A wide-ranging look at surrealist and postsurrealist engagements with the culture and imagery of childhood We all have memories of the object-world of childhood. For many of us, playthings and images from those days continue to resonate. Rereading a swathe of modern and contemporary artistic production through the lens of its engagement with childhood, this book blends in-depth art historical analysis with sustained theoretical exploration of topics such as surrealist temporality, toys, play, nostalgia, memory, and 20th-century constructions of the child. The result is an entirely new approach to the surrealist tradition via its engagement with "childish things." Providing what the author describes as a "long history of surrealism," this book plots a trajectory from surrealism itself to the art of the 1980s and 1990s, through to the present day. It addresses a range of figures from Marcel Duchamp, Giorgio de Chirico, Max Ernst, Hans Bellmer, Joseph Cornell, and Helen Levitt, at one end of the spectrum, to Louise Bourgeois, Eduardo Paolozzi, Claes Oldenburg, Susan Hiller, Martin Sharp, Helen Chadwick, Mike Kelley, and Jeff Koons, at the other.
Quentin Tarantino’s films beg to be considered metafiction: metacommentaries that engage with the history of cultural representations and exalt the aesthetic, ethical, and political potential of creation as re-re-creation and resignification. Covering all eight of Quentin Tarantino’s films according to certain themes, David Roche combines cultural studies and neoformalist approaches to highlight how closely the films’ poetics and politics are intertwined. Each in-depth chapter focuses on a salient feature, some which have drawn much attention (history, race, gender, violence), others less so (narrative structure, style, music, theatricality). Roche sets Tarantino’s films firmly in the legacy of Howard Hawks, Jean-Luc Godard, Sergio Leone, and the New Hollywood, revising the image of a cool pop-culture purveyor that the American director cultivated at the beginning of his career. Roche emphasizes the breadth and depth of his films’ engagement with culture, highbrow and lowbrow, screen and print, American, East Asian, and European.
The first of its kind, this book examines artistic representations of the brain after the rise of the contemporary neurosciences, examining the interplay of art and science and tackling some of the critical-cultural implications. Weaving an MRI pattern onto a family quilt. Scanning the brain of a philosopher contemplating her own death and hanging it in a museum. Is this art or science or something in-between? What does it mean? How might we respond? In this ground-breaking new book, David R. Gruber explores the seductive and influential position of the neurosciences amid a growing interest in affect and materiality as manifest in artistic representations of the human brain. Contributing to debates surrounding the value and/or purpose of interdisciplinary engagement happening in the neuro-humanities, Gruber emphasizes the need for critical-cultural analysis within the field. Engaging with New Materialism and Affect Theory, the book provides a current and concrete example of the on-going shift away from constructivist lenses, arguing that the influence of relatively new neuroscience methods (EEG, MRI and fMRI) on the visual arts has not yet been fully realised. In fact, the very idea of a brain as it is seen and encountered today—or "The Brain," as Gruber calls it—remains in need of critical, wild and rebellious re-imagination. Illuminating how artistic engagement with the brain is often sensual and suggestive even if rooted in objectivist impulses and tied to scientific realism, this book is ideal for scholars in Art, Media Studies, Sociology, and English departments, as well visual artists and anyone seriously engaging discourses of the brain.
Following a clear timeline, the author highlights key movements of modern art, giving careful attention to the artists' political and cultural worlds. Styles include Abstract Expressionism, Pop Art, Minimalism, Conceptualism, Postmodernism, and performance art. 65 color illustrations. 65 halftones.
Kids look up to their dads. Dads have to be able to break in a new baseball glove (and to know which glove is age-appropriate), to answer every question imaginable (why is a football called a pigskin?), to teach their child how to throw a knuckleball, skate backwards on hockey skates, or spin a basketball on one fingertip. When it comes to sports, dads are expected to know and do everything. Such an amazing dad is rare. For the rest of us, there’s Cool Sports Dad. Cool Sports Dad is packed full of mini essays about sports by the world’s most knowledgeable experts. The contributors to Cool Sports Dad range from instantly recognizable All-Star names like Jerome Bettis and David Wright to the next generation of extreme athletes like BMX biker and 2005 X Games silver medalist Scotty Cranmer and Bassmasters fishing champion Kevin Van Dam. All have been chosen for inclusion because they are at the very top of their profession, be it baseball, basketball, football, BMX racing, or even fishing. Fathers may not know everything, but with Cool Sports Dad on-hand they can give the impression they do.
