Access your Project MUSE content using one of the login options below Close(X)
Browse Results For:
Representations of the Body in Recent Film and Poetry
Elder examines how artists such as Brakhage, Artaud, Schneemann, Cohen and others have tried to recognize and to convey primordial forms of experiences. He argues that the attempt to convey these primordial modes of awareness demands a different conception of artistic meaning from any of those that currently dominate contemporary critical discussion. By reworking theories and speech in highly original ways, Elder formulates this new conception. His remarks on the gaps in contemporary critical practices will likely become the focus of much debate.
In a dazzling tribute to the Texas coast, conservationist and lawyer Jim Blackburn has teamed with photographer Jim Olive to give us the most intimate and important portrait yet of Texas bays and of those who work for their wise use and preservation. While giving life and sustenance to plants, animals, and people, the bays and estuaries of Texas have other stories to tell—about freshwater inflows, deep port construction, disappearing oyster beds, beach resorts, industrial pollution, and more. At a certain point, each story brings opposing forces into the courtroom for vigorous debates on the future of some of our most valuable and irreplaceable resources. The Book of Texas Bays is a personal account of legal battles won and lost, but it is also a fine work of natural history by someone who has a deep spiritual connection to the Texas coast and all it has to offer. Jim Olive’s stunning photographs present us with a dramatic perspective of our relationship with the Gulf and remind us of both the grandness and the fragility of our coastal treasures.
The Galveston We Remember
In sixty-seven exquisite watercolors and drawings, nationally famous architect Eugene Aubry captures on paper the sensibilities, the memories, and the grace that evokes Galveston, especially for those who are BOI (“born on the island”). Commissioned by the Galveston Historical Foundation, these works of art are intended to enhance the visual record of the buildings and the unique local architectural style that so many have appreciated over the years.? In the aftermath of Hurricane Ike, Galvestonians became more aware than ever of the treasure of the island’s historical architecture and the vulnerability of this heritage to forces beyond human control. Aubry’s art captures the almost palpable sense of past glories these buildings bring to mind. Aubry—himself BOI—has fashioned these pieces in a way that resonates with those who love the island’s ethos. ?With a fine eye to the artist’s intent and a mastery of detail, architectural historian Stephen Fox expertly and eloquently introduces the work as a whole and, in discursive captions that accompany each image, informs the reader’s appreciation of Aubry’s art.? So much more than a tribute, Born on the Island: The Galveston We Remember stands as a loving homage to Galveston—one that will call its readers home to the island, even if they have never ventured there before.
Art as a Gospel of Beauty
It is often difficult to describe beauty or even justify attempts to experience something beautiful. Yet if artists—whether painters or poets, actors or musicians, architects or sculptors—teach us anything, it is that the pursuit of beauty is a common feature among all humanity. As Cecilia González-Andrieu contends, these varied experiences with artistic beauty are embedded with revelatory and prophetic power that not only affects a single individual but allows for communal formation. Named one ofAmerica magazine’s most promising young theologians, González-Andrieu seeks to engage art in order to reveal its religious significance. Bridge to Wonder proposes a method of theological aesthetics allowing readers to mine the depths of creative beauty to discover variegated theological truths that enable greater communion with each other and the One source of all that is beautiful.
Portraits of Garden State Crossings
The Origins of the Beckman Institute at Illinois
This book offers a first-hand account of the origins of the Beckman Institute for Advanced Science and Technology, an interdisciplinary research institute at the University of Illinois at Urbana-Champaign devoted to leading-edge research in the physical sciences, computation, engineering, biology, behavior, cognition, and neuroscience. Theodore L. Brown, the Institute's founding director, brings an insider's personal perspective on its conception and its early operations. _x000B_ _x000B_Brown follows the progress of the Institute's creation, from the initial conceptualization of a large, multidisciplinary institute; through proposal formulation; to the architectural design and actual construction of its state-of-the-art building, completed in 1989 and made possible by the largest gift made to any public university at the time: a $40 million contribution from Illinois alumnus and founder of Beckman Instruments, Inc., Arnold O. Beckman and his wife Mabel M. Beckman.
My Life, My Work, My Art
Bringing Aztlan to Mexican Chicago is the autobiography of Jose Gamaliel Gonzalez, an impassioned artist willing to risk all for the empowerment of his marginalized and oppressed community. Through recollections emerging in a series of interviews conducted over a period of six years by his friend Marc Zimmerman, Gonzalez looks back on his life and his role in developing Mexican, Chicano, and Latino art as a fundamental dimension of the city he came to call home._x000B__x000B_Born near Monterrey, Mexico, and raised in a steel mill town in northwest Indiana, Gonzalez studied art at the School of the Art Institute of Chicago and the University of Notre Dame. Settling in Chicago, he founded two major art groups: El Movimiento ArtÃstico Chicano (MARCH) in the 1970s and Mi Raza Arts Consortium (MIRA) in the 1980s. _x000B__x000B_With numerous illustrations, this book portrays Gonzalez's all-but-forgotten community advocacy, his commitments and conflicts, and his long struggle to bring quality arts programming to the city. By turns dramatic and humorous, his narrative also covers his bouts of illness, his relationships with other artists and arts promoters, and his place within city and barrio politics.
Rolling hills, rich forests, and beautiful vistas have made Brown County, Indiana, a favorite haunt of painters and ordinary tourists. In this gorgeous collection, landscape photographer Gary Moore reveals the spirit of the place in the morning hours as it awakens to the new day. Complementing Moore’s wonderful photographs is a text by James P. Eagleman, one of the area’s lifelong naturalists, which showcases the county’s unique flora and fauna. Included with more than 100 color landscape photographs are Moore’s tips on composition, atmosphere, and lighting, encouraging readers to test their creativity with whatever equipment they possess. A book to treasure, Brown County Mornings beckons visitors to enjoy this magical place at any time of day or year.
The promotion of classicism in the visual arts in late eighteenth and nineteenth-century Latin America and the need to “revive” buen gusto (good taste) are the themes of this collection of essays. The contributors provide new insights into neoclassicism and buen gusto as cultural, not just visual, phenomena in the late colonial and early national periods and promote new approaches to the study of Latin American art history and visual culture.
The essays examine neoclassical visual culture from assorted perspectives. They consider how classicism was imposed, promoted, adapted, negotiated, and contested in myriad social, political, economic, cultural, and temporal situations. Case studies show such motivations as the desire to impose imperial authority, to fashion the nationalist self, and to form and maintain new social and cultural ideologies. The adaptation of classicism and buen gusto in the Americas was further shaped by local factors, including the realities of place and the influence of established visual and material traditions.