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Art and Architecture
Crowned-Nun Portraits and Reform in the Convent
Offering a pioneering interpretation of the “crowned nun” portrait, this book explores how visual culture contributed to local identity formation at a time when the colonial Church instituted major reforms that radically changed the face of New Spain’s convents and religious character.
Confronting the Nazi Past in Histories of the Visual and Performing Arts
This provocative study asks why we have held on to vivid images of the Nazis’ total control of the visual and performing arts, even though research has shown that many artists and their works thrived under Hitler. To answer this question, Potter investigates how historians since 1945 wrote about music, art, architecture, theater, film, and dance in Nazi Germany and how their accounts were colored by politics of the Cold War, the fall of communism, and the wish to preserve the idea that true art and politics cannot mix. She doesn't deny that the persecution of Jewish artists and other “enemies of the state” was a high priority in the Third Reich, but this did not erase their artistic legacies from German cultural life. Art of Suppression examines the cultural histories of the Third Reich to help us understand how the circumstances of exile, the Allied occupation of Germany, the Cold War, and the complex meanings of modernism have sustained a distorted and problematic characterization of cultural life in the Third Reich.
The Life and Work of Elisabet Ney
Emily Fourmy Cutrer’s biography of Ney makes extensive use of primary sources and was the first to appraise both Ney’s legend and individual works of art. Cutrer argues that Ney was an accomplished sculptor coming out of a neglected German neoclassical tradition and that, whatever her failures and eccentricities, she was an important catalyst to cultural activity in Texas.
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.
As a writer covering textiles, art, and craft, Linzee Kull McCray wondered just how deeply fiber artists were influenced by their surroundings. Focusing on midwestern art quilters in particular, she put out a call for entries and nearly 100 artists responded; they were free to define those aspects of midwesterness that most affected their work. The artists selected for inclusion in this book embrace the Midwest’s climate, land, people, and culture, and if they don’t always embrace it wholeheartedly, then they use their art to react to it. The proof can be seen in the varied, powerful quilts in this energizing book.
Enlivened by the Midwest’s landscapes and seasons, Sally Bowker paints her fabrics with acrylics, creating marks and meaning with layers of hand stitching and appliqued bits of fabric. Shin-hee Chin uses sketchlike stitching for its ability to penetrate fabric and create depth; living in the Midwest helps her stay balanced between eastern philosophy and western culture. The metals and mesh that Diane Núñez incorporates into her quilts connect to her days as a jeweler as well as to the topography of her home state of Michigan. Pat Owoc prepares papers with disperse dyes, then selects from as many as 150 to create her fabrics; her art-quilt series honors midwestern pioneers. Martha Warshaw photographs old fabrics, tweaks the images in Photoshop, and prints the results for her pieces, which connect her to the legacy of quilting in past generations.
The Midwest has always had strong textile communities. Now the twenty artists featured in this beautifully illustrated book have created a new community of original art forms that bring new life to an old tradition.
Marilyn Ampe, St. Paul, Minnesota
Gail Baar, Buffalo Grove, Illinois
Sally Bowker, Cornucopia, Wisconsin
Peggy Brown, Nashville, Indiana
Shelly Burge, Lincoln, Nebraska
Shin-hee Chin, McPherson, Kansas
Sandra Palmer Ciolino, Cincinnati, Ohio
Jacquelyn Gering, Chicago, Illinois
Kate Gorman, Westerville, Ohio
Donna Katz, Chicago, Illinois
Beth Markel, Rochester Hills, Michigan
Diane Núñez, Southfield, Michigan
Pat Owoc, St. Louis, Missouri
BJ Parady, Batavia, Illinois
Bonnie Peterson, Houghton, Michigan
Luanne Rimel, St. Louis, Missouri
Barbara Schneider, Woodstock, Illinois
Susan Shie, Wooster, Ohio
Martha Warshaw, Cincinnati, Ohio
Erick Wolfmeyer, Iowa City, Iowa
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.
How Museums Put the Nation and the World on Display
What can we learn about nationalism by looking at a country’s cultural institutions? How do the history and culture of particular cities help explain how museums represent diversity? Artifacts and Allegiances takes us around the world to tell the compelling story of how museums today are making sense of immigration and globalization. Based on firsthand conversations with museum directors, curators, and policymakers; descriptions of current and future exhibitions; and inside stories about the famous paintings and iconic objects that define collections across the globe, this work provides a close-up view of how different kinds of institutions balance nationalism and cosmopolitanism. By comparing museums in Europe, the United States, Asia, and the Middle East, Peggy Levitt offers a fresh perspective on the role of the museum in shaping citizens. Taken together, these accounts tell the fascinating story of a sea change underway in the museum world at large.
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.