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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.

  • Indigenous creatures, native knowledges, and the arts animal studies in modern worlds / Wendy Woodward, Susan McHugh, editors

  • Locating Nordic noir from Beck to the Bridge / Kim Toft Hansen, Anne Marit Waade

  • Architectural robotics : ecosystems of bits, bytes, and biology / Keith Evan Green
    NA 2543 T43G69 2016eb

  • Screen ecologies : art, media, and the environment in the Asia-Pacific region / Larissa Hjorth, Sarah Pink, Kristen Sharp, and Linda Williams
    N 72 S6H56 2016eb

  • The systemic image : a new theory of interactive real-time simulations / Inge Hinterwaldner ; translated by Elizabeth Tucker
    N72 T4H5613 2017eb

    Computer simulations conceive objects and situations dynamically, in their changes and progressions. In The Systemic Image , Inge Hinterwaldner considers not only the technical components of dynamic computer simulations but also the sensory aspects of the realization. Examining the optic, the acoustic, the tactile, and the sensorimotor impressions that interactive real-time simulations provide, she finds that iconicity plays a dominant yet unexpected role. Based on this, and close readings of a series of example works, Hinterwaldner offers a new conceptualization of the relationship between systemic configuration and the iconic aspects in these calculated complexes.

    Hinterwaldner discusses specifications of sensorialization, necessary to make the simulation dynamic perceivable. Interweaving iconicity with simulation, she explores the expressive possibilities that can be achieved under the condition of continuously calculated explicit changes. She distinguishes among four levels of forming: the systems perspective, as a process and schema that establishes the most general framework of simulations; the mathematical model, which marks off the boundaries of the simulation's actualization; the iconization and its orientation toward the user; and interaction design, necessary for the full unfolding of the simulation. The user makes manifest what is initially latent. Viewing the simulation as an interface, Hinterwaldner argues that not only does the sensorially designed aspect of the simulation seduce the user but the user also makes an impact on the simulation -- on the dynamic and perhaps on the iconization, although not on the perspectivation. The influence is reciprocal.

  • Making design theory / Johan Redström
    NK 1505 R43 2017

    Tendencies toward "academization" of traditionally practice-based fields have forced design to articulate itself as an academic discipline, in theoretical terms. In this book, Johan Redstr#65533;m offers a new approach to theory development in design research--one that is driven by practice, experimentation, and making. Redstr#65533;m does not theorize from the outside, but explores the idea that, just as design research engages in the making of many different kinds of things, theory might well be one of those things it is making.

    Redstr#65533;m proposes that we consider theory not as stable and constant but as something unfolding -- something acted as much as articulated, inherently fluid and transitional. Redstr#65533;m describes three ways in which theory, in particular formulating basic definitions, is made through design: the use of combinations of fluid terms to articulate issues; the definition of more complex concepts through practice; and combining sets of definitions made through design into "programs." These are the building blocks for creating conceptual structures to support design.

    Design seems to thrive on the complexities arising from dichotomies: form and function, freedom and method, art and science. With his idea of transitional theory, Redstr#65533;m departs from the traditional academic imperative to pick a side -- theory or practice, art or science. Doing so, he opens up something like a design space for theory development within design research.

  • Voicetracks : attuning to voice in media and the arts / Norie Neumark
    N 8257.5 N48 2017eb

    Moved by the Aboriginal understandings of songlines or dreaming tracks, Norie Neumark's Voicetracks seeks to deepen an understanding of voice through listening to a variety of voicing/sound/voice projects from Australia, Europe and the United States. Not content with the often dry tone of academic writing, the author engages a "wayfaring" process that brings together theories of sound, animal, and posthumanist studies in order to change the ways we think about and act with the assemblages of living creatures, things, places, and histories around us.

