Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"In this study of surrealism and ghostliness, Katharine Conley provides a new, unifying theory of surrealist art and thought based on history and the paradigm of puns and anamorphosis. In Surrealist Ghostliness, Conley discusses surrealism as a movement haunted by the experience of World War I and the repressed ghost of spiritualism. From the perspective of surrealist automatism, this double haunting produced a unifying paradigm of textual and visual puns that both pervades surrealist thought and art and commemorates the surrealists' response to the Freudian unconscious. Extending the gothic imagination inherited from the eighteenth century, the surrealists inaugurated the psychological century with an exploration of ghostliness through doubles, puns, and anamorphosis, revealing through visual activation the underlying coexistence of realities as opposed as life and death.Surrealist Ghostliness explores examples of surrealist ghostliness in film, photography, painting, sculpture, and installation art from the 1920s through the 1990s by artists from Europe and North America from the center to the periphery of the surrealist movement. Works by Man Ray, Claude Cahun, Brassai; and Salvador Dali;, Lee Miller, Dorothea Tanning, Francesca Woodman, Pierre Alechinsky, and Susan Hiller illuminate the surrealist ghostliness that pervades the twentieth-century arts and compellingly unifies the century's most influential yet disparate avant-garde movement"--

ART / History / Contemporary (1945-). --- ART / Criticism & Theory. --- Surrealism --- Superrealism --- Surrealism in art --- Arts, Modern --- Themes, motives.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Seit den 1960er-Jahren haben Künstler*innen tradierte Vorstellungen einer Opposition von Kunst und Natur in Frage gestellt. Sie bezogen Tiere und Pflanzen als Ko-Akteure ein und etablierten somit eine skulpturale Ästhetik des Lebendigen, die eine Neudefinition der Gattung Skulptur erforderte. Die Studie untersucht erstmals sogenannte Non-Human Living Sculptures am Beispiel von Hans Haacke und Pierre Huyghe. Ausgehend von einer Re-Lektüre der Skulpturhistoriographie der Moderne bewertet die Autorin in einzelnen Werkanalysen bestehende Theorien neu und erweitert diese. Gezeigt wird, wie die von US-amerikanischer Systemtheorie, -biologie und Kybernetik bestimmten realzeitlichen Systeme Haackes und seine Abkehr von einer Objektästhetik zeitgenössische Positionen prägen, wie die situationsästhetischen Arbeiten von Huyghe. Erste umfassende wissenschaftliche Studie sogenannter Non-Human Living Sculptures Re-Lektüre der Skulpturhistoriographie des 20. Jahrhunderts Skulpturale Ästhetik des Lebendigen Since the 1960s, artists have questioned the traditional idea of opposition between art and nature. They have incorporated animals and plants as co-actors in their work, and so established a sculptural aesthetic of the living, which called for a redefinition of the sculptural genre. This study is the first to examine so-called Non-Human Living Sculptures using the examples of Hans Haacke and Pierre Huyghe. Following a re-reading of the historiography of modernist sculpture, the author re-evaluates and expands on existing theories in individual work analyses. She shows how Haacke's real-time systems, determined by US systems theory, biology and cybernetics, as well as his rejection of the object aesthetic have shaped contemporary positions such as Huyghe's situational-aesthetic works. First comprehensive academic study of socalled Non-Human Living Sculptures Re-reading of the historiography of 20th century sculpture Sculptural aesthetics of the living

ART / History / Contemporary (1945-). --- 20th century. --- 21st century. --- Hans Haacke. --- Non-Human Living Sculptures. --- Pierre Huyghe. --- art and ecology. --- art. --- contemporary art. --- sculpture. --- temporary art works.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"After World War II, the industrial bases of many cities have shrunk or moved elsewhere, turning large parts of once thriving cities into vacant lots and empty shells. Despite sobering statistics about the decline of the industrial Midwest, economists, urban planners, and sociologists are optimistic that the post-industrial city can reinvent itself. SynergiCity: The Architecture of the Post-Industrial City proposes a new vision of urbanism, architectural design, and urban revitalization in the United States in the twenty-first century, with a particular emphasis on the industrial Midwest. It offers an remedy for the decline of the post-industrial city drawing on successes in a number of major cities and on expertise from a variety of fields and methodologies. The authors contend that industrial cities like Peoria, Detroit, Saint Louis, must continually redefine themselves if they expect to attract a new creative class of residents and compete globally. One of the project's driving questions is, "What architectural form will this new innovation economy take in the rust-belt cities of the Midwest?" The contributors and editors of this book have developed design principles to promote the innovation necessary to transform cities like Peoria for the new economy, based on findings from similar case studies of similar cities and developments (including the American Tobacco District in Durham, NC; the Warehouse District of New Orleans, the Milwaukee River Greenway, and the Detroit Eastern Market Redevelopment District). The contributors are experts in architecture, planning, and real estate development. The book features images developed by the University of Illinois Graduate Architecture Studio, as well as relevant images from Peoria and other cities"-- "SynergiCity: Reinventing the Postindustrial City proposes a new and invigorating vision of urbanism, architectural design, and urban revitalization in twenty-first-century America. Culling transformative ideas from the realms of historic preservation, sustainability, ecological urbanism, and the innovation economy, Paul Hardin Kapp and Paul J. Armstrong present a holistic vision for restoring industrial cities suffering from population decline back into stimulating and productive places to live and work. With a particular emphasis on the Rust Belt of the American Midwest, SynergiCity argues that cities such as Detroit, St. Louis, and Peoria must redefine themselves to be globally competitive. This revitalization is possible through environmentally and economically sustainable restoration of industrial areas and warehouse districts for commercial, research, light industrial, and residential uses. The volume's expert researchers, urban planners, and architects draw on the redevelopment successes of other major cities--such as the American Tobacco District in Durham, North Carolina, and the Milwaukee River Greenway--to set guidelines and goals for reinventing and revitalizing the postindustrial landscape. Contributors are Paul J. Armstrong, Donald K. Carter, Lynne M. Dearborn, Norman W. Garrick, Mark Gillem, Robert Greenstreet, Craig Harlan Hullinger, Paul Hardin Kapp, Ray Lees, Emil Malizia, John O. Norquist, Christine Scott Thomson, and James Wasley"--

