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CIE UNDERSTANDING ART

Routledge Advances in Translation and Interpreting Studies

This book foregrounds the role of translated texts in the study of the assemblages of semiotics resources in museums, important cultural institutions which encompass such sites as exhibition spaces, galleries, heritage sites, castles, and memorials.

Multilingual Texts in Multimodal Museum Space

Translation on Display

The canonical work of cultural criticism by the "profoundly influential critic" (Artnet), in a beautiful thirtieth-anniversary edition, featuring a new foreword by esteemed visual artist Mickalene Thomas "Sharp and persuasive." --The New York Times Book Review on the original publication of Art on My Mind In Art on My Mind, "one of the country's most influential feminist thinkers" (Artforum), offers a tender yet potent suite of writings for a world increasingly concerned with art and identity politics. This collection of bell hooks's essays, each with art at its center, explores both the obvious and obscure: from ruminations on the fraught representation of Black bodies, to reflections on the creative processes of women artists, to analysis of the use of blood in visual art. bell hooks has been "instrumental in cracking open the white, western canon for Black artists" (Artnet), with searing essays complemented by conversations with Carrie Mae Weems, Emma Amos, Margo Humphrey, and LaVerne Wells-Bowie. Featuring full-color artwork from giants such as Jean-Michel Basquiat, Lorna Simpson, and Alison Saar, Art on My Mind "examines the way race, sex and class shape who makes art, how it sells and who values it" (The New York Times), while questioning how art can be instrumental for Black liberation. In doing so, hooks urges us to unravel the forces of oppression that colonize our imaginations. With a new foreword from acclaimed contemporary artist Mickalene Thomas, this thirtieth anniversary edition passes the torch to a new generation of artists, capturing hooks's simple yet evergreen affirmation: art matters--it is a life force in the struggle for freedom. Art on My Mind is essential reading for anyone looking to find lessons on liberation and creativity in the free world of art.

Visual Politics

Art on My Mind

Kunst- und Kulturmanagement

Kooperation – nur wenig andere Begriffe ziehen seit Jahren so viel Aufmerksamkeit im Kulturbereich auf sich. Viele wichtige kulturelle Herausforderungen wie kulturelle Teilhabe, Demokratiefähigkeit oder ökologische Nachhaltigkeit sind ohne Zusammenarbeit nicht denkbar. Der Band beleuchtet die verschiedenen Formen und Möglichkeiten von Zusammenarbeit und richtet den Blick auf Schlüsselbegriffe erfolgreicher Kooperation wie die der Ambiguitätstoleranz, des Vertrauens, des sensitiven Kommunizierens sowie gemeinsamer Interessen und einer zielorientierten Planung. Die Ausführungen werden mit Fallbeispielen illustriert.Der Inhalt<ul><li>Warum gehören Kooperationen zum Selbstverständnis von Kultur und Kulturgeschichte?&nbsp;</li><li>Wo stehen wir? – Miteinander Kultur entwickeln Warum über Kooperationen reden? – In allem steckt (potenziell) Zusammenarbeit&nbsp;</li><li>Was wissen wir? – Stand der Forschung aus kulturmanagerialer und kultursoziologischer Sicht und Theorieüberblick&nbsp;</li><li>Welche Formen gibt es? – Von der Kooperation zur Kollaboration&nbsp;</li><li>Wie kann man vorgehen? – Das Denken, Verstehen, Analysieren und Managen von Kooperationen</li><li>Was können wir insgesamt für die Transformation des Kulturbereichs lernen? – Chancen und Herausforderungen von Kooperationen im Kulturbereich</li><li>Der Blick auf die anderen – wie erkennt man in Zukunft eigenen Kooperationsbedarf?</li><li>Welche Rolle kann KI bei Kooperationen spielen?</li></ul>Die Zielgruppe<ul><li>Studierende und Lehrende des Kulturmanagements und der Kulturpolitik</li><li>Kulturmanagerinnen und -manager und Kulturschaffende sowie Praktikerinnen und Praktiker aus Kulturverwaltung, Kulturpolitik und Kulturberatung</li></ul>Die AutorenPatrick S. Föhl&nbsp;(Dr. phil.) ist Leiter des „Netzwerks Kulturberatung“ in Berlin sowie Autor, Trainer und Dozent für Kulturmanagementund Kulturpolitik weltweit.&nbsp;Gernot Wolfram&nbsp;(Dr. phil.) ist Autor und Professor für Kultur- und Medienmanagement an der Hochschule Macromedia, Berlin sowie ständiger Gastprofessor für Cultural Studies an der Fachhochschule Kufstein/Tirol.

Miteinander – wie Kultur-Kooperationen gelingen können

Routledge Research in Cultural and Media Studies

Personified Body Parts in Cinema, Literature, and Visual Culture investigates the power of personifying body parts in cinema, television, visual culture, literature, erotica, folklore, and mystique.

