A SCHOLARLY BOOK REPOSITORY121 start with L start with L
Peter Paul Rubens’s fascinating depiction of a man wearing Korean costume of around 1617, in the collection of the J. Paul Getty Museum, has been considered noteworthy since it was made. Published to accompany an exhibition of Rubens’s Man in Korean Costume at the J. Paul Getty Museum from March 5 to June 9, 2013, Looking East: Rubens’s Encounter with Asia explores the various facets of Rubens’s compelling drawing of this Asian man that appears in later Rubens works. This large drawing was copied in Rubens’s studio during his own time and circulated as a reproductive print in the eighteenth century. Despite the drawing’s renown, however, the reasons why it was made and whether it actually depicts a specific Asian person remain a mystery. The intriguing story that develops involves a shipwreck, an unusual hat, the earliest trade between Europe and Asia, the trafficking of Asian slaves, and the role of Jesuit missionaries in Asia.
The book’s editor, Stephanie Schrader, traces the interpretations and meanings ascribed to this drawing over the centuries. Could Rubens have actually encountered a particular Korean man who sailed to Europe, or did he instead draw a model wearing Asian clothing or simply hear about such a person? What did Europeans really know about Korea during that period, and what might the Jesuits have had to do with the production of this drawing? All of these questions are asked and explored by the book’s contributors, who look at the drawing from various points of view.
Looping Detroit invites artists and writers to ride the small loop as an explorer, mining the environs around each station as a poetic ramble, a psycho geographic wander, a cultural inquiry that simultaneously ponders the poetics of circulating above the city streets while probing the greater narrative of Detroit’s public transit conundrum.
Contributors include award-winning Detroit novelists Lolita Hernandez and Michael Zardoorian, poets Gloria House and Walter Lacy, music producer Cornelius Harris, Chace MicWrite Morris, frontman of the Detroit hip-hop trio Coldmen Young, and radio producer Zak Rosen.
Returning to Chicago from France, Taft established a bustling studio and began a twenty-one-year career as an instructor at the Art Institute, succeeded by three decades as head of the Midway Studios at the University of Chicago. This triumphant era included ephemeral sculpture for the 1893 World's Columbian Exposition; a prolific turn-of-the-century period marked by the gold-medal-winning The Solitude of the Soul; the 1913 Fountain of the Great Lakes; the 1929 Alma Mater at the University of Illinois; and large-scale projects such as his ambitious program for Chicago's Midway with the monumental Fountain of Time. In addition, the book charts Taft's mentoring of women artists, including the so-called White Rabbits at the World's Fair, many of whom went on to achieve artistic success.
Lavishly illustrated with color images of Taft's most celebrated works, Lorado Taft: The Chicago Years completes the first major study of a great American artist.
The first book to tour forgotten landmarks throughout the state of Minnesota.
Believe it or not, Minnesota’s architectural landscape has included a house made from the fuselage of a B-29 bomber, a hotel that spent its final years as a chicken hatchery, a Civil War cemetery, a treehouse built and occupied year-round by an eccentric university professor, and a railway that once carried passengers up Duluth’s steep incline from Lake Superior.
They are all gone now, along with countless houses, parks, bridges, theaters, sports stadiums, courthouses, and farm buildings in which Minnesotans have worked, played, and lived their lives. Though other books have looked at the lost architecture of Minneapolis and St. Paul, Jack El-Hai’s Lost Minnesota is the first book to tell the stories of buildings and landmarks from rural and small-town Minnesota, as well as those of the residential and suburban areas of the state’s largest cities. From Rochester’s Hotel Zumbro and the Charles H. Mayo House to the Hastings Spiral Bridge and the Lyceum Theater of Duluth, El-Hai rediscovers a lost landscape and the values and lifestyle of a bygone era. He tours not only Twin Cities buildings, such as the Fairoaks mansion, the Wilder Baths, and the Beyrer Brewery, but also its sites, such as the Wonderland amusement park, in order to re-create not only where but how Minnesotans lived. Lost Minnesota presents eighty-nine beautifully illustrated stories about these fascinating places and those who built them, lived in them, and tore them down. This is a book sure to delight the Minnesota history enthusiast and anyone who is curious about the state’s changing urban, small-town, and rural landscapes.
