A SCHOLARLY BOOK REPOSITORY306 start with C start with C
In this deeply personal work, acclaimed art historian Dora Apel examines how memorials, photographs, artworks, and autobiographical stories can be used to fuel a process of “unforgetting”—reinterpreting the past by recalling the events, people, perspectives, and feelings that get excluded from conventional histories. The ten essays in Calling Memory into Place feature explorations of the controversy over a painting of Emmett Till in the Whitney Biennial and the debates about a national lynching memorial in Montgomery, Alabama. They also include personal accounts of Apel’s return to the Polish town where her Holocaust survivor parents grew up, as well as the ways she found strength in her inherited trauma while enduring treatment for breast cancer.
These essays shift between the scholarly, the personal, and the visual as different modes of knowing, and explore the intersections between racism, antisemitism, and sexism, while suggesting how awareness of historical trauma is deeply inscribed on the body. By investigating the relations among place, memory, and identity, this study shines a light on the dynamic nature of memory as it crosses geography and generations.
Polaroid was often dismissed as a toy, but Buse takes it seriously, showing how it encouraged photographic play as well as new forms of artistic practice. Drawing on unprecedented access to the archives of the Polaroid Corporation, Buse reveals Polaroid as photography at its most intimate, where the photographer, photograph, and subject sit in close proximity in both time and space—making Polaroid not only the perfect party camera but also the tool for frankly salacious pictures taking.
Along the way, Buse tells the story of the Polaroid Corporation and its ultimately doomed hard-copy wager against the rising tide of digital imaging technology. He explores the continuities and the differences between Polaroid and digital, reflecting on what Polaroid can tell us about how we snap photos today. Richly illustrated, The Camera Does the Rest will delight historians, art critics, analog fanatics, photographers, and all those who miss the thrill of waiting to see what develops.
Camille Claudel (1864–1943) was among the most daring and visionary sculptors of the late nineteenth century. Although much attention has been paid to her tumultuous life—her affair with her mentor, Auguste Rodin; the premature end to her career; her thirty-year institutionalization in an asylum—her art remains little known outside of France. Memorably praised by critic Octave Mirbeau in 1895 as “a revolt of nature: a woman of genius,” Claudel was celebrated for her brilliance during a time when women sculptors were rare.
Featuring more than two hundred photographs along with contributions from leading experts, this publication accompanies the first comprehensive survey of Claudel’s oeuvre in nearly forty years. With essays exploring the many facets of her life, work, and reception; a biography; commentary by American sculptor Kiki Smith; and a fascinating appendix of documents written by Claudel and her contemporaries, this volume reevaluates the artist’s work on its own merits and repositions her legacy within a more complex genealogy of modernism.
This volume, copublished with The Art Institute of Chicago, accompanies an exhibition on view at The Art Institute of Chicago from October 7, 2023, to February 19, 2024 and at the J. Paul Getty Museum at the Getty Center from April 2 to July 21, 2024.
Can one be happy and free, and nonetheless be moral? This question occurs at the core of daily life and is, as well, a question as old as philosophy itself. In Can Virtue Make Us Happy? The Art of Living and Morality, Otfried Höffe, one of Europe’s most well-known philosophers, offers a far-reaching and foundational work in philosophical ethics.
As long as one understands "happiness" purely as a feeling of subjective well-being, Höffe argues, there is at best only an accidental unity between it and morality. However, if one means by "happiness" the quality of doing well in the sense of one’s own successful existence, then one must include actions that undoubtedly have a moral character and are named virtues. He uses clear and general language to present what one understands by "happiness" and "freedom" while illuminating the blind alleys in the history of philosophy as well as the difficulties raised by the issues themselves. What has priority: good ends or right action? Is freedom always anarchy? Is it possible to think of a freedom enhanced by morality? Is "morality" only a pretty word for stupidity? Does humanity have a good or a bad character? Is there such a thing as evil? Höffe offers us enlightened philosophical reflection and foundational orientation but no simple formulas; this is precisely what is at stake because anyone who wishes to live a self-determined life rejects any and all formulas.
Originally published in 1965, this ground-breaking work is a classic piece of empirical research in the sociology of art. In this edition, Harrison C. White's new Foreword compares the marketing approaches of two contemporary painters, while Cynthia A. White's new Afterword reviews recent scholarship in the field.
Harris combines his in-depth knowledge of American history and culture with extensive archival research, and he has interviewed dozens of key players to reveal how Brown’s showmanship transformed the National Gallery. At the time of the Cold War, Washington itself was growing into a global destination, with Brown as its devoted booster. Harris describes Brown’s major role in the birth of blockbuster exhibitions, such as the King Tut show of the late 1970s and the National Gallery’s immensely successful Treasure Houses of Britain, which helped inspire similarly popular exhibitions around the country. He recounts Brown’s role in creating the award-winning East Building by architect I. M. Pei and the subsequent renovation of the West building. Harris also explores the politics of exhibition planning, describing Brown's courtship of corporate leaders, politicians, and international dignitaries.
In this monumental book Harris brings to life this dynamic era and exposes the creation of Brown's impressive but costly legacy, one that changed the face of American museums forever.
A skillful and fascinating retelling of the often testy relationship between J. P. Morgan and Roger Fry, two men who did more to establish the preeminence of the Metropolitan Museum of Art than any collector and curator before or since.
Shortly after the turn of the twentieth century, the Metropolitan Museum of Art began an ambitious program of collection building and physical expansion that transformed it into one of the world’s foremost museums, an eminence that it has maintained ever since. Two men of singular qualities and accomplishments played key roles in the Met’s transformation—J. P. Morgan, America’s leading financier and a prominent art collector, and Roger Fry, the headstrong English expert in art history who served as the Met’s curator of painting. Their complicated, often contentious relationship embodies and illuminates the myriad tensions between commerce and art, philanthropists and professional staff, that a great museum must negotiate to define and fulfill its mission.
In this masterful, multidisciplinary narrative, Charles Molesworth offers the first in-depth look at how Morgan and Fry helped to mold the cultural legacy of masterpieces of painting and the development of the “encyclopedic” museum. Structuring the book as a joint biography, Molesworth describes how Morgan used his vast wealth to bring European art to an American citizenry, while Fry brought high standards of art history from the world of connoisseurs to a general public. Their clashes over the purpose and functions of the Met, which ultimately led to Fry’s ouster, reveal the forces—personal and societal—that helped to shape the Metropolitan Museum and other major American cultural institutions during the twentieth century.