Most contemporary versions of moral realism are beset with difficulties. Many of these difficulties arise because of a faulty conception of the nature of goodness. Goodness, God, and Evil lays out and defends a new version of moral realism that re-conceives the nature of goodness. Alexander argues that the adjective 'good' is best thought of as an attributive adjective and not as a predicative one. In other words, the adjective 'good' logically cannot be detached from the noun (or noun phrase) that it modifies. It is further argued that this conception of the function of the adjective implies that recent attempts to provide necessary a posteriori identities between goodness and something else must fail. The convertibility of being and goodness, the privation theory of evil, a denial of the fact-value distinction, human nature as the ground of human morality and even a novel argument for the existence of God are some of the implications of the account of goodness that Alexander offers.
With the improvements in collection methods and analytical tools that allow more thorough analyses, gunshot residue examination has made a dramatic impact as an area of trace evidence essential to the investigation and prosecution of violent crime. Current Methods in Forensic Gunshot Residue Analysis deals with major areas of gunshot residue analysis, including current and future methods of analysis, collection techniques, interpretation of evidence, expert testimony and report writing. This text is a necessity for forensic scientists conducting this type of analysis and anyone involved in the investigation and prosecution of violent crimes involving firearms.
Fifty years after they first came together and changed the sound of rock 'n' roll, the Grateful Dead remain one of rock's most beloved bands -- a musical and cultural phenomenon that spans generations and paved the way for everything from the world of jam bands and the idea of independently released music to social networking. Much has been written about the band, but nothing quite as vibrant and vivid as So Many Roads. Drawing on new interviews with surviving members and people in their inner circle -- along with the group's extensive archives and his own research from years of covering the group -- David Browne, longtime music journalist and contributing editor at Rolling Stone, does more than merely delve into the Dead's saga. By way of an altogether unique structure -- each chapter centered around a significant or pivotal day in their story -- he lends this epic musical and cultural story a you-are-there feel unlike any other book written about the band. So Many Roads takes us deep into the world of the Dead in ways that will be eye-opening even to the most rabid Deadheads. Readers will find themselves inside their communal home in Haight-Ashbury during the band's notorious 1967 bust; behind the scenes in the studio, watching the Dead at work (and play); backstage at the taping of the legendary "Touch of Grey" video and at their final shows; and in the midst of the Dead's legendary band meetings. Along the way, readers will hear not only from the Dead but also from friends, colleagues, lovers, and crew members, including some who've never spoken to the press before. The result is a remarkably detailed and cinematic book that paints a strikingly fresh portrait of one of rock's greatest and most enduring institutions and sheds new light -- for fans and newcomers alike -- on the band's music, dynamics, and internal struggles. "There is nothing like a Grateful Dead concert," read the legendary bumper stickers. Similarly, there's nothing like So Many Roads, which explores all-new routes on the band's long, strange trip.
Does God exist? In one incisive volume, philosopher W. David Beck offers a narrative of pre-Christian, Jewish, Buddhist, Christian, and Islamic arguments for God's existence. In this history of answers to an essential question, readers will encounter both classical and contemporary arguments, including cosmological, teleological, moral, and ontological arguments.
“If John Berger’s Ways of Seeing is a classic of art criticism, looking at the ‘what’ of art, then David Salle’s How to See is the artist’s reply, a brilliant series of reflections on how artists think when they make their work. The ‘how’ of art has perhaps never been better explored.” —Salman Rushdie How does art work? How does it move us, inform us, challenge us? Internationally renowned painter David Salle’s incisive essay collection illuminates these questions by exploring the work of influential twentieth-century artists. Engaging with a wide range of Salle’s friends and contemporaries—from painters to conceptual artists such as Jeff Koons, John Baldessari, Roy Lichtenstein, and Alex Katz, among others—How to See explores not only the multilayered personalities of the artists themselves but also the distinctive character of their oeuvres. Salle writes with humor and verve, replacing the jargon of art theory with precise and evocative descriptions that help the reader develop a personal and intuitive engagement with art. The result: a master class on how to see with an artist’s eye.
This astounding book includes 21 interviews, recorded over the past 40 years, with leading American artists. Together they illuminate all the great developments in American art. Here are the views of David Smith, Richard Serra, Willem de Kooning, Barnett Newman, Franz Kline, Philip Guston, Robert Rauschenberg, and others.
