This volume encompasses the different facets of Jim Warren's work, from sensual representations of love and nature to celebrations of mother earth. It includes a selection of images used as album artwork to more contemporary commercial posters and cards.
Matthew Kressel's "Now We Paint Worlds" is a space operatic Tor.com Original short story. Orna, a representative of a universe-wide trade union, undergoes a drastic change in perspective while investigating the disappearance of three planets and their inhabitants on a newly terraformed world. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
"America's nerviest journalist" (Newsweek) trains his satirical eye on Modern Art in this "masterpiece" (The Washington Post) Wolfe's style has never been more dazzling, his wit never more keen. He addresses the scope of Modern Art, from its founding days as Abstract Expressionism through its transformations to Pop, Op, Minimal, and Conceptual. The Painted Word is Tom Wolfe "at his most clever, amusing, and irreverent" (San Francisco Chronicle).
A comprehensive, visual reference, enhanced by two thousand photographs and illustrations, provides information on all major fields of knowledge and includes timelines, sidebars, cross-reference, and other useful features.
In 1948 Andrew Wyeth produced what would become one of the most iconic paintings in American art: a desolate landscape featuring a woman lying in a field, that he called "Christina's World." The woman in the painting, Christina Olson, lived in Cushing, Maine, where Wyeth and his wife kept a summer house. She suffered from polio, and was paralyzed from the waist down; Wyeth was moved to portray her when he saw her one day crawling through the field towards her house. "Christina's World" was to become one of the most well-loved and most scorned works of the twentieth century, igniting heated arguments about parochialism, sentimentality, kitsch and elitism that have continued to dog the art world and Wyeth's own reputation, even after the artist's death in 2009. An essay by MoMA curator Laura Hoptman revisits the genesis of the painting, discussing Wyeth's curious focus, over the course of his career, on a deliberately delimited range of subjects and exploring the mystery that continues to surround the enigmatic painting.
Indigo is a boy with a dream. He spends his mornings in a refrigerator box, his afternoons shoveling snow, and his nights in the basement of a homeless shelter. But during every free moment, he draws and dreams of becoming a famous artist. His best friend Jade looks after him, but she is arrested for shoplifting and he's left all alone. With his box of pencils under his arm, he sets out on a quest to search for Jade and discovers a whole new world... full of the art he loves. His journey brings him friendship, family, and the courage to hold onto his dreams.
Familiar narratives about the nature of English modernism, &"tradition,&" and &"periodization,&" together with the &"literary&" character of English art from the mid-nineteenth to the early twentieth centuries, are abandoned in this innovative and important book. In their stead, David Peters Corbett proposes a new way of looking at this painting from the Pre-Raphaelites to the Vorticists. Arguing that art history has been too reluctant to confront the fundamental question of how and what the consistency and application of paint signifies, Corbett investigates the work of English artists&—among them Rossetti, Burne-Jones, Leighton, Watts, Whistler, Sickert, and the modernists of 1914 &—through a historical examination of the meanings of the visual in English culture. By revealing that for many artists and thinkers the visual promised to deliver a more profound understanding of the world than language, the book offers a new reading of the art of the period between 1848 and the First World War.
The idea of nature as a cultural construction has been discussed extensively in postmodern theory. Less attention, however, has been paid to the underlying motivations shaping the ideologies of nature, in particular the desire to submit to some larger order outside of oneself. Aspiring to the Landscape examines this persistent desire and how it is made manifest in contemporary landscape art. Four installations of large-scale paintings by Canadian artists Eleanor Bond, Susan Feindel, Stephen Hutchings, and Wanda Koop are the focus of Petra Halkes's study. The works vary widely in style and iconography but are drawn together by the way they invite a reflection on the troubled relationship between culture and nature and our contradictory and simultaneous longing to conquer and to succumb to nature. It is the tension between modern and postmodern interpretations of the subject of nature that makes the theory and the artwork discussed in Aspiring to the Landscape so important to contemporary Canadian culture.