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Davies Lynn: Derwent Lees

Derwent Lees

Art and Life

Fernande Olivier, Olga Khokhlova, Marie-Therese Walter, Dora Maar, Francoise Gilot, and Jacqueline Roque. These six extraordinary women shared Pablo Picasso's life and were instrumental in his career, yet they have long been dismissed as simply passive models or muses. Picasso's Women reveals that their lives were - without exception - riveting and remarkable. All six were unconventional, independent and talented. All six were severely tested, both by Picasso's subterfuges and betrayals, and the wider social turbulence they lived through. The extent to which each influenced Picasso's art in major new directions has never been fully acknowledged. Sue Roe delves deeply into the truth of the women's experiences for the first time, to tell the story of Picasso's women from their point of view. Her enthralling book spans seventy years, from Bohemian early 20th century Montmartre to the glittering Riviera in the 1920s, through Paris under Nazi occupation and beyond Picasso's final years of seclusion. The result is a riveting, atmospheric read about six fascinating and charismatic women, outstanding in their own time, whose individual stories have up to now been glossed over or hidden from view.

The untold stories of six women who loved Picasso

Hidden Portraits

Masterpieces of Art

Features an introduction to the life and art of the famous Impressionist, and beautifully reproduced full-page artworks in an appealing hardback gift book, introducing Monet's masterpieces to new generations.

Claude Monet Masterpieces of Art

The first comprehensive monograph in over a decade celebrating the work of pioneering video artist Steina, who is known for pushing perspective beyond the human-centered realm. Accompanying the related exhibition at MIT List Visual Arts Center and Buffalo AKG Art Museum, Steina brings renewed recognition to Steina (b. 1940, Iceland), tracing her oeuvre from early collaborative works with her partner Woody Vasulka to her independent explorations of optics and a liberated, non-anthropocentric subjectivity. It follows her practice from downtown New York to Buffalo to the vast landscapes of New Mexico and Iceland, which appear in her immersive video environments of the 1990s and 2000s. Venturing into nature and combining imaging technologies with reflective orbs, Steina reorientated the human body’s relationship to nature and expanded how we access the natural world through media. Scholars including Gloria Sutton, Joey Heinen, and Ina Blom consider how Steina’s generative sense of play gave way to methods of processing and computation; contextualize Steina alongside a group of her peers who shared an obsession with the electronic signal; and argue for her interest in video as a proto-virtual space. Steina has never felt more relevant. Steina, born Steinunn Briem Bjarnadottir, studied violin and music theory in Reykjavik before attending the State Music Conservatory in Prague, Czechoslovakia. In 1965, she emigrated to New York City. By the late 1960s, she began to focus entirely on video work, and in 1971, cofounded The Electronic Kitchen (later The Kitchen), an experimental electronic media space. Her work has been shown at the Centre Georges Pompidou, Paris, the Whitney Museum of American Art, New York, and many other places. A copublication with the MIT List Visual Arts Center and Buffalo AKG Art Museum

The first comprehensive monograph in over a decade celebrating the work of pioneering video artist Steina, who is known for pushing perspective beyond the human-centered realm. Accompanying the related exhibition at MIT List Visual Arts Center and Buffalo AKG Art Museum, Steina brings renewed recognition to Steina (b. 1940, Iceland), tracing her oeuvre from early collaborative works with her partner Woody Vasulka to her independent explorations of optics and a liberated, non-anthropocentric subjectivity. It follows her practice from downtown New York to Buffalo to the vast landscapes of New Mexico and Iceland, which appear in her immersive video environments of the 1990s and 2000s. Venturing into nature and combining imaging technologies with reflective orbs, Steina reorientated the human body’s relationship to nature and expanded how we access the natural world through media. Scholars including Gloria Sutton, Joey Heinen, and Ina Blom consider how Steina’s generative sense of play gave way to methods of processing and computation; contextualize Steina alongside a group of her peers who shared an obsession with the electronic signal; and argue for her interest in video as a proto-virtual space. Steina has never felt more relevant. Steina, born Steinunn Briem Bjarnadottir, studied violin and music theory in Reykjavik before attending the State Music Conservatory in Prague, Czechoslovakia. In 1965, she emigrated to New York City. By the late 1960s, she began to focus entirely on video work, and in 1971, cofounded The Electronic Kitchen (later The Kitchen), an experimental electronic media space. Her work has been shown at the Centre Georges Pompidou, Paris, the Whitney Museum of American Art, New York, and many other places. A copublication with the MIT List Visual Arts Center and Buffalo AKG Art Museum

