New books by subject
N - Fine Arts - Concordia University Libraries Recent Acquisitions
Items in Fine Arts that were added to the Concordia University Libraries collection in the last 30 days.
Are we human? : notes on an archaeology of design / by Beatriz Colomina & Mark WigleyNK 1505 C65 2016
The question Are We Human? is both urgent and ancient. Beatriz Colomina and Mark Wigley offer a multilayered exploration of the intimate relationship between human and design and rethink the philosophy of design in a multi-dimensional exploration from the very first tools and ornaments to the constant buzz of social media. The average day involves the experience of thousands of layers of design that reach to outside space but also reach deep into our bodies and brains. Even the planet itself has been completely encrusted by design as a geological layer. There is no longer an outside to the world of design. Colomina's and Wigley's field notes offer an archaeology of the way design has gone viral and is now bigger than the world. They range across the last few hundred thousand years and the last few seconds to scrutinize the uniquely plastic relation between brain and artifact. A vivid portrait emerges. Design is what makes the human. It becomes the way humans ask questions and thereby continuously redesign themselves.
When Harlem was in vogue / by David Levering LewisNX 511 N4 L48 1997
"A major study...one that thorougly interweaves the philosophies and fads, the people and movements that combined to give a small segment of Afro America a brief place in the sun."-- The New York Times Book Review .
An introduction to batik / Tib BeamentNK 9503 B4x
The queers / Jenny LinN 7433.4 L562Q44 2015
Women, art, and architecture in northern Italy, 1520-1580 : negotiating power / Katherine A. McIverN 5273 M38 2017eb
Expanding interdisciplinary investigations into gender and material culture, Katherine A. McIver here adds a new dimension to Renaissance patronage studies by considering domestic art - the decoration of the domestic interior - as opposed to patronage of the fine arts (painting, sculpture and architecture). Taking a multidimensional approach, McIver looks at women as collectors of precious material goods, as organizers of the early modern home, and as decorators of its interior. By analyzing the inventories of women's possessions, McIver considers the wide range of domestic objects that women owned, such as painted and inlaid chests, painted wall panels, tapestries, fine fabrics for wall and bed hangings, and elaborate jewelry (pendant earrings, brooches, garlands for the hair, necklaces and rings) as well as personal devotional objects. Considering all forms of patronage opportunities open to women, she evaluates their role in commissioning and utilizing works of art and architecture as a means of negotiating power in the court setting, in the process offering fresh insights into their lives, limitations, and the possibilities open to them as patrons. Using her subjects' financial records to track their sources of income and the circumstances under which it was spent, McIver thereby also provides insights into issues of Renaissance women's economic rights and responsibilities. The primary focus on the lives and patronage patterns of three relatively unknown women, Laura Pallavicina-Sanvitale, Giacoma Pallavicina and Camilla Pallavicina, provides a new model for understanding what women bought, displayed, collected and commissioned. By moving beyond the traditional artistic centers of Florence, Venice and Rome, analyzing instead women's artistic patronage in the feudal courts around Parma and Piacenza during the sixteenth century, McIver nuances our understanding of women's position and power both in and out of the home. Carefully integrating extensive archival
Art, media design, and postproduction : open guidelines on appropriation and remix / Eduardo NavasNX 197 N38 2018
Art, Media Design, and Postproduction: Open Guidelines on Appropriation and Remix offers a set of open-ended guidelines for art and design studio-based projects. The creative application of appropriation and remix are now common across creative disciplines due to the ongoing recycling and repurposing of content and form. Consequently basic elements which were previously exclusive to postproduction for editing image, sound and text, are now part of daily communication. This in turn pushes art and design to reconsider their creative methodologies.
Author Eduardo Navas divides his book into three parts: Media Production, Metaproduction, and Postproduction. The chapters that comprise the three parts each include an introduction, goals for guidelines of a studio-based project, which are complemented with an explanation of relevant history, as well as examples and case studies. Each set of guidelines is open-ended, enabling the reader to repurpose the instructional material according to their own methodologies and choice of medium. Navas also provides historical and theoretical context to encourage critical reflection on the effects of remix in the production of art and design.
Art, Media Design, and Postproduction: Open Guidelines on Appropriation and Remix is the first book of guidelines to take into account the historical, theoretical, and practical context of remix as an interdisciplinary act. It is an essential read for those interested in remix studies and appropriation in art, design and media.
