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Collective Visions of Home
“Houses can become poetic expressions of longing for a lost past, voices of a lived present, and dreams of an ideal future.” Carel Bertram discovered this truth when she went to Turkey in the 1990s and began asking people about their memories of “the Turkish house.” The fondness and nostalgia with which people recalled the distinctive wooden houses that were once ubiquitous throughout the Ottoman Empire made her realize that “the Turkish house” carries rich symbolic meaning. In this delightfully readable book, Bertram considers representations of the Turkish house in literature, art, and architecture to understand why the idea of the house has become such a potent signifier of Turkish identity. Bertram's exploration of the Turkish house shows how this feature of Ottoman culture took on symbolic meaning in the Turkish imagination as Turkey became more Westernized and secular in the early decades of the twentieth century. She shows how artists, writers, and architects all drew on the memory of the Turkish house as a space where changing notions of spirituality, modernity, and identity—as well as the social roles of women and the family—could be approached, contested, revised, or embraced during this period of tumultuous change.
World War, Modern Art, and the Politics of Public Culture in Russia, 1914-1917
Augustus and the Northern Campus Martius
Caesar Augustus promoted a modest image of himself as the first among equals (princeps), a characterization that was as popular with the ancient Romans as it is with many scholars today. Paul Rehak argues against this impression of humility and suggests that, like the monarchs of the Hellenistic age, Augustus sought immortality—an eternal glory gained through deliberate planning for his niche in history while flexing his existing power. Imperium and Cosmos focuses on Augustus’s Mausoleum and Ustrinum (site of his cremation), the Horologium-Solarium (a colossal sundial), and the Ara Pacis (Altar to Augustan Peace), all of which transformed the northern Campus Martius into a tribute to his major achievements in life and a vast memorial for his deification after death.
Rehak closely examines the artistic imagery on these monuments, providing numerous illustrations, tables, and charts. In an analysis firmly contextualized by a thorough discussion of the earlier models and motifs that inspired these Augustan monuments, Rehak shows how the princeps used these on such an unprecedented scale as to truly elevate himself above the common citizen.
Painting Manuscripts, Writing the Pre-Hispanic Past in Early Colonial Period Tetzcoco, Mexico
Around 1542, descendants of the Aztec rulers of Mexico created accounts of the pre-Hispanic history of the city of Tetzcoco, Mexico, one of the imperial capitals of the Aztec Empire. Painted in iconic script (“picture writing”), the Codex Xolotl, the Quinatzin Map, and the Tlohtzin Map appear to retain and emphasize both pre-Hispanic content and also pre-Hispanic form, despite being produced almost a generation after the Aztecs surrendered to Hernán Cortés in 1521. Yet, as this pioneering study makes plain, the reality is far more complex. Eduardo de J. Douglas offers a detailed critical analysis and historical contextualization of the manuscripts to argue that colonial economic, political, and social concerns affected both the content of the three Tetzcocan pictorial histories and their archaizing pictorial form. As documents composed by indigenous people to assert their standing as legitimate heirs of the Aztec rulers as well as loyal subjects of the Spanish Crown and good Catholics, the Tetzcocan manuscripts qualify as subtle yet shrewd negotiations between indigenous and Spanish systems of signification and between indigenous and Spanish concepts of real property and political rights. By reading the Tetzcocan manuscripts as calculated responses to the changes and challenges posed by Spanish colonization and Christian evangelization, Douglas’s study significantly contributes to and expands upon the scholarship on central Mexican manuscript painting and recent critical investigations of art and political ideology in colonial Latin America.
For most people, the work of Frederic Remington conjures an antiquarian world of all things “western.” Why this is so, and whether it should be so, are two of the critical questions raised in this book. Stephen Tatum closely considers selected paintings from Remington’s last four years of life—his so-called years of critical acclaim. Tatum’s purpose is twofold: first, to understand these paintings, both formally and thematically, within their historical, aesthetic, and biographical contexts; and second, to account for what endows them today—after marking the centennial of Remington’s death in 1909—with continuing aesthetic and cultural significance. To this end, Tatum examines these late paintings in relation to Remington’s other works, his letters and published writings, his evolving critical reception, and the writing and artwork of other cultural figures of the era, such as historian Frederick Jackson Turner and sociologist Georg Simmel. The book provides an illuminating glimpse of how and why particular Remington works might seize a viewer’s attention in his or her past or present moment of reception—how in fact their unstable visual complexity can ultimately absorb their viewer. In his “Coda,” Tatum offers a personal memoir of his own encounter with Remington’s The Love Call, a critical meditation enacting and questioning the “Remington Moment.”