Though critics often reviewed Alfred Augustus Glendening’s exhibitions, very little has been written about the artist himself. Here, new and extensive research removes layers of mystery and misinformation about his life, family, and career, accurately placing him amid the British art world during much of the nineteenth and into the twentieth century. Glendening was a man from humble origins, working full-time as a railway clerk when he managed to make his London exhibition debut at the age of twenty—a feat that would have been almost impossible before the Victorian era ushered in new possibilities of social mobility. Although his paintings show a tranquil and unspoiled landscape, his environment was rapidly being transformed by social, scientific, and industrial developments, while advances in transport, photography, and other technical discoveries undoubtedly influenced him and his fellow painters.
Celebrating his uniquely Victorian story, the book places Glendening within his proper historical context. Running alongside the main text is a timeline outlining significant landmarks, from political and social events to artistic and technical innovations. Thoroughly researched, the narrative explores why and for whom he painted, his artistic training, and his various inspirations. The book uncovers new information about the Victorian art world and embraces such aspects as Royal Academy prejudices, the popularity of Glendening’s work at home and abroad, his use of photography, and the sourcing of his art materials.
Guy Michael Hedreen is Professor of Art, Williams College.
Undeniably one of the greatest artists of all time, Michelangelo Merisi da Caravaggio would develop a radically new kind of psychologically expressive, realistic art and, in the sixteenth and seventeenth centuries, would lay the foundations for modern painting. His paintings defied tradition to such a degree that the meaning of his works has divided critics and viewers for centuries. In this original study, Troy Thomas examines Caravaggio’s life and art in relationship to the profound beginnings of modernity, exploring the many conventions that Caravaggio utterly dismantled with his extraordinary genius.
Thomas begins with an in-depth look at Caravaggio’s early life and works and examines how he refined his realism, developed his obsession with darkness and light, and began to find the subtle and clever ambiguity of genre and meaning that would become his trademark. Focusing acutely on the inherent tensions, contradictions, and ambiguities within Caravaggio’s paintings, Thomas goes on to examine his mature religious works and the ways he created a powerful but stark and enigmatic expressiveness in his protagonists. Lastly, he delves into the artist’s final hectic years as a fugitive killer evading papal police and wandering the cities of southern Italy.
Richly illustrated in color throughout, Caravaggio and the Creation of Modernity will appeal to all of those fascinated by the history of art and the remarkable lives of Renaissance masters.
Gadberry’s approach to seventeenth-century writings poses questions urgent for the twenty-first. Bringing literature and philosophy into rich dialogue, Gadberry centers close reading as a method uniquely equipped to manage skepticism, tolerate critical ambivalence, and detect feeling in philosophy. Helping us read classic moments of philosophical argumentation in a new light, this elegant study also expands outward to redefine thinking in light of its poetic formations.
The Casa del Deán in Puebla, Mexico, is one of few surviving sixteenth-century residences in the Americas. Built in 1580 by Tomás de la Plaza, the Dean of the Cathedral, the house was decorated with at least three magnificent murals, two of which survive. Their rediscovery in the 1950s and restoration in 2010 revealed works of art that rival European masterpieces of the early Renaissance, while incorporating indigenous elements that identify them with Amerindian visual traditions.
Extensively illustrated with new color photographs of the murals, The Casa del Deán presents a thorough iconographic analysis of the paintings and an enlightening discussion of the relationship between Tomás de la Plaza and the indigenous artists whom he commissioned. Penny Morrill skillfully traces how native painters, trained by the Franciscans, used images from Classical mythology found in Flemish and Italian prints and illustrated books from France—as well as animal images and glyphic traditions with pre-Columbian origins—to create murals that are reflective of Don Tomás’s erudition and his role in evangelizing among the Amerindians. She demonstrates how the importance given to rhetoric by both the Spaniards and the Nahuas became a bridge of communication between these two distinct and highly evolved cultures. This pioneering study of the Casa del Deán mural cycle adds an important new chapter to the study of colonial Latin American art, as it increases our understanding of the process by which imagery in the New World took on Christian meaning.
Caspar David Friedrich (1774–1840) is heralded as the greatest painter of the Romantic movement in Germany, and Europe’s first truly modern artist. His mysterious and melancholy landscapes, often peopled with lonely wanderers, are experiments in a radically subjective artistic perspective—one in which, as Freidrich wrote, the painter depicts not “what he sees before him, but what he sees within him.” This vulnerability of the individual when confronted with nature became one of the key tenets of the Romantic aesthetic.
Now available in a compact, accessible format, this beautifully illustrated book is the most comprehensive account ever published in English of one of the most fascinating and influential nineteenth-century painters.
“This is a model of interpretative art history, taking in a good deal of German Romantic philosophy, but founded always on the immediate experience of the picture. . . . It is rare to find a scholar so obviously in sympathy with his subject.”—Independent
Four thousand years later, the cat continues to charm us. Katharine M. Rogers traces our relationship with this curious creature in Cat, an entertaining look at one of the most popular pets in the world. From the domestic cat’s emergence in ancient Egypt to its enormous popularity in the contemporary United States, Rogers uncovers the feline’s cultural history in all its numerous forms: rat-catcher, witch’s familiar, and even the inscrutable creature that inspired Lewis Carroll and Edgar Allan Poe. As Rogers demonstrates, our fascination with cats lies in their uncanny ability to embody just about any character—from sweet to ferocious, affectionate to independent, eerie to elegant.
Cat will be relished by anyone who appreciates these lovable companions and their amazing ability to bring joy to our lives.
Dumbarton Oaks houses the largest collection of Byzantine lead seals in the world, with approximately 17,000 specimens. Volume 7 of the ongoing series of Dumbarton Oaks catalogues presents a distinct part of the collection: 572 anonymous seals bearing sacred images on both sides. The seals, almost all previously unpublished, are fully illustrated and accompanied by a detailed commentary that provides transcriptions of the identifying sigla. This volume represents the first attempt to analyze this group of seals chronologically and typologically.
The depictions of Christ, the Virgin, and a remarkably wide array of saints and narrative scenes offer rich and untapped material for scholars interested in Byzantine piety and culture. Discernible trends within this body of seals help to track the popularity of various saints and the changes in devotional images over time. The variety of these images, enhanced by reference to examples in other collections, will also enable scholars to compare the renderings of holy figures on lead seals to those appearing in other Byzantine religious images.
The vast collection of 17,000 Byzantine lead seals in the Harvard collections has long been recognized as an important source for the study of the Byzantine provinces. This volume, the first in a series of catalogues of geographical seals, covers the Empire’s western territories and its possessions North of Thessaly.
The sections begin with a short essay on the region’s location and history. Each seal is illustrated and is accompanied—where appropriate—by full commentary regarding the specimen’s date, biographical information on its owner, peculiarities of orthography, and special features of iconography. These small seals are a large contribution to historical geography, the evolution of the Byzantine provincial administration, prosopography, development in the Greek language, and decorative vogues.