    Neumark evokes both the literal -- the actual voices within the works she examines -- and the metaphorical -- in a new materialist exploration of voice encompassing human, animal, thing, and assemblages. She engages with artists working with animal sounds and voices; voices of place, placed voices in installation works; voices of technology; and "unvoicing," disturbances in the image/voice relationship and in the idea of what voice is. She writes about remixes, the Barbie Liberation Organisation, and breath in Beijing, about cat videos, speaking fences in Australia, and an artist who reads (to) the birds. Finally, she considers ethics and politics, and describes how her own work has shaped her understandings and apprehensions of voice.

  • The 7th sense : practicing dialogues, practicing workshops, practicing the daily performative, practicing performance art = Le 7e sens : pratiquer les dialogues, pratiquer les workshops, pratiquer le performatif au jour le jour, pratiquer l'art performance / TouVA
    NX 460.5 P47T68 2017

  • Vancouver anthology : a project of the Or Gallery / edited by Stan Douglas
    N 6547 V3 V33 2011
    First published in 1991, this larger format, new edition coincides with a renewal of the Or Gallery's mandate to incite and promote critical discourse both within and outside of the Vancouver art community.

  • Building green : environmental architects and the struggle for sustainability in Mumbai / Anne Rademacher
    NA 2542.35 R335 2018
    A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more.

    Building Green explores the experience of environmental architects in Mumbai, one of the world's most populous and population-dense urban areas and a city iconic for its massive informal settlements, extreme wealth asymmetries, and ecological stresses. Under these conditions, what does it mean to learn, and try to practice, so-called green design? By tracing the training and professional experiences of environmental architects in India's first graduate degree program in Environmental Architecture, Rademacher shows how environmental architects forged sustainability concepts and practices and sought to make them meaningful through engaged architectural practice. The book's focus on practitioners offers insights into the many roles that converge to produce this emergent, critically important form of urban expertise. At once activists, scientists, and designers, the environmental architects profiled in Building Green act as key agents of urban change whose efforts in practice are shaped by a complex urban development economy, layered political power relations, and a calculus of when, and how, their expert skills might be operationalized in service of a global urban future.

  • From point to pixel : a genealogy of digital aesthetics / Meredith Hoy
    N 70 H76 2017eb
    In this fiercely ambitious study, Meredith Anne Hoy seeks to reestablish the very definitions of digital art and aesthetics in art history. She begins by problematizing the notion of digital aesthetics, tracing the nineteenth- and twentieth-century movements that sought to break art down into its constituent elements, which in many ways predicted and paved the way for our acceptance of digital art. Through a series of case studies, Hoy questions the separation between analog and digital art and finds that while there may be sensual and experiential differences, they fall within the same technological categories. She also discusses computational art, in which the sole act of creation is the building of a self-generating algorithm. The medium isn't the message--what really matters is the degree to which the viewer can sense a creative hand in the art.

  • The work of art : value in creative careers / Alison Gerber
    N 6512.7 G47 2017

    Artists are everywhere, from celebrities showing at MoMA to locals hoping for a spot on a caf#65533; wall. They are photographed at gallery openings in New York and Los Angeles, hustle in fast-gentrifying cities, and, sometimes, make quiet lives in Midwestern monasteries. Some command armies of fabricators while others patiently teach schoolchildren how to finger-knit. All of these artists might well be shown in the same exhibition, the quality of work far more important than education or income in determining whether one counts as a "real" artist.

    In The Work of Art , Alison Gerber explores these art worlds to investigate who artists are (and who they're not), why they do the things they do, and whether a sense of vocational calling and the need to make a living are as incompatible as we've been led to believe. Listening to the stories of artists from across the United States, Gerber finds patterns of agreements and disagreements shared by art-makers from all walks of life. For professionals and hobbyists alike, the alliance of love and money has become central to contemporary art-making, and danger awaits those who fail to strike a balance between the two.

    The stories artists tell are just as much a part of artistic practice as putting brush to canvas or chisel to marble. By explaining the shared ways that artists account for their activities--the analogies they draw, the arguments they make--Gerber reveals the common bases of value artists point to when they say: what I do is worth doing. The Work of Art asks how we make sense of the things we do and shows why all this talk about value matters so much.