Chips, cards, and a table.
The riddles insightful,
the future, unstable! What is it?
It's Lotería, the Mexican game of chance! For the uninitiated, it might seem like bingo played with a riddling tarot deck. But this enthralling board game is more than entertainment. The images found on its cards—La Virgen, El Pan Dulce, La Telenovela—are miniature reflections of an entire culture, capturing the joys and sorrows of the Mexican people.
Wildly popular on both sides of the border, Lotería cards originated in the Iberian peninsula in the eighteenth century but have been redesigned so many times as to defy expectation, with boards devoted to ecclesiastical figures, soccer idols, and even vaudeville starlets. With the dawn of a new millennium, American artist Teresa Villegas created a new Lotería set that is already gaining popularity in Mexico, and her striking images are also widely exhibited in galleries across the United States.
This gift book, which will bring pleasure and bewilderment to children and adults alike, reproduces more than two dozen of Villegas's 54 colorful cards, pairing them with insightful, humorous riddles written by award-winning author Ilan Stavans. Stavans also revisits his childhood in an essay that examines the role of luck in Mexican life and recreates the sort of poetry jam that often accompanies Lotería contests wherever they might take place. Delve into the emblematic pages of this marvelous volume to find your own Calavera. Let yourself unravel the paths of El Deseo and the mysteries of El Corazón. Before too long, you'll realize that luck is never truly accidental—for a turn at ¡Lotería! is always an opportunity to come face to face with El Destino.
Known for her commentary on the issue of temporality in art, Bal argues that art must be understood in relationship to the present time of viewing as opposed to the less-immediate contexts of what has preceded the viewing, such as the historical past of influences and art movements, biography and interpretation. In ten short chapters, or "takes," Bal demonstrates that the closer the engagement with the work of art, the more adequate the result of the analysis. She also confronts issues of biography and autobiography—key themes in Bourgeois's work—and evaluates the consequences of "ahistorical" experiences for art criticism, drawing on diverse sources such as Bernini and Benjamin, Homer and Eisenstein.
This short, beautiful book offers both a theoretical model for analyzing art "out of context" and a meditation on a key work by one of the most engaging artists of our era.
Reed identifies abolition literature as an emergent field of inquiry that emphasizes social relationships in the ongoing struggle to dismantle systems of coercion, criminalization, and control. Focusing on love as an affective modality and organizing tool rooted in the Black radical tradition’s insistence on collective sociality amidst unrelenting state violence, Reed provides fresh readings of visionaries such as James Baldwin, Ntozake Shange, Sharon Bridgforth, and vanessa german. Both abolitionist manifesto and examination of how Black queer performance offers affective modulations of tough and tender love, Love and Abolition ultimately calls for a critical reconsideration of the genre of prison literature—and the role of the humanities—during an age of mass incarceration.
Yusuf and Zulaykha. Khusrau and Shirin. Layla and Majnun. For hundreds of years, Persian poets have captivated audiences with recitations and reinterpretations of timeless tales of earthly and spiritual love. These tales were treasured not only in Iran, but also across the neighboring Mughal and Ottoman Empires.
In Love and Devotion, leading specialists in literature, art history, and philosophy reveal new perspectives on these evocative stories and the exquisite illustrated manuscripts that convey them. Particularly in courtly settings, poetry was a key component of Persian cultural life from the fourteenth through the eighteenth century, and elite patrons commissioned copies of lyrical poems and epics told in verse. Beautifully presented here in full-page reproductions are more than one hundred folios from these illustrated manuscripts, representing masterful works from Hafiz, Rumi, and many others. Echoes of works by Persian poets are manifest across European literature from Dante and Shakespeare to the present, and this lavishly illustrated book reveals new perspectives on the universal theme of love.