The final volume in the series, this catalogue follows the general plan of volumes II–IV but differs from them in its use of the sylloge format for the catalogue proper. The collection of Palaeologan coins at Dumbarton Oaks is by far the largest that exists, and the field is one in which great advances have been made over the last half-century. This volume supersedes the previous accounts of Palaeologan coinage, and is definitive in its field.
Part I includes the introduction, appendices, and bibliography, while Part II continues with the catalogue, concordances, and indexes.
The fourth in a series of five catalogues, this volume’s sections have a more extensive treatment, featuring imperial costume and regalia, their importance in coin designs; the coordination, control, and methods of coin production; and an excursus on the main issues of the years around 1204. The introductions to each reign have also been expanded to take account of the historical and numismatic complexities of the period, and many more specimens from outside Dumbarton Oaks have been illustrated, offering a greater degree of coverage.
This volume is in two parts. Part I covers the reigns of Alexius I to Alexius V (1081–1204), and Part II covers the emperors of Nicea and their contemporaries (1204–1261).
The 12,000 coins in the Dumbarton Oaks Collection and the Whittemore Collection at the Fogg Art Museum form one of the greatest specialized collections of Byzantine coins in the world. The catalogue, edited by Alfred R. Bellinger and Philip Grierson, publishes the majority of these coins, dating between 491 and 1453, in five volumes.
The third volume in this catalogue is in two parts. Part I examines Leo III to Michael III (717–867) and Part II covers the period between Basil I and Nicephorus III (867–1081). Continuing the practice established in volume two, an extensive general introduction treats the historical background, the monetary system, mints and mint activity, and types and inscriptions, while the introduction to each reign covers chronology, main features of the coinage, and types issued by mint.
The 12,000 coins in the Dumbarton Oaks Collection and the Whittemore Collection at the Fogg Art Museum form one of the greatest specialized collections of Byzantine coins in the world. The catalogue, edited by Alfred R. Bellinger and Philip Grierson, publishes the majority of these coins, dating between 491 and 1453, in five volumes.
The second volume in this catalogue is in two parts. Part I examines Phocas and Heraclius (602–641) and Part II covers the period between Heraclius Constantine to Theodosius III (602–717). The extensive introduction treats the historical background, the monetary system, mints and mint activity, and types and inscriptions. Each reign also includes a longer introduction that covers chronology, main features of the coinage, and types issued by mint.
The 12,000 coins in the Dumbarton Oaks Collection and the Whittemore Collection at the Fogg Art Museum form one of the greatest specialized collections of Byzantine coins in the world. The catalogue, edited by Alfred R. Bellinger and Philip Grierson, publishes the majority of these coins, dating between 491 and 1453, in five volumes.
The first volume in the catalogue covers the coins of Anastasius I through Maurice, and includes a history of the collections.
This catalogue highlights the fifty-two sculptures in the Byzantine Collection at Dumbarton Oaks. The objects range from the third-century BC miniature portrait head of a Ptolemaic emperor to the sixteenth-century lindenwood “Queen of Heaven” by Tilmann Riemenschneider.
These sculptures are not representative of any one culture or period, but rather are characteristic of the Blisses’ wide-ranging tastes and extraordinary connoisseurship. About a quarter of the objects are Greco-Roman in date, and nearly two-thirds of the remainder are Late Antique, predominantly limestone carvings from Early Byzantine Egypt. Sculpture from the Middle Byzantine period is very rare, making the four pieces in this collection especially significant.
The process of diagnosis, for instance, belongs to a world of magic and metaphor; the physician must embrace it like a poem or painting, with particular alertness and keen receptivity. Speculation on ways to slow aging through genetics, meanwhile, draws directly on the dream of immortality that artists and poets have nourished through the ages. And the concept of catharsis itself has made its way from the writings of Aristotle to today's growing interest in the benefits of music to health, especially in newborns. As Szczeklik explores such subjects as the mysteries of the heart rhythm, the secret history of pain relief, the enigmatic logic of epidemics, near-death or out-of-body experiences, and many more, he skillfully weaves together classical literature, the history of medicine, and moving anecdotes from his own clinical experiences. The result is a life-affirming book that will enrich the healing work of patients and doctors alike and make an invaluable contribution to our still-expanding vision of the art of medicine.
Featuring a variety of disciplinary perspectives and analytical approaches, Celluloid Chains is the most comprehensive volume to date on films about slavery. This collection examines works from not only the United States but elsewhere in the Americas, and it attests to slavery’s continuing importance as a source of immense fascination for filmmakers and their audiences.
Each of the book’s fifteen original essays focuses on a particular film that directly treats the enslavement of Africans and their descendants in the New World. Beginning with an essay on the Cuban film El otro Francisco (1975), Sergio Giral’s reworking of a nineteenth-century abolitionist novel, the book proceeds to examine such works as the landmark miniseries Roots (1977), which sparked intense controversy over its authenticity; Werner Herzog’s Cobra Verde (1987), which raises questions about what constitutes a slavery film; Guy Deslauriers’s Passage du milieu (1999), a documentary-style reconstruction of what Africans experienced during the Middle Passage; and Steve McQueen’s Oscar-winning 12 Years a Slave (2013), which embodies the tensions between faithfully adapting a nineteenth-century slave narrative and bending it for modern purposes.
Films about slavery have shown a special power to portray the worst and best of humanity, and Celluloid Chains is an essential guide to this important genre.
The Celtic-speaking Britons who inhabited England, Wales, and part of Scotland in the five hundred years before the birth of Christ left no written history. However, archaeology has revealed some of their artistic achievements, and every year more objects are unearthed. Jewelry, weapons, armor, and the metal fittings of chariots and harnesses are magnificently decorated with fascinating and powerful abstract designs.
In this fully revised and updated edition of his highly praised study, Stead examines the Celtic craftsmen's techniques and describes a number of their surviving masterpieces, such as the Battersea shield and the Aylesford bucket.
In 1877 the thirty-year-old artist Mary Louise McLaughlin wrote China Painting, the first manual on the subject in the United States written by a woman for women. Extremely successful, it is now accepted as the book that launched the china painting movement in America.
When in 1898 McLaughlin decided to produce porcelain, the most difficult of ceramics, she showed the determination and exactitude that were her trademarks. Already renowned as a ceramicist, she became the first to produce studio porcelain in America and the first to discover the technique for decorating under the glaze. Her work was welcomed with enthusiasm in New York and Paris.
Despite the enormous influence of Mary Louise McLaughlin on the history of American ceramics, Anita Ellis’s The Ceramic Career of M. Louise McLaughlin is the first definitive study dedicated to her accomplishments.
Anita Ellis depicts the many challenges McLaughlin encountered in pursuit of her ultimately successful career. Not the least of these was her rivalry with the formidable Maria Longworth Nichols, fellow Cincinnatian and founder of the Rookwood Pottery Company. Another was that of being a woman in the arts: her primary goal had been to paint portraits on canvas, but Victorian society did not afford opportunities in what was considered a male sphere.
