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In this study, Jo Stoner investigates the role of domestic material culture in Late Antiquity. Using archaeological, visual and textual evidence from across the Roman Empire, the personal meanings of late antique possessions are revealed through reference to theoretical approaches including object biography. Heirlooms, souvenirs, and gift objects are discussed in terms of sentimental value, before the book culminates in a case study reassessing baskets as an artefact type. This volume succeeds in demonstrating personal scales of value for artefacts, moving away from the focus on economic and social status that dominate studies in this field. It thus represents a new interpretation of domestic material culture from Late Antiquity, revealing how objects transformed houses into homes during this period.
Inside an art gallery, it is easy to forget that the paintings there are the end products of a process involving not only creative inspiration, but also plenty of physical and logistical details. It is these "cruder," more mundane aspects of a painter's daily routine that motivated Brooklyn artist Joe Fig to embark almost ten years ago on a highly unorthodox, multilayered exploration of the working life of the professional artist. Determined to ground his research in the physical world, Fig began constructing a series of diorama-like miniature reproductions of the studios of modern art's most legendary painters, such as Jackson Pollock and Willem de Kooning. A desire for firsthand references led Fig to approach contemporary artists for access to their studios. Armed with a camera and a self-made "Artist's Questionnaire," Fig began a journey through the workspaces of some of today's most exciting contemporary artists.
A beautiful new collection from Mary Jo Salter brings us poems of puzzlement and acceptance in the face of life's surprises. "I'm still alive and now I'm in Bratislava," says the speaker of one of Salter's poems, as she travels with her unlikely late-in-life love, a military man. She never expected to be here, to know someone like him, to be parted from her previous life; how did it happen? Time is hurtling, but these poems try to slow it down to examine its curious by-products--the prints of Dürer, an Afghan carpet, photographs of people we've lost. The title poem, a crown of sonnets, takes up key moments in the poet's past, the quirky advent of poetic inspiration, and the seemingly sci-fi future of the universe. Throughout, in a tone of ironic wonderment, placing rich new love poems alongside some inevitable poems of leavetaking, Salter invites the reader to weigh and ponder the way things have turned out--for herself, for all of us--in this new century, and perhaps to conclude, as she does, "That's funny . . . "
Art Since the ’80s, a new series from Reaktion Books, seeks to offer compelling surveys of popular themes in contemporary art. In the first book in the series, Gill Perry reveals how the house and the idea of home have inspired a range of imaginative and playful works by artists across the globe. Exploring how artists have engaged with this theme in different contexts—from mobile homes and beach houses to haunted houses and broken homes—Playing at Home shows that our relationship with houses involves complex responses in which gender, race, class, and status overlap, and that through these relationships we turn a house into a home. Perry looks at the works of numerous artists, including Tracey Emin, Rachel Whiteread, Michael Landy, Mike Kelley, and Peter Garfield, as well as the work of artists who travel across continents and see home as a shifting notion, such as Do-Ho-Suