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Sieupresad A: Visual Arts for Secondary
Schools Second Edition

Visual Arts for Secondary Schools Second Edition

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

Count all 100 of Granny's mischievous goats in the brand-new picture book from award-winning author Atinuke and exciting debut Caribbean artist Lauren Hinds. Granny's beloved goats follow her wherever she goes - to the tailor, to the salon, and even on the bus. The children help her to keep count of them all... Oh wait! Oh no! Where did goat 100 go? Follow the trail of clues and chaos through the bright, bustling market to help find the missing goat! A hilarious, energetic and charming picture book introducing children to numbers 1 to 100.

100 Goats and Granny!

The Life of Isabella Stewart Gardner

Chasing Beauty

In the mid-twentieth century, Walter Beinecke began buying up downtown storefronts and buildings in Nantucket, Massachusetts and his efforts laid the groundwork for the island's revitalization. Massachusetts State Historian Jack Warner tells the fascinating story of the island's changes and upheavals with an insider's eye for detail.

How Preservation, Conservation and Redevelopment Transformed the “Gray Lady”

Walter Beinecke and the Reimagining of Nantucket

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

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

Palais de Tokyo

America

The first monograph on the decorative, Afrofuturist tableaux of Pamela Phatsimo SunstrumThis debut monograph on Botswana-born, Johannesburg- and Toronto-based artist Pamela Phatsimo Sunstrum (born 1980) accompanies a mid-career survey at the Contemporary Arts Center, Cincinnati (CAC). Presenting the largest display of works by the artist to date, the exhibition conjures a transformative space that evokes the impression of traveling through a tunnel. Visual nods to elements of Tswana home-adornment traditions, as well as sand embankments along the perimeter of the gallery where the walls meet the floor, heighten this sense of passage and location. In addition to documenting these portions of the exhibition, the book also presents a new site-specific wall drawing created in response to Zaha Hadid’s architecture. The book includes an interview with Sunstrum by Elvira Dyangani Ose, Director of The Showroom, and valuable texts from Bessie Head, who, though born in South Africa, is considered one of Botswana’s most influential writers, and Raphaela Platow, Director at the CAC.

The first monograph on the decorative, Afrofuturist tableaux of Pamela Phatsimo SunstrumThis debut monograph on Botswana-born, Johannesburg- and Toronto-based artist Pamela Phatsimo Sunstrum (born 1980) accompanies a mid-career survey at the Contemporary Arts Center, Cincinnati (CAC). Presenting the largest display of works by the artist to date, the exhibition conjures a transformative space that evokes the impression of traveling through a tunnel. Visual nods to elements of Tswana home-adornment traditions, as well as sand embankments along the perimeter of the gallery where the walls meet the floor, heighten this sense of passage and location. In addition to documenting these portions of the exhibition, the book also presents a new site-specific wall drawing created in response to Zaha Hadid’s architecture. The book includes an interview with Sunstrum by Elvira Dyangani Ose, Director of The Showroom, and valuable texts from Bessie Head, who, though born in South Africa, is considered one of Botswana’s most influential writers, and Raphaela Platow, Director at the CAC.

Pamela Phatsimo Sunstrum: All My Seven Faces

A thrilling follow-up to Felice and the Wailing Woman by Diana López that explores the Texas-Mexico border myth of the Dancing Devil. The magical town of Tres Leches, home to the figures of Texas–Mexico border lore, has been through a lot. Most recently, the town was released from a curse that kept La Llorona, the wailing woman, haunting the shores of their river. But just when the townsfolk were preparing to return to sunny riverside picnics and barbecues, the children of Tres Leches mysteriously began to go missing. The town suspects another monstruo, the Dancing Devil, is luring kids to &nbsp;El Camarón Dance Hall &amp; Arcade. The Dancing Devil’s son, Rooster, who has a foot in both the human and monster worlds, feels compelled to lead the search for the missing children with the help of his friends, Ava (the daughter of La Lechuza) and Felice (the daughter of La Llorona). Their journey takes them to an old gothic mansion with a twisted family history and a pull so powerful that it’s nearly impossible to resist. Picking up where Felice and the Wailing Woman left off, Rooster and the Dancing Diablo brims with magic, adventure, and Mexican folklore, and is perfect for fans of fantasy adventure series like Paola Santiago by&nbsp;Tehlor Kay Mejia&nbsp;and&nbsp;the Jumbies by Tracey Baptiste.