Steina

Palais de Tokyo

Mignon's first art book, it includes his original and commercial illustrations presented in full-color. From healthy charm, fresh and beautiful illustrations, to portraits so sexy that you'll want to eat them, this book is just chock full of what the title YUMMY TUMMY suggests. Including new illustrations, a making-of corner, as well as interviews, this is a must-have for fans and illustrators alike!

The Art of mignon

Yummy Tummy

America

Representation considers the cultural value, processes, and semiotics of architectural images. Beyond typical plans, sections, diagrams, and models, architectural representation carries historical and political weight. In the digital age, architectural representation has proliferated. Representation disrupts this exhaustive pace with thoughtful and rigorous investigations of image production in architecture. Contributors explore representation in its many forms of signification, including the instrumentality of drawings and models that anticipate buildings, the representation of buildings and the ideas exemplified in their fragments, and the manner in which buildings embody, reinforce, and promote cultural constructs such as inequity and oppression. Discourse is a biannual publication series that presents timely themes on and around architecture. A selective compilation of essays, interviews, roundtable discussions, featured exhibitions, photo-essays, and collateral materials-such as architectural models, sketches, and built works-highlight architectural culture, practice, and theory.

Representation considers the cultural value, processes, and semiotics of architectural images. Beyond typical plans, sections, diagrams, and models, architectural representation carries historical and political weight. In the digital age, architectural representation has proliferated. Representation disrupts this exhaustive pace with thoughtful and rigorous investigations of image production in architecture. Contributors explore representation in its many forms of signification, including the instrumentality of drawings and models that anticipate buildings, the representation of buildings and the ideas exemplified in their fragments, and the manner in which buildings embody, reinforce, and promote cultural constructs such as inequity and oppression. Discourse is a biannual publication series that presents timely themes on and around architecture. A selective compilation of essays, interviews, roundtable discussions, featured exhibitions, photo-essays, and collateral materials—such as architectural models, sketches, and built works—highlight architectural culture, practice, and theory.

Representation – Discourse, A Series on Architecture

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

Teresita Fernández / Robert Smithson

Visual Cultures and Italian Contexts

"Drawing on unpublished archival sources, this book reconstitutes the experiences of a wide range of American artists, critics, and writers working in Rome in following World War Two. It presents a case-study based investigation into the reciprocal relationship between American modernist artists and Italian artists, revealing how these artists perceived Rome as an alternative to New York, attracting the likes of canonical figures like Lee Bontecou, Philip Guston and Robert Rauschenberg, alongside less well-known artists, such as Barbara Chase-Riboud, William Congdon, and Claire Falkenstein, among many others. It also establishes the entangled social networks, galleries and institutions sustaining their work and providing entrâee into local artistic circles"--

Drawing on unpublished archival sources, this book reconstitutes the experiences of a wide range of American artists, critics, and writers working in Rome in a charged environment of “Cold War cosmopolitanism.”

After the Second World War, American artists flocked to Rome in record numbers, even as the United States shored up Italy as a bulwark against the spread of Communism. While the market for modern art in Rome was less vigorous as those in Paris and New York, numerous galleries, artist-run spaces, and other institutions acted as important catalysts, making Rome an international artistic hub. The city attracted now canonical figures Lee Bontecou, Philip Guston, Robert Rauschenberg, Paul Thek, and Cy Twombly, along with less well-known artists, such as Eugene Berman, Gene Charlton, Carlyle Brown, Peter Chinni, William Congdon, Claire Falkenstein, Marcia Hafif, John Heliker, James Leong, Beverly Pepper, and Laura Ziegler, among many others.