Replete with historic photos and color illustrations of many of McLaughlin’s works, The Ceramic Career of M. Louise McLaughlin is a tribute to a woman artist who rose to one of the most esteemed positions in her field.
Figurative ceramics is one of the most exciting and innovative areas of art today. Though ceramics has been unfashionable in the past, the last twenty-five years have seen a worldwide resurgence of interest in this art form among artists, galleries, and the public.
In this book, Michael Flynn looks back at the last twenty-five years and selects over one hundred of the most important artists working with ceramic figures. He also includes ceramicists from earlier in the century whose work has had an influence on the subject. The work ranges from porcelain to raku and from the small to the monumental.
Ceramic Figures is arranged alphabetically by last name, giving a thumbnail sketch of the artist and showing a variety of the artist’s work. Major galleries and collections where the pieces appear are also included. The result is a spectacular international survey of this most captivating of subjects.
This study established Fry as a critical "father," the first of his line to explicate the ideas of "vision and design" in an attempt to understand modern art. His critical analysis has in many respects never been surpassed. Fry endeavored both to show the essential development of the painter's style and to approach individual works directly; he wrote that he would detect "the profound difference between Cézanne's message and what we have made of it." The result is a book, couched in Fry's most lucid, penetrating language, which is of great technical value to the painter and student and which offers the layman an illuminating demonstration of the remarkable force of Cézanne's art.
Like many of his childhood friends, Cézanne detested the homogenizing effects of modernism and bourgeois capitalism on the culture, people, and landscapes of his beloved Provence. Turning away from the mainstream modernist aesthetic of his impressionist years, Cézanne sought instead to develop a new artistic tradition more evocative of his Provençal heritage. Athanassoglou-Kallmyer shows that Provence served as a distinct and defining cultural force that shaped all aspects of Cézanne's approach to representation, including subject matter, style, and technical treatment. For instance, his self-portraits and portraits of family members reflect a specifically Provençal sense of identity. And Cézanne's Provençal landscapes express an increasingly traditionalist style firmly grounded in details of local history and even geology. These landscapes, together with images of bathers, cardplayers, and other figures, were key facets of Cézanne's imaginary reconstruction of Provence as primordial and idyllic—a modern French Arcadia.
Highly original and lavishly illustrated, Cézanne and Provence gives us an entirely new Cézanne: no longer the quintessential icon of generic, depersonalized modernism, but instead a self-consciously provincial innovator of mainstream styles deeply influenced by Provençal culture, places, and politics.
In Champion Trees of Arkansas, Linda Williams Palmer explores the state’s largest trees of their species, registered with the Arkansas Forestry Commission as “champions.” Through her beautiful colored-pencil drawings, each magnificent tree is interpreted through the lens of season, location, history, and human connection.
Readers will get to know the cherrybark oak, rendered in fall colors, an avatar for the passing of seasons. The sugar maple, with its bare limbs and weather-beaten trunk, stands sentry over the headstones in a confederate cemetery. The 350-year-old white oak was once dubbed the Council Oak by Native Americans, and the post oak, cared for by generations of the same family, has its own story to tell.
Palmer travelled from Delta swamps to Ozark and Ouachita mountain ridges over a seven-year period to see and document the champions and to talk with property owners and others willing to share the stories of how these trees are beloved and protected by the community, and often entwined with its history. Champion Trees of Arkansas is sure to inspire art and nature lovers everywhere.
Following the integration of television into the fabric of American life in the 1950s, experimental artists of the 1960s began to appropriate this novel medium toward new aesthetic and political ends. As Erica Levin details in The Channeled Image, groundbreaking artists like Carolee Schneemann, Bruce Conner, Stan VanDerBeek, and Aldo Tambellini developed a new formal language that foregrounded television’s mediation of a social order defined by the interests of the state, capital, and cultural elites. The resulting works introduced immersive projection environments, live screening events, videographic distortion, and televised happenings, among other forms. For Levin, “the channeled image” names a constellation of practices that mimic, simulate, or disrupt the appearance of televised images. This formal experimentation influenced new modes of installation, which took shape as multi-channel displays and mobile or split-screen projections, or in some cases, experimental work produced for broadcast. Above all, this book asks how artistic experimentation with televisual forms was shaped by events that challenged television broadcasters’ claims to authority, events that set the stage for struggles over how access to the airwaves would be negotiated in the future.
This lavishly illustrated, bilingual art book presents drawings by Ramón Casas in the Charles Deering McCormick Library of Special Collections at the Northwestern University Library and oil paintings by Casas from private collections and the Art Institute of Chicago.
Charles Deering and Ramón Casas follows the development and dramatic dissolution of a three-way friendship that connected the Spanish painter Ramón Casas (1866–1932); the Chicago industrialist Charles Deering (1852–1927), who was a collector and admirer of Casas’s work as well as a patron of Northwestern University; and the Spanish artist Miguel Utrillo (1862–1934), Casas’s lifelong friend and the father of the French painter Maurice Utrillo.
Casas introduced Deering to Sitges, a beach town near Barcelona, Spain, where the latter created a palatial estate with a museum to house his art collection. Miguel Utrillo served as director of the museum. The text explores the treasures housed at Maricel and what happened among the three men that led Casas to abandon Utrillo and Deering to depart Spain, taking his art collection with him.
At the dawn of the twentieth century, Henry Adams proclaimed that the machine was as central to our modem American culture as the Virgin was to medieval culture. We worshiped in our factories as our ancestors worshiped in cathedrals. In this century we also raised up bridges, grain elevators, and skyscrapers, and many were dazzled by these symbols of the Machine Age--from American presidents such as Calvin Coolidge to European artists such as Marcel Duchamp. Charles Sheeler (1886-1965) was one of the most noted American painters and photographers to embrace the iconography of the machine. But was he high priest or heretic in the religion of mass production and technology that dominated his era?
Karen Lucic considers this intriguing question while telling us Sheeler's story: his coming of age, his achievement of artistic independence in the teens and twenties, and his later treatments of Machine Age subjects throughout the years of the Depression and World War II. The author shows us how--in paintings, drawings, and photographs depicting New York skyscrapers, Henry Ford's automobile factories, and machine-dominated interiors--Sheeler produced images of extraordinary aesthetic power that provocatively confirmed America's technological and industrial prestige in clear, vivid, and exact detail.
Do these compelling works establish Sheeler as a champion of the Machine Age? Most of the artist's contemporaries thought so. "Sheeler was objective before the rest of us were," claimed his friend Edward Steichen, and critics either lauded or assailed Sheeler for his seemingly straightforward acceptance of the machine. He is misunderstood today for the same reason. In the post-industrial era, Sheeler has been attacked for objectifying his subjects, for eliminating the human element from the modern landscape, and ultimately for complicity in the mechanization of the world he so accurately portrayed.
