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Minoru Onoda
Minoru Onoda is best known as a member of Gutai, Japan's first postwar radical artistic movement, which challenged what it saw as the rigid, reactionary ideologies of the art of the time and initiated new ones that redefined the relationships among matter, time, and space. Concurrent to the inception of Gutai, Onoda became enchanted by concepts of repetition, producing paintings and drawings with amalgamations of gradually increasing dots and organically growing shapes. But less is known in the West about Onoda's early and late-career work. At long last, this first full book on Minoru Onoda introduces him as an artist in his own right. Apart from his role with Gutai, the book mines Onoda's sketchbooks and completed works to explore his creative process over time, from his artistic education in the 1960s at the Osaka Institute of Fine Arts and the Osaka School of Art to his later works following the 1972 disbanding of Gutai, which see the artist moving toward a monochrome and more conceptual style. Alongside critical essays by Edward M. Gómez, Astrid Handa-Gagnard, Shoichi Hirai, and Koichi Kawasaki, and Takesada Matsutani are 175 full-color illustrations.
Alexander Wolff, Painter Biographies, Version November 2012, Pocket Format Paperback, 10.795cm x 17.463cm, 92 pages, contains texts by and about Christian Egger, Christian Mayer, Emilie Renard, Gaby Gappmayr, Melanie Ohnemus, Yves Mettler, Chris Sharp, Annie O'Malley, Carina Plath, Nora Schultz, Birgit Megerle, Elisabeth Fritz, Ali Hyman, Federico Bianchi, Anne Mosseri-Marlio, Mathieu Carmona, Sandra Recio, Matt Chambers, Kathrin Meyer, Kerstin Cmelka, Natalia Hug, Mitzi Pederson, Laurie Reid, Alexander Wolff
U.S. Letter
Alexander Wolff, Painter Biographies, Version May 2016, U.S. Letter Format, Paperback, 21.59cm x 27.94cm, 120p., contains 59 photos of wall paintings and curtains, 2016
Gutai
Published in conjunction with the first United States museum retrospective ever devoted to Gutai, exhibited at the Solomon R. Guggenheim Museum in New York, Gutai: Splendid Playground surveys the influential collective and artistic movement. This exhibition catalogue aims to demonstrate the range of bold and innovative creativity present in the avant-garde movement, to examine the aesthetic strategies in the cultural, social, and political context of postwar Japan and the West, and to further establish Gutai in an expanded, transnational history and critical discourse of modern art. Organized thematically and chronologically to explore Gutai's unique approach to materials, process and perfor...
The Studio Reader
The image of a tortured genius working in near isolation has long dominated our conceptions of the artist’s studio. Examples abound: think Jackson Pollock dripping resin on a cicada carcass in his shed in the Hamptons. But times have changed; ever since Andy Warhol declared his art space a “factory,” artists have begun to envision themselves as the leaders of production teams, and their sense of what it means to be in the studio has altered just as dramatically as their practices. The Studio Reader pulls back the curtain from the art world to reveal the real activities behind artistic production. What does it mean to be in the studio? What is the space of the studio in the artist’s p...
The Mediterranean region under climate change
This book has been published by Allenvi (French National Alliance for Environmental Research) to coincide with the 22nd Conference of Parties to the United Nations Framework Convention on Climate Change (COP22) in Marrakesh. It is the outcome of work by academic researchers on both sides of the Mediterranean and provides a remarkable scientific review of the mechanisms of climate change and its impacts on the environment, the economy, health and Mediterranean societies. It will also be valuable in developing responses that draw on “scientific evidence” to address the issues of adaptation, resource conservation, solutions and risk prevention. Reflecting the full complexity of the Mediterranean environment, the book is a major scientific contribution to the climate issue, where various scientific considerations converge to break down the boundaries between disciplines.
Where They Create
Where they Create documents thirty studios where creativity takes place by showing the work of interior photographer Paul Barbera.
Death in Jewish Life
Jewish customs and traditions about death, burial and mourning are numerous, diverse and intriguing. They are considered by many to have a respectable pedigree that goes back to the earliest rabbinic period. In order to examine the accurate historical origins of many of them, an international conference was held at Tel Aviv University in 2010 and experts dealt with many aspects of the topic. This volume includes most of the papers given then, as well as a few added later. What emerges are a wealth of fresh material and perspectives, as well as the realization that the high Middle Ages saw a set of exceptional innovations, some of which later became central to traditional Judaism while others were gradually abandoned. Were these innovations influenced by Christian practice? Which prayers and poems reflect these innovations? What do the sources tell us about changing attitudes to death and life-after death? Are tombstones an important guide to historical developments? Answers to these questions are to be found in this unusual, illuminating and readable collection of essays that have been well documented, carefully edited and well indexed.
Togo Mizrahi and the Making of Egyptian Cinema
A free open access ebook is available upon publication. Learn more at www.luminosoa.org. In this book, Deborah A. Starr recuperates the work of Togo Mizrahi, a pioneer of Egyptian cinema. Mizrahi, an Egyptian Jew with Italian nationality, established himself as a prolific director of popular comedies and musicals in the 1930s and 1940s. As a studio owner and producer, Mizrahi promoted the idea that developing a local cinema industry was a project of national importance. Togo Mizrahi and the Making of Egyptian Cinema integrates film analysis with film history to tease out the cultural and political implications of Mizrahi’s work. His movies, Starr argues, subvert dominant notions of race, gender, and nationality through their playful—and queer—use of masquerade and mistaken identity. Taken together, Mizrahi’s films offer a hopeful vision of a pluralist Egypt. By reevaluating Mizrahi’s contributions to Egyptian culture, Starr challenges readers to reconsider the debates over who is Egyptian and what constitutes national cinema.