ARCHITECTURE / Adaptive Reuse & Renovation. --- ARCHITECTURE / Urban & Land Use Planning. --- ARCHITECTURE / History / Contemporary (1945-). --- Deindustrialization --- Cities and towns --- City planning --- Industrial capacity --- Industrialization --- Global cities --- Municipalities --- Towns --- Urban areas --- Urban systems --- Human settlements --- Sociology, Urban --- Social aspects

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"War Baby / Love Child examines hybrid Asian American identity through a collection of essays, artworks, and interviews at the intersection of critical mixed race studies and contemporary art"-- "War Baby / Love Child examines hybrid Asian American identity through a collection of essays, artworks, and interviews at the intersection of critical mixed race studies and contemporary art. The book pairs artwork and interviews with 19 emerging, mid-career, and established mixed race/mixed heritage Asian American artists, including Li-lan and Kip Fulbeck, with scholarly essays exploring such topics as Vietnamese Amerasians, Korean transracial adoptions, and multiethnic Hawai'i. As an increasingly ethnically ambiguous Asian American generation is coming of age in an era of "optional identity," this collection brings together first-person perspectives and a wider scholarly context to shed light on changing Asian American cultures.Laura Kina is associate professor of art, media, and design at DePaul University. Wei Ming Dariotis is associate professor of Asian American studies at San Francisco State University."War Baby / Love Child is an interesting, original, and innovative project that expands the field of Asian American studies by using visual art as a point of entry and analysis for the discipline." -Mark Johnson, editor of Asian American Art: A History, 1850-1970 "One of the strengths of this original volume is its holistic combination of interviews with premier fine artists along with the textual, historical, and scholarly context provided by established and emerging scholars in Asian American Studies." -Nitasha Sharma, author of Hip Hop Desis: South Americans, Blackness, and Global Race Consciousness"--

Asian American art --- Asian Americans --- Ethnic identity. --- Art, Asian American --- Ethnic art --- ART / History / Contemporary (1945-). --- SOCIAL SCIENCE / Ethnic Studies / Asian American Studies. --- ART / American / Asian American. --- Racially mixed people --- Race identity

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

A revealing look at the irrevocable change in art during the 1960s and its relationship to the modern culture of fact This refreshing and erudite book offers a new understanding of the transformation of photography and the visual arts around 1968. Author Joshua Shannon reveals an oddly stringent realism in the period, tracing artists' rejection of essential truths in favor of surface appearances. Dubbing this tendency factualism, Shannon illuminates not only the Cold War's preoccupation with data but also the rise of a pervasive culture of fact. Focusing on the United States and West Germany, where photodocumentary traditions intersected with 1960s politics, Shannon investigates a broad variety of art, ranging from conceptual photography and earthworks to photorealist painting and abstraction. He looks closely at art by Bernd and Hilla Becher, Robert Bechtle, Vija Celmins, Douglas Huebler, Gerhard Richter, and others. These artists explored fact's role as a modern paradigm for talking, thinking, and knowing. Their art, Shannon concludes, helps to explain both the ambivalent anti-humanism of today's avant-garde art and our own culture of fact.

Art, Modern --- Art, Modern. --- Cold War in art. --- Realism in art. --- ART / History / Contemporary (1945-). --- Modern art --- Nieuwe Ploeg (Group of artists) --- Realism (Art) --- Idealism in art --- Naturalism in art --- Romanticism in art --- History --- Themes, motives. --- Cold War (1945-1989) --- 1900-1999