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Réograms That Elevate and Unite
American artist Paul Ré invites us to join him on his journey for harmony, wisdom, and inner joy with Art, Peace, and Transcendence. His hybrid hand-digital prints, Réograms, are a unique art form very different from the Rayograms made in the twentieth century by the American Surrealist Man Ray. Ré’s digital prints are computer manipulations of the drawings, paintings, and sculpture he has created over his forty-year career—the transformations may be mild or dramatic, each manually massaged into a harmonious whole. Commentary by the artist, drawing from his background in physics, philosophy, and the practice of yoga and meditation, accompanies the fifty-eight full-page plates, placing each piece in its historical context. Bridging the lines of art and science, Ré takes us on a discovery of our oneness with the whole of the universe and the source from which it emerged.
The Dunhuang Cave of the Zhai Family
The cave-temple complex popularly known as the Dunhuang caves is the world’s largest extant repository of Tang Buddhist art. Among the best preserved of the Dunhuang caves is the Zhai Family Cave, built in 642. It is this remarkable cave-temple that forms the focus of Ning Qiang’s cross-disciplinary exploration of the interrelationship of art, religion, and politics during the Tang. The author combines, in his careful examination of the paintings and sculptures found there, the historical study of pictures with the pictorial study of history. By employing this two-fold approach, he is able to refer to textual evidence in interpreting the formal features of the cave temple paintings and to employ visual details to fill in the historical gaps inevitably left by text-oriented scholars. The result is a comprehensive analysis of the visual culture of the period and a vivid description of social life in medieval China. The original Zhai Family Cave pictures were painted over in the tenth century and remained hidden until the early 1940s. Once exposed, the early artwork appeared fresh and colorful in comparison with other Tang paintings at Dunhuang. The relatively fine condition of the Zhai Family Cave is crucial to our understanding of the original pictorial program found there and offers a unique opportunity to investigate the visual details of the original paintings and sculptures in the cave. At the same time, the remaining traces of reconstruction and redecoration provide a new perspective on how, for over three centuries, a wealthy Chinese clan used its familial cave as a political showcase.
A Year among Prodigies, Rebels, and Visionaries at a World-Class Art College
What does it mean to be an artist at a time when the art world is becoming increasingly fragmented and disconnected--when the most highly valued art objects are seemingly the most abstruse, visually vexing, and conceptually difficult, or may not be physical objects at all? How does the art of today connect with the art of the past? These questions and more inform and enliven the pages of Art Schooled.
In this fascinating chronicle Larry Witham takes readers inside the history, culture, economics, teaching, technique, and competition of one of the oldest and most prestigious art colleges in the country, the Maryland Institute College of Art in Baltimore. With rare, privileged access to the personal and professional lives of students, faculty, administrators, and visiting artists, he shows us how young artists develop their talent and vision, learn the ins and outs of the art world, and come to proudly define themselves as artists, even as theory and technology conspire to declare that art as we once knew it is utterly changed.
Artists, Images, and Audiences in Late Nineteenth-Century Shanghai
The growth of Shanghai in the late nineteenth century gave rise to an exciting new art world in which a flourishing market in popular art became a highly visible part of the treaty port’s commercialized culture. Art Worlds examines the relationship between the city’s visual artists and their urban audiences. Through a discussion of images ranging from fashionable painted fans to lithograph-illustrated magazines, the book explores how popular art intersected with broader cultural trends. It also investigates the multiple roles played by the modern Chinese artist as image-maker, entrepreneur, celebrity, and urban sojourner. Focusing on industrially produced images, mass advertisements, and other hitherto neglected sources, the book offers a new interpretation of late Qing visual culture at a watershed moment in the history of modern Chinese art. Art Worlds will be of interest to scholars of art history and to anyone with an interest in the cultural history of modern China.
During the quarter of a century before the thirteen colonies became a nation, the northwest quadrant of North Carolina had just begun to attract permanent settlers. This seemingly primitive area may not appear to be a likely source for attractive pottery and ornate silverware and furniture, much less for an audience to appreciate these refinements. Yet such crafts were not confined to urban centers, and artisans, like other colonists, were striving to create better lives for themselves as well as to practice their trades. As Johanna Miller Lewis shows in this pivotal study of colonial history and material culture, the growing population of Rowan County required not only blacksmiths, saddlers, and tanners but also a great variety of skilled craftsmen to help raise the standard of living.