  • Fray : art + textile politics / Julia Bryan-Wilson
    N 7433.9 B79 2017
    In 1974, women in a feminist consciousness-raising group in Eugene, Oregon, formed a mock organization called the Ladies Sewing Circle and Terrorist Society. Emblazoning its logo onto t-shirts, the group wryly envisioned female collective textile making as a practice that could upend conventions, threaten state structures, and wreak political havoc. Elaborating on this example as a prehistory to the more recent phenomenon of "craftivism"--the politics and social practices associated with handmaking-- Fray explores textiles and their role at the forefront of debates about process, materiality, gender, and race in times of economic upheaval.

    Closely examining how amateurs and fine artists in the United States and Chile turned to sewing, braiding, knotting, and quilting amid the rise of global manufacturing, Julia Bryan-Wilson argues that textiles unravel the high/low divide and urges us to think flexibly about what the politics of textiles might be. Her case studies from the 1970s through the 1990s--including the improvised costumes of the theater troupe the Cockettes, the braided rag rugs of US artist Harmony Hammond, the thread-based sculptures of Chilean artist Cecilia Vicu#65533;a, the small hand-sewn tapestries depicting Pinochet's torture, and the NAMES Project AIDS Memorial Quilt--are often taken as evidence of the inherently progressive nature of handcrafted textiles. Fray , however, shows that such methods are recruited to often ambivalent ends, leaving textiles very much "in the fray" of debates about feminized labor, protest cultures, and queer identities; the malleability of cloth and fiber means that textiles can be activated, or stretched, in many ideological directions.

    The first contemporary art history book to discuss both fine art and amateur registers of handmaking at such an expansive scale, Fray unveils crucial insights into how textiles inhabit the broad space between artistic and political poles--high and low, untrained and highly skilled, conformist and disobedient, craft and art.

  • The responsibility of forms : critical essays on music, art, and representation / Roland Barthes ; translated from the French by Richard Howard
    NX 65 B37513 1991
    These late essays of Roland Barthes's are concerned with the visible and the audible, and here the preoccupations are particularly intense and rewarding, in part because Barthes was himself, by predilection, an artist and a musician, and in part because he was of two minds about the very possibility of attaching to art and to music a written text, a criticism.

  • Ambiances en débats / sous la direction de Pascal Amphoux, Jean-Paul Thibaud, Grégoire Chelkoff
    NA 9053 H76 A43 2004

  • Sound : sound in art and culture / [Jorinde Seijdel (editor-in-chief)]
    NA 9053 S6 S68 2005
    Open 9: Sound~ISBN 90-5662-457-1 U.S. $30.00 / Paperback, 6.75 x 9.25 in. / 160 pgs / 60 color and 30 b&w. ~Item / March / Art

  • After silence : a history of AIDS through its images / Avram Finkelstein
    NX 180 A36 F56 2018
    Early in the 1980s AIDS epidemic, six gay activists created one of the most iconic and lasting images that would come to symbolize a movement: a protest poster of a pink triangle with the words "Silence = Death." The graphic and the slogan still resonate today, often used--and misused--to brand the entire movement. Cofounder of the collective Silence = Death and member of the art collective Gran Fury, Avram Finkelstein tells the story of how his work and other protest artwork associated with the early years of the pandemic were created. In writing about art and AIDS activism, the formation of collectives, and the political process, Finkelstein reveals a different side of the traditional HIV/AIDS history, told twenty-five years later, and offers a creative toolbox for those who want to learn how to save lives through activism and making art.

  • Warhol's working class : pop art and egalitarianism / Anthony E. Grudin
    N 6537 W28 G78 2017
    This book explores Andy Warhol's creative engagement with social class. During the 1960s, as neoliberalism perpetuated the idea that fixed classes were a mirage and status an individual achievement, Warhol's work appropriated images, techniques, and technologies that have long been described as generically "American" or "middle class." Drawing on archival and theoretical research into Warhol's contemporary cultural milieu, Grudin demonstrates that these features of Warhol's work were in fact closely associated with the American working class. The emergent technologies Warhol conspicuously employed to make his work--home projectors, tape recorders, film and still cameras--were advertised directly to the working class as new opportunities for cultural participation. What's more, some of Warhol's most iconic subjects--Campbell's soup, Brillo pads, Coca-Cola--were similarly targeted, since working-class Americans, under threat from a variety of directions, were thought to desire the security and confidence offered by national brands.