By closely investigating Sheeler's social and aesthetic contexts and through exceptionally clear and convincing visual analysis, Karen Lucic reinterprets the work of this important modernist. She argues that his images do not celebrate the machine but question its predominance during his time. They provoke us to confront the social consequences of modern technology.
Sheeler appears in this book as neither believer nor heretic in the cult of the machine. Lucic asks us to grant Sheeler his ambivalence, for it was his ambivalence that enabled him to portray modernity so splendidly.
Chicago is a city dedicated to the modern—from the skyscrapers that punctuate its skyline to the spirited style that inflects many of its dwellings and institutions, from the New Bauhaus to Hull-House. Despite this, the city has long been overlooked as a locus for modernism in the arts, its rich tradition of architecture, design, and education disregarded. Still the modern in Chicago continues to thrive, as new generations of artists incorporate its legacy into fresh visions for the future. Chicago Makes Modern boldly remaps twentieth-century modernism from our new-century perspective by asking an imperative question: How did the modern mind—deeply reflective, yet simultaneously directed—help to dramatically alter our perspectives on the world and make it new?
Returning the city to its rightful position at the heart of a multidimensional movement that changed the face of the twentieth century, Chicago Makes Modern applies the missions of a brilliant group of innovators to our own time. From the radical social and artistic perspectives implemented by Jane Addams, John Dewey, and Buckminster Fuller to the avant-garde designs of László Moholy-Nagy and Mies van der Rohe, the prodigious offerings of Chicago's modern minds left an indelible legacy for future generations. Staging the city as a laboratory for some of our most heralded cultural experiments, Chicago Makes Modern reimagines the modern as a space of self-realization and social progress—where individual visions triggered profound change. Featuring contributions from an acclaimed roster of contemporary artists, critics, and scholars, this book demonstrates how and why the Windy City continues to drive the modern world.
As completed, Chester’s two-foot-high, fifty-five-foot-long drawing is a unique vision. In addition to dozens of accurately depicted buildings, Chester included pieces of Chicago’s past, including the Union Station Concourse Building that was demolished in 1969 and the immense SS Eastland, which sank in the river in 1915, killing hundreds of people. Recent architecture is featured as well, including Studio Gang’s St. Regis Chicago tower and the Bank of America Tower by Goettsch Partners.
An essay by acclaimed writer Thomas Dyja accompanies the accordion-fold presentation of Chester’s drawing, enhancing this remarkable volume that will delight any fan of Chicago, architecture, or art. Chicago Reflected opens up fresh vistas of the stunning, ever-evolving architectural landscape that can be found only in Chicago.
In this lavishly illustrated book, Katherine Solomonson tells the fascinating story of the competition, the diverse architectural designs it attracted, and its lasting impact. She shows how the Tribune used the competition to position itself as a civic institution whose new headquarters would serve as a defining public monument for Chicago. For architects, planners, and others, the competition sparked influential debates over the design and social functions of skyscrapers. It also played a crucial role in the development of advertising, consumer culture, and a new national identity in the turbulent years after World War I.
Winner, ISHS Annual Award for Other Publications, 2018
Most people do not realize it, but Chicago is home to many diverse, artistic, fascinating, and architecturally and historically important fountains. In this attractive volume, Greg Borzo reveals more than one hundred outdoor public fountains of Chicago with noteworthy, amusing, or surprising stories about these gems. Complementing Borzo’s engagingly written text are around one hundred beautiful fine-art color photos of the fountains, taken by photographer Julia Thiel for this book, and a smaller number of historical photos.
Greg Borzo begins by providing an overview of Chicago’s fountains and discussing the oldest ones, explaining who built them and why, how they survived as long as they have, and what they tell us about early Chicago. At the heart of the book are four thematic chapters on drinking fountains, iconic fountains, plaza fountains, and park and parkway fountains. Among the iconic fountains described are Buckingham (in Grant Park), Crown (in Millennium Park), Centennial (with its water cannon shooting over the Chicago River), and two fountains designed by famed sculptor Lorado Taft (Time and Great Lakes). Plazas all around Chicago—in the neighborhoods as well as downtown—have fountains that anchor communities or enhance the skyscrapers they adorn. Also presented are the fountains in Chicago’s parks, some designed by renowned artists and many often overlooked or taken for granted. A chapter on the self-proclaimed City of Fountains, Kansas City, Missouri, shows how Chicago’s city planners could raise public awareness and funding for the care and preservation of these important landmarks. Also covered are a brief period of fountain building and rehabbing (1997–2002) that vastly enriched the city; fountains that no longer exist; and proposed Chicago fountains that were never built, as well as the future of fountain design.
A beautiful photography book and a guide to the city’s many fountains, Chicago’s Fabulous Fountains also provides fascinating histories and behind-the-scenes stories of these underappreciated artistic and architectural treasures of the Windy City.
As the lead singer of the Grammy Award–winning rock band Quetzal and a scholar of Chicana/o and Latina/o studies, Martha Gonzalez is uniquely positioned to articulate the ways in which creative expression can serve the dual roles of political commentary and community building. Drawing on postcolonial, Chicana, black feminist, and performance theories, Chican@ Artivistas explores the visual, musical, and performance art produced in East Los Angeles since the inception of NAFTA and the subsequent anti-immigration rhetoric of the 1990s.
Showcasing the social impact made by key artist-activists on their communities and on the mainstream art world and music industry, Gonzalez charts the evolution of a now-canonical body of work that took its inspiration from the Zapatista movement, particularly its masked indigenous participants, and that responded to efforts to impose systems of labor exploitation and social subjugation. Incorporating Gonzalez’s memories of the Mexican nationalist music of her childhood and her band’s journey to Chiapas, the book captures the mobilizing music, poetry, dance, and art that emerged in pre-gentrification corners of downtown Los Angeles and that went on to inspire flourishing networks of bold, innovative artivistas.
Although the word “Chicano” once held negative connotations, students—along with civil rights activists and artists—adopted it in the late 1960s in order to reimagine and redefine what it meant to be Mexican American in the United States. Chicanismo is the ideology and spirit behind the Chicano Movement and Chicanismo unites the artists whose work is revealed and celebrated in this book.
Jackson’s scope is wide. He includes paintings, prints, murals, altars, sculptures, and photographs—and, of course, the artists who created them. Beginning with key influences, he describes the importance of poster and mural art, focusing on the work of the Mexican artist José Guadalupe Posada and the significance of Mexican and Cuban talleres (print workshops). He examines the importance of art collectives in the United States, as well as Chicano talleres and community art centers, for the growth of the Chicano art movement. In conclusion, he considers how Chicano art has been presented to the general American public.