Contemporary art can be baffling and beautiful, provocative and disturbing. This pioneering book presents a new look at the controversial period between 1945 and 2015, when art and its traditional forms were called into question. It focuses on the relationship between American and European art, and challenges previously held views about the origins of some of the most innovative ideas in art of this time. Major artists such as Jackson Pollock, Robert Rauschenberg, Andy Warhol, Joseph Beuys, Gerhard Richter, Louise Bourgeois, Cindy Sherman, Jeff Koons, and Shiran Neshat are all discussed, as is the art world of the last fifty years. Important trends are also covered including Abstract Expressionism, Pop Art, Minimalism, Conceptualism, Postmodernism, and Performance Art. This revised and updated second edition includes a new chapter exploring art since 2000 and how globalization has caused shifts in the art world, an updated Bibliography, and 16 new, colour illustrations.
Art as an Asset in the 21st Century objectively describes the bedrock institutions within the global art sector, including now-institutionalized suppositions and biases that lack modern evidence and empirical support but remain central to the underlying belief structure. To shape his articulated analysis and coin his conclusions, the author uses a broad range of know-how, information and analytic tools enhanced and supplemented by 20 years of data collection, polling and anecdotes from the highest level of access. This work deconstructs what actually exists, blueprinting a near-total rebuilding that maintains the centrality of and reverence for the individual work of art while connoisseurs collaborate every day with mathematicians and data scientists
As public interest in modern art continues to grow, there is a real need for a book that will engage general readers, offering them not only information and ideas about modern art, but also explaining its contemporary relevance and its history. This book does just that.
Formally, ownership of ideas is legally impossible, and can never be globally secured. Yet, in very real and significant ways these limits have been undone. In principle, ideas cannot be owned, yet, undoing the distinction between ideas and tangible manifestations, the distinction which underpins the principle, allows the principle to hold even whilst its meaning is hollowed out. Post-Cold War global network capitalism is premised upon regulatory structures designed to enforce deregulation in global markets and production, but at the same time to enforce global regulation of property and intellectual property in particular. However, this roll-out has not been without resistance and limitations. Globalization, the affordances of digital networks, and contradiction within capitalism itself - between private property and free markets - promote and undo global IP expansion. In this book David and Halbert map the rise of global IP protectionism, debunk the key justifications given for IPRs, dismiss the arguments put forward for global extension and harmonization; and suggest that roll-back, suspension, and even simply the bi-passing of IP in practice offer better solutions for promoting innovation and meeting human needs.
This comprehensive international and comparative account reconceptualises the public domain, providing new insights into copyright and copyright law reform.
The authoritative compendium of facts, statistics, photographs, and analysis that defines baseball in its formative first decades This comprehensive reference work covers the early years of major league baseball from the first game—May 4, 1871, a 2-0 victory for the Fort Wayne Kekiongas over the visiting Cleveland Forest City team—through the 1900 season. Baseball historian David Nemec presents complete team rosters and detailed player, manager, and umpire information, with a wealth of statistics to warm a fan’s heart. Sidebars cover a variety of topics, from oddities—the team that had the best record but finished second—to analyses of why Cleveland didn’t win any pennants in the 1890s. Additional benefits include dozens of rare illustrations and narrative accounts of each year’s pennant race. Nemec also carefully charts the rule changes from year to year as the game developed by fits and starts to formulate the modern rules. The result is an essential work of reference and at the same time a treasury of baseball history. This new edition adds much material unearthed since the first edition, fills gaps, and corrects errors, while presenting a number of new stories and fascinating details. David Nemec began the lifetime labor that helped produced this work in 1954 and admits it may never end, as there always will be some obscure player whose birth date has not yet been found. Until perfection is achieved, this work offers state-of-the-art accuracy and detail beyond that supplied by even modern baseball encyclopedias. As Casey Stengel, who was born during this era, was wont to say, “you could look it up.” Now you can.
Examines the effects of education in creating global citizens who share a world culture. This title also examines the role of education in diffusing such attitudes and models, as global citizens confront national institutions.
Ratmoko (English literature, U. of Zurich and comparative literature, Yale U.) traces the genealogy of ghosts through philosophical, literary, and religious texts of the Western canon. He discusses the spectral history of guilt in law, the historical truth of spectrality, spectrality in the era of Christianity and Greek tragedy, and phantom formations after the Renaissance. Annotation :2006 Book News, Inc., Portland, OR (booknews.com).
In its golden age, American radio both entertained and also fostered programs meant to produce self-governing and opinion-forming individuals, promoting openness to change and tolerance of diversity, familiarity with classical music, and knowledge of world affairs. As author David Goodman argues, the ambitions of radio's golden age have strong significance today as evidence that media regulation in the public interest can have significant and often positive effects.
