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Barcelona and Modernity
Catalogus van een tentoonstelling van werk van Catalaanse kunstenaars.
The Shock of Recognition
In The Shock of Recognition, Lewis Pyenson examines art and science together to shed new light on common motifs in Picasso’s and Einstein’s education, in European material culture, and in the intellectual life of one nation-state, Argentina.
The Seeming and the Seen
Taking their cue from the polymorphous relationship between word and image, the essays of this book explore how different media translate the world of phenomena into aesthetic, intellectual or sensual experience. They embrace the media of poetry, fiction, drama, engraving, painting, photography, film and advertising posters ranging from the early modern to the postmodern periods. At the heart of the volume lie essays on works that characteristically perform intriguing interactions between the verbal and visual modes. They discuss the manifold ways in which artists as different as William Blake or Gertrude Stein, Diane Arbus or Stanley Kubrick heighten the tension between the linguistic and the seen. Taken both individually and collectively, this volume's contributions illuminate the problematics of how readers and spectators/lookers transform verbal and visual representation into worlds of seeming.
Making Time
Between March and October of 1968 Picasso produced 347 etchings in varying sizes and techniques. Uncharacteristically, he did very little drawing and almost no painting during that year. He abandoned sculpture altogether. Instead he turened his gaze almost entirely in the direction of the etchings. His concentration on them to the exclusion of other media marks Suite 347 as a particularly condensed site for the construction of meaning. One of the aims of this book is to establish how and under what conditions he contructed that meaning.
Pablo Picasso and Dora Maar
Although Pablo Picasso spotted Dora Maar at a cafe in January 1936 it is highly likely that she had come to his attention prior. As Brassaï, a Hungarian-French photographer, recalled, 'It was at Les Deux-Magots that, one day in autumn 1935, [he] met Dora. On an earlier day, he had already noticed the grave, drawn face of the young woman at a nearby table, the attentive look in her light-colored eyes, sometimes disturbing in its fixity. When Picasso saw her in the same cafe in the company of the surrealist poet Paul Éluard, who knew her, the poet introduced her to Picasso' (Brassaï, a.k.a. Gyula Halász, Conversations with Picasso [University of Chicago Press, 1999]). Tinged with a seducti...
Pablo Picasso
This book explores the interaction between collectors, dealers and exhibitions in Pablo Picassos entire career. The former two often played a determining role in which artworks were included in expositions as well as their availability and value in the art market. The term collector/dealer must often be used in combination since the distinction between both is often unclear; Heinz Berggruen, for instance, identified himself primarily as a collector, although he also sold quite a few Picassos through his Paris gallery. On the whole, however, dealers bought more often than collectors; and they bought works by artists they were already involved with. While some dealers were above all profession...
Rites, Rituals & Religions
Philosophers have contemplated the meaning of life, the who & the why, since nascent self-consciousness of the evolving hominid species. Yet practical efforts, i.e., control of life, have always transcended the philosophical: how to dominate what happens to the physical body itself, how to control the environment, and the interaction therefrom. Thus are born rites, rituals & religions. A rite can be a prescribed religious or other solemn ceremony or act it can be a social custom or practice, or even a mundane conventional act. A ritual can be the established form for a ceremony, the order of words used for example; a ritual observance can be either a system of ceremonial acts or actions, or ...
Staging and the Arts in Nineteenth-Century France
This book discusses the mechanisms and patterns of staging in nineteenth-century France. Often associated with theatre and performance, staging also applies to visual arts. It is thoroughly embedded in a more general cultural development comprising the dissemination of knowledge, political awareness and consumerism. The notion of staging applies to a process of appearing, revealing and disappearing that puts forward new ways for the individual to be seen and to make the self (and the other) visible. Staging determines and questions the process of appearing and disappearing by generating connections and interactions between multiple layers of reality (i.e., artistic, theatrical, literary, and visual) – but according to what criteria, through what mechanisms and with what materials? What are the repercussions of staging, and, even more important, what does staging not show? This book argues that the notion of staging goes beyond interdisciplinarity. Looking at the different ways staging was used and conceived introduces new approaches to understanding visual culture in nineteenth-century France.
War and the Cosmos in Picasso's Texts, 1936-1940
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The Utopian Globalists
THE UTOPIAN GLOBALISTS “Crossing continents, historical periods and cultural genres, Jonathan Harris skilfully traces the evolution of utopian ideals from early modernism to the spectacularised and biennialised (or banalised as some would say) contemporary art world of today.” Michael Asbury, University of the Arts, London The Utopian Globalists is the second in a trilogy of books by Jonathan Harris examining the contours, forces, materials and meanings of the global art world, along with its contexts of emergence since the early twentieth century. The first of the three studies, Globalization and Contemporary Art (Wiley-Blackwell, 2011), anatomized the global art system through an exten...