Love, Sex, Gender, and Superheroes examines a full range of superhero media, from comics to films to television to merchandising. With a keen eye for the genre’s complex and internally contradictory mythology, comics scholar Jeffrey A. Brown considers its mixed messages. Superhero comics may reinforce sex roles with their litany of phallic musclemen and slinky femme fatales, but they also blur gender binaries with their emphasis on transformation and body swaps. Similarly, while most heroes have heterosexual love interests, the genre prioritizes homosocial bonding, and it both celebrates and condemns gendered and sexualized violence.
With examples spanning from the Golden Ages of DC and Marvel comics up to recent works like the TV series The Boys, this study provides a comprehensive look at how superhero media shapes our perceptions of love, sex, and gender.
This original, highly readable book poses a clear distinction between our customary form of love, which almost guarantees failure, and higher, more generous ways of loving that can succeed and enrich both individuals and society as a whole. Love That Works draws on history, psychology, and the theology and science of love to offer a proposal on how to be successful in love and romance. It starts by showing why love fails to meet expectations, often ending sadly or even tragically.
How we relate to orphaned space matters. Voids, marginalia, empty spaces—from abandoned gas stations to polluted waterways—are created and maintained by politics, and often go unquestioned. In Loving Orphaned Space, Mrill Ingram provides a call to action to claim and to cherish these neglected spaces and make them a source of inspiration through art and/or remuneration.
Ingram advocates not only for “urban greening” and “green planning,” but also for “radical caring.” These efforts create awareness and understanding of ecological connectivity and environmental justice issues—from the expropriation of land from tribal nations, to how race and class issues contribute to creating orphaned space. Case studies feature artists, scientists, and community collaborations in Chicago, New York, and Fargo, ND, where grounded and practical work of a fundamentally feminist nature challenges us to build networks of connection and care.
The work of environmental artists who venture into and transform these disconnected sites of infrastructure allow us to rethink how to manage the enormous amount of existing overlooked and abused space. Loving Orphaned Space provides new ways humans can negotiate being better citizens of Earth.
This captivating biography brings Lucas Cranach the Elder into the spotlight for the twenty-first century. The illuminating narrative unveils an artist whose vision transcended personal brilliance as he sought to elevate a nascent nation and foster a sense of community with his work. Perhaps Cranach’s most remarkable achievement lay in forging a robust Lutheran community, endowed with a resounding message of salvation. Using prints (the prevailing medium of mass communication) and multiple versions of paintings, he developed an intricate symbolism that resonated with the populace in early modern Germany. Jennifer Nelson also explores his extensive repertoire of female nudes and shows how these seductive artworks not only tantalized his patrons but constructed for them a deep history of Germany’s notional connections with ancient Greece and Rome.
Drawing on interviews with Ulitskaya and sources not readily available to Western scholars, Elizabeth A. Skomp and Benjamin M. Sutcliffe explore the ethical ideals that make Ulitskaya’s novels resonate in today’s Russia—tolerance, sincerity, and diversity—and examine how she uses innovative imagery to personalize history through a focus on body and kinship. This is essential reading for anyone interested in contemporary Russian literature and society.
Through the manipulation of materials, such as gold, crystal, and glass, medieval artists created dazzling light-filled environments, evoking, in the everyday world, the layered realms of the divine. While contemporary society separates science and spirituality, the medieval world harnessed the science of light to better perceive and understand the sacred. From 800 to 1600, the study of astronomy, geometry, and optics emerged as a framework that was utilized by theologians and artists to comprehend both the sacred realm and the natural world.
Through essays written by contributors from the fields of art history, the history of science, and neuroscience, and with more than two hundred illustrations, including glimmering golden reliquaries, illuminated manuscripts, rock crystal vessels, astronomical instruments, and more, Lumen cuts across religious, political, and geographic boundaries to reveal the ways medieval Christian, Jewish, and Islamic artists, theologians, and thinkers studied light. To convey the sense of wonder created by moving light on precious materials, a number of contemporary artworks are placed in dialogue with historic objects.
This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from September 10 to December 8, 2024.
