Presenting some of the children's art owned by such modern artists as Kandinsky, Picasso, and Miro+a7 in hundreds of reproductions, an art historian offers a ground-breaking account of the influence of children's art on modern art. UP.
Examines the planning stages of The Gates, an installation art project by Christo and Jeanne-Claude designed to adorn the walkways of New York's Central Park, and includes interviews with the artists.
Boldly signifying the cultural issues of the 1960s and 1970s in groundbreaking pieces such as Grey Gardens, Gimme Shelter, and Showman, filmmakers and brothers David and Albert Maysles used an approach to documentary film that involved spontaneous observation of naturally occurring events. With no rehearsed footage and no preconceived plots, their revolutionary work eschewed the authoritative voice-over narrator, didactic scripts, and the traditional problem-and-solution format used by the majority of their predecessors in the genre and duly influenced subsequent directors in both fiction and nonfiction film. Their collaboration from 1962 until David’s death in 1987 wrought thirteen major works in which the brothers critiqued the concept of celebrity with unglamorous footage of iconic figures, explored how commercialism hinders communication, and questioned the possibility of seeing anything clearly in a world abounding with both real and constructed images. Jonathan B. Vogels outlines how the Maysles brothers blended a unique amalgam of direct cinema characteristics, a modern humanist aesthetic, and a collaborative working process that included other directors and editors. Looking at the films as both shapers and reflections of American culture, he points out that the works offer insights into a wide range of contemporary topics including materialism, celebrity, modern art, and the American family. In addition to describing the changes in technology that made direct cinema possible, Vogels provides careful, scene-by-scene analyses that allow for a consideration of the Maysles brothers’ films as films, a tactic not frequently employed in nonfiction film studies.
Although America's universities have become the envy of the world for their creative energy and their production of transformative knowledge, few understand how and why they have become preeminent. This groundbreaking book traces the origins and the evolution of our great universities. It shows how they grew out of sleepy colleges at the turn of the twentieth century into powerful institutions that continue to generate new industries and advance our standard of living. Far from inevitable, this transformation was enabled by a highly competitive system that invested public tax dollars in university research and students while granting universities substantial autonomy. Today, America's universities face considerable threats. Even greater than foreign competition are the threats from within the United States. Under the Bush administration, government increasingly imposed ideological constraints on the freedom of academic inquiry. Restrictive visa policies instituted after 9/11 continue to discourage talented foreign graduate students from training in the United States. The international financial crisis, which has depleted university endowments and state investments in higher education, threatens the vitality of some of our greatest institutions of higher learning. In order to sustain and enhance the American tradition of excellence, we must nurture this powerful -- yet underappreciated -- national resource.
The first major book to consider the life and work of Robert Arneson, A Troublesome Subject tells the fascinating story of how a high school art teacher transformed himself into an artist of international stature and ambition. Representing the full scope of ArnesonÕs career in a rich survey of color reproductions, this book is at once a study of the trajectory of contemporary culture, the work of Robert Arneson, and the relationship between the two. It shows how ArnesonÕs work articulated the crisis of narcissism that has defined American culture since 1970. Jonathan Fineberg develops his ongoing work toward a psychosocial history of art as he proceeds through ArnesonÕs careerÑchronicling his early life, the formation of a personal style, and finding a unique subject matter in his famous post-1970 turn to self-portraiture.
“A broad-ranging, insightful analysis of the complex practical and ethical issues involved in global health.”—Kirkus Reviews Few topics in human rights have inspired as much debate as the right to health. Proponents would enshrine it as a fundamental right on a par with freedom of speech and freedom from torture. Detractors suggest that the movement constitutes an impractical over-reach. Jonathan Wolff cuts through the ideological stalemate to explore both views. In an accessible, persuasive voice, he explores the philosophical underpinnings of the idea of a human right, assesses whether health meets those criteria, and identifies the political and cultural realities we face in attempts to improve the health of citizens in wildly different regions. Wolff ultimately finds that there is a path forward for proponents of the right to health, but to succeed they must embrace certain intellectual and practical changes. The Human Right to Health is a powerful and important contribution to the discourse on global health.
Weather Architecture further extends Jonathan Hill’s investigation of authorship by recognising the creativity of the weather. At a time when environmental awareness is of growing relevance, the overriding aim is to understand a history of architecture as a history of weather and thus to consider the weather as an architectural author that affects design, construction and use in a creative dialogue with other authors such as the architect and user. Environmental discussions in architecture tend to focus on the practical or the poetic but here they are considered together. Rather than investigate architecture’s relations to the weather in isolation, they are integrated into a wider discussion of cultural and social influences on architecture. The analysis of weather’s effects on the design and experience of specific buildings and gardens is interwoven with a historical survey of changing attitudes to the weather in the arts, sciences and society, leading to a critical re-evaluation of contemporary responses to climate change.
