The Painting of Modern Life: Paris in the Art of Manet and his Followers

• ISBN13: 9780691009032
• Condition: New
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The Paris of the 1860s and 1870s was supposedly a brand-new city, equipped with boulevards, cafés, parks, and suburban pleasure grounds–the birthplace of those habits of commerce and leisure that constitute “modern life.” Questioning those who view Impressionism solely in terms of artistic technique, T. J. Clark describes the painting of Manet, Degas, Seurat, and others as an attempt to give form to that modernity and seek out its typical representatives–be they bar-maids, boaters, prostitutes, sightseers, or petits bourgeois lunching on the grass. The central question of The Painting of Modern Life is this: did modern painting as it came into being celebrate the consumer-oriented culture of the Paris of Napoleon III, or open it to critical scrutiny? The revised edition of this classic book includes a new preface by the author.

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Primitivism and Modern Art (World of Art)

A fascination with the primitive lies at the heart of some of the most influential developments in Westem art produced between 1890 and 1950 – a time that witnessed both the heroic period of modern art and the apogee and decline of the West’s colonial power. Many groups have been labelled primitive, including the so-called tribal peoples from Africa, Oceania and North America, but also prehistoric cultures, European peasants, the insane and children. Through the lens of their own society, many modern artists looked both to the art and to the worldview of the primitive as a means of challenging established beliefs, but the primitive to which they turned was as varied as the movements of modern art.

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Modern Art and the Death of a Culture

This disturbing but illuminating classic is a brilliant perspective on the cultural turmoil of the radical sixties and its impact on today’s world, especially as reflected in the art of the time. Rookmaaker’s enduring analysis looks at modern art in a broad historical, social, and philosophical context, laying bare the despair and nihilism that pervade our era. He also shows the role Christian artists can play in proclaiming truth through their work.

Rookmaaker’s brilliant articulation of faith and scholarship is insightful and inspiring. The book moves freely and with a sense of urgency between the worlds of high culture, popular art and music, and Christian faith.

This reissue makes his foundational work available to a new generation.

“A landmark book in the story of contemporary Christians in the arts.” –Os Guinness, author of The American Hour

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Modern Art: A Very Short Introduction (Very Short Introductions)

Public interest in modern art continues to grow, as witnessed by the spectacular success of the Tate Modern in London and the Bilbao Guggenheim. Modern Art: A Very Short Introduction engages general readers, offering them not only information and ideas about modern art, but also explaining its contemporary relevance and history. The book focuses on interrogating the idea of “modern” art by asking such questions as: What makes a work of art qualify as modern, or fail to? How has this selection been made? What is the relationship between modern and contemporary art? Is “postmodernist” art no longer modern, or just no longer modernist? In either case, why–and what does this claim mean, both for art and the idea of “the modern?” Cottingham examines many key aspects of this subject, including the issue of controversy in modern art, from Manet’s Dejeuner sur L’Herbe (1863) to Picasso’s Les Demoiselles, and Tracey Emin’s Bed (1999). He also looks at the role of the dealer from the main Cubist art dealer Kahnweiler, to Charles Saatchi.

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Investigating Modern Art

This text provides an accessible historical progression through the attempting to draw out more general issues and implications. The discussion of key figures such as Picasso, Matisse, Pollock and Warhol, and movements such as Cubism, Surrealism, Abstract Expressionism and Minimal Art is animated by the most relevant concerns of contemporary art historical scholarship. Issues of gender and ethnicity, criticism of the accepted canon of modern art, and important social and political influences upon the institutions of art are interwoven with the discussion of particular works. Since the end of the 19th century Modernism has been the dominant force in the production of western avant-garde art. It has, however, throughout the period been subject to a variety of conservative and radical challenges. Recently many of the values assumed by the modernist avant-garde have come under fundamental scrutiny. This collection of essays aims to equip its readers with the tools to understand these debates, and the wide range of artworks to which they have been attached. Modernist myths which have appeared to make art elitist or inaccessible, or simply irrelevant, are examined, as is Postmodernism, when the questions of whether we in the late-20th century are witness to the end of the modern period, and whether the diversity of contemporary art mirrors this situation are debated. This book is part of a project funded by the Arts Council of England and the Open University, with support from the Tate Gallery and John Moores University, to meet the need for a greater critical understanding of 20th-century visual art and of recent developments in art practice. It is planned as an introductory text for teachers, gallery education staff and a wide range of students, and should provide a basis for critical discussion of modern artists, art movements and art works from a variety of viewpoints. Readers should find points to disagree with, and much to generate further debate and enquiry.