A thrilling follow-up to Felice and the Wailing Woman by Diana López that explores the Texas-Mexico border myth of the Dancing Devil. The magical town of Tres Leches, home to the figures of Texas–Mexico border lore, has been through a lot. Most recently, the town was released from a curse that kept La Llorona, the wailing woman, haunting the shores of their river. But just when the townsfolk were preparing to return to sunny riverside picnics and barbecues, the children of Tres Leches mysteriously began to go missing. The town suspects another monstruo, the Dancing Devil, is luring kids to &nbsp;El Camarón Dance Hall &amp; Arcade. The Dancing Devil’s son, Rooster, who has a foot in both the human and monster worlds, feels compelled to lead the search for the missing children with the help of his friends, Ava (the daughter of La Lechuza) and Felice (the daughter of La Llorona). Their journey takes them to an old gothic mansion with a twisted family history and a pull so powerful that it’s nearly impossible to resist. Picking up where Felice and the Wailing Woman left off, Rooster and the Dancing Diablo brims with magic, adventure, and Mexican folklore, and is perfect for fans of fantasy adventure series like Paola Santiago by&nbsp;Tehlor Kay Mejia&nbsp;and&nbsp;the Jumbies by Tracey Baptiste.

Los Monstruos: Rooster and the Dancing Diablo

Naturbilder / Images of Nature

Das Buch zeigt erstmals auf, wie die unsichtbare Pflanzenseele in Kunst, Film, Tanz und Wissenschaft Frankreichs dargestellt und mit religiösen und biologischen Konzepten vermischt wurde. Die Bandbreite der Visualisierungen reicht von romantischen Personifikationen im frühen Film über fleischfressende zoomorphe Monster bis zu Ornamenten bei FrantiSek Kupka und Loïe Fuller, die Pflanzenbewegungen zu einem abstrakten Dynamismus stilisierten. Auch der neu erfundene Zeitrafferfilm zeigt das langsame Leben der Pflanzen beschleunigt und schreibt ihnen so Willen und Ausdruck zu. Die Kunst- und Bildgeschichte der postevolutionären anima vegetativa verdeutlicht, dass der vegetabile Animismus Konzeptionen von Natur, Wahrnehmung und Wirkmacht hinterfragt und damit auch den Sonderstatus des Menschen.

Das Buch zeigt erstmals auf, wie die unsichtbare Pflanzenseele in Kunst, Film, Tanz und Wissenschaft Frankreichs dargestellt und mit religiösen und biologischen Konzepten vermischt wurde. Die Bandbreite der Visualisierungen reicht von romantischen Personifikationen im frühen Film über fleischfressende zoomorphe Monster bis zu Ornamenten bei František Kupka und Loïe Fuller, die Pflanzenbewegungen zu einem abstrakten Dynamismus stilisierten. Auch der neu erfundene Zeitrafferfilm zeigt das langsame Leben der Pflanzen beschleunigt und schreibt ihnen so Willen und Ausdruck zu. Die Kunst- und Bildgeschichte der postevolutionären 
 anima vegetativa
 verdeutlicht, dass der vegetabile Animismus Konzeptionen von Natur, Wahrnehmung und Wirkmacht hinterfragt und damit auch den Sonderstatus des Menschen.

Florale Animationen in bildender Kunst, Film und Tanz Frankreichs um 1900

Anima vegetativa

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

Visual Arts for Secondary Schools Second Edition

Bibliografische Angaben

Schlagworte

Bibliografische Angaben

Schlagworte

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