said shows how the approaching death of an artist can make its way into his work, examining essays, poems, novels, films, and operas by such artists as Beethoven, Genet, Mozart, Lampedusa, Euripides, Cavafy, and Mann, among others. He uncovers the conflicts and complexity that often distinguish artistic lateness, resulting in works that stood in direct contrast to what was popular at the time and were forerunners of what was to come in each artist's discipline-works of true genius. Eloquent and impassioned, brilliantly reasoned and revelatory, On Late Style is Edward Said's own great last work.From the Trade Paperback edition.ion." He also writes about Theodor Adorno and about Glenn Gould, who chose to stop performing, thereby creating his own form of lateness. Said makes clear that most of the works discussed are rife with deep conflict and an almost impenetrable complexity. In fact, he feels that lateness is often "a form of exile." These works frequently stood in direct contrast to what was popular at the time, but they were forerunners of what was to come in each artist's particular discipline--works of true genius.Eloquent and impassioned, brilliantly reasoned and revelatory, On Late Style is Edward Said's own great last work.From the Hardcover edition.
This historic document brilliantly exemplifies the profound integration of Marxism-Leninism with the practice of the Chinese revolution.
6 essays on photography (In Plato's Cave; America, Seen Through Photographs, Darkly; Melancholy Objects; The Heroism of Vision; Photographic Evangels; The Image-World), and a brief anthology of quotations.
The Best Tool of the Millennium The seeds of Rybczynski's elegant and illuminating new book were sown by The New York Times, whose editors asked him to write an essay identifying "the best tool of the millennium." An award-winning author who once built a house using only hand tools, Rybczynski has intimate knowledge of the toolbox -- both its contents and its history -- which serves him beautifully on his quest. One Good Turn is a story starring Archimedes, who invented the water screw and introduced the helix, and Leonardo, who sketched a machine for carving wood screws. It is a story of mechanical discovery and genius that takes readers from ancient Greece to car design in the age of American industry. Rybczynski writes an ode to the screw, without which there would be no telescope, no microscope -- in short, no enlightenment science. One of our finest cultural and architectural historians, Rybczynski renders a graceful, original, and engaging portrait of the tool that changed the course of civilization.
Great photographs change the way we see the world; The Ongoing Moment changes the way we look at both. Focusing on the ways in which canonical figures like Alfred Stieglitz, Paul Strand, Walker Evans, Andre Kertesz, Edward Weston, Dorothea Lange, Diane Arbus, and William Eggleston have photographed the same things--barbershops, benches, hands, roads, signs--award-winning writer Geoff Dyer seeks to identify their signature styles. In doing so, he constructs a narrative in which these photographers--many of whom never met--constantly encounter one another. The result is a kaleidoscopic work of extraordinary originality and insight.
Andrew Potok is an intense, vigorous, sensual man--and a gifted painter. Then, passing forty, he rapidly begins to go blind from an inherited eye disease, retinitis pigmentosa. Depressed and angry, he rages at the losses that are eradicating his life as an artist, his sources of pleasure, his competence as a man. He hates himself for becoming blind. But as he will ultimately discover, and as this remarkable memoir recounts, it is not the end of the world. It is the beginning. Ordinary Daylight This the story of Potok's remarkable odyssey out of despair. He attempts to come to terms with his condition: learning skills for the newly blind, dealing with freakish encounters with the medical establishment, going to London for a promised cure through a bizarre and painful "therapy" of bee stings. He wrestles with the anguish of knowing that his daughter has inherited the same disease that is stealing his own eyesight. And then, as he edges ever closer to complete blindness, there comes the day when he recognizes that the exhilaration he once found in the mix of paint and canvas, hand and eye, he has begun to find in words. By turns fierce, blunt, sexy, and uproariously funny, Andrew Potok's memoir of his journey is as shatteringly frank as it is triumphant. From the Trade Paperback edition.
This book is a history of Orientalist art during the period of high modernism. Roger Benjamin, drawing on a decade of research in untapped archives, introduces many unfamiliar paintings, posters, miniatures, and panoramas and discovers an art movement closely bound to French colonial expansion.
Psychedelic zeppelins floating over palaces atop impossible mountain crags, stormy seas crashing below--you're in the world of award-winning fantasy illustrator Tom Kidd. Now readers can create their own fantasy worlds in oil paint and watercolor with Kidd's step-by-step instructions, illustrated in glorious color on every page. The book gives detailed instructions for painting 13 different types of scenes, from enchanted forests to futuristic cities, and provides ideas to help artists stimulate their imaginations. Part 1 covers basics of supplies, illustrated with photos of the artist's real-life studio set up, and outlines sketching techniques for pencil and ink and Photoshop techniques for idea sketching. There is also material on ambient and refracted light and principles of color. Part 2 goes deeper into color theory, layering, and composition, as well as dragon anatomy and the evolution of a creature. Part 3 gives advice on thinking in three dimensions, with more step-by-step instructions for fantasy scenarios. Annotation ©2011 Book News, Inc. , Portland, OR (booknews. com)
This charming book portrays domestic life in New England during the century between the American Revolution and the Civil War. Drawing on diaries, letters, wills, newspapers, and other sources, Jane C. Nylander provides intimate details about preparing dinner, spinning and weaving textiles, washing and ironing laundry, planning a social outing, and exchanging food and services. Probing behind the many myths that have grown up about this era, Nylander reveals the complex reality of everyday life in old New England.