George Shaw : a corner of a foreign field / edited by Mark Hallett ; with essays by Catherine Lampert, David Alan Mellor, Eugenie Shinkle, Thomas Crow ; interview by Jeremy Deller ; and chronology by Alexandra BurstonND 497 S4475 A4 2018
Nominated for the Turner Prize in 2011, George Shaw (b. 1966) is one of Britain's leading contemporary painters, best known for his painstakingly detailed, luminous, and often elegiac representations of the British suburban landscape. Beautifully designed and generously illustrated, this book is the first to explore the entirety of Shaw's artistic output, which spans three decades. Beginning with his work at the Royal College of Art in the 1990s and ending with his most recent paintings, this volume places Shaw's work within the context of contemporary culture, from the traditions of English landscape painting to the repercussions of Brexit. An introductory essay and comprehensive catalogue texts by Mark Hallett are accompanied by essays on the artist's work by Tom Crow, Catherine Lampert, David Mellor, and Eugenie Shinkle. An interview between Shaw and the celebrated contemporary artist Jeremy Deller offers insight into this work from the perspective of the artist himself, while a fully illustrated chronology details the entirety of his career.
Militant eroticism : the ART+Positive archives / edited by Dr. Daniel S. Berger and John NeffN 72 A34 M55 2017
Militant Eroticism, Art+Positive Archives is the first survey catalog documenting the art and practice of the pivotal 1980s collective Art+Positive, which was connected to the influential new York AIDS action group ACT UP. At the forefront in the early years of the AIDS epidemic, both groups staged self-initiated actions and massive demonstrations, while practicing an improvisational approach to activism at the intersection of the AIDS crisis and the culture wars of the late 1980s and early 1990s. Their multi-platform projects were firmly focused on fighting AIDS phobia, censorship, homophobia, misogyny, and racism within the art world. Members, collaborators, and contributors to Art+Positive included Lola flash, nan Goldin, Aldo Hernndez, Zoe Leonard, Ray navarro, Hunter Reynolds, Catherine (Saalfield) Gunn, Julie Tolentino, and David Wojnarowicz. In 2015, the archive was acquired by collector and AIDS researcher Dr. Daniel Berger. Shortly thereafter, he and artist John neff produced the first exhibition and catalog from the archive at Iceberg Projects, Chicago. Included are unpublished writings by Ray navarro, Hunter Reynolds, and David Wojnarowicz plus essays by Berger, neff, and scholar Debra Levine.
Why are most buildings rectangular? : and other essays on geometry and architecture / Philip SteadmanNA 2760 S758 2018
This book brings together a dozen of Philip Steadman¿s essays and papers on the geometry of architectural and urban form, written over the last 12 years. New introductions link the papers and set them in context. There are two large themes: a morphological approach to the history of architecture, and studies of possibility in built form. Within this framework the papers cover the geometrical character of the building stock as a who≤ histories of selected building types; analyses of density and energy in relation to urban form; and systematic methods for enumerating building plans and built forms. They touch on a range of key topics of debate in architectural theory and building science. Illustrated with over 200 black and white images, this collection provides an accessible and coherent guide to this important work.
Hybrid practices : art in collaboration with science and technology in the long 1960s / edited by David Cateforis, Steven Duval, and Shepherd SteinerN 72 T4 H93 2019
In Hybrid Practices , essays by established and emerging scholars investigate the rich ecology of practices that typified the era of the Cold War. The volume showcases three projects at the forefront of unprecedented collaboration between the arts and new sectors of industrial society in the 1960s and 70s--Experiments in Art and Technology (E.A.T.), the Art and Technology Project at the Los Angeles County Museum of Art (A&T), and the Artist Placement Group (APG) in the UK. The subjects covered include collaborative projects between artists and scientists, commercial ventures and experiments in intermedia, multidisciplinary undertakings, effacing authorship to activate the spectator, suturing gaps between art and government, and remapping the landscape of everyday life in terms of technological mediation. Among the artists discussed in the volume and of interest to a broad public beyond the art world are Bernd and Hilla Becher, John Cage, Hans Haacke, Robert Irwin, John Latham, Fujiko Nakaya, Carolee Schneemann, James Turrell, Yvonne Rainer, Robert Rauschenberg, and Robert Whitman. Prominent engineers and scientists appearing in the book's pages include Elsa Garmire, Billy Klüver, Frank Malina, Stanley Milgram, and Ed Wortz. This valuable collection aims to introduce readers not only to hybrid work in and as depth, but also to work in and as breadth, across disciplinary practices where the real questions of hybridity are determined.
