Authoritative and substantive-yet accessible-Art Past, Art Present, 6th edition looks at the historical and cultural contexts of art works and architecture around the world from prehistoric times to the 20th century. The authors recognized the need for an easy-to-use format that is accessible for both teachers and students. Each topic in Art Past, Art Present is organized into two- and four-page units and provides a clear and concise treatment of a select number of artworks, making it easier for instructors to focus on what is important and for students to learn.
Originally published in 1940, this book charts the origins and evolution of academies of art from the sixteenth century to the first half of the twentieth century. Pevsner expertly explains the political, religious and mercantile forces affecting the education of artists in various countries in Western Europe, and the growing 'academisation' of artistic training that he saw is his own day. This book will be of value to anyone with an interest in the various historical schools of art instruction and the history of art more generally.
The term 'temporality' often refers to the traditional mode of the way time is: a linear procession of past, present and future. As philosophers will note, this is not always the case. Christine Ross builds on current philosophical and theoretical examinations of time and applies them to the field of contemporary art: films, video installations, sculpture and performance works. Ross first provides an interdisciplinary overview of contemporary studies on time, focusing on findings in philosophy, psychology, sociology, communications, history, postcolonial studies, and ecology. She then illustrates how contemporary artistic practices play around with what we consider linear time. Engaging the work of artists such as Guido van der Werve, Melik Ohanian, Harun Farocki, and Stan Douglas, allows investigation though the art, as opposed to having art taking an ancillary role. The Past is the Present; It's the Future Too forces the reader to understand the complexities of the significance of temporal development in new artistic practices.
"Featuring 70 works in various media--paintings, calligraphy, photographs, woodblock prints, video, and sculpture--that were created during the past three decades, Ink Art: Past as Present in Contemporary China will demonstrate how China's ancient pattern of seeking cultural renewal through the reinterpretation of past models remains a viable creative path. Although all of the artists have transformed their sources through new modes of expression, visitors will recognize thematic, aesthetic, or technical attributes in their creations that have meaningful links to China's artistic past. The exhibition will be organized thematically into four parts and will include such highlights as Xu Bing's dramatic Book from the Sky (ca. 1988), an installation that will fill an entire gallery; Family Tree (2000), a set of vivid photographs documenting a performance by Zhang Huan in which his facial features--and his identity--are obscured gradually by physiognomic texts that are inscribed directly onto his face; and Map of China (2006) by Ai Weiwei, which is constructed entirely of wood salvaged from demolished Qing dynasty temples." --
Is art just a nice-to-have? Or is it deeper, far more integral...even necessary? Is there something from Beethoven to help us with that career setback? Is there something from Shakespeare to help us with our relationships? Is there something from Rembrandt to show us who we really are? It is these, amongt other questions that this book probes; through painting, music, literature, architecture, sculpture, photography and filmsspanning cultures - from Europe and Africa to India and Australia, and artistic periods - from the ancient to the modern. Leveraging his considerable experience as a research professional, Ivan Fernandez combines riveting insights from diverse artists of the past and the present, a dazzling variety of astonishing facts and powerful questions for us to reflect on. In language that is simple, elegant and imbued with passion, Ivan utters an urgent, sincere plea; urging us to draw actionable life lessons from art that can help us rise above ourselves. To make a masterpiece of our own lives. And as a guide on this epic voyage, he takes us on a fascinating journey inward; ploughing not merely the depths of artistic insight, but of the inscrutable human spirit itself! Fernandez talks about bliss - a term Ive often used. It was through writing about my practice, together with making my work, that I found my bliss. I wish Id had Fernandezs book back in those times when overwhelming doubt inhibited my practice. He brings enlightenment to thinking about art and why artists do what they do. This can help give an artist conviction, and therefore confidence, and a lay person a heightened appreciation of art. This most enjoyable read will bring great insight to artists and lay people alike. A truly inspiring read! - Archibald Prize-winning artist and art teacher, Cherry Hood Ivan Fernandezs cross-disciplinary approach - infusing insights from philosophy, literature, music and art - make this book a great read! - Sculptor, Vince Vozzo; member of the decade club (exhibited at Sculpture by the Sea ten times or more)
This book presents a fresh perspective on rock art by considering how ancient images function in the present. It focuses on how ancient heritage is recognized and reified in the modern world, and how rock art stimulates contemporary processes of cultural identity-making.
John Everett Millais (1829-1896) is undoubtedly among the most important of Victorian artists. In his day, and our own, he remains also the most controversial. While, during his lifetime, controversy centred around his early Pre-Raphaelite paintings, in particular Christ in the house of his Parents (1850), during the twentieth century the most intense criticism has been directed towards Millais's later works, such as Bubbles (1886), which has been widely condemned as sentimental 'kitsch'. These later paintings have been held up as the epitome of the degradation of art, against which avant-garde and Modernist pioneers struggled. None of the existing literature on Millais addresses the fundamental problem that this double-identity reveals. While there is extensive material on the Pre-Raphaelite movement in general, Millais's own work after the 1850s is rarely discussed in detail, despite the fact that he lived and worked for another 30 years after his abandonment of the Pre-Raphaelite style. Time Present and Time Past: The Art of John Everett Millais presents the first comprehensive account of Millais's artistic career from beginning to end. The book considers the question of 'high' and 'low' cultural status in debates during Millais's own day, and in subsequent critical thinking, situating Millais's art as a whole within this cultural framework.