    Having propelled himself from an impoverished childhood in Pittsburgh to the heights of Madison Avenue, Warhol knew both sides of this equation: the intense appeal that popular culture held for working-class audiences and the ways in which the advertising industry hoped to harness this appeal in the face of growing middle-class skepticism regarding manipulative marketing. Warhol was fascinated by these promises of egalitarian individualism and mobility, which could be profound and deceptive, generative and paralyzing, charged with strange forms of desire. By tracing its intersections with various forms of popular culture, including film, music, and television, Grudin shows us how Warhol's work disseminated these promises, while also providing a record of their intricate tensions and transformations.

  • The horse in ancient Greek art / edited by Peter Schertz and Nicole Stribling ; essays by Seán Hemingway, Carol C. Mattusch, John H. Oakley, Seth D. Pevnick, and Peter Schertz
    N 5635 M533 A4 2017
    A unique illustrated book, focusing on the significance of the horse in ancient Greek culture

    Horses were revered in ancient Greece as symbols of wealth, power, and status. On stunning black- and red-figure vases, in sculpture, and in other media, Greek artists depicted the daily care of horses, chariot and horseback races, scenes of combat, and mythological horse-hybrids such as satyrs and the winged Pegasus.

    This richly illustrated and handsomely designed volume includes over 80 objects showing scenes of ancient equestrian life. Essays by notable scholars of ancient Greek art and archaeology explore the indelible presence and significance horses occupied in numerous facets of ancient Greek culture, including myth, war, sport, and competition, shedding new light on horsemanship from the 8th through the 4th century BCE.

  • M François Morelli : publication accompagnant l'exposition présentée au 1700 La Poste du 6 octobre au 17 décembre 2017 / sous la direction d'Isabelle de Mévius ; textes Bernard Lamarche, Isabelle de Mévius, jake moore
    N 6549 M667 A4 2017

  • On Kawara 1966 / edited by Tommy Simoens, Angela Choon ; essay by Jonathan Watkins
    N 7359 K38 A4 2016
    On Kawara (1932-2014) is considered to be one of the most important and most radical modern artists of our time. His oeuvre is consumed with time and place, concepts that he used to try and map out the meaning of human existence. On Kawara: 1966 focuses on Kawara's creations from 1966, a key year within his oeuvre as it was the birth of his world-famous date paintings: small paintings in which he inscribed the exact date on which he created the painting in white letters and numbers on a monochromatic background. If a painting wasn't complete by midnight, it was destroyed. The TODAY series, as the entire collection is called, comprises some 2,000 date paintings created in more than 100 different cities. The artist used a folder to accurately record the days on which he created a painting and what the format was. He also kept a smear of the paint he used and the newspaper headlines for that day in this folder. This folder, in which he documented his 1966 creations, is fully portrayed in On Kawara: 1966. In 2015, Kawara's date paintings from 1966 were displayed in the Dhondt-Dhaenens Museum in Deurle. This was the last project that the artist collaborated on, together with the museum curator and the editor of this book, Tommy Simoens, before his death in 2014.