As Jackson shows, the visual arts have both reflected and created Chicano culture in the United States. For college students—and for all readers who want to learn more about this fascinating subject—his book is an ideal introduction to an art movement with a social conscience.
Creating an invaluable archive, Laura E. Pérez examines the work of more than forty Chicana artists across a variety of media including painting, printmaking, sculpture, performance, photography, film and video, comics, sound recording, interactive CD-ROM, altars and other installation forms, and fiction, poetry, and plays. While key works from the 1960s and 1970s are discussed, most of the pieces considered were produced between 1985 and 2001. Providing a rich interpretive framework, Pérez describes how Chicana artists invoke a culturally hybrid spirituality to challenge racism, bigotry, patriarchy, and homophobia. They make use of, and often radically rework, pre-Columbian Mesoamerican and other non-Western notions of art and art-making, and they struggle to create liberating versions of familiar iconography such as the Virgin of Guadalupe and the Sacred Heart. Filled with representations of spirituality and allusions to non-Western visual and cultural traditions, the work of these Chicana artists is a vital contribution to a more inclusive canon of American arts.
Contributors. Carlos Almaraz, David Avalos, Judith F. Baca, Raye Bemis, Jo-Anne Berelowitz, Elizabeth Blair, Chaz Bojóroquez, Philip Brookman, Mel Casas, C. Ondine Chavoya, Karen Mary Davalos, Rupert García, Alicia Gaspar de Alba, Shifra Goldman, Jennifer A. González, Rita Gonzalez, Robb Hernández, Juan Felipe Herrera, Louis Hock, Nancy L. Kelker, Philip Kennicott, Josh Kun, Asta Kuusinen, Gilberto “Magu” Luján, Amelia Malagamba-Ansotegui, Amalia Mesa-Bains, Dylan Miner, Malaquias Montoya, Judithe Hernández de Neikrug, Chon Noriega, Joseph Palis, Laura Elisa Pérez, Peter Plagens, Catherine Ramírez, Matthew Reilly, James Rojas, Terezita Romo, Ralph Rugoff, Lezlie Salkowitz-Montoya, Marcos Sanchez-Tranquilino, Cylena Simonds, Elizabeth Sisco, John Tagg, Roberto Tejada, Rubén Trejo, Gabriela Valdivia, Tomás Ybarra-Frausto, Victor Zamudio-Taylor
In the early 1990s, a major exhibition Chicano Art: Resistance and Affirmation, 1965-1985 toured major museums around the United States. As a first attempt to define and represent Chicano/a art for a national audience, the exhibit attracted both praise and controversy, while raising fundamental questions about the nature of multiculturalism in the U.S.
This book presents the first interdisciplinary cultural study of the CARA exhibit. Alicia Gaspar de Alba looks at the exhibit as a cultural text in which the Chicano/a community affirmed itself not as a "subculture" within the U.S. but as an "alter-Native" culture in opposition to the exclusionary and homogenizing practices of mainstream institutions. She also shows how the exhibit reflected the cultural and sexual politics of the Chicano Movement and how it serves as a model of Chicano/a popular culture more generally.
Drawing insights from cultural studies, feminist theory, anthropology, and semiotics, this book constitutes a wide-ranging analysis of Chicano/a art, popular culture, and mainstream cultural politics. It will appeal to a diverse audience in all of these fields.
Buick considers the institutions and people that supported Lewis’s career—including Oberlin College, abolitionists in Boston, and American expatriates in Italy—and she explores how their agendas affected the way they perceived and described the artist. Analyzing four of Lewis’s most popular sculptures, each created between 1866 and 1876, Buick discusses interpretations of Hiawatha in terms of the cultural impact of Henry Wadsworth Longfellow’s epic poem The Song of Hiawatha; Forever Free and Hagar in the Wilderness in light of art historians’ assumptions that artworks created by African American artists necessarily reflect African American themes; and The Death of Cleopatra in relation to broader problems of reading art as a reflection of identity.
Children of Mercury is a bold new account of the lives of premodern painters, viewed through the lens of “the seven ages of man,” a widespread belief made famous in the “All the world’s a stage” speech in Shakespeare’s As You Like It. Spike Bucklow follows artists’ lives from infancy through childhood, adolescence, and adulthood, to maturity, old age, and death. He tracks how lives unfolded for both male and female painters, from the famous, like Michelangelo, through Artemisia Gentileschi and Mary Beale, to those who are now forgotten, like Jehan Gillemer. The book draws on historic biographies, the artists’ writings, and, uniquely, the physical evidence offered by their paintings.
China’s long history is one of the richest and most complex in the known world, and the Cyrus Tang Hall of China offers visitors a wonderful, comprehensive survey of it through some 350 artifacts on display, spanning from the Paleolithic period to present day. Now, with China: Visions through the Ages, anyone can experience the marvels of this exhibition through the book’s beautifully designed and detailed pages. Readers will gain deeper insight into The Field Museum’s important East Asian collections, the exhibition development process, and research on key aspects of China’s fascinating history. This companion book, edited by the exhibition’s own curatorial team, takes readers even deeper into the wonders of the Cyrus Tang Hall of China and enables them to study more closely the objects and themes featured in the show. Mirroring the exhibition’s layout of five galleries, the volume is divided into five sections. The first section focuses on the Paleolithic and Neolithic periods; the second, the Bronze Age, the first dynasties, and early writing; the third, the imperial system and power; the fourth, religion and performance; and the fifth, interregional trade and the Silk Routes. Each section also includes highlights containing brief stories on objects or themes in the hall, such as the famous Lanting Xu rubbing.
With chapters from a diverse set of international authors providing greater context and historical background, China: Visions through the Ages is a richly illustrated volume that allows visitors, curious readers, and China scholars alike a chance to have an enduring exchange with the objects featured in the exhibition and with their multifaceted histories.
For many Westerners, the words "Chinese art" evoke visions of willow pattern landscapes on porcelain plates and teapots, Chinese wallpaper decorated with flowers, birds, and pagodas, and perhaps silk brocades. This beautiful book allows readers to see beyond such ornamental exports to the true nature of the art produced in China over millennia for a Chinese audience, whether the Emperor, the scholarly elite, the ordinary folk, or the furnishing of tombs and temples.
Drawing on the British Museum's extensive collection, Chinese Art in Detail explores the traditional hierarchy of materials and techniques reaching back as far as the Han Dynasty in the third century B.C.—with calligraphy and painting most revered, followed by jades and bronzes, decorative arts such as lacquer, porcelain, and silk, and, finally, sculpture for religious and funerary use. Images of complete artifacts set against magnified details give readers the rare opportunity to appreciate the delicacies of technique and material that characterize much of Chinese art—and distinguish one form, as well as one period, from another. Illuminated throughout by two scholars thoroughly and deeply versed in the history and character of the works under scrutiny, this sumptuously illustrated book conveys an understanding of Chinese art in all its great variety, its simplicities, its complexities, its splendors, and its mysteries of craft and inspiration reaching back to Neolithic times.