The scope of this Companion extends over all the main fields of decorative craftsmanship--as well as a number of minor and specialized ones. It includes prehistoric crafts, crafts like leather-working and ceramics that have arisen more recently, and specialized crafts, such as toys and embroidery. There are also entries on important craftsmen and schools and surveys of specific cultures and periods. All the articles are written by expert contributors and the text is illustrated throughout with photographs and line drawings.
The Oxford Companion to Twentieth Century Art provides readers at every level with a wealth of material and information on the art of our time. No other reference book or guide to twentieth-century art covers so wide a range of subjects, or supplies so much detail, as this one-volume assemblage, based on previously scattered information from inaccessible histories, monographs, and widely dispersed exhibition catalogs. Complementing The Oxford Companion to Art, this new Companion treats in far greater depth the artists, ideas, movements and trends of painting, sculpture, and the graphic arts of this century up to the mid 1970s. While it contains mainly entries on individual artists, the contributors also include articles on movements and schools, styles and new technical terms, ranging from Dada and Surrealism to Body Art and Computer Art. It offers separate accounts of art in the United States, Britain, and in the major European countries, as well as articles by leading authorities on the art and artists of Africa, Australia, Canada, Latin America, Mexico, South Africa, and the USSR. The contributors concentrate particularly on the aims and aesthetic theories of individual artists and groups. Including 300 carefully-chosen illustrations--nearly half in color--and a selective bibliography, The Oxford Companion to Twentieth-Century Art will guide students of art and general readers intelligently through the exuberant jungle of contemporary art.
Hailed by Choice as "concise, clear, and very informative," The Oxford Dictionary of American Art and Artists-- the first such dictionary to appear in three decades-- offers an informative, insightful, and long overdue resource on our nation's artistic heritage. Featuring 945 alphabetically arranged entries, here is an indispensable biographical and critical guide to American art from colonial times to contemporary postmodernism. Readers will find a wealth of factual detail and insightful analysis of the leading American painters, ranging from John Singleton Copley, Thomas Cole, and Mary Cassatt to such modern masters as Jackson Pollack, Romare Bearden, and Andy Warhol. The range of coverage is indeed impressive, but equally important is the quality of analysis that appears in entry after entry. Morgan gives readers a wealth of trustworthy and authoritative information as well as perceptive, well-informed criticism of artists and their work. In addition, the book is thoroughly cross-referenced, so readers can easily find additional information on any topic of interest.
At my first sight of a painting by Samuel Bak, I had the keen sense that he was telling me stories with his brush. Now that at long last he has written this book, I find it no wonder that he has painted with his pen.... Among the tens and hundreds of books I have read about the pre-Shoah and post-Shoah period... Bak's book is unique. Despite being suffused with a sense of loss, horror, degradation, and death, it is ultimately a sanguine, funny book, full of the love of life, rocking with an almost cathartic joy. At times I found myself bursting out laughing... a marvelous ode, a colorful hymn to the forces of life, love, creation, and the joys of the senses. --From the Foreword by Amos OzIn Painted in Words internationally renowned artist Samuel Bak sets aside his brushes to narrate the stories of his life--as a child in Nazi-occupied Vilna, as a youth in European refugee camps, and as a maturing artist in Israel, France, Italy, Switzerland, and the United States. With gentle humor, the child prodigy of the faraway past and the accomplished artist of today engage in a spirited dialogue from which emerges a self-portrait of "The Artist as a Young--and middle-aged and aging--Survivor." The brilliance, vision, and virtuosity that Bak brings to his painting are equally in evidence in his writing. This deeply touching work is an important contribution to Holocaust literature and art history.
A painter discusses the conventions and revolts, the psychology, techniques, and problems of painting from the Renaissance to the present day. An invaluable aid in the appreciation and understanding of art.
Love to paint? Want to learn? Then let's get started! The adventure begins the moment you pick up a brush. Let Jerry Yarnell show you how to make the most of it! In Painting Adventures - the fifth volume of his popular painting series - you'll learn how to create attractive landscapes with skill and confidence. Drawing upon more than thirty years of painting and teaching experience, Jerry provides you with dozens of exciting new challenges and unexpected surprises, along with seven gorgeous step-by-step projects. You'll learn how to paint night scenes, clouds, people and wildlife, plus realistic fur, feathers and hair. It's all the insight and instruction you need to paint your most exciting landscapes yet!
Anyone can be a rock artist! Just paint along with the easy-to-follow, step-by-step photographs. You don't need a green thumb to grow these bloomin' beauties - just some ordinary rocks and acrylic paint. Step-by-step instructions (with lots of pictures) make it fun and easy to paint your own rock tulips, daisies, petunias, daffodils and other flowers. They'll brighten any corner of your home, they make great gifts - and they're guaranteed not to wilt!
Trade in your bird watching binoculars for a brush!Sherry C. Nelson, MDA, invites you to paint your favorite American garden birds.In this book, 11 different oil painting projects show you how to create Bluebirds, Cardinals, Goldfinches, Hummingbirds and other stunning birds in their natural surroundings. Sherry even teaches you, stroke by stroke, how to paint delicate feather textures, markings and eyes!Each project is explained in 20 or more steps and features a materials list, paint mixtures, field sketches and reference photographs. It's never been easier to paint the feathered friends you've been admiring in your backyard.
- Embossed Braille - Use Bookshare’s DAISY Text or BRF formats to generate embossed braille.