Najnovšie - Dejiny, teória umenia strana 15 z 32

Through 140 drawings, thought experiments, recipes, activist instructions, gardening ideas, insurgences and personal revolutions, artists who spend their lives thinking outside the box guide you to a new worldview; where you and the planet are one. Everything here is new. We invite you to rip out pages, to hang them up at home, to draw and scribble, to cook, to meditate, to take the book to your nearest green space. Featuring Olafur Eliasson, Etel Adnan, Alexis Pauline Gumbs, Jane Fonda & Swoon, Judy Chicago, Black Quantum Futurism Collective, Vivienne Westwood, Cauleen Smith, Marina Abramovic, Karrabing Film Collective, and many more.

The first substantial book on the French Neo-Romantics, a cosmopolitan group working in 1920s Paris who turned against modernist abstraction in favour of a new form of figurative painting. In 1926, the Galerie Druet in Paris made waves presenting a group of young painters who had spurned modernist abstraction and returned to a form of figurative painting. For most of them this was the first time they had exhibited, but their impact was considerable. Art critic Waldemar George baptized them the 'Neo-Romantics' or the 'Neo-Humanists'. They were influenced by Picasso, in particular his Blue and Rose periods, but went beyond him to forge new ways of painting. These were artists who liked to play with forgotten references and obsolete visual devices such as trompe l'oeil. They produced work for secondary art forms including the theatre, set design and ballet. In some ways they were the first post-modernists in the history of art, yet until now there has only ever been one book about them, After Picasso, published ten years after their exhibition. Only more recently has their influence on contemporary artists and thinkers including Max Jacob, George Hugnet and Gertrude Stein been recognized. Though friends, these painters never formed a formal group or movement. The Second World War sent them on different paths, with the Berman brothers and Tchelitchev moving to the United States. Before their departure, however, their activities attracted the attention and admiration of a cosmopolitan group of characters, including Gertrude Stein, Alfred Barr, Lincoln Kirstein, George Balanchine and many others including leading fashion figures of the day, Christian Dior and Elsa Schiaparelli.

„Milý Tomáši, píšeš mi melancholicky, že Tvoje knížka o kýči není „politically correct“, že postmodernismus již dávno smazal rozdíl mezi kýčem a uměním, že kýč se stal tak všudypřítomný, že odhalovat ho vypadá jako projev elitismu. Ano, je tomu přesně tak. Mluvit o kýči se stalo neslušné ve chvíli, kdy svět se stal kýčem. Všimni si, že Kafka píše o byrokracii v době, kdy byrokracie je ještě téměř nevinná. Ve chvíli, kdy pohltila zcela naše životy, stala se samozřejmá, a proto neviditelná. Jaromír John napsal román Výbušný zlotvor, kde vypráví o hrůze automobilu; ale v té době jich bylo v Praze velice málo. Chci tím říci toto: fenomén je rozpoznatelný v celé své hrůze jen v době, kdy ještě není rozšířen. Až se rozšíří, stane s čímsi „přirozeným“ (co známe od zrození, s čím počítáme, čemu se nedivíme). Jsme dnes obklopeni kýčem jako nikdy předtím: všude, v televizi, v novinách, v soukromém životě, v politice. I válka je už prezentována (jen se podívej, jak se píše o Sarajevu!) jako kýč. A právě proto, i když Tvá knížka nebude pochopena, je jí zapotřebí víc než kdy jindy. Tvůj Milan" (Dopis Milana Kundery Tomáši Kulkovi z Paříže do Jeruzaléma) Kniha studuje jednak specifickou estetickou kategorii kýče, jednak obecnou problematiku hodnocení uměleckého díla.

Lévi-Strauss a hudba, Nattiezova studie z roku 2008, představuje jednak souhrnný pohled na problematiku hudby v Lévi-Straussove díle, ale zároveň se na tomto muzikologickém pozadí kriticky vyrovnává s lévi-straussovskou antropologií jako takovou. Nattiez ukazuje, že hudba má v Lévi-Straussove strukturalistickém projektu význam zcela klíčový, neboť právě ona mu poskytuje model pro strukturální analýzu mýtu, tak jak bude rozvíjen zvláště v jeho čtyřsvazkovém souboru Mythologica. Nattiez si ovšem ohledně tohoto hudebního modelu klade mnoho podstatných otázek: mezi ně patří zejména problém srovnávání hudby a jazyka, jisté nesnáze spojené s Lévi-Straussovou metodologií, ale i některé nesrovnalosti týkající se Lévi-Straussovy interpretace konkrétních hudebních děl (především Wagnera). Díky tomu se tato zároveň kritická i obdivná monografie může stát také pozoruhodným a netradičním uvedením do Lévi-Straussovy strukturální antropologie jako takové.