The Luminous and the Grey explores the places where color comes into being and where it fades away, probing when it begins and when it ends both in the imagination and in the material world. Batchelor draws on neuroscience, philosophy, novels, films, and artists’ writings—as well as his own experience as an artist working with color—to understand how we see and use colors. He considers the role of color in creation myths, industrial chemistry, and optics, and examines the particular forms of luminosity that saturate the modern city. Following this inquiry into the hues that we face every day, he turns to one that is both color and noncolor: grey itself, which he reveals is as much a mood, feeling, and existential condition as a shade that we experience with our eyes.
Deftly argued, always thought-provoking, and ever entertaining, The Luminous and the Grey is a beautiful study of how we see and feel our multicolored world.
Luminós/C/ity.Ordinary Joy: From the Pigozzi Contemporary African Art Collection celebrates the inaugural exhibition of the same name at the Ethelbert Cooper Gallery of African & African American Art at the Hutchins Center in Fall 2014.
Curators David Adjaye and Mariane Ibrahim-Lenhardt share their interpretative insights on a distinctive selection of objects from Jean Pigozzi’s superb Contemporary African Art Collection (CAAC). The catalog includes introductory texts by Henry Louis Gates, Jr., and Jean Pigozzi and is illustrated with full-color images of the exhibition art from twenty-one artists of the African continent. It also features essays from Cooper Gallery Director Vera Grant, Newark Museum Curator Christa Clarke, and Studio Museum in Harlem Director Thelma Golden.
The works discussed range from photography of the 1940s to video produced some seventy years later, and together the essays reflect upon and explore the exhibition as “a critical thesis on the contemporary condition of the continent, one which sees the city as a device to explore the complexities and nuances of urban life.” A considered part of the full exhibition experience, the catalog offers the reader entry into these cityscapes and the brilliant light of ordinary joy.
The sixteen essays collected here show the breadth and depth of Bonnefoy's writings on art, aesthetics, and poetics. His lyrical ruminations range across centuries and cultures, from Byzantium to postwar France, from the paintings of Piero della Francesca to the sculptures of Alberto Giacometti and the photographs of Henri Cartier-Bresson, from the Italian Giorgio Morandi to the American Edward Hopper. Always fascinated in his poetry by the nature of color and light and the power of the image, Bonnefoy continues to pursue these themes in his discussion of the lure and truth of representation. He sees the painter as a poet whose language is a visual one, and seeks to find out what visual artists can teach those who work with words. More philosophical than historical and more poetic than critical, the essays express Bonnefoy's deep sympathy for the creative process and his great passion for individual works of art.
Bonnefoy's engagement with great art in The Lure and the Truth of Painting sheds light on the philosophy of presence and being that animates his poems. This book will be welcomed by lovers of Bonnefoy's poems and by everyone interested in the creation, history, and appreciation of art.
Yves Bonnefoy's numerous books include New and Selected Poems and In the Shadow's Light, both published by the University of Chicago Press. Richard Stamelman is director of the Center for Foreign Languages, Literatures, and Cultures and professor of romance languages at Williams College. He is the author of Lost beyond Telling: Representations of Death and Absence in Modern French Poetry.
"Few exponents of contemporary French letters deserve the attention of the reading public in America more than Yves Bonnefoy. . . . [His] writings . . . are an important lighthouse on the contemporary cultural coastline."—Emily Grosholz, The Hudson Review
Creating paintings with poetic resonances, sometimes with ties to specific lines of poetry, is a practice that began in China in the eleventh century, the Northern Sung period. James Cahill vividly surveys its first great flowering among artists working in the Southern Sung capital of Hangchou, probably the largest and certainly the richest city on earth in this era. He shows us the revival of poetic painting by late Ming artists working in the prosperous city of Suchou. And we learn how artists in Edo-period Japan, notably the eighteenth-century Nanga masters and the painter and haiku poet Yosa Buson, transformed the style into a uniquely Japanese vehicle of expression.
In all cases, Cahill shows, poetic painting flourished in crowded urban environments; it accompanied an outpouring of poetry celebrating the pastoral, escape from the city, immersion in nature. An ideal of the return to a life close to nature—the “lyric journey”—underlies many of the finest, most moving paintings of China and Japan, and offers a key for understanding them.
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