Rowan County's rapid expansion was in part the result of the planned settlements of the Moravian Church. Because the Moravians maintained careful records, historians have previously credited church artisans with greater skill and more economic awareness than non-church craftsmen. Through meticulous attention to court and private records, deeds, wills, and other sources, Lewis reveals the Moravian failure to keep up with the pace of development occurring elsewhere in the county.
Challenging the traditional belief that southern backcountry life was primitive, Lewis shows that many artisans held public office and wielded power in the public sphere. She also examines women weavers and spinsters as an integral part of the population. All artisans -- Moravian and non-Moravian, male and female -- helped the local market economy expand to include coastal and trans-Atlantic trade.
Lewis's book contributes meaningfully to the debate over self-sufficiency and capitalism in rural America.
Dance, Music, Theater, and the Visual Arts, 1955-1980
This work explains how and why Japan supports a community of professional dancers, musicians, production companies, and visual artists that has nearly tripled in size during the past 25 years.
Originally published in 1982.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
American Literary Realism and Graphic Illustration, 1880-1905
50 Episodes of Intimate History
During the 1960s AND 1970S in New York City, young artists exploited an industrial wasteland to create spacious studios where they lived and worked, redefining the Manhattan area just South of Houston Street. Fueled not by city planning schemes but by word-of-mouth recommendations, the area soon grew to become a world-class center for artistic creation—indeed the largest urban artists’ colony ever in America, let alone the world. _x000B_Richard Kostelanetz’s Artists’ SoHo examines not only why the artists came and how they accomplished what they did, but also delves into the lives and works of some of the most creative personalities who lived there during that period, including Nam June Paik, Robert Wilson, Meredith Monk, Richard Foreman, Hannah Wilke, George Macuinas, and Alan Suicide. Gallerists followed the artists in fashioning themselves, their homes, their buildings, and even their streets into transiently prominent exhibition and performance spaces. _x000B_ _x000B_SoHo pioneer Richard Kostelanetz’s extensively researched Intimate History is framed within a personal memoir that unearths myriad perspectives: social and cultural history history, the changing rules for residency and ownership, the ethos of the community, the physical layouts of the lofts, the types of art produced, venues that opened and closed, the daily rhythm, and the graduate invasion of “new people”. SoHo also explores how and why this fertile bohemia couldn’t last forever. As wealthier people paid higher prices, galleries left, younger artists settled elsewhere, and the neighborhood became a “SoHo Mall” of trendy stores and restaurants._x000B_ _x000B_Compelling and often humorous, ARTISTS' SoHo provides an analysis of a remarkable neighborhood that transformed the art and culture of New York City over the last five decades. _x000B_
History and Heritage in New England
This book offers the first full-scale examination of the architecture associated with the Arts and Crafts movement that spread throughout New England at the turn of the twentieth century.
Although interest in the Arts and Crafts movement has grown since the 1970s, the literature on New England has focused on craft production. Meister traces the history of the movement from its origins in mid-nineteenth-century England to its arrival in the United States and describes how Boston architects including H. H. Richardson embraced its tenets in the 1870s and 1880s. She then turns to the next generation of designers, examining buildings by twelve of the region’s most prominent architects, eleven men and a woman, who assumed leadership roles in the Society of Arts and Crafts, founded in Boston in 1897. Among them are Ralph Adams Cram, Lois Lilley Howe, Charles Maginnis, and H. Langford Warren. They promoted designs based on historical precedent and the region’s heritage while encouraging well-executed ornament. Meister also discusses revered cultural personalities who influenced the architects, notably Ralph Waldo Emerson and art historian Charles Eliot Norton, as well as contemporaries who shared their concerns, such as Louis Brandeis. Conservative though the architects were in the styles they favored, they also were forward-looking, blending Arts and Crafts values with Progressive Era idealism. Open to new materials and building types, they made lasting contributions, with many of their designs now landmarks honored in cities and towns across New England.