Az első hieroglifák a késői dinasztiákat megelőző időszakban rövid jeligeszerű szövegekben jelentek meg a kőtöredékeken és a cserépdarabokon, melyek különböző lelőhelyekről származnak és amelyeket időben valószínűleg az i. e. 3100-3000 korszakba lehet helyezni, miközben az utolsó keltezett példákra a templomi feliratokon akadhatunk rá Filé szigetén, melyeket 394-ben véstek, tehát három és fél évezreddel később. Ez az írásmód eredetileg a legkülönfélébb anyagokra írt különböző fajtájú szövegírásra szolgált, tehát hieratikus írásra, minek folytán a hieroglifák fokozatosan a vallási és monumentális kontextusokra kezdtek el korlátozódni, leggyakrabban kőbe vésett domborművek formájában.

A lavishly illustrated look at the sources behind the paintings of Francis Bacon. Francis Bacon famously found inspiration in photographs, film-stills and mass-media imagery. In this new, updated edition of In Camera, Martin Harrison reveals how these sources informed some of Bacon's most important paintings and triggered decisive turning points in the artist's stylistic development. Key influences, including the masters Velazquez, Poussin and Rodin, the photographer Eadweard Muybridge and the film director Sergei Eisenstein, are given close consideration. Bacon's work is examined in relation to the precedents set by other artists working in the tradition of making use of mechanical reproductions, including Pablo Picasso and Walter Sickert, and in the context of his contemporaries Lucian Freud, Mark Rothko, Graham Sutherland and Patrick Heron. With the aid of over 270 illustrations, including valuable source images and documents, In Camera is a bravura accomplishment of original research, addressing important questions about Bacon's painting practice and shedding fresh light on his life and work.

Through a carefully curated selection of quotations, images and interviews, Artists on Art reveals what matters most to the masters. You'll discover how the giants of the different artistic genres developed their distinctive visual styles, the core ideas that underpin their practice and, most importantly, what art means to you.

A celebration of the richness of figurative painting over the last 100 years and a passionate critique of the accepted history of art in the 20th century. Figurative painting is due a reappraisal. In this passionately argued volume the distinguished writer and artist Timothy Hyman cuts a new path through the tangle of twentieth-century art. The World New Made explores the work of more than fifty individual painters, presenting a collective 'Resistance' who together offer a human-centred alternative to the dominance of the Abstract or the Conceptual in conventional narratives of modern art. Structured not as a survey but as in-depth studies of more than 130 specific artworks, this lavishly illustrated book brings these often marginalized artists centre-stage: not just Alice Neel and Balthus, Max Beckmann and Frida Kahlo, but also Marsden Hartley and Charlotte Salomon, Bhupen Khakhar and Jacob Lawrence. A rich cast is brought to life, partly through their own writings. As the author argues, 'All across the world, isolated artists found new idioms for human-centred painting in the midst of modern life.'