The controversy over teaching evolution or creationism in American public schools offers a policy paradox. Two sets of values—science and democracy—are in conflict when it comes to the question of what to teach in public school biology classes. Prindle illuminates this tension between American public opinion, which clearly prefers that creationism be taught in public school biology classes, versus the ideal that science, and only science, be taught in those classes. An elite consisting of scientists, professional educators, judges, and business leaders by and large are determined to ignore public preferences and teach only science in science classes despite the majority opinion to the contrary. So how have the political process and the Constitutional law establishment managed to thwart the people’s will in this self-proclaimed democracy? Drawing on a vast body of work across the natural sciences, social sciences, and humanities, Prindle explores the rhetoric of the evolution issue, explores its history, examines the nature of the public opinion that causes it, evaluates the Constitutional jurisprudence that upholds it, and explains the political dynamic that keeps it going. This incisive analysis is a must-read in a wide range of disciplines and for anyone who wants to understand the politics of biology.
In this extensively illustrated book containing over 80 diagrams and images of artworks, David Burrows and Simon O'Sullivan explore the process of fictioning in contemporary art through three focal points: performance fictioning, science fictioning and machine fictioning.
In the summer of 1937 the Salisbury Indians, a Class D minor league team in rural Maryland, achieved national celebrity playing one of the most amazing comeback seasons in baseball history. Starting with 21-5, the club allegedly violated the Eastern Shore League's rules by fielding more than four players with professional experience. Forfeiting their 21 wins and plummeting to the bottom of the standings, they went on to win 59 of their last 70 games, capturing the league pennant and playoffs championship. This game-by-game account chronicles the extraordinary pitching and relentless hitting of one of the greatest minor league teams ever assembled, under the redoubtable leadership of D'Arcy "Jake" Flowers.
This book explores the ways in which music can engender religious experience, by virtue of its ability to evoke the ineffable and affect how the world is open to us. Arguing against approaches that limit the religious significance of music to an illustrative function, The Extravagance of Music sets out a more expansive and optimistic vision, which suggests that there is an ‘excess’ or ‘extravagance’ in both music and the divine that can open up revelatory and transformative possibilities. In Part I, David Brown argues that even in the absence of words, classical instrumental music can disclose something of the divine nature that allows us to speak of an experience analogous to contemplative prayer. In Part II, Gavin Hopps contends that, far from being a wasteland of mind-closing triviality, popular music frequently aspires to elicit the imaginative engagement of the listener and is capable of evoking intimations of transcendence. Filled with fresh and accessible discussions of diverse examples and forms of music, this ground-breaking book affirms the disclosive and affective capacities of music, and shows how it can help to awaken, vivify, and sustain a sense of the divine in everyday life.
The story of New York’s west side no longer stars the Sharks and the Jets. Instead it’s a story of urban transformation, cultural shifts, and an expanding contemporary art scene. The Chelsea Gallery District has become New York’s most dominant neighborhood for contemporary art, and the streets of the west side are filled with gallery owners, art collectors, and tourists. Developments like the High Line, historical preservation projects like the Gansevoort Market, the Chelsea galleries, and plans for megaprojects like the Hudson Yards Development have redefined what is now being called the “Far West Side” of Manhattan. David Halle and Elisabeth Tiso offer a deep analysis of the transforming district in New York’s New Edge, and the result is a new understanding of how we perceive and interpret culture and the city in New York’s gallery district. From individual interviews with gallery owners to the behind-the-scenes politics of preservation initiatives and megaprojects, the book provides an in-depth account of the developments, obstacles, successes, and failures of the area and the factors that have contributed to them.
“A beautiful, intricate meditation on creativity and discovery, on fire and rebirth.” —Elizabeth Gilbert Awestruck at the sight of a Grinling Gibbons carving in a London church, David Esterly chose to dedicate his life to woodcarving—its physical rhythms, intricate beauty, and intellectual demands. Forty years later, he is the foremost practitioner of Gibbons’s forgotten technique, which revolutionized ornamental sculpture in the late 1600s with its spectacular cascades of flowers, fruits, and foliage. After a disastrous fire at Henry VIII’s Hampton Court Palace, Esterly was asked to replace the Gibbons masterpiece destroyed by the flames. It turned out to be the most challenging year in Esterly’s life, forcing him to question his abilities and delve deeply into what it means to make a thing well. Written with a philosopher’s intellect and a poet’s grace, The Lost Carving explores the connection between creativity and physical work and illuminates the passionate pursuit of a vocation that unites head and hand and heart.