Chiang Yee’s Chinese Calligraphy: An Introduction to Its Aesthetic and Technique remains the classic introduction to Chinese calligraphy. In eleven richly illustrated chapters, Chiang explores the aesthetics and the technique of this art in which rhythm, line, and structure are perfectly embodied. He measures the slow change from pictograph to stroke to the style and shape of written characters by the great calligraphers.
In addition to aesthetic considerations, the text deals with more practical subjects such as the origin and construction of the Chinese characters, styles, technique, strokes, composition, training, and the relations between calligraphy and other forms of Chinese art.
Chinese Calligraphy is a superb appreciation of beauty in the movement of strokes and in the patterns of structure—and an inspiration to amateurs as well as professionals interested in the decorative arts.
Dense with winding paths, dominated by huge rock piles and buildings squeezed into small spaces, the characteristic Chinese garden is, for many foreigners, so unlike anything else as to be incomprehensible. Only on closer acquaintance does it offer up its mysteries; and such is the achievement of Maggie Keswick's celebrated classic that it affords us--adventurers, armchair travelers, and garden buffs alike--the intimate pleasures of the Chinese garden.
In these richly illustrated pages, Chinese gardens unfold as cosmic diagrams, revealing a profound and ancient view of the world and of humanity's place in it. First sensuous impressions give way to more cerebral delights, and forms conjure unending, increasingly esoteric and mystical layers of meaning for the initiate. Keswick conducts us through the art and architecture, the principles and techniques of Chinese gardens, showing us their long history as the background for a civilization--the settings for China's great poets and painters, the scenes of ribald parties and peaceful contemplation, political intrigues and family festivals.
Updated and expanded in this third edition, with an introduction by Alison Hardie, many new illustrations, and an updated list of gardens in China accessible to visitors, Keswick's engaging work remains unparalleled as an introduction to the Chinese garden.
Silk is one of China’s major contributions to world civilization, the secrets of its cultivation closely guarded for generations. The famous network of trade routes between West and East is still known as the Silk Road. The organization and techniques of Chinese silk production, the uses of the silk produced––both bolts and made-up pieces––and the types and styles of its ornament are celebrated in this richly illustrated and accessible book, the first general survey to be published in English.
Shelagh Vainker traces the cultural history of silk in China from its Neolithic origins to the twentieth century and considers its relationship to the other decorative arts. She traces the role of silk in Chinese history, trade, religion, and literature. Drawing on the most recent archaeological evidence from other, less perishable media such as jades and bronzes as well as paintings, poems, and other texts, Chinese Silk brings together material available until now only in Chinese, supplemented with recent acquisitions by public and private collections in the United States and Europe. The result is a book that illuminates the luxury of silk throughout the ages.
How did modern Chinese painters see landscape? Did they depict nature in the same way as premodern Chinese painters? What does the artistic perception of modern Chinese painters reveal about the relationship between artists and the nation-state? Could an understanding of modern Chinese landscape painting tell us something previously unknown about art, political change, and the epistemological and sensory regime of twentieth-century China?
Yi Gu tackles these questions by focusing on the rise of open-air painting in modern China. Chinese artists almost never painted outdoors until the late 1910s, when the New Culture Movement prompted them to embrace direct observation, linear perspective, and a conception of vision based on Cartesian optics. The new landscape practice brought with it unprecedented emphasis on perception and redefined artistic expertise. Central to the pursuit of open-air painting from the late 1910s right through to the early 1960s was a reinvigorated and ever-growing urgency to see suitably as a Chinese and to see the Chinese homeland correctly. Examining this long-overlooked ocular turn, Gu not only provides an innovative perspective from which to reflect on complicated interactions of the global and local in China, but also calls for rethinking the nature of visual modernity there.
This book reveals the conflicting meanings of power held by the federal government and the Chiricahua Apaches throughout their history of interaction. When Geronimo and Naiche, son of Cochise, surrendered in 1886, their wartime exploits came to an end, but their real battle for survival was only beginning. Throughout their captivity in Florida, Alabama, and Oklahoma, Naiche kept alive Chiricahua spiritual power by embodying it in his beautiful hide paintings of the Girl’s Puberty Ceremony—a ritual at the very heart of tribal cultural life and spiritual strength.
Chris Marker is the first systematic examination of Marker's complete oeuvre. Here, Catherine Lupton traces the development and transformation of the artist's work from the late 1940s, when he began to work as a poet, novelist, and critic for the French journal Esprit, through the 1990s and the release of his most recent works, including Level Five and the CD-ROM Immemory. Lupton explicates Marker's work as a circular trajectory, with each project recycling and referring back to earlier works as well as to a host of adopted texts, always proceeding by oblique association and lateral digression. This trajectory, which Lupton outlines with great care and precision, is critical to understanding Marker's abiding obsession: the forms and operations of human memory. With this theme as her architecture, Lupton presents the most comprehensive and incisive analysis of Marker to date.
Incorporating historical events and cultural contexts that have informed each phase of Marker's career, Lupton gives readers access to an artist who stands outside of the mainstream and thus defies easy explanation. There is no better guide than Lupton's to this modern master's prolific and multidimensional career.
Palm mats and pilgrim tokens, manuscript illuminations and church frescoes, gold and enamel reliquaries and papier-mâché figurines, Russian icons and Mexican murals: What makes these works of art Christian? And what, as such, distinguishes them from other works? These are the questions at the center of this book, which is at once a sumptuously illustrated survey of Christian art over time and across the globe and a probing study of what "Christian art" really means, how it functions, where it arises, and whom it serves.
Rowena Loverance draws extensively on the vast international collections of the British Museum, with its remarkable examples of Christian art in the fourth-century Roman empire, the meeting of Eastern and Western art during the Crusades, Christian missionary art and its reception in sixteenth-century Africa, India, and Japan, and twentieth-century Christian popular art from Latin America and Oceania. The Museum's collections of decorative arts yield original and lesser-known Christian iconography, allowing the author to show how Christian and other artists have responded to a variety of visual traditions. Within the European convention, the book considers the assaults of post-Renaissance scientific and philosophical discoveries and concludes with an assessment of the current state of Christian art at the beginning of the twenty-first century.
Christiana Herringham (1852-1929), an expert copyist of the Italian Old Masters, was an extraordinary and accomplished woman. Her achievements required a delicate balance, for she had to negotiate old Victorian restrictions in order "to find and fortify a place for herself" in the male-dominated spheres of fine-art administration and public service.