The Architecture of Ruins: Designs on the Past, Present and Future identifies an alternative and significant history of architecture from the sixteenth century to the twenty-first century, in which a building is designed, occupied and imagined as a ruin. This design practice conceives a monument and a ruin as creative, interdependent and simultaneous themes within a single building dialectic, addressing temporal and environmental questions in poetic, psychological and practical terms, and stimulating questions of personal and national identity, nature and culture, weather and climate, permanence and impermanence and life and death. Conceiving a building as a dialogue between a monument and a ruin intensifies the already blurred relations between the unfinished and the ruined and envisages the past, the present and the future in a single architecture. Structured around a collection of biographies, this book conceives a monument and a ruin as metaphors for a life and means to negotiate between a self and a society. Emphasising the interconnections between designers and the particular ways in which later architects learned from earlier ones, the chapters investigate an evolving, interdisciplinary design practice to show the relevance of historical understanding to design. Like a history, a design is a reinterpretation of the past that is meaningful to the present. Equally, a design is equivalent to a fiction, convincing users to suspend disbelief. We expect a history or a novel to be written in words, but they can also be delineated in drawing, cast in concrete or seeded in soil. The architect is a ‘physical novelist’ as well as a ‘physical historian’. Like building sites, ruins are full of potential. In revealing not only what is lost, but also what is incomplete, a ruin suggests the future as well as the past. As a stimulus to the imagination, a ruin’s incomplete and broken forms expand architecture’s allegorical and metaphorical capacity, indicating that a building can remain unfinished, literally and in the imagination, focusing attention on the creativity of users as well as architects. Emphasising the symbiotic relations between nature and culture, a building designed, occupied and imagined as a ruin acknowledges the coproduction of multiple authors, whether human, non-human or atmospheric, and is an appropriate model for architecture in an era of increasing climate change.
In 1970, Hans Rookmaaker published Modern Art and the Death of a Culture, a groundbreaking work that considered the role of the Christian artist in society. This volume responds to his work by bringing together a practicing artist and a theologian, who argue that modernist art is underwritten by deeply religious concerns.
One of the most admired religious thinkers of our time issues a call for world Jewry to reject the self-fulfilling image of “a people alone in the world, surrounded by enemies” and to reclaim Judaism’s original sense of purpose: as a partner with God and with those of other faiths in the never-ending struggle for freedom and social justice for all. We are in danger, says Rabbi Jonathan Sacks, of forgetting what Judaism’s place is within the global project of humankind. During the last two thousand years, Jews have lived through persecutions that would have spelled the end of most nations, but they did not see anti-Semitism written into the fabric of the universe. They knew they existed for a purpose, and it was not for themselves alone. Rabbi Sacks believes that the Jewish people have lost their way, that they need to recommit themselves to the task of creating a just world in which the divine presence can dwell among us. Without compromising one iota of Jewish faith, Rabbi Sacks declares, Jews must stand alongside their friends—Christian, Muslim, Hindu, Sikh, Buddhist, and secular humanist—in defense of freedom against the enemies of freedom, in affirmation of life against those who desecrate life. And they should do this not to win friends or the admiration of others but because it is what a people of God is supposed to do. Rabbi Sacks’s powerful message of tikkun olam—using Judaism as a blueprint for repairing an imperfect world—will resonate with people of all faiths.
The first in-depth exploration of the rise and evolution of abstract, symbolic, and conceptual portraiture in American art This groundbreaking book traces the history of portraiture as a site of radical artistic experimentation, as it shifted from a genre based on mimesis to one stressing instead conceptual and symbolic associations between artist and subject. Featuring over 100 color illustrations of works by artists from Charles Demuth, Marcel Duchamp, Marsden Hartley, and Georgia O'Keeffe to Janine Antoni, Felix Gonzalez-Torres, Roni Horn, Jasper Johns, and Glenn Ligon, this timely publication probes the ways we think about and picture the self and others. With particular focus on three periods during which non-mimetic portraiture flourished--1912-25, 1961-70, and 1990-the present--the authors investigate issues related to technology, sexuality, artist networks, identity politics, and social media, and explore the emergence of new models for the visual representation of identity. Taking its title from a 1961 work by Robert Rauschenberg--a telegram that stated, "This is a portrait of Iris Clert if I say so"--this book unites paintings, sculpture, photography, and text portraits that challenge the genre in significant, often playful ways and question the convention, as well as the limits, of traditional portrayal.
No single book tracks, on an annual basis, the evolution of the pandemic, its effects, and the worldwide response. To fill this gap, Jonathan Mann, founding director of the World Health Organization's Global Program on AIDS, has assembled a team of experts to produce this collection of information, data, and thinking about AIDS. 100 illustrations.
Originally published in 1986, Abortion and the Private Practice of Medicine was the first book to look at abortion from the perspective of physicians in private practice. Jonathan B. Imber spent two years observing and interviewing all twenty-six of the obstetrician-gynecologists in “Daleton,” a city that did not have an abortion clinic. The decision as to whether, when, and how to perform abortions was therefore essentially up to the individual doctor. Imber begins the volume with a historical survey of medical views on abortion and the medical profession’s response to the legalization of abortion in the United States. Quoting extensively from his interviews, he looks at various characteristics of doctors that may affect their professional opinion on abortion: their age, gender, religious background, and length of residence in the community; the nature of their training and prior experience; and the setting of the practice (whether group or solo). Imber found that the physicians’ reasons for agreeing or refusing to perform abortions revealed considerable differences of opinion about how they construe their responsibilities.
Examines the planning stages of The Gates, an installation art project by Christo and Jeanne-Claude designed to adorn the walkways of New York's Central Park, and includes interviews with the artists.
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