Harvey Quaytman : against the static / edited by Apsara DiQuinzio ; with contributions by Gregory Amenoff, William Corbett, Suzanne Hudson, Lauren R. O'Connell, Harvey Quaytman, R.H. Quaytman, and John YauND 237 Q3 A4 2018
Harvey Quaytman's paintings are distinct for their inventive, whimsical exploration of shape, meticulous attention to surface texture, and experimental application of color. While his works display a rigorous commitment to formalism, they are simultaneously invested with rich undertones of sensuality, decorativeness, and humor--expressed, too, in his playful poetic titles, such as A Street Called Straight and Kufikind . Demonstrating the arc of Quaytman's oeuvre, from his radically curvilinear canvases of the late 1960s and 1970s, to his exploration of serialized geometric abstraction in the 1980s, and finally to his serene cruciform canvases of the 1990s, this retrospective exhibition and accompanying illustrated catalogue is a timely reconsideration of Quaytman's influential work, placing him and his work more prominently in the trajectory of American modern art.
With contributions by Suzanne Hudson and John Yau, as well reflections by R. H. Quaytman, an artist and the daughter of Harvey Quaytman, on her father's work and life.
Published in association with the Berkeley Art Museum and Pacific Film Archive (BAMPFA).
October 17, 2018-January 27, 2019, Berkeley Museum of Art Pacific Film Archive (BAMPFA).
Michelangelo's sculpture : selected essays / Leo Steinberg ; edited by Sheila SchwartzNB 623 B9 S74 2018
Leo Steinberg was one of the most original and daring art historians of the twentieth century, known for taking interpretative risks that challenged the profession by overturning reigning orthodoxies. In essays and lectures that ranged from old masters to contemporary art, he combined scholarly erudition with an eloquent prose that illuminated his subject and a credo that privileged the visual evidence of the image over the literature written about it. His works, sometimes provocative and controversial, remain vital and influential reading.
For half a century, Steinberg delved into Michelangelo's work, revealing the symbolic structures underlying the artist's highly charged idiom. This volume of essays and unpublished lectures explicates many of Michelangelo's most celebrated sculptures, applying principles gleaned from long, hard looking. Almost everything Steinberg wrote included passages of old-fashioned formal analysis, but here put to the service of interpretation. He understood that Michelangelo's rendering of figures as well as their gestures and interrelations conveys an emblematic significance masquerading under the guise of naturalism. Michelangelo pushed Renaissance naturalism into the furthest reaches of metaphor, using the language of the body and its actions to express fundamental Christian tenets once expressible only by poets and preachers--or, as Steinberg put it, in Michelangelo's art, "anatomy becomes theology."
Michelangelo's Sculpture is the first in a series of volumes of Steinberg's selected writings and unpublished lectures, edited by his longtime associate Sheila Schwartz. The volume also includes a book review debunking psychoanalytic interpretation of the master's work, a light-hearted look at Michelangelo and the medical profession and, finally, the shortest piece Steinberg ever published.
The second in the five-volume series, each containing approximately 250 reproductions, half of them in color,is Michelangelo's Painting: https://www.press.uchicago.edu/ucp/books/book/chicago/M/bo27801939.html . The third volume represents other old masters, among them Filippo Lippi, Mantegna, Pontormo, Caravaggio, Guercino, and Velázquez as well as lectures on the primacy of images in art historical methodology. The fourth volume will be devoted to Steinberg's extensive work on Picasso, including Steinberg's acclaimed but unpublished lectures. Other modern masters-- Cézanne, Monet, Max Ernst, Hans Haacke, Rauschenberg--are the subject of the final volume, which also presents the texts of lectures on artists' portrayals of their wives and "Art Minus Criticism Equals Art." The series assembles the most significant of Steinberg's wide-ranging and challenging art historical interpretations, until now only available in diverse journals and catalog with black-and-white reproductions.
Matisse and decoration / John KleinN 6853 M33 K54 2018
A brand new look at the extremely beautiful, if underappreciated, later works of one of the most inventive artists of the 20th century
Between 1935 and his death at midcentury, Henri Matisse (1869-1954) undertook many decorative projects and commissions. These include mural paintings, stained glass, ceramic tiles, lead crystal pieces, carpets, tapestries, fashion fabrics, and accessories--work that has received no significant treatment until now. By presenting a wealth of new insights and unpublished material, including from the artist's own correspondence, John Klein, an internationally acclaimed specialist in the art of Matisse, offers a richer and more balanced view of Matisse's ambitions and achievements in the often-neglected later phases of his career.
Matisse designed many of these decorations in the innovative--and widely admired--medium of the paper cut-out, whose function and significance Klein reevaluates. Matisse and Decoration also opens a window onto the revival and promotion, following World War II, of traditional French decorative arts as part of France's renewed sense of cultural preeminence. For the first time, the idea of the decorative in Matisse's work and the actual decorations he designed for specific settings are integrated in one account, amounting to an understanding of this modern master's work that is simultaneously more nuanced and more comprehensive.