Lady Herringham arrived on the Edwardian art scene with a translation of Il Libro dell' Arte o Trattato della Pittura, Cennini's fifteenth-century handbook on fresco and tempera. It aroused new interest in those techniques and led to the founding of the Society of Painters in Tempera in 1901. To preserve Britain's art heritage from buyers abroad, she provided the money that launched the National Art Collections Fund in 1903, creating what is still a vital and authoritative voice in Britain's cultural life. Her work as the only woman on the NACF's first executive committee prepared her to assist in founding the India Society, which urged respect for indigenous Indian traditions of the fine arts and encouraged appreciation for them in England.
Her concern for undervalued art led her to India to copy the Buddhist wall paintings in the Ajanta caves near Hyderabad. Her copies are the only color record of their condition during those years. Sadly, as she returned from India in 1911, Lady Herringham began to suffer from delusions of pursuit and persecution and withdrew to an asylum, where she remained until her death. There were then no satisfactory explanations for her symptoms, only the Victorian medical premise that insanity was an extension of physical illness.
A distinguished Edwardian scholar, Mary Lago has used her knowledge of the cultural history of the period to bring significant insight into the personal and professional conflicts Lady Herringham faced during a time of limited opportunities for women. Lago also discusses the issue of nationalism in art and the role of colonial imperialism in defining and preserving art. As a postscript, she presents the fascinating possibility that Christiana Herringham's experience may have inspired the character of Mrs. Moore in E. M. Forster's A Passage to India.
Chromatic Algorithms reveals the fascinating history behind digital color, tracing it from the work of a few brilliant computer scientists and experimentally minded artists in the late 1960s and early ‘70s through to its appearance in commercial software in the early 1990s. Mixing philosophy of technology, aesthetics, and media analysis, Carolyn Kane shows how revolutionary the earliest computer-generated colors were—built with the massive postwar number-crunching machines, these first examples of “computer art” were so fantastic that artists and computer scientists regarded them as psychedelic, even revolutionary, harbingers of a better future for humans and machines. But, Kane shows, the explosive growth of personal computing and its accompanying need for off-the-shelf software led to standardization and the gradual closing of the experimental field in which computer artists had thrived.
Even so, the gap between the bright, bold presence of color onscreen and the increasing abstraction of its underlying code continues to lure artists and designers from a wide range of fields, and Kane draws on their work to pose fascinating questions about the relationships among art, code, science, and media in the twenty-first century.
Chromophobia has been a cultural phenomenon since ancient Greek times; this book is concerned with forms of resistance to it. Writers have tended to look no further than the end of the nineteenth century. David Batchelor seeks to go beyond the limits of earlier studies, analyzing the motivations behind chromophobia and considering the work of writers and artists who have been prepared to look at color as a positive value. Exploring a wide range of imagery including Melville's "great white whale", Huxley's reflections on mescaline, and Le Corbusier's "journey to the East", Batchelor also discusses the use of color in Pop, Minimal, and more recent art.
Featuring interviews with filmmaker Ken Burns, Oscar-nominated editor Jay Cassidy, producer John Sloss, and more, this masterpiece provides insights into how a Midwestern college town developed a robust underground art film community that inspired those across the country. Variety’s Owen Glieberman says, “Frank Uhle has captured the moment when cinema became, for a new generation, a kind of religion, with its own rituals and sacred texts and a spirit of exploratory mystery that has all but vanished from the culture.”
This is a must-have book for cinema and media aficionados, film archivists, and anyone interested in the cultural history of Ann Arbor.
This book was published in collaboration with Fifth Avenue Press at Ann Arbor District Library. Learn more about their publishing program here. You can also see their collection, including vintage flyers, photos, film schedules, here.
In Cinema Approaching Reality, Victor Fan brings together, for the first time, Chinese and Euro-American film theories and theorists to engage in critical debates about film in Shanghai and Hong Kong from the 1920s through 1940s. His point of departure is a term popularly employed by Chinese film critics during this period, bizhen, often translated as “lifelike” but best understood as “approaching reality.” What these Chinese theorists mean, in Fan’s reading, is that the cinematographic image is not a form of total reality, but it can allow spectators to apprehend an effect as though they had been there at the time when an event actually happened.
Fan suggests that the phrase “approaching reality” can help to renegotiate an aporia (blind spot) that influential French film critic André Bazin wrestled with: the cinematographic image is a trace of reality, yet reality is absent in the cinematographic image, and the cinema makes present this absence as it reactivates the passage of time. Fan enriches Bazinian cinematic ontology with discussions on cinematic reality in Republican China and colonial Hong Kong, putting Western theorists—from Bazin and Kracauer to Baudrillard, Agamben, and Deleuze—into dialogue with their Chinese counterparts. The result is an eye-opening exploration of the potentialities in approaching cinema anew, especially in the photographic materiality following its digital turn.
A PDF version of this book is available for free in open access via the OAPEN Library platform, www.oapen.org It has been made available under a Creative Commons Attribution 4.0 International Public License and is part of Knowledge Unlatched.
Can't spare the time from work or class? Travel expense too great? What? You can't even find such a collaborative event?
Then imagine curling up with a good book, maybe a shot of espresso in hand, and becoming engrossed in the exciting and informative conversation that Elena Oumano has ingeniously crafted from her personal and individual interviews with these artists. Straying far from the usual choppy question-and-answer format, Cinema Today saves you from plowing through another tedious read, in which the same topics and issues are directed to each subject, over and over-an experience that is like being trapped in a revolving door.
Oumano stops that revolving door by following a lively symposium-in-print format, with the filmmakers' words and thoughts grouped together under various key cinema topics. It is as though these experts are speaking to each other and you are their audience--collectively they reflect on and explore issues and concerns of modern filmmaking, from the practical to the aesthetic, including the process, cinematic rhythm and structure, and the many aspects of the media: business, the viewer, and cinema's place in society. Whether you are a movie lover, a serious student of cinema, or simply interested in how we communicate in today's global village through films that so profoundly affect the world, Cinema Today is for you.
Péter Forgács, based in Budapest, is best known for his award-winning films built on home movies from the 1930s to the 1960s that document ordinary lives soon to intersect with offscreen historical events. Cinema’s Alchemist offers a sustained exploration of the imagination and skill with which Forgács reshapes such film footage, originally intended for private and personal viewing, into extraordinary films dedicated to remembering the past in ways that matter for our future.
Contributors: Whitney Davis, U of California, Berkeley; László F. Földényi, U of Theatre, Film and Television, Budapest; Marsha Kinder, U of Southern California; Tamás Korányi; Scott MacDonald, Hamilton College; Tyrus Miller, U of California, Santa Cruz; Roger Odin, U of Paris III Sorbonne–Nouvelle; Catherine Portuges, U of Massachusetts Amherst; Michael S. Roth, Wesleyan U; Kaja Silverman, U of Pennsylvania; Ernst van Alphen, Leiden U, the Netherlands; Malin Wahlberg, Stockholm U.
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