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A highly regarded impressionist-style artist, George Ames Aldrich drew on his years of experience living and studying in Europe to create beautiful landscape paintings. His life and work are explored in this gorgeous book. Many of the artist's finest creations, some representing French subjects and others depicting the midwestern steel industry and American landscapes, are included in this book. It features color reproductions, along with other archival and contextual images. Essays by Michael Wright and Wendy Greenhouse explore in detail Aldrich's life, influences, sources of inspiration, and art historical context. Exploiting a wide variety of sources, Wright and Greenhouse have discovered exciting new information about the artist and his times.
Ornamentation and Devotion
Since ancient times, Hindus have expressed their love and devotion to their deities through beautiful ornamentation -- dressing and decorating the deities with elaborate clothing, jewelry, and flowers. In this pioneering study of temples in Vrindaban and Jaipur, India, Cynthia Packert takes readers across temple thresholds and into the god Krishna's sacred domain. She describes what devotees see when they behold gorgeously attired representations of the god and why these images look the way they do. She discusses new media as well as global forms of devotion popular in India and abroad. The Art of Loving Krishna opens a universe of meaning in which art, religious action, and devotion are dynamically intertwined.
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.
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.
Asylum on the Hill is the story of a great American experiment in psychiatry, a revolution in care for those with mental illness, as seen through the example of the Athens Lunatic Asylum. Built in Southeast Ohio after the Civil War, the asylum embodied the nineteenth-century “gold standard” specifications of moral treatment. Stories of patients and their families, politicians, caregivers, and community illustrate how a village in the coalfields of the Hocking River Valley responded to a national impulse to provide compassionate care based on a curative landscape, exposure to the arts, outdoor exercise, useful occupation, and personal attention from a physician. Although ultimately doomed by overcrowding and overshadowed by the rise of new models of psychiatry, for twenty years the therapeutic community at Athens pursued moral treatment therapy with energy and optimism. Ziff’s fresh presentation of America’s nineteenth-century asylum movement shows how the Athens Lunatic Asylum accommodated political, economic, community, family, and individual needs and left an architectural legacy that has been uniquely renovated and repurposed.
The Hidden Landscapes of Domestic Service in Johannesburg
Despite their peaceful, bucolic appearance, the tree-lined streets of South African suburbia were no refuge from the racial tensions and indignities of apartheid’s most repressive years. In At Home with Apartheid, Rebecca Ginsburg provides an intimate examination of the cultural landscapes of Johannesburg’s middle- and upper-middle-class neighborhoods during the height of apartheid (c. 1960-1975) and incorporates recent scholarship on gender, the home, and family.
More subtly but no less significantly than factory floors, squatter camps, prisons, and courtrooms, the homes of white South Africans were sites of important contests between white privilege and black aspiration. Subtle negotiations within the domestic sphere between white, mostly female, householders and their black domestic workers, also primarily women, played out over and around this space. These seemingly mundane, private conflicts were part of larger contemporary struggles between whites and blacks over territory and power.
Ginsburg gives special attention to the distinct social and racial geographies produced by the workers’ detached living quarters, designed by builders and architects as landscape complements to the main houses. Ranch houses, Italianate villas, modernist cubes, and Victorian bungalows filled Johannesburg’s suburbs. What distinguished these neighborhoods from their precedents in the United States or the United Kingdom was the presence of the ubiquitous back rooms and of the African women who inhabited them in these otherwise exclusively white areas.
The author conducted more than seventy-five personal interviews for this book, an approach that sets it apart from other architectural histories. In addition to these oral accounts, Ginsburg draws from plans, drawings, and onsite analysis of the physical properties themselves. While the issues addressed span the disciplines of South African and architectural history, feminist studies, material culture studies, and psychology, the book’s strong narrative, powerful oral histories, and compelling subject matter bring the neighborhoods and residents it examines vividly to life.
The Photographs of Jean-Franois Bonhomme
Athens, Still Remains is an extended commentary on a series of photographs of contemporary Athens by the French photographer Jean-Franois Bonhomme. But in Derrida's hands commentary always has a way of unfolding or, better, developing in several unexpected and mutually illuminating directions.First published in French and Greek in 1996, Athens, Still Remains is Derrida's most sustained analysis of the photographic medium in relationship to the history of philosophy and his most personal reflection on that medium. At once photographic analysis, philosophical essay, and autobiographical narrative, Athens, Still Remains presents an original theory of photography and throws a fascinating light on Derrida's life and work.The book begins with a sort of verbal snapshot or aphorism that haunts the entire book: we owe ourselves to death.Reading this phrase through Bonhomme's photographs of both the ruins of ancient Athens and contemporary scenes of a still-living Athens that is also on its way to ruin and death, Derrida interrogates a philosophical tradition that runs from Socrates to Heidegger in which the human-and especially the philosopher-is thought to owe himself to death, to a certain thought of death or comportment with regard to death. Combining philosophical speculations on mourning and death, event and repetition, and time and difference with incisive commentary on Bonhomme's photographs and a narrative of Derrida's 1995 trip to Greece, Athens, Still Remains is one of Derrida's most accessible, personal, and moving works without being, for all that, any less philosophical. As Derrida reminds us, the word photography-an eminently Greek word-means the writing of light,and it brings together today into a single frame contemporary questions about the work of art in the age of mechanical reproduction and much older questions about the relationship between light, revelation, and truth-in other words, an entire philosophical tradition that first came to light in the shadow of the Acropolis.
Enabling Sprawl through Policy and Planning
A Cultural History of West German Industrial Design
From the Werkbund to the Bauhaus to Braun, from furniture to automobiles to consumer appliances, twentieth-century industrial design is closely associated with Germany. In this pathbreaking study, Paul Betts brings to light the crucial role that design played in building a progressive West German industrial culture atop the charred remains of the past. The Authority of Everyday Objects details how the postwar period gave rise to a new design culture comprising a sprawling network of diverse interest groups—including the state and industry, architects and designers, consumer groups and museums, as well as publicists and women's organizations—who all identified industrial design as a vital means of economic recovery, social reform, and even moral regeneration. These cultural battles took on heightened importance precisely because the stakes were nothing less than the very shape and significance of West German domestic modernity. Betts tells the rich and far-reaching story of how and why commodity aesthetics became a focal point for fashioning a certain West German cultural identity. This book is situated at the very crossroads of German industry and aesthetics, Cold War politics and international modernism, institutional life and visual culture.