“I had experienced absolute freedom—I had felt that my body was without boundaries, limitless; that pain didn’t matter, that nothing mattered at all—and it intoxicated me.” In 2010, more than 750,000 people stood in line at Marina Abramović’s MoMA retrospective for the chance to sit across from her and communicate with her nonverbally in an unprecedented durational performance that lasted more than 700 hours. This celebration of nearly fifty years of groundbreaking performance art demonstrated once again that Marina Abramović is truly a force of nature. The child of Communist war-hero parents under Tito’s regime in postwar Yugoslavia, she was raised with a relentless work ethic. Even as she was beginning to build an international artistic career, Marina lived at home under her mother’s abusive control, strictly obeying a 10 p.m. curfew. But nothing could quell her insatiable curiosity, her desire to connect with people, or her distinctly Balkan sense of humor—all of which informs her art and her life. The beating heart of Walk Through Walls is an operatic love story—a twelve-year collaboration with fellow performance artist Ulay, much of which was spent penniless in a van traveling across Europe—a relationship that began to unravel and came to a dramatic end atop the Great Wall of China. Marina’s story, by turns moving, epic, and dryly funny, informs an incomparable artistic career that involves pushing her body past the limits of fear, pain, exhaustion, and danger in an uncompromising quest for emotional and spiritual transformation. A remarkable work of performance in its own right, Walk Through Walls is a vivid and powerful rendering of the unparalleled life of an extraordinary artist.
The Handbook of Immunological Properties of Engineered Nanomaterials provides a comprehensive overview of the current literature, methodologies, and translational and regulatory considerations in the field of nanoimmunotoxicology. The main subject is the immunological properties of engineered nanomaterials. Focus areas include interactions between engineered nanomaterials and red blood cells, platelets, endothelial cells, professional phagocytes, T cells, B cells, dendritic cells, complement and coagulation systems, and plasma proteins, with discussions on nanoparticle sterility and sterilization. Each chapter presents a broad literature review of the given focus area, describes protocols and resources available to support research in the individual focus areas, highlights challenges, and outlines unanswered questions and future directions. In addition, the Handbook includes an overview of and serves a guide to the physicochemical characterization of engineered nanomaterials essential to conducting meaningful immunological studies of nanoparticles. Regulations related to immunotoxicity testing of materials prior to their translation into the clinic are also reviewed.The Handbook is written by top experts in the field of nanomedicine, nanotechnology, and translational bionanotechnology, representing academia, government, industry, and consulting organizations, and regulatory agencies. The Handbook is designed to serve as a textbook for students, a practical guide for research laboratories, and an informational resource for scientific consultants, reviewers, and policy makers. It is written such that both experts and beginners will find the information highly useful and applicable.
An illustrated exploration of Helen Chadwick’s erotic, playful, and fierce 1986 installation. In 1986 the Institute of Contemporary Arts in London showed a new commission by the artist Helen Chadwick (1954–1996). What Chadwick conceived for the ICA exhibition explored her characteristic themes—the female body (her own), the aesthetics of pleasure, the material variety and wonder of phenomena—but took them in a new, flamboyant direction. In this illustrated volume, Marina Warner examines one part of Chadwick’s installation, The Oval Court. This work was erotic, playful, and fierce; it showed imaginative ambition on an exceptional scale and a unique, piquant sensibility, both raunchy and delicate. Despite the work’s recognition as a feminist monument of rare intensity, it has rarely been shown or discussed since the author’s catalogue essay for the original exhibition. Warner here reconsiders Chadwick’s influence as an artist who helped to shift conventional aesthetics and transvalue despised, even abominated forms. Exploring the work’s richly layered composition in light of intervening years, Warner shows how Chadwick’s imagination has shaped many artists’ ideas and ethics, and emboldened their adventures with materials.
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