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How New York Stole the Idea of Modern Art

“A provocative interpretation of the political and cultural history of the early cold war years. . . . By insisting that art, even art of the avant-garde, is part of the general culture, not autonomous or above it, he forces us to think differently not only about art and art history but about society itself.”–New York Times Book Review

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Art in Modern Culture (Open University Set Book)

This reader for the Open University’s course on Modern Art: Practices and Debates presents a selection of key texts, including classic works from the 1930s to the 1960s, alongside contemporary writings, that introduce the reader to many issues on which critics and art historians have focused.

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Modern Artists on Art: Second Enlarged Edition

In this rich, readable anthology, 16 of the 20th century’s leading artistic innovators talk forcefully about the theories that drive their work—from Albert Gleizes and Jean Metzinger’s 1912 presentation of cubist theory to Henry Moore’s comments, three decades later, on sculpture and primitive art. Newly added essays by Kurt Schwitters, Max Ernst, El Lissitzky, and Fernand Léger include observations on dada, surrealism, and the “machine esthetic.” Challenging commentaries provide art historians and theorists with plenty of food for thought and continuing inspiration of all artists and art students.

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Art Galleries in Washington, D.c.: Dissident Display, Katzen Arts Center, Washington Gallery of Modern Art, S. Dillon Ripley Center

Purchase includes free access to book updates online and a free trial membership in the publisher’s book club where you can select from more than a million books without charge. Chapters: Dissident Display, Katzen Arts Center, Washington Gallery of Modern Art, S. Dillon Ripley Center, the George Washington University Art Galleries, Honfleur Gallery. Not illustrated. Excerpt: Dissident Display is a multimedia studio and gallery at 416 H Street NE in Washington, D.C.. Founded in 2005 by video artist Ayodamola Okunseinde, graphic designer Adrian Loving, and filmmaker Eric Brewer. Dissident Display is known for progressive multimedia content production and provocative art exhibitions. In addition to its commercial output, the studio also organizes and participates in exhibitions, film festivals and other creative endeavors in the contemporary arts community. Some of Dissident Display’s clients include Motorola, Motown, Howard University, Saks Fifth Avenue, and New York Fashion Week. The Dissident Display mission is to produce, present and promote aspects of contemporary arts in a variety of creative methods, based on a philosophy of post-modernist deconstruction, re-contextualization and presentation of the arts and cultural elements. Dissident Display has three main departments: September 2008 – Artist Talk/Performance State Dept. + Meridian International Center “Promoting Tolerance Through the Arts” (Holly Bass , Yoko K.) September 2008 – Exhibition Space Invaders (Ayodamola Okunseinde, Adrian Loving, John Trevino, Holly Bass, Jefferson Pinder, Ayo Ngozi, Yoko K.) May 2008 – Exhibition Black Rock City: Images by Osunlade (Osunlade) April 2008 – Exhibition/Performance Move-ments: A Journey Through Dance From the Artists Perspective (Complementary Noise / Dissident Display) September 2007 – Exhibition/Performance Wild Style (Charlie Ahearn Charlie Ahearn/ Chief Rocker Busy Bee) May 2007 – Performance Underwater: live organic el… More: http://booksllc.net/?id=21821289

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Modern Women: Women Artists at The Museum of Modern Art

• ISBN13: 9780870707711
• Condition: New
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This landmark survey represents the first effort by a major North American museum to examine its collection by highlighting the production of modern and contemporary women artists. Featuring essays by nearly 50 writers, including both MoMA curators and outside scholars, among them many of the strongest voices in current research on art and gender, this groundbreaking publication presents a variety of generational and cultural perspectives. Modern Women focuses on a diverse range of artists active from the late nineteenth century to the present whose works span the spectrum of mediums and genres in the Museum’s collection. Organized chronologically into three sections-”Early Modernism,” “Mid-Century” and “Contemporary”-the book comprises both long and short essays emphasizing new research on women artists within these historical time periods. Subjects include women at the Bauhaus, design collaborations, photographers between the wars, the legacy of Maya Deren, Latin American artists, performance art, architecture, land art, “Riot Grrrls,” African American artists, collage and assemblage in contemporary portraiture as well as essays on individual artists such as Lillian Gish, Sybil Andrews, Diane Arbus, Ida Lupino, Hanne Darboven, Bridget Riley, Ana Mendieta, Louise Bourgeois, Adrian Piper, Nan Goldin, Zaha Hadid, Janet Cardiff and Lin Tianmiao. Heavily illustrated with works from the collection, Modern Women constructs a conversation between past considerations of MoMA’s collection and current feminist narratives of art history, putting these varied modes of exploration in productive dialogue.

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