by
Iskin, Ruth, editor.
Call Number
769.12 23
Publication Date
2019
Summary
"Why did collectors seek out posters and collect ephemera during the late-nineteenth and the twentieth centuries? How have such materials been integrated into institutional collections today? What inspired collectors to build significant holdings of works from cultures other than their own? And what are the issues facing curators and collectors of digital ephemera today? These are among the questions tackled in this volume-the first to examine the practices of collecting prints, posters, and ephemera during the modern and contemporary periods. A wide range of case studies feature collections of printed materials from the United States, Latin America, France, Germany, Great Britain, China, Japan, Russia, Iran, and Cuba. Fourteen essays and one roundtable discussion, all specially commissioned from art historians, curators, and collectors for this volume, explore key issues such as the roles of class, politics, and gender, and address historical contexts, social roles, value, and national and transnational aspects of collecting practices. The global scope highlights cross-cultural connections and contributes to a new understanding of the place of prints, posters and ephemera within an increasingly international art world"--
Format:
Electronic Resources
Relevance:
2.0695
by
Classen, Constance, 1957- author.
Call Number
708 23
Publication Date
2017
Summary
"Traditionally sight has been the only sense with a ticket to enter the museum. The same is true of histories of art, in which artworks are often presented as purely visual objects. The Museum of the Senses offers a sensory history of art and collections, revealing how people used to handle, smell and even taste artworks and artefacts. Topics range from the tactile power of relics to the sensuous allure of cabinets of curiosities, and from the feel of a Rembrandt to the scent of Monet's garden. The book concludes with a discussion of how contemporary museums are stimulating the senses through interactive and multimedia displays. Constance Classen, a leading authority on the cultural history of the senses, has produced a fascinating study of sensual and emotional responses to artefacts from the middle ages to the present. The Museum of the Senses is an important read for anyone interested in the history of art as well as for students and researchers in cultural studies and museum studies"--
Format:
Electronic Resources
Relevance:
2.0151
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by
Berger, Doris, 1972- author.
Call Number
791.43657 23
Publication Date
2014
Summary
"Biopics on artists have an enormous effect on the popular understanding of what it means to be an artist. Projected Art History highlights the narrative structure and images created in the film genre of biopics, in which the artist's life is being dramatized and embodied by an actor. Doris Berger bridges a gap between art history, film studies and popular culture by investigating how the film genre of biopics adapts written biographies and projects art history for a mass audience. Berger offers an analytical approach by concentrating on the two case studies Basquiat (1996) and Pollock (2000), but also looks at larger issues at play, such as how postwar American art history is being mediated in a popular format such as the biopic. This is the first book to identify the functionality of the biopic film genre and showcase its implication for a popular art history that is projected on the big screen"-- "Examines the biopics of two artists in order to represent and project a form of art history for a mass audience"--
Format:
Electronic Resources
Relevance:
1.8375
by
Warren, Richard (Classicist), author.
Call Number
700.4112 23
Publication Date
2017
Summary
Art Nouveau was a style for a new age, but it was also one that continued to look back to the past. This new study shows how in expressing many of their most essential concerns - sexuality, death and the nature of art - its artists drew heavily upon classical literature and the iconography of classical art. It challenges the conventional view that Art Nouveau's adherents turned their backs on Classicism in their quest for new forms. Across Europe and North America, artists continued to turn back to the ancient world, and in particular to Greece, for the vitality with which they sought to infuse their creations. The works of many well-known artists are considered through this prism, including those of Gustav Klimt, Aubrey Beardsley and Louis Comfort Tiffany. But, breaking new ground in its comparative approach, this study also considers some of the movement's less well-known painters, sculptors, jewellers and architects, including in central and eastern Europe, and their use of classical iconography to express new ideas of nationhood.0Across the world, while Art Nouveau was a plural style drawing on multiple influences, the Classics remained a key artistic vocabulary for its artists, whether blended with Orientalist and other iconographies, or preserving the purity of classical form.
Format:
Electronic Resources
Relevance:
0.3873
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