How global contemporary art reanimates the past as a resource for the present, combating modern art's legacy of Eurocentrism. If European modernism was premised on the new—on surpassing the past, often by assigning it to the “traditional” societies of the Global South—global contemporary art reanimates the past as a resource for the present. In this account of what globalization means for contemporary art, David Joselit argues that the creative use of tradition by artists from around the world serves as a means of combatting modern art's legacy of Eurocentrism. Modernism claimed to live in the future and relegated the rest of the world to the past. Global contemporary art shatters this myth by reactivating various forms of heritage—from literati ink painting in China to Aboriginal painting in Australia—in order to propose new and different futures. Joselit analyzes not only how heritage becomes contemporary through the practice of individual artists but also how a cultural infrastructure of museums, biennials, and art fairs worldwide has emerged as a means of generating economic value, attracting capital and tourist dollars. Joselit traces three distinct forms of modernism that developed outside the West, in opposition to Euro-American modernism: postcolonial, socialist realism, and the underground. He argues that these modern genealogies are synchronized with one another and with Western modernism to produce global contemporary art. Joselit discusses curation and what he terms “the curatorial episteme,” which, through its acts of framing or curating, can become a means of recalibrating hierarchies of knowledge—and can contribute to the dual projects of decolonization and deimperialization.
An impassioned, darkly amusing look at how corporations misuse copyright law to stifle creativity and free speech If you want to make fun of Mickey or Barbie on your Web site, you may be hearing from some corporate lawyers. You should also think twice about calling something "fair and balanced" or publicly using Martin Luther King Jr.'s "I Have a Dream" speech. It may be illegal. Or it may be entirely legal, but the distinction doesn't matter if you can't afford a lawyer. More and more, corporations are grabbing and asserting rights over every idea and creation in our world, regardless of the law's intent or the public interest. But beyond the humorous absurdity of all this, there lies a darker problem, as David Bollier shows in this important new book. Lawsuits and legal bullying clearly prevent the creation of legitimate new software, new art and music, new literature, new businesses, and worst of all, new scientific and medical research. David Bollier (Amherst, MA) is cofounder of Public Knowledge and Senior Fellow at the Norman Lear Center, USC Annenberg School for Communication. His books include Silent Theft.
This magnificent volume marks the fiftieth anniversary of this museum and art school housed in buildings designed by world-renowned architects Eliel Saarinen, I.M. Pei, and Richard Meier. Illustrated essays cover the history of the Center and its distinguished architecture. Colorplates and commentary present more than 100 masterpieces of 20th-century art and tribal arts.
(Applause Books). From his first unscripted appearance on an Off-Broadway stage in the revolutionary 1960s to the frontpage news of his death from AIDS in 1987 at age 44, Charles Ludlam embodied and helped to engender the upheavals of his time. The astonishing life and legacy of this force to be reckoned with are at last revealed in RIDICULOUS! , a literary biography of an American comic genius. After founding the Ridiculous Theatrical Company in 1967, Ludlam sustained an ever-shifting troupe of bohemian players through two decades of perennially daunting circumstances by writing 29 plays plays that he starred in and directed as well. While Ludlam's work has become increasingly popular at regional theatres, on college campuses, and on stages throughout the world, his gender-bending theories and wide-ranging cultural impact have reached far beyond Bette Midler, the original cast members of Saturday Night Live and the countless other artists he influenced during his abbreviated lifetime. Like his early plays, Ludlam's life was rife with the sex, drugs and creative experimentation that characterized the freewheeling '60s and '70s. Based on a decade of research and interviews with more than 150 people who knew or worked with Ludlam including all of the major players in his troupe and seven of his lovers RIDICULOUS! recreates the dramatic life of an inimitable and subversive theatrical master with you-are-there intensity. Winner of the LAMBDA Literary Award for Biography and the Theatre Library Association Award for Outstanding Theatre Book of the Year "David Kaufman makes a persuasive case for Ludlam's being a genius ... As a record of Ludlam's life and the theatrical world in which he was both guru and grandmaster, this book is informed and passionate." Mel Gussow, The New York Times "A fascinating portrait of an authentic stage genius and the New York avant-garde scene in which he toiled with such demented and dedicated diligence." Playbill "The phenom who inspired everyone from Bette Midler and Madeline Kahn to Tony Kushner and Paul Rudnick was no box of chocolates which, as reading experiences go, makes his story all the sweeter." Vanity Fair "This is one helluva piece of work." Marilyn Stasio, Variety.com
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