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"This will be the first anthology of texts (by scholars, artists, curators, and critics) on the US artist David Hammons (1943-)"--

Jones Kellie: David Hammons

David Hammons

This study overhauls canonical accounts of Surrealism, demonstrating how one woman artist expanded its activity and expression in bold new ways for the modern age

A Surrealist World

Dorothea Tanning

The Politics of Form in Contemporary British Performance

Proper Theatre

Matters of the Image introduces a new framework for thinking about digital images.

Matters of the Image introduces a new framework for thinking about digital images.

Designing Digital Images with Materiality, Energy, and Living Matter

The al-Sabah Collection

"Dar al-Athar al Islamiyyah - The al-Sabah Collection, Kuwait."--Title page.

Metalwork from the Arab World and the Mediterranean

Palais de Tokyo

CIE UNDERSTANDING ART

Marvel Cinematic Universe For Dummies

A resource for those curious to know the names of the fireworks that light up the Summertime skies…Every summer, the evening sky becomes a dark canvas awaiting the brilliant spectacle of fireworks. But as you watch the magnificent display of colorful characters explode overhead, do you know the names of the fireworks that take a bow to the “oohs” and “aahs” of the crowd?Covering everything from the Brocade Crown to a Willow, The&nbsp;Fireworks Field Guide&nbsp;is a resource for anyone intrigued to know the names of each member of the fireworks family. With original illustrations and descriptions identifying each blast, fireworks fans will discover the names and distinguishing characteristics of each beautiful burst that explodes across the nighttime sky. They’ll also learn about the origin of aerial fireworks and how they are used around the globe to mark cultural and historical celebrations.The Fireworks Field Guide&nbsp;is an introduction to the personalities that light up the summer for anyone who wants to attach a name to the brilliant displays they “ooh” and “aah.”

A resource for those curious to know the names of the fireworks that light up the Summertime skies…Every summer, the evening sky becomes a dark canvas awaiting the brilliant spectacle of fireworks. But as you watch the magnificent display of colorful characters explode overhead, do you know the names of the fireworks that take a bow to the “oohs” and “aahs” of the crowd?Covering everything from the Brocade Crown to a Willow, The&nbsp;Fireworks Field Guide&nbsp;is a resource for anyone intrigued to know the names of each member of the fireworks family. With original illustrations and descriptions identifying each blast, fireworks fans will discover the names and distinguishing characteristics of each beautiful burst that explodes across the nighttime sky. They’ll also learn about the origin of aerial fireworks and how they are used around the globe to mark cultural and historical celebrations.The Fireworks Field Guide&nbsp;is an introduction to the personalities that light up the summer for anyone who wants to attach a name to the brilliant displays they “ooh” and “aah”.

Nocturnal Spectacles of the Summertime Sky

The Fireworks Field Guide

Joss Marsh's stirring book traces the international phenomenon that is cinema's Dickens obsession, from its origins in Dickens's celebrity, through Dickens impact on the pioneers, first masters, and later innovators of the cinema and his enmeshment in the complex of technologies and cultural formations that made up the world of late-Victorian fantasy - from the photograph to the magic lantern, from celebrity to time travel.

As Joss Marsh observes in her stirring book on Dickens and cinema, Dickens was the first mass-mediated photographic celebrity of the modern era, more intimately "familiar" than any person in Britain besides the royal family. Suggesting Dickens's celebrity, as much as his work, contributed to the international phenomenon that is cinema's Dickens obsession, Marsh begins with  J. J. E. Mayall's famous celebrity portraits to trace Dickens's impact on the pioneers, first masters, and later innovators of the cinema. At the same time, Marsh uncovers a larger issue: to understand Dickens's place in cinema is to understand his enmeshment in the whole complex of technologies and cultural formations that made up the world of late-Victorian fantasy-from the photograph to the magic lantern, from celebrity to time travel.  Each of the six chapters unfolds a century-long cultural story that maps the Dickensian points of inspiration in the history of cinema. Marsh's cinematic geography of Dickensland transports the reader from Dickens's experiences with the early-Victorian portraitist's camera to Sunset Boulevard, Billy Wilder's remake of Great Expectations as a satire on the vampiric celebrity "celluloid self"; from actor-manager Martin-Harvey's 1899 manufacture of the "cast-iron" Victorian stage play to Dirk Bogarde's 1958 inheritance of the sacrificial gay role of Sydney Carton; from Charley Dickens Jnr.'s attempt to cash in on his father's knowledge of London to the history of production design as a medium of historical tourism and virtual experience; from Dickens's "impersonation" of Fagin, anti-Semitic and inherently theatrical, to the transformations of "the Jew" by Chaplin and David Lean and his musical apotheosis as magician and Pied Piper; from Dickens's 1868 return, in his last public reading, to the murder of Nancy to the contemporary slasher movie; and finally from the time travel enabled by the magic lantern's "dissolving views" through the role of Dickens's lantern-inspired Christmas tales of the 1840s in the lantern's development of pre-cinematic visual storytelling.  Informed by extensive archival research, deftly written, and beautifully illustrated, Joss Marsh's book shows film's fascination with Dickens was the trace of a persisting desire”fueled by decades of Dickensian impersonation and enabled by the medium's capacity to make still images live”to bring back the most extraordinary literary artist and personality of the nineteenth and early twentieth centuries”to make Dickens live again.

