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"This book is published on the occasion of the exhibition Amalia Pica, co-organized by the Museum of Contemporary Art Chicago and the MIT List Visual Arts Center, co-curated by Julie Rodrigues Widholm and Joao Ribas, and presented at MIT List Visual Arts Center, February 8-April 7, 2013, and in the Bergman Family Gallery at the Museum of Contemporary Art Chicago, April 27-August 11, 2013."
A dazzlingly original and ambitious book on the history of female self-portraiture by one of today's most well-respected art critics. Her story weaves in and out of time and place. She's Frida Kahlo, Loïs Mailou Jones and Amrita Sher-Gil en route to Mexico City, Paris or Bombay. She's Suzanne Valadon and Gwen John, craving city lights, the sea and solitude; she's Artemisia Gentileschi striding through the streets of Naples and Paula Modersohn-Becker in Worpswede. She's haunting museums in her paint-stained dress, scrutinising how El Greco or Titian or Van Dyck or Cézanne solved the problems that she too is facing. She's railing against her corsets, her chaperones, her husband and her brothers; she's hammering on doors, dreaming in her bedroom, working day and night in her studio. Despite the immense hurdles that have been placed in her way, she sits at her easel, picks up a mirror and paints a self-portrait because, as a subject, she is always available. Until the twentieth century, art history was, in the main, written by white men who tended to write about other white men. The idea that women in the West have always made art was rarely cited as a possibility. Yet they have - and, of course, continue to do so - often against tremendous odds, from laws and religion to the pressures of family and public disapproval. In The Mirror and the Palette, Jennifer Higgie introduces us to a cross-section of women artists who embody the fact that there is more than one way to understand our planet, more than one way to live in it and more than one way to make art about it. Spanning 500 years, biography and cultural history intertwine in a narrative packed with tales of rebellion, adventure, revolution, travel and tragedy enacted by women who turned their back on convention and lived lives of great resilience, creativity and bravery.
For a major new presentation in 2019, Whitechapel Gallery is taking as a model its groundbreaking 1956 exhibition 'This is Tomorrow', an event which is indelibly linked to the institution's history. Organised and developed by architect, writer and sculptor Theo Crosby, 'This is Tomorrow' featured 37 artists, architects, designers and writers who worked together in 12 small groups. In the catalogue, Lawrence Alloway introduced the exhibition as "devoted to the possibilities of collaboration", the results of which "appear to be setting up a programme for the future." 'Is This Tomorrow?' will also feature 12 groups of contemporary architects, artists and other cultural practitioners to highlight the potential of collaboration, to address key issues we face today and to offer a vision of the future. Both UK and international participants will explore subjects from conflict and warfare, economic inequality, migration and resource scarcity, to education, labour, trade and technology, comparing and contrasting the ideas of the original 'This is Tomorrow' artists and architects whose concerns with communication theory, mass culture and the vernacular reflected their associations with British Constructivism and the Independent Group.00Exhibition: Whitechapel Art Gallery, London, UK (14.02.-12.05.2019).
This publication accompanies two exhibitions of recent sculptural work by the artist Magali Reus: "Hot Cottons" (2017-18) at Bergen Kunsthall and "As mist, description," (2018) at the South London Gallery. Featuring an essay by writer and curator Laura Mclean-Ferris and a poetic response by writer and poet Quinn Latimer as well as a fully illustrated overview of Reus's work, this catalogue provides an in-depth exploration of the artist's recent sculptural practice. Producing a sculptural language that is both familiar yet unlocatable Reus draws heavily on the past and present landscape of industry and fabrication, creating forms using a plethora of materials that include: mesh, jesmonite, cotton, steel, rubber, leather. Interested in collaborative processes of making, from virtual design to handmade fabrication, Reus combines sculptural games with material explorations. Everyday materials are transformed with powder blues, pastel greens, and dirty beiges. Reus's sculptures appear in a state of transition, in progress, mid-function, restored, or destroyed. Autographs of famous athletes, graphics from an iconic Norwegian matchbox, forms reminiscent of fire extinguishers, decorative ironwork, or modular frameworks, all feature in Reus's sculptures transforming defined materials into newly undefinable objects. Working with factories in Holland to develop specific fabrics, using complex molding and weaving techniques, all the while drawing on the language of digital design Reus navigates the contemporary post-industrial moment with playful unease, creating objects with familiar yet fluid identities. Copublished with Bergen Kunsthall, South London Gallery
Exploring how the universal visual language of geometric abstraction was influenced by different societies, this volume also demonstrates how the movement's revolutionary aesthetic continues to impact culture around the globe. It traces a century of abstract art from 1915 to the present day, celebrating the accomplishments of both men and women and includes sculpture, film, photography and painting. Organised around four distinct themes - communication, architectonics, utopia and everyday life - the book presents a chronological survey from Russia to Europe, the Middle East, Southeast Asia, Central America, Africa, South America, and the US. Each of the 100 works is featured in double-page spreads with brief artist biographies. Essays by Tanya Barson, Briony Fer, Tom McDonough, and Joshua Jiang, contextualize the various geographic and aesthetic stages of the development of geometric abstraction.