The art of Nigerian women / Chukwuemeka BosahN 7399 N5 B67 2017
The Art of Nigerian Women by Chukwuemeka Bosah is a tightly packaged tome--an astonishingly delightful companion to a meme that was broached in the author's A Celebration of Modern Nigerian Art: 101 Nigerian Artists, published in 2010. In the current volume, Bosah marshals the intellectual capacity of some of the best scholars and curatorial impresarios in the field to contextualize the diversity of works of the artists featured. This work is a feat that must be acknowledged by students of Nigerian art for a number of reasons. First, this book contributes significantly to our knowledge of Nigerian art by its lasered focus on Nigerian women. Second, the author brings to the fore, in the process, a smorgasbord of creative enactments and analyses in an assortment of media by our womenfolk. Third, while Nigeria now boasts of a budding tribe of scholars on the visual arts, this is the first time, to my knowledge, that a book of this type has been published. And this brings us to the fourth reason: this book is the irrefutable demonstration of the maxim about lions having their own historians to obviate distortions that hunters would bring to the history of the hunt. This is a pioneering work, one that deserves a prominent place on the shelves of corporate, institutional, college, and personal libraries. Bosah deserves our admiration for the courage and resources ploughed into this work.
Rembrandt : painter as printmaker / Jaco Rutgers and Timothy J. StandringNE 2054.5 R4 A4 2018b
A compelling reconsideration of Rembrandt's printed oeuvre based on new research into the artist's life and work
As a pioneering printmaker, Rembrandt van Rijn (1606-1669) stood apart from his contemporaries thanks to his innovative approach to composition and his skillful rendering of space and light. He worked with the medium as a vehicle for artistic expression and experimentation, causing many to proclaim him the greatest etcher of all time. Moreover, the dissemination of the artist's prints outside of the Dutch Republic during his lifetime contributed greatly to establishing Rembrandt's reputation throughout Europe.
Sumptuously illustrated with comparative paintings and drawings as well as prints, this important volume draws on exciting new scholarship on Rembrandt's etchings. Authors Jaco Rutgers and Timothy J. Standring examine the artist's prints from many angles. They reveal how Rembrandt intentionally varied the states of his etchings, printed them on exotic papers, and retouched prints by hand to create rarities for a clientele that valued unique impressions.
Serious play : design in midcentury America / edited by Monica Obniski and Darrin AlfredNK 1404 S47 2018
A lively exploration of eclecticism, playfulness, and whimsy in American postwar design, including architecture, graphic design, and product design
This spirited volume shows how postwar designers embraced whimsy and eclecticism in their work, exploring playfulness as an essential construct of modernity. Following World War II, Americans began accumulating more and more goods, spurring a transformation in the field of interior decoration. Storage walls became ubiquitous, often serving as a home's centerpiece. Designers such as Alexander Girard encouraged homeowners to populate their new shelving units with folk art, as well as unconventional and modern objects, to produce innovative and unexpected juxtapositions within modern architectural settings. Playfulness can be seen in the colorful, child-sized furniture by Charles and Ray Eames, who also produced toys. And in the postwar corporate world, the concept of play is manifested in the influential advertising work of Paul Rand. Set against the backdrop of a society that was experiencing rapid change and high anxiety, Serious Play takes a revelatory look at how many of the country's leading designers connected with their audience through wit and imagination.
The ideas, identity and art of Daniel Spoerri : contingencies and encounters of an 'artistic animator' / Leda Cempellin (South Dakota State University)N 6853 S6 C56 2017
The term "artistic animator" is inspired by the definition "Kunstanimator" given to Spoerri by his longstanding friend Karl Gerstner during an interview with Katerina Vatsella in 1995. Wherever he went, Spoerri was capable of inspiring others to make art, and at the same time he absorbed, interiorized and transformed ideas from others. His fluctuating memberships during late Modernism (Zero, Nouveau R alisme, Fluxus, Mail Art) explain why some areas of this work have not yet received their due attention and their connection to the whole picture has often eluded scholarly inquiry. Beyond his tableaux-pi ges, which gave him immediate notoriety through an early purchase by the MoMA, Spoerri discovered a new way to approach the multiples in sculpture (Edition MAT), he transformed his trap pictures into an experimental narrative form (Topographie An cdot e du Hasard), he initiated the Eat Art movement, he tested an innovative curatorial approach (the Mus e Sentimental and the Giardino). Despite constant interruptions due to his semi-nomadic lifestyle, this oeuvre presents an extraordinary coherence, where none of these ventures can be properly understood without considering all the others. This is the first monograph entirely devoted to Daniel Spoerri in the United States to date. With an introduction by Barbara R derscheidt.