Multi-Media 'Boz' and the Culture of Celebrity

Starring Charles Dickens

Described as 'exhilarating' by Katy Hessel, a compelling and lively history that examines the lives of British artists from the late-19th century to today. In This is Tomorrow Michael Bird takes a fresh look at the 'long twentieth century', from the closing years of Queen Victoria's reign to the turn of the millennium, through the lens of the artists who lived and worked in this ever-changing Britain. Bird examines how the rhythms of change and adaptation in art became embedded in the collective consciousness of the nation and vividly evokes the personalities who populate and drive this story, looking beyond individual careers and historical moments to weave together interconnecting currents of change that flowed through London, Glasgow, Leeds, Cornwall, the Caribbean, New York, Moscow and Berlin. From the American James McNeill Whistler's defence of his new kind of modern art against the British art establishment in the latter half of the 19th century to the Danish-Icelandic artist Olafur Eliasson's melting icebergs in London, he traverses the lives of the artists that have recorded, questioned and defined our times. At the heart of this original book are the successive waves of displacement caused by global wars and persecution that conversely brought fresh ideas and new points of view to the British Isles; educational reforms opened new routes for young people from working-class backgrounds; movements of social change enabled the emergence of female artists and artists of colour; and the emergence of the mass media shaped modern modes of communication and culture. These are the ebbs and flows that Michael Bird teases out in this panoramic account of Britain and its artists in across the twentieth century.

This is Tomorrow

Studien aus dem Warburg-Haus

Die Auseinandersetzung mit Positionen des Skeptizismus wurde in der Kunstgeschichte bisher geführt, indem man Thesen aus der Philosophie auf die Ikonographie von Gemälden bezog. Forschung, die sich mit Skepsis beschäftigte, fragte danach, wie philosophische Texte ihren Niederschlag in Kunstwerken fanden. "Visuelle Skepsis" analysiert stattdessen, wie Bilder aufgrund der ihnen eigenen medialen Struktur zum Ort von performativen Prozessen werden können, die mit den dialogischen Strategien des Skeptizismus vergleichbar sind. Eine Hauptthese lautet, dass dabei Widersprüche und Negationen auftreten, die den Charakter einer medialen Selbstbefragung haben. Bilder können ihren eigenen Status als Erkenntnismedien problematisieren - zum einen ausstellen, zum anderen aber auch in Zweifel ziehen.

Die Auseinandersetzung mit Positionen des Skeptizismus wurde in der Kunstgeschichte bisher geführt, indem man Thesen aus der Philosophie auf die Ikonographie von Gemälden bezog. Forschung, die sich mit Skepsis beschäftigte, fragte danach, wie philosophische Texte ihren Niederschlag in Kunstwerken fanden. „Visuelle Skepsis" analysiert stattdessen, wie Bilder aufgrund der ihnen eigenen medialen Struktur zum Ort von performativen Prozessen werden können, die mit den dialogischen Strategien des Skeptizismus vergleichbar sind. Eine Hauptthese lautet, dass dabei Widersprüche und Negationen auftreten, die den Charakter einer medialen Selbstbefragung haben. Bilder können ihren eigenen Status als Erkenntnismedien problematisieren – zum einen ausstellen, zum anderen aber auch in Zweifel ziehen.

Wie Bilder zweifeln

Visuelle Skepsis

America

David Hammons

Inhalt

Bibliografische Angaben

Schlagworte

Inhalt

Bibliografische Angaben

Schlagworte

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