  • Fred Sandback : vertical constructions
    NB 237 S25 A4 2017
    Fred Sandback: Vertical Constructions, published on the occasion of the Sandback show at David Zwirner in Fall 2016, takes its lead from a historic 1987 exhibition of Sandback's wor k in M#65533;nster, also called Vertical Constructions . With a mixture of rescanned archival imagery that shows the work in situ in M#65533;nster, and new photography of these lyrical works installed the Zwirner gallery, this new catalogue is both a historical documen t and the next step in this body of work, almost exactly three decades after its first presentation. Not only was this a crucial period for Sandback, in which he experimented with the interaction between larger spaces and multiple vertical works, but the s how itself was very influential, setting the stage for some of the permanent installations to come. A new essay by renowned art historian Yve - Alain Bois picks up where Bois left off in his 2006 essay for Hatje Cantz, a decade later. Here Bois looks at hi s influential argument about the power of Sandback's immateriality -- its ability to linger in our memories of the work -- in the context of the vertical constructions. Lisa LeFeuvre, a longtime scholar of Sandback's work, offers a more historical treatment of t he show in the context of Sandback's writings and other works from the 1980s. Finally, a reprint of Marianne Stockebrandt's original essay for original M#65533;nster installation of the show reveals the dialogues around Sandback's work at the time and helps us r econstruct the way the influence of his vertical works has continued to grow in the thirty years since.

  • 101 Danish design icons / Lars Dybdahl (ed.)
    NK 1458 A1 A1413 2016
    A definitive history of 20th-century Danish design through 101 classic objects
    Denmark has long loomed large in international design history. Today, Danish furniture, textiles, home appliances and utensils from the 1960s and '70s are more popular than ever, for sale at design galleries and a rarity at flea markets. This publication provides an extensive overview of those everyday objects that have to this day written design history both in Denmark and worldwide. Along with 32 leading scholars and journalists, the Head of the Library and Research at the Designmuseum Danmark in Copenhagen, Lars Dybdahl, explores the fascinating history of the individual objects. Playfully presented and situated in their historical context, the catalog sheds new light on this unique world of objects. Among the design classics included are the Carlsberg lager label, the Dursley-Pedersen bicycle, the PH lamp, Dansk Standard cutlery, the Beolit 39 radio, the Spoke-Back Sofa, the Flag Halyard Chair, Kobenstyle kitchenware, the Nilfisk vacuum cleaner, LEGO, the Trinidad stacking chair and ECCO shoes.Designers include Arne Jacobson, Georg Jensen, Finn Juhl, Borge Mogensen, Verner Panton and Hans J. Wegner.

  • Pollock's modernism / Michael Schreyach
    ND 237 P73 S37 2017
    Pollock's Modernism provides a new interpretation of the art of Jackson Pollock (1912-1956), one that is based on a phenomenological investigation of the pictorial effects of particular paintings. Focusing on major works that span the artist's career - including Mural (1943), Cathedral (1947), Number 1A, 1948 , One: Number 31, 1950 , and Portrait and a Dream (1953) - Michael Schreyach argues that Pollock's achievement is best understood by attending to how, technically and formally, he instituted certain modes of pictorial address and structures of beholding in his paintings. From this perspective, Pollock is shown to be an artist who transformed the means by which the phenomenological interdependence of sensation and cognition in our embodied experience could be represented. Offering a provocative counter-argument to dominant accounts of Pollock's work, this book advances bold claims about Pollock's intentions as they are expressed in his art, and illuminates what constituted the artist's unique form of modernism at mid-century.

  • Canadian painters in a modern world, 1925-1955 : writings and reconsiderations / Lora Senechal Carney
    ND 249 C387 2017
    From the Roaring Twenties and the Group of Seven to the Automatistes and the early Cold War, Canadian artists lived through and embodied an era of global tumult and change. With an interweaving of historical narrative, lavish illustrations, and writings by many of Canada's most revered cultural figures, Lora Senechal Carney illuminates the lives, perspectives, and works of the era's painters and provides glimpses of the sculptors, poets, dancers, critics, and filmmakers with whom they associated. Canadian Painters in a Modern World gives readers direct access to a carefully curated selection of writings, artworks, photos, and other documents that help to reconstruct the public spheres in which artists including Paul-#65533;mile Borduas, Emily Carr, Alex Colville, Lawren Harris, David Milne, and Pegi Nicol MacLeod circulated. Each of the book's eight chapters consists of a narrative about a key issue or debate, focusing on the relationship of art to politics and society, and on how these are negotiated in an individual's life. Relating artistic engagement with and responses to the Spanish Civil War, the Second World War, and the Cold War, Senechal Carney discovers a common desire for new connections between art and life. Revealing continuities, ruptures, and watershed moments, Canadian Painters in a Modern World showcases artistic production within specific socio-political contexts to shed new light on Canadian art during three decades of conflict and crisis.

