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Provides basic factual information in summary as well as short summaries of cultural practices of each country such as family structure, gender roles, proxemics, caveats, education, numbers, time, name structure, diet, body language, punctuality and other cultural patterns.
Portraits. We know what they are, but why do we make them? Americans have been celebrating themselves in portraits since the arrival of the first itinerant portrait painters to the colonies. They created images to commemorate loved ones, glorify the famous, establish our national myths, and honor our shared heroes. Whether painting in oil, carving in stone, casting in bronze, capturing on film, or calculating in binary code, we spend considerable time creating, contemplating, and collecting our likenesses. In this sumptuously illustrated book, Richard H. Saunders explores our collective understanding of portraiture, its history in America, how it shapes our individual and national identity, and why we make portraits - whether for propaganda and public influence or for personal and private appreciation. American Faces is a rich and fascinating view of ourselves.
Unveiling the unconventional : Kehinde Wiley's portrait of Barack Obama / Taína Caragol -- "Radical empathy" : Amy Sherald's portrait of Michelle Obama / Dorothy Moss -- The Obama portraits, in art history and beyond / Richard J. Powell -- The Obama portraits and the National Portrait Gallery as a site of secular pilgrimage / Kim Sajet -- The presentation of the Obama portraits : a transcript of the unveiling ceremony.
Portraits in the Andes examines indigenous and mestizo self-representation through the medium of photography from the early to mid twentieth century. As Jorge Coronado reveals, these images offer a powerful counterpoint to the often-slanted, predominant view of indigenismo produced by the intellectual elite. Photography offered an inexpensive and readily available technology for producing portraits and other images that allowed lower- and middle-class racialized subjects to create their own distinct rhetoric and vision of their culture. The powerful identity-marking vehicle that photography provided to the masses has been overlooked in much of Latin American cultural studies—which have focused primarily on the elite's visual arts. Coronado's study offers close readings of Andean photographic archives from the early- to mid-twentieth century, to show the development of a consumer culture and the agency of marginalized groups in creating a visual document of their personal interpretations of modernity.
Drawing on current theory in symbolic anthropology and sociolinguistics, this interpretive essay investigates a complex form of joking based on material collected in a Western Apache community wherein Apaches stage carefully crafted imitations of Anglo-Americans.
The visual legacy of early modern cardinals constitutes a vast and extremely rich body of artworks, many of superb quality, in a variety of media, often by well-known artists and skilled craftsmen. Yet cardinal portraits have primarily been analysed within biographical studies of the represented individual, in relation to the artists who created them, or within the broader genre of portraiture. No more profound investigation of these as a specific category of object has ever been attempted. This volume addresses questions surrounding the production, collection, and status of the cardinal portrait, covering diverse geographies and varied media. Examining the development of cardinals' imagery in terms of their multi-layered identities, this volume considers portraits of 'princes of the Church' as a specific cultural phenomenon reflecting cardinals' unique social and political position.
"Between the invention of photography in 1839 and the end of the nineteenth century, portraiture became one of the most popular and common art forms in the United States. ... images of human surfaces became understood as expressions of human depth during this era. Combining visual theory, literary close reading, and in-depth archival research, Blackwood examines portraiture's changing symbolic and aesthetic practices, from daguerreotype to X-ray. Considering painting, photography, illustration, and other visual forms alongside literary and cultural representations of portrait making and viewing, Blackwood argues that portraiture was a provocative art form used by writers, artists, and early psychologists to imagine selfhood as hidden, deep, and in need of revelation, ideas that were then taken up by the developing discipline of psychology"--
Provides basic factual information in summary as well as short summaries of cultural practices of each country such as family structure, gender roles, proxemics, caveats, education, numbers, time, name structure, diet, body language, punctuality and other cultural patterns.
Prisons systematically dehumanise the imprisoned. Visualised through mugshots and surveillance recordings, the incarcerated lose control of their own image and identity. The criminal justice system in the United States does not only carry out so-called justice in ways that compound inequality, it also minimises the possibility for empathetic encounters with those who are most marginalised. It is therefore urgent to understand how prisoners are portrayed by the carceral state and how this might be countered or recuperated. How can understanding the visual representation of prisoners help us confront the invisible forms of power in the American prison system? Ethical Portraits investigates the representation of the incarcerated in the United States criminal justice system, and the state’s failure to represent those incarcerated humanely. Through wide-ranging interviews and creative nonfiction, Hatty Nestor deconstructs the different roles of prison portraiture, such as in courtroom sketches, DNA profiling, and the incarceration of Chelsea Manning.
Sheds new light on the long history of self-portraiture with fresh interpretations of famous examples and new works, ideas, and anecdotes This broad cultural history of self-portraiture brilliantly maps the history of the genre, from the earliest myths of Narcissus and the Christian tradition of “bearing witness” to the prolific self-image-making of today’s contemporary artists. Focusing on a perennially popular subject, the book tells the vivid history of works that offer insights into artists’ personal, psychological, and creative worlds. Topics include the importance of the medieval mirror craze in early self-portraiture; the confessional self-portraits of Titian and Michelangelo; the mystique of the artist’s studio, from Vermeer to Velázquez; the role of biography and geography for serial self-portraitists such as Courbet and Van Gogh; the multiple selves of modern and contemporary artists such as Cahun and Sherman; and recent developments in the era of globalization. Comprehensive and beautifully illustrated, the book features the work of a wide range of artists including Beckmann, Caravaggio, Dürer, Gentileschi, Ghiberti, Giotto, Goya, Kahlo, Kauffman, Magritte, Mantegna, Picasso, Poussin, Raphael, Rembrandt and Van Eyck. The full range of the subject is explored, including comic and caricature self-portraits, “invented” or imaginary self-portraits, and important collections of self-portraiture such as that of the Medici.