From Edouard Manet's portrait of naturalist writer Emile Zola sitting among his Japanese art finds to Van Gogh's meticulous copies of the Hiroshige prints he devotedly collected, 19th-century pioneers of European modernism made no secret of their love of Japanese art. In all its sensuality, freedom, and effervescence, the woodblock print is single-handedly credited with the wave of japonaiserie that first enthralled France and, later, all of Europe-but often remains misunderstood as an "exotic" artifact that helped inspire Western creativity. The fact is that the Japanese woodblock print is a phenomenon of which there exists no Western equivalent. Some of the most disruptive ideas in modern art-including, as Karl Marx put it, that "all that is solid melts into air"-were invented in Japan in the 1700s and expressed like never before in the designs of such masters as Hokusai, Utamaro, and Hiroshige in the early 19th century. This volume, derived from the original XXL monograph, lifts the veil on a much-loved but little-understood art form by presenting the most exceptional Japanese woodblock prints in their historical context. Ranging from the 17th-century development of decadent ukiyo-e, or "pictures of the floating world," to the decline and later resurgence of prints in the early 20th century, the images collected in this edition make up an unmatched record not only of a unique genre in art history, but also of the shifting mores and cultural development of Japan. From mystical mountains to snowy passes, samurai swordsmen to sex workers in shop windows, each piece is explored as a work of art in its own right, revealing the stories and people behind the motifs. We discover the four pillars of the woodblock print-beauties, actors, landscapes, and bird-and-flower compositions-alongside depictions of sumo wrestlers, kabuki actors, or enticing courtesans-rock stars who populated the "floating world" and whose fan bases fueled the frenzied production of woodblock prints. We delve into the horrifying and the obscure in prints where demons, ghosts, man-eaters, and otherworldly creatures torment the living-stunning images that continue to influence Japanese manga, film, and video games to this day. We witness how, in their incredible breadth, from everyday scenes to erotica, the martial to the mythological, these works are united by the technical mastery and infallible eye of their creators and how, with tremendous ingenuity and tongue-in-cheek wit, publishers and artists alike fought to circumvent government censorship. As part of our 40th anniversary series, this edition compiles the finest extant impressions from museums and private collections across the globe in a lightweight, accessible format, offering extensive descriptions to guide us through this frantic period in Japanese art history.

This first full biography confirms Florine Stettheimer as one of the 20th century's most significant, progressive artists whose work remains highly relevant today. Stettheimer was a feminist, multi-media artist who painted several sexually explicit, political, identity-issue-based works and documented New York City's growth as the centre of cultural life, finance, and entertainment between the World Wars. During her first 40 years in Europe, Florine Stettheimer studied academic painting and was aware of all the earliest modernist styles prior to most American artists. Returning to New York, she and her sisters led an acclaimed Salon for major avant-garde cultural figures including Duchamp, the Stieglitz circle, poets, dancers, writers, etc. During her life she showed her innovative paintings in over 46 of the most important museum exhibits and Salons, wrote poetry, designed unique furniture and gained international fame for her sets and costumes for the avant-garde opera, 4 Saints in 3 Acts.

Art has always declared its dissatisfaction against the status quo. Throughout history artists have used their art to criticise and protest against a range of injustices and inequalities. Their art is an act of defiance, but more importantly it has given a voice to the marginalised. This short but powerful book showcases the work of a range of artists from the last eighty years who have challenged traditional boundaries, spoken up for the powerless and against those who seek to deny people their human rights. Exploring deeply political and critical art which uses irony, satire, subversion and provocation, it features responses to war, violence, oppression, gender and racial inequalities, the AIDS epidemic, LGBTQ+ rights, the Black Lives Matter movement and the climate crisis, in a variety of media. A Brief History of Protest Art reveals the important role of art in confronting political and social issues, and how it can help to change attitudes to create a better future.

Lying between deserts, mountain chains and seas, Iran developed a fascinating cultural landscape. 360 objects from the time of the first advanced civilisations during the 3rd millennium BC until the end of the Safavid Empire in the early 18th century illustrate the outstanding significance of Iran as the initiator and centre of intercultural exchange. Exquisite artworks from the Sarikhani Collection in London and the Staatliche Museen zu Berlin invite visitors to embark on a journey in time through the cultural heritage of Iran. The highlights include the great pre-Islamic empires of the Achaemenids and the Sassanids, the establishment of a Persian-Islamic culture, the masterly artistic achievements of the 9th to the 13th centuries and the Golden Age of the Safavids. They are brought together as in a multifaceted kaleidoscope in the copious illustrations and provide insight into the art of the courts and the urban elites.

A lavishly illustrated reference on a little-known chapter in art history - the art of the three Baltic States, covering a wide range of mediums, movements and styles. The Baltic States - Lithuania, Latvia and Estonia - retain strong cultural identities that have survived despite centuries of colonization by powerful neighbouring lands. By the late 19th and early 20th centuries, artists and writers were starting to reclaim and promote their own artistic heritage as radically distinct from that of the invading nations, with pioneers such as M. K. Ciurlionis and Vilhelms Purvitis demonstrating rare originality in their work. In the wake of the First World War, the three Baltic countries regained their autonomy, and the 1920s and 30s became a rich period of openness and international artistic exchange. Modernism in all its forms flourished, not only in painting but in sculpture, printmaking, photomontage and the decorative arts, ranging from the elegant abstraction of Arnold Akberg to the provocative figuration of Karlis Padegs and the experimental photography of Domicele Tarabildiene. Art of the Baltic States is organized into three main chapters, documenting the history of art in each country. Enriched with illustrations from important museum collections, Fauchereau covers key art movements as well as their complex historical background, from time under the Czars and the German crown to the invasion by the Soviet Union and beyond. With each country showcased in its own lavishly illustrated section, this is a wonderful guide to a vibrant field in European art history that is often overlooked but deserves rediscovery and a place on the global stage.