A symbol of Indiana's past, the covered bridge still evokes feelings of nostalgia, romance, and even mystery. During the 19th century, over 500 of these handsome structures spanned the streams, rivers, and ravines of Indiana. Plagued by floods, fire, storms, neglect, and arson, today fewer than 100 remain. Marsha Williamson Mohr's photographs capture the timeless and simple beauty of these well-traveled structures from around the state, including Parke County—the unofficial covered bridge capital of the world. With 105 color photographs, Indiana's Covered Bridges will appeal to everyone who treasures Indiana's rich architectural heritage.
À travers le monde en perpétuel changement, on découvre peu à peu que de nouvelles formes de sensorialité surgissent à travers les échanges que l'on entretient avec les choses. En touchant l'écran, on peut faire apparaître des images, un souffle active un dispositif, un mouvement engendre de la musique. Autant de façons particulières de sentir et de se percevoir introduites par les interfaces technologiques. Les arts médiatiques portent une attention particulière à cette sensorialité puisqu'ils jouent un rôle essentiel en tant que grands trafiqueurs d'interfaces. Interfaces qui permettent aux artistes d'impliquer le spectateur à titre d'intervenant ou d'acteur.
Partners In Love And Art
Integrating the psychology of love and creativity, this pioneering book explores both how a couple’s involvement as lovers influences their creative collaboration and how working together affects their relationship. Representing a variety of genres—painting, sculpture, photography, and installation art—the celebrated couples profiled here include, among others, Christo and Jeanne-Claude, Elizabeth Diller and Ricardo Scofidio, and Kristin Jones and Andrew Ginzel.
Intrigued by this process of "intimate creativity," psychologists Irving and Suzanne Sarnoff (themselves partners in love and work) decided to conduct in-depth interviews with partners in visual art because they defy the supremely individualistic tradition of their field. Whatever their age or sexual orientation, these artist-couples combine their talents to form a collective identity as a professional team. Passionately intense about their shared commitment, they communicate endlessly to resolve conflicts and reach consensus. Providing mutual validation and support, they increase their productivity and the quality of their work; they minimize their fear and frustration and enhance their pleasure in being together.
The authors also draw on historical and contemporary literature about similar couples, ranging from Jean Arp and Sophie Taeuber to Gilbert and George to Claes Oldenburg and Coosje van Bruggen. Stimulating and engaging, this book highlights the features of a unique collaborative process, considers the connection between creativity and sexuality, and suggests possibilities for any couple to expand their intimacy.
Japanese Women Artists in New York
The 1960s was a time of incredible freedom and exploration in the art world, particularly in New York City, which witnessed the explosion of New Music, Happenings, Fluxus, New Dance, pop art, and minimalist art. Also notable during this period, although often overlooked, is the inordinate amount of revolutionary art that was created by women.
Into Performance fills a critical gap in both American and Japanese art history as it brings to light the historical significance of five women artists-Yoko Ono, Yayoi Kusama, Takako Saito, Mieko Shiomi, and Shigeko Kubota. Unusually courageous and self-determined, they were among the first Japanese women to leave their country-and its male-dominated, conservative art world-to explore the artistic possibilities in New York. They not only benefited from the New York art scene, however, they played a major role in the development of international performance and intermedia art by bridging avant garde movements in Tokyo and New York.
This book traces the pioneering work of these five women artists and the socio-cultural issues that shaped their careers. Into Performance also explores the transformation of these artists' lifestyle from traditionally confined Japanese women to internationally active artists. Yoshimoto demonstrates how their work paved the way for younger Japanese women artists who continue to seek opportunities in the West today.
Film, Photography, and Popular Culture
From an analysis of the Guinness brand’s reflection of Irish identity to an exploration of murals and film portrayals of political prisoners, this pioneering collection of essays seeks to present Ireland’s relationship to visual culture as a whole. While other works have explored the imagistic history of Ireland, most have restricted their lens to a single form of visual representation. Ireland in Focus is the first book to address the diverse range of visual representations of national and communal identity in Ireland. The contributors examine the politics of visual representation from both historical and contemporary perspectives. Drawing from the areas of cultural theory, postcolonial studies, art criticism, documentary and archival history, and gender studies, the essays provide novel insights on a variety of visual-cultural forms, including film, theater, photography, landscape art, political murals, and the visual iconography of commercial marketing. Bringing together established scholars and emerging young critics in the field, Ireland in Focus breaks new ground in showcasing the essential dynamism of visual culture and its relationship to Irish studies