  • Art and the sacred journey in Britain, 1790-1850 / Kathryn R. Barush
    N 72 R4 B37 2016

    The practice of walking to a sacred space for personal and spiritual transformation has long held a place in the British imagination . Art and the Sacred Journey in Britain  examines the intersections of the concept of pilgrimage and the visual imagination from the years 1790 to 1850. Through a close analysis of a range of interrelated written and visual sources, Kathryn Barush develops the notion of the transfer of 'spirit' from sacred space to representation, and contends that pilgrimage, both in practice and as a form of mental contemplation, helped to shape the religious, literary, and artistic imagination of the period and beyond. Drawing on a rich range of material including paintings and drawings, manuscripts, letters, reliquaries, and architecture, the book offers an important contribution to scholarship in the fields of religious studies, anthropology, art history, and literature.

  • Artists in exile : expressions of loss and hope / Frauke V. Josenhans ; with essays by Marijeta Bozovic, Joseph Leo Koerner, Megan R. Luke ; and contributions by Suzanne Boorsch [and three others]
    N 8217 E86 J6 2017
    An unprecedented survey of artists in exile from the 19th century through the present day, with notable attention to Asian, Latin American, African American, and female artists
    This timely book offers a wide-ranging and beautifully illustrated study of exiled artists from the 19th century through the present day, with notable attention to individuals who have often been relegated to the margins of publications on exile in art history. The artworks featured here, including photography, paintings, drawings, prints, and sculpture, present an expanded view of the conditions of exile--forced or voluntary--as an agent for both trauma and ingenuity.

    The introduction outlines the history and perception of exile in art over the past 200 years, and the book's four sections explore its aesthetic impact through the themes of home and mobility, nostalgia, transfer and adjustment, and identity. Essays and catalogue entries in each section showcase diverse artists, including not only European ones--like Jacques-Louis David, Paul Gauguin, George Grosz, and Kurt Schwitters--but also female, African American, East Asian, Latin American, and Middle Eastern artists, such as Elizabeth Catlett, Harold Cousins, Mona Hatoum, Lotte Jacobi, An-My L#65533;, Matta, Ana Mendieta, Abelardo Morell, Mu Xin, and Shirin Neshat?.

  • Women's work is never done : an anthology / Catherine de Zegher
    N 8354 Z44 2014b
    As perhaps the preeminent international feminist director and curator of her generation, Catherine de Zegher has made some of the most significant exhibitions of women artists of the past 25 years, most famously the groundbreaking and seminal exhibition Inside the Visible (1996). She has worked with and written about many of the greatest artists of the period, in particular helping to establish the reputations of many who have defined contemporary art in a new and wider interpretation. This publication gathers together some of the key essays de Zegher has written on women artists over the past 20 years: Hilma af Klint, Bracha L. Ettinger, Ellen Gallagher, Gego, Monika Grzymala, Mona Hatoum, Eva Hesse, Cristina Iglesias, Ann Veronica Janssens, Emma Kunz, Anna Maria Maiolino, Agnes Martin, Julie Mehretu, Avis Newman, Martha Rosler, Ranji Shettar, Nancy Spero, Joelle Tuerlinckx, Ria Verhaeghe and Cecilia Vicuna. These essays trace a significant turning point in the perception of women artists of the past 100 years, and together form a crucial text for understanding ways in which art made by women has shaped the wide field of art and culture today. Serious and engaging, many of the essays have helped establish the long-overdue recognition of several of their subjects. De Zegher's writing contains vivid and profound insights into works and lives of extraordinary intensity.

  • Georges Braque : printmaker / Jennifer Mundy
    NE 650 B58A4 1993
page last updated on: Wednesday 13 December 2017
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