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Derek Jarmans Garden is the last book Jarman ever wrote. It is a fitting memorial to a brilliant and greatly loved artist and film maker who, against all odds, made a breathtaking garden in the most inhospitable of places the flat, bleak, often desolate expanse of shingle overlooked by the Dungeness nuclear power station. Here is Jarmans own record of how the garden evolved, from its earliest beginnings in 1986 to the last year of his life. More than 150 photographs by his friend Howard Sooley capture the garden at all its different stages and at every season of the year, revealing its complex geometrical plan, magical stone circles and the beautiful and bizarre scupltures. We also catch glimpses of Jarman at work on the garden. This beautiful book will appeal to all those who love gardens and gardening, as well as the legions of admirers of this extraordinary man.
This book is about avant-garde art in Shanghai in the 1980s which challenges the narrative in the current discourse on the appearance of contemporary art in China. Offering fresh perspectives and new insights into the art and the artists of this period, the book includes critical events in Shanghai, that will attract the serious attention of art professionals and collectors. The emergence of the Shanghai art scene in the 1980s mirrors the revitalisation of Shanghai that was tasked to lead China’s economic development trajectory onto the world stage. Shanghai, with its semi-colonial, political, economic and cultural history, including the strong legacy of the early twentieth century modernist art movement, has played a vital role in China’s modernisation and presents itself as a unique case in the evolution of contemporary art in China.
Joan Murray discusses social and political events in combination with the movements, ideas, attitudes, styles, and important groups in Canadian art of this century.
February issue includes Appendix entitled Directory of United States Government periodicals and subscription publications; September issue includes List of depository libraries; June and December issues include semiannual index
Finalist: Raymond Klibansky Book Prize Humanities and Social Sciences Federation of Canada (2008) Making a connection between photography and memory is almost automatic. Should it be? In Scissors, Paper, Stone Martha Langford explores the nature of memory and art. She challenges the conventional emphasis on the camera as a tool of perception by arguing that photographic works are products of the mind - picturing memory is, first and foremost, the expression of a mental process. Langford organizes the book around the conceit of the child's game scissors, paper, stone, using it to ground her discussion of the tensions between remembering and forgetting, the intersection of memory and imagination, and the relationship between memory and history. Scissors, Paper, Stone explores the great variety of photographic art produced by Canadian artists as expressions of memory. Their work, including images by Carl Beam, Carole Condé and Karl Beveridge, Donigan Cumming, Stan Denniston, Robert Houle, Robert Minden, Michael Snow, Diana Thorneycroft, Jeff Wall, and Jin-me Yoon, is presented as part of a rich interdisciplinary study of contemporary photography and how it has shaped modern memory.
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Can practice-led research in the arts develop legal frameworks for understanding the future of digital technologies and their relationship to airspace? Topologies of Air and Lesions in the Landscape are two major bodies of work by Shona Illingworth. Informed by the artist’s long-term investigations into individual and societal amnesia, these projects critically examine the devastating psychological and environmental impacts of military, industrial, and corporate transformations of airspace and outer space. Employing interdisciplinary research and collaborative processes, Illingworth’s practice uses creative methodologies to visualize and interrogate this proliferating exploitation of air...
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