Personified Body Parts in Cinema, Literature, and Visual Culture

Anfang des 20. Jahrhunderts entstand eine materialistische Theorie, die sich mit ökonomischen und sozialen Verhältnissen der Kunstproduktion auseinandersetzte. Mit ihr ging eine Kritik am Kanon einher, die zuvor ausgeschlossene Alltagsgegenstände, Kinderzeichnungen, Volkskunst oder Fotografien als materielle Bedingungen einer Kultur begriff. Sammlungen von Kunstwerken und Artefakten wurden zu Denkumgebungen, um das Verhältnis von Geschichte, Form und Gesellschaft neu zu bestimmen. Wie Material- und Bildersammlungen auf Grundlage theoretischer Annahmen zusammengetragen wurden und auf diese zurückgewirkt haben, diskutieren die Beiträge des Bandes am Beispiel von Frederik Antal, Walter Benjamin, Bernard Berenson, Wilhelm Fraenger, Sigmund Freud, Henri Foçillon, Vernon Lee, Meyer Schapiro und Aby Warburg.

Materialismus und Kunsttheorie (1900–1960)

Bildersammlungen als Denkmaterial

Below the Waist: Pads, Hoops, Crinolines and Bustles provides a wide range of historical patterns and instructions to construct a range of underpinnings, simple pads, a farthingale, 18th century hoops, 19th century crinolines and bustles.

Below the Waist: Pads, Hoops, Crinolines and Bustles

Fantastic Four For Dummies

The hassle-free, no-frills instruction manual for commercial success in the art worldIn her 25 years of working with artists at all stages of their careers, Amy Davila has formulated the answer to the quintessential question of the modern art world: "Which external circumstances does a tempestuous and original mind need to succeed?" For artists, Davila's systematic ArtSmart Method brings order to the chaos of the creative process: whether it's harnessing an idea, generating income, negotiating with collaborators and galleries, or growing their practice into a brand. Now available as a book, The ArtSmart Method offers an accessible and insightful mix of financial advising, business and career consulting, and constructive advice. This much-anticipated volume places Davila's empathy, wisdom and know-how into the hands of artists the world over. Each chapter carries the reader through the stages of the ArtSmart Method, from creation to completion, all the while addressing questions of money, exposure and legacy. Davila guides artists through everything from harnessing their network and turning threats into opportunities, to negotiating business contracts and cash flow management. The thought exercises and business tools in this book are presented from an artist's perspective, taking into careful consideration timing, accessibility and design. Whatever success looks like to each artist, The ArtSmart Method will prove they don't have to suffer to achieve it. Amy Davila is the founder of ArtSmart Inc, a Los Angeles-based art consultancy. Former director of David Zwirner and former faculty member of the Sotheby's Institute of Art and Claremont Graduate University, she founded ArtSmart to help artists, galleries and art organizations achieve financial, business and career success.

A Guide to Business Autonomy for Artists

The ArtSmart Method

In 2009, Futurism has not ended up in a waste paper bin, as Marinetti predicted in 1909, but rather is being celebrated everywhere around the world with exhibitions, conferences and a large number of books. This bibliographic handbook is a revised and expanded version of a bibliographic reference-shelf the author published in International Futurism in Arts and Literature (de Gruyter 2000). Since then, several thousand new publications have expanded the already sizeable critical literature on Futurism. It has become difficult, even for specialists, to keep an overview on such a vast array of books and essays. The centenary year 2009 offered an opportune moment to compile a fresh bibliographic survey of the reception Futurism experienced in the period between Marinetti's death in 1944 and 2009. This bibliography containing some 25,000 bibliographic entries is ordered in sections dedicated to individual countries and artistic media. Its purpose is entirely practical: to offer orientation to the student of Futurism and to help identify publications dedicated to specific aspects of the movement. This handbook lists most significant studies on the artists who were active in the movement and on a variety of aesthetic genres and media in which Futurism exercised a particularly noteworthy influence.

A Bibliographic Handbook

International Futurism 1945-2012

Life’s stories are always prone to disruption and digression, thwarting the neat storybook narrative we love so much.
Almost all of our stories follow the same basic pattern: beginning, middle, end: exposition, action and climax. It’s a neat and tidy way of telling a story. But life’s not like that, is it? Life is not neat and tidy, it doesn’t obey the rules. Life’s stories—like the stories told here in But, personal and impersonal, historical and contemporary—are punctuated by disruption, derailment, and digression.
Stories where the good guys lose. Stories where the bad girls win. Stories that just stop in the middle. Stories that fizzle out or simply never get going. Stories that don’t make sense. Stories that start where they should end and end where they start. Stories that go round in a cyclical loop, forever. Unfinished stories. Unstarted stories. Stories that stutter and mumble, that cough and splutter.
That’s what we have here in this book: real stories, that do all of the above. That’s why this book is called But. Because the but is there to disrupt the easy normality of the way we tell our stories. This book is a collection of stories about real lives, real people, and real life. Stuttering, wayward, disjointed, funny, ridiculous, and unplanned.

Frühe Neuzeit

Von Strittigkeit der Bilder / [Strittigkeit der Bilder, Bände 1-3]

Life Isn't Like That, Is It?

CIE UNDERSTANDING ART

Informations bibliographiques

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