"Electrifying the World of Art explores the history of the contemporary art and technology movement-and the people involved-in the pursuit of new art, commercial innovation, and creative collaborations"--
In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and the interrelation of new modes of scientific inquiry with artistic theory and praxis. The consequent changes in the ways in which critics as well as artists conceptualized paintings and sculptures were radical, marked by an obsession with intense, immediate sensory experiences, psychological reflection on the effects of art, and a magnetic pull to the exotic and alien, making for the most exciting and fertile period in the history of art criticism.
In the years after World War II, artists in Argentina and Brazil experimented with geo-metric abstraction and engaged in lively debates about the role of the artwork in society. Some of these artists used novel synthetic materials, creating objects that offered an alternative to established traditions in painting—proposing that these objects become part of everyday, concrete reality. Combining art historical and scientific analysis, experts from the Getty Conservation Institute and Getty Research Institute are collaborating with the Colección Patricia Phelps de Cisneros, a world-renowned collection of Latin American art, to research the formal strategies and material decisions of these artists working in the concrete and neo-concrete vein. Making Art Concrete presents works by Lygia Clark, Willys de Castro, Judith Lauand, Raúl Lozza, Hélio Oiticica, and Rhod Rothfuss, among others, with spectacu-lar new photography. The photographs, along with information about the now-invisible processes that determine the appearance of these works, are key to interpreting the artists’ technical choices as well as the objects themselves. Indeed, this volume sheds further light on the social, political, and cultural underpinnings of the artists’ propositions, making a compelling addition to the field of postwar Latin American art.
Rembrandt (1606-1669) is generally regarded as the finest painter of the Dutch "Golden Age." This new edition of Art in the Making: Rembrandt (published on the 400th anniversary of the artist's birth) reexamines 21 paintings firmly attributed to Rembrandt and 6 now assigned to followers. It reassesses his technique, materials, and working methods in the light of significant scholarly developments over the last 20 years, addressing problems of attribution that were hardly touched on in the original, groundbreaking edition of 1988. Introductory essays by distinguished conservation, curatorial, and scientific specialists cover the artist's studio and working methods, the training of painters in 17th-century Holland, and Rembrandt's materials and technique. The essays are followed by handsomely illustrated catalogue entries on 27 paintings. A comprehensive bibliography provides a rich source of information about the practice of oil painting, not only for Rembrandt but for 17th-century Dutch painting in general.
This is the second volume in a series that traces, century by century, the role of Asia in the making of Europe. The rise to world dominance of the Western nations in modern times and the rapid industrial growth of the West, which outpaced the East in technical and military achievements, have led to a historical eclipse of the ancient and brilliant cultures of Asia. Historican Donald F. Lach, in his influential scholarly work, Asia in the Making of Europe, points out that an eclipse is never permanent, that this one was never total, and that there was a period in early modern times when Asia and Europe were close rivals in brilliance and mutual influence.
“Dual purposes underscore this richly illustrated handbook: to pay tribute to outstanding contemporary American box makers and to guide potential box makers to successful fruition of their desire....The author presents general directions. Then come profiles of 31outstanding box makers with directions for making specific projects. A very useful and attractive addition.” —Booklist.
Combining the insight of two-dozen expert contributors to examine key figures, events, and policies over 200 years of U.S. immigration history, this work illuminates the foundations of the ethnic and socioeconomic makeup of our nation. • 45 entries covering such issues as the Alien and Sedition Acts, asylees, immigration and customs enforcement, immigration and religion, and U.S.–Mexico border relations • Contributions from an international collaborative of 24 scholars from the social and human sciences • Photographs • A timeline • Entry-specific bibliographies and a lengthy general bibliography
Women have been making art for centuries, yet their work has been seen as secondary or has gone unrecognized altogether. Women Making Art asks why this is so, and what it would take for us to realize the extent of women's extraordinary contribution to the arts. Marsha Meskimmon mobilizes contemporary feminist thinking to reconsider how and why women have made art. She examines work by a wide range of women artists from different cultures and historical periods, including Rebecca Horn, Rachel Whiteread, Shirin Neshat and Maya Lin, emphasizing the diversity of women's art and the importance of differences between women.