Vykřičená čtvrt Yoshiwara byla v období Edo považována za společenské centrum a místo kulturní revoluce. Umělci jako Utamaro, Hokusai a Kunisada otevřeli dveře rozkoše a nechali okolní svět nahlédnout za barevné zástěny čajoven. Tradiční kurtizány oiran a tayu předznamenaly zjevení v podobě gejš a jejich půvabné, zvukomalebné výrazovosti. Období Edo, z něhož dnešní umělecké Japonsko stále čerpá, zanechalo důležitou stopu v jeho kulturní paměti a jedinečný umělecký styl ukiyo ovlivnil umělce i mimo asijský kontinent, zejména v Evropě. Vznikly nádherné tisky ukiyo-e, i specifické literární žánry, zaměřené na fluktuující svět. Pomyslným vrcholem výtvarné a literární tvorby té doby byly šunga, erotické svitky, ručně malované minerálními pigmenty, někdy s přídavkem zlata nebo stříbra, nanesenými na papír nebo hedvábí. Disciplíny jako shibari a eroguro samy o sobě vnitřní hranice japonské kultury přesahují a současně vyjadřují její neopakovatelnost. Vlastní originální interpretací autorka zaznamenává proměny japonské tradice a ukazuje, jakým způsobem kultura přebírá významy a zasazuje je do nových kontextů. Různorodé umělecké směry spadají do předávaných imaginárních praktik, proměňují se v souvislosti se změnami života ve společnosti, promíchávají se s novými trendy a s novodobou problematikou. Okouzlení mladé generace tradičními kulturními modely je procesem kulturní re-identifikace a pomyslná niť, která se vzhledem k narůstajícím moralizujícím tlakům přetrhla, je dnes znovu navázána.

Hogarth was one of the great 18th-century painters, a marvellous colourist and innovator at all levels of artistic expression. Art historian David Bindman surveys the works of this artist whose wry humour and sharp wit were reflected in his prolific paintings and prints including The Rake's Progress and Marriage-A-la-Mode. Hogarth was also a master of pictorial satire, highlighting the moral and political hypocrisies of the day with delightful detail and comedy - themes that resonate deeply with our times. The artist was a keen observer of class and society; this new edition has been specially updated to include a discussion of Hogarth's many representations of Black people in 18th-century Britain, a subject that has long been overlooked. Now revised with additional material and illustrated in colour throughout, this is a vivid and incisive study of the man and his art.

Minimalist design has grown into a popular and timeless aesthetic due to its emphasis on uncluttered spaces and the exclusion of unnecessary elements, making it the perfect anecdote to the chaos of modern life. However, although it works across a variety of mediums--spanning visual identities and interiors--some may find its rigour and restraint too dull or lacking in character visually.As such, the maximalism movement has been gaining more and more momentum of late. Instead of extolling 'less is more' and paring everything down to a bare minimum, creatives are expressing themselves in bigger, bolder, and brighter ways that brim with personality. Whether it is by mixing clashing colours or matching disparate patterns and elements, 'More is More' is an ode to the fearless few who deftly break design rules and push the boundaries to make eye-catching statements.