Moved to tears : rethinking the art of the sentimental in the United States / Rebecca BedellN 6505 B43 2018
A bold new view of sentimental art's significance in American visual culture from the eighteenth to the twentieth century
In Moved to Tears , Rebecca Bedell overturns received ideas about sentimental art. Countering its association with trite and saccharine Victorian kitsch, Bedell argues that major American artists--from John Trumbull and Charles Willson Peale in the eighteenth century and Asher Durand and Winslow Homer in the nineteenth to Henry Ossawa Tanner and Frank Lloyd Wright in the early twentieth--produced what was understood in their time as sentimental art. This was art intended to develop empathetic bonds and to express or elicit social affections, including sympathy, compassion, nostalgia, and patriotism.
Much sentimental art of this era was animated by and invested with socially transformative ambitions. Trumbull and Peale deployed their sentimental creations in the urgent effort to stabilize the new nation in the wake of the Revolutionary War. Through his work, Tanner opposed the virulent anti-Semitism of fin-de-siècle France. Even artists such as John Singer Sargent and Mary Cassatt, who had absorbed something of modernist disdain for sentimentalism, were aware of its commercial potential and popular appeal and negotiated complex relations with it.
Beautifully illustrated, Moved to Tears transforms our understanding of the nature and influence of sentimental art.
Architecture, media, and memory : facing complexity in post-9/11 New York / Joel McKimNA 9350 N5 M39 2019
Architecture, Media and Memory examines the wide range of urban sites impacted by September 11 and its aftermath - from the spontaneous memorials that emerged in Union Square in the hours after the attacks, to the reconstruction at Ground Zero, to vast ongoing landscape urbanism projects beyond.
Yet this is not simply a book about post-9/11 architecture. It instead presents 9/11 as a multifaceted case study to explore a discourse on memory and its representation in the built environment. It argues that the reconstruction of New York must be considered in relation to larger issues of urban development, ongoing global conflicts, the rise of digital media, and the culture, philosophy and aesthetics of memory. It shows how understanding architecture in New York post-9/11 requires bringing memory into contact with a complex array of political, economic and social forces.
Demonstrating an ability to explain complex philosophical ideas in language that will be accessible to students and researchers alike in architecture, urban studies, cultural studies and memory studies, this book serves as a thought-provoking account of the intertwining of contemporary architecture, media and memory.
Mickalene Thomas : I can't see you without me / Mickalene ThomasN 6537 T476 A4 2018
Presenting paintings of some of the artist's key models and muses, I Can't See You Without Me illuminates the work of Brooklyn painter Mickalene Thomas (born 1971). Culling from art history and popular culture, Thomas creates scintillating portraits that deconstruct the highly charged connections between sitter, artist and viewer. Whether depicted as classically composed 19th-century odalisques, Afro-adorned vixens of blaxploitation films or as a powerful maternal figure yearning for social mobility, the recurring models in Thomas' compositions (almost exclusively women of color) convey a spirit of strength and self-confidence. Across this archetypal array, it is both their contradictions and kinships that make the black female body such fertile terrain for the artist's ongoing investigations. By casting herself, her late mother and other formidable women in her life as models, muses and collaborators, Thomas particularizes her distinctive oeuvre of portraiture. Focused yet expansive, the catalog both reasserts and further contextualizes issues of identity, sexuality and agency in Thomas' work that have only become more nuanced and palpable over time.
Honouring tradition : reframing native art / Beth Carter ... [et al. ; edited by Melanie Kjorlien]N 6538 A4 C37 2008
I have always considered that what Native people did to adorn their clothes, their tools, and their ceremonial items was a form of 'fine art.' Wouldn't it be great if this art was seen on equal terms with European masterpieces? -Frederick McDonald, Guest Curator.
Honouring Tradition: Reframing Native Art brings new perspectives to historical and contemporary Aboriginal art.
To explore the diverse ways this art can be understood, the Glenbow Museum invited Aboriginal elders, leaders and artists to share their perspectives with non-Native museum staff. The resulting dialogue highlights the complexity of Aboriginal art from the Northern Plains to the sub arctic regions of Canada. Links to tradition, history and culture can be seen in artwork both old and new. From a lavishly beaded moss bag made in the 1890s, to a work created in 2006 by chiseling, drilling, sanding and assembling circuit boards, the artwork in Honouring Tradition celebrates the richness and complexity of the ongoing stories of the Indigenous people in this region.
These artists, whether traditional or contemporary, honour the importance of community, the connection to land and place and the tradition of storytelling.