Meet Pica Pau and her amigurumi friends! They're charming, cheerful and cute, and once you get to know them, they'll never leave your heart. The gentle rhino, the energetic otter, the chatty crocodile, the dreamy donkey and many more: each and every one is a happy member of the Pica Pau band. Toy maker, character designer and crochet knitter Yan Schenkel has gathered many colorful amigurumi around her. In this book, she shares her love and knowledge of amigurumi crochet in 20 new designs, and she also gives away the secret ingredients that go into every single project. All patterns contain detailed instructions and are accompanied by step-by-step pictures and explanations of all techniques used, so both beginners and advanced crocheters can easily get acquainted with her amigurumi companions. Immerse yourself in the wonderful world and marvelous magic of Pica Pau and friends.
The first contemporary survey of postwar British women sculptors from modernism to the YBA's This publication focuses on postwar British women sculptors, including Tracey Emin, Mona Hatoum, Barbara Hepworth, Kim Lim, Sarah Lucas, Cornelia Parker and Rachel Whiteread.
The explosion of interest in narrative practices since the end of the 20th century is predicated on the notion that life is storied, and the ideaas Jacques Ranciere put itthat the real must be fictionalized in order to be thought. Displacing the symbolic unity of high modernism, postmodernism rekindled an interest in the fictive, the chronicle and the anecdotal. Treating these two positions as poles of a recurring movement, The Reluctant Narrator surveys works that intertwine personal biography, historical events and stories that fell through the crevices of history, mapping narrative modes as they migrate across media. Co-published with the Museu Coleo Berardo, the exhibition catalog includes visual and textual narratives by 18 artists and writers including Kader Attia, Karl Holmqvist, Christoph Keller, Bojan arcevic, Hito Steyerl and others. With contributions by Erika Balsom, Sladja Blazan, Kerstin Stakemeier and Ana Teixeira Pinto.
Ventriloquism, Performance, and Contemporary Art volume calls attention to the unexpected prevalence of ventriloqual motifs and strategies within contemporary art. Engaging with issues of voice, embodiment, power, and projection, the case studies assembled in this volume span a range of media from painting, sculpture, and photography to installation, performance, architecture, and video. Importantly, they both examine and enact ventriloqual practices, and do so as a means of interrogating and performatively bearing out contemporary conceptions of authorship, subjectivity, and performance. Put otherwise, the chapters in this book oscillate seamlessly between art history, theory, and criticism through both analytical and performative means. Across twelve essays on ventriloquism in contemporary art, the authors, who are curators, historians, and artists, shine light on this outdated practice, repositioning it as a conspicuous and meaningful trend within a range of artistic practices today. This book will be of interest to scholars working in art history, contemporary art, media studies, performance, museum/curatorial studies, and theater.
Creativity, whether lauded as the oil of the 21st century, touted as a driver of international policy, or mobilised by activities, has been very much part of the zeitgeist of the last few decades. Offering the first accessible, but conceptually sophisticated account of the critical geographies of creativity, this title provides an entry point to the diverse ways in which creativity is conceptualized as a practice, promise, force, concept and rhetoric. It proffers these critical geographies as the means to engage with the relations and tensions between a range of forms of arts and cultural production, the cultural economy and vernacular, mundane and everyday creative practices. Exploring a series of sites, Creativity examines theoretical and conceptual questions around the social, economic, cultural, political and pedagogic imperatives of the geographies of creativity, using these geographies as a lens to cohere broader interdisciplinary debates. Central concepts, cutting-edge research and methodological debates are made accessible with the use of inset boxes that present key ideas, case studies and research. The text draws together interdisciplinary perspectives on creativity, enabling scholars and students within and without Geography to understand and engage with the critical geographies of creativity, their breadth and potential. The volume will prove essential reading for undergraduate and post-graduate students of creativity, cultural geography, the creative economy, cultural industries and heritage.