From the hexing of presidents to a renewed interest in herbalism and atavistic forms of self-care, magic has furnished the contemporary imagination with mysterious and complex bodies of arcane thought and practice. This volume brings together writings by artists, magicians, historians, and theorists that illuminate the vibrant correspondences animating contemporary art's varied encounters with magical culture, inspiring a reconsideration of the relationship between the symbolic and the pragmatic. Dispensing with simple narratives of re-enchantment, Magic illustrates the intricate ways in which we have to some extent always been captivated by the allure of the numinous. It demonstrates how magical culture's tendencies toward secrecy, occlusion, and encryption might provide contemporary artists with strategies of remedial communality, a renewed faith in the invocational power of personal testimony, and a poetics of practice that could boldly question our political circumstances, from the crisis of climate collapse to the strictures of socially sanctioned techniques of medical and psychiatric care. Tracing its various emergences through the shadows of modernity, the circuitries of ritual media, and declarations of psychic self-defence, Magic deciphers the evolution of a 'magical-critical' thinking that productively complicates, contradicts and expands the boundaries of our increasingly weird present. Artists surveyed: Holly Pester, Katrina Palmer, Ithell Colquhoun, Anna Zett, Monica Sjoeo, Sofia Al-Maria, Jack Burnham, Jeremy Millar, Susan Hiller, Mike Kelley, Morehshin Allahyari, Center for Tactical Magic, David Steans, Porpentine, Travis Jeppesen, Linda Stupart, Caspar Heinemann, Elizabeth Mputu, Faith Wilding, David Hammons, Ana Mendieta, Henri Michaux, Kenneth Anger, Benedict Drew, Mark Leckey, Robert Morris, Jenna Sutela, Haroon Mirza, Zadie Xa, Saya Woolfalk, Ian Cheng, Tabita Rezaire, Thee Temple ov Psychick Youth, Elijah Burgher, Pierre Paulo Pasolini, Sahej Rahal Writers: Charles Fort, Victoria Nelson, Gary Lachman, Yvonne P. Chireau, Randall Styers, Isabelle Stengers, Alan Moore, Simon O' Sullivan, Lucy Lippard, Louis Chude Sokei, Patricia MacCormack, Mark Pilkington, AE, Annie Besant & C.W. Leadbeater, Michel Leiris, Aime Cesaire, Austin Osman Spare, Erik Davis, Mark Dery, Elaine Graham, Jeffrey Sconce, Giulia Smith, Esther Leslie, Alice Bucknell, Gary Zhexi Zhang, Hannah Gregory, Kristen Gallerneaux, Mahan Moalemi, Jamie Sutcliffe, Gregory Sholette, Aaron Gach, Eugene Thacker, Diane Di Prima, Allan Doyle, Aria Dean, Emily LaBarge, Lou Cornum, Joy KMT, Scott Wark, McKenzie Wark, Phil Hine, Jackie Wang, Sean Bonney

A sumptuous clothbound compendium of modern Mexican ephemera from postage stamps to tourist guides A Chicago Tribune 2021 holiday gift guide pick This volume gathers a surprising and engaging sampling of 350 pieces of printed matter: material that circulated between the 1910s and the 1960s, with print runs of anywhere from a thousand to tens of thousands of copies. These ephemeral, utilitarian publications--many created by well-known artists and designers--flooded streets, newspaper stands, bookshops and homes, with the common aim of disseminating an idealized image of what is considered typically Mexican. Drawn from private collections and the holdings of museums, with no claim to completeness, the material in Mexico: The Land of Charm ranges in size from stamps to posters, and includes material such as books, illustrated magazines, photography magazines, songbooks and musical scores, almanacs and calendars, tourist guides and maps. The result is impressive, in terms of both individual examples and the collection as a whole: these images are now a part of Mexican history. Artists and designers include: José Espert Arcos, Ernesto García Cabral, Jean Charlot, Francisco Díaz de León, Carlos Neve, Mariano Martínez, Carlos Mérida, Diego Rivera, Saturino Herrán, Emily Edwards and Zita Canessi.

Odhaľte nové významy známych majstrovských diel! Dlho stratené majstrovské dielo Leonarda da Vinci sa nájde skryté za stenou. V obraze je zašifrovaná tajná správa, ktorej rozumie len vybraný okruh ľudí. Vojvodkyňa na portréte má oblečené šaty, ktoré pod rúškom jej vlastného štýlu vyjadrujú podporu politickým krokom a moci manžela. Príbehy tohto a mnohých ďalších umeleckých diel nájdete v knihe Tajomstvá umenia. Pozýva vás na pútavú cestu za záhadami aj objavmi umeleckého sveta a vy zistíte, že umelecké diela nie sú vždy tým, čím sa na prvý pohľad zdajú. Tajomstvá umenia vychádzajú z komplexných zistení nových technológií, archívneho výskumu, vedeckých analýz a starej dobrej zvedavosti. Odhaľujú vrstvy významov pod povrchom známych majstrovských diel v príbehoch, ktoré vychádzajú len z faktov, ale zároveň sú také fascinujúce ako fikcia.