Rather than focusing on institutions and diplomatic relationships, the book centres the experience of artists, and also addresses Rome’s gay subculture and the role of female artists during the period, eschewing traditional narratives of the male “cultural ambassador.” Through case-study based investigation, Peter Benson Miller explores the reciprocal relationships between American modernist artists and Italian artists in postwar Rome, and reveals how these artists perceived Rome as less constrained by the demands of a national school, and as an alternative to New York. This congenial creative atmosphere yielded “new pictorial forms” developed in tandem with or absorbed from like-minded Italian artists, engaging the city and its multiple layers of history, from antiquity to the profound trauma inflicted by the recent conflict.

The book also establishes the entangled social networks, galleries, exhibitions, and institutions sustaining their work and providing entrée into local artistic circles. Focusing on a series of specific exchanges, this study contributes to our understanding American modernism in an international context.

Art and Cultural Exchange

American Artists in Postwar Rome

This revised and updated edition addresses the international history and practice of design from the 17th century to the present day. 

Covering both primary texts by social theorists, designers and design reformers, and secondary texts in the form of key works of design history and design thinking, the Reader provides an essential resource for understanding the history of design, the development of the discipline, and contemporary issues in design history and practice, including decolonization, sustainability, historiography, gender and globalization. Extracts are grouped into thematic sections, each with a contextualizing introduction by the editors, and a guide to further reading.

The updated edition of The Design History Reader expands upon its original content and features numerous significant voices from across the globe. Authors include William Morris, Karl Marx, Roland Barthes, Victor Margolin, Penny Sparke, Judy Attfield, Ellen Lupton, and many more.

This revised and updated edition addresses the international history and practice of design from the 17th century to the present day. 

Covering both primary texts by social theorists, designers and design reformers, and secondary texts in the form of key works of design history and design thinking, the Reader provides an essential resource for understanding the history of design, the development of the discipline, and contemporary issues in design history and practice, including decolonization, sustainability, historiography, gender and globalization. Extracts are grouped into thematic sections, each with a contextualizing introduction by the editors, and a guide to further reading.

The updated edition of The Design History Reader expands upon its original content and features numerous significant voices from across the globe. Authors include William Morris, Karl Marx, Roland Barthes, Victor Margolin, Penny Sparke, Judy Attfield, Ellen Lupton, and many more.

The Design History Reader

The first critical account of the enormous upsurge in cultural expression across Asian countries from 1979–2008, and the new possibilities it presented for the aesthetic and cultural re-imagining of a “unified” contemporary Asia. Biennial-style art exhibitions. New discourses in modern and contemporary art. The production and circulation of increasingly debordered popular culture. A Regional Contemporary by C. J. W.-L. Wee is an investigative account of the dramatic increase in cultural expression in Asia from 1979 to 2008, with the 1990s as the focal point of this period. The so-called East Asian miracle, Wee argues, projected a fictive but shared contemporary regional identity onto Northeast and Southeast Asia, collectively taken as East Asia. The new cultural explosion was notably enabled by expanded capitalist energies that reached a level critical enough to reposition the region’s postcolonial and Cold War–era nationalisms, and this book examines the resulting implications. A sophisticated and compelling study, A Regional Contemporary is the first to examine the conjunction of high and popular culture in the region. Moreover, Wee reveals how the various cultural formations of this regional contemporary were able to traverse—if not overcome—uneven national economies, the memory of Japanese empire, and the geopolitical rifts of post–Cold War nationalisms. While foregrounding new cultural expression, Wee simultaneously examines how novel economic conditions bolstered a more confident questioning of Western modernity’s dominance and enhanced the capacity for regional dialogue in the bid to overcome colonial-era legacies—even as those legacies were being absorbed into the region[VH1]&nbsp;. &nbsp;[VH1]For the designer: if space is tight on the back, this can be deleted.

Art Exhibitions, Popular Culture, Asia

A Regional Contemporary

Derwent Lees

Bibliografische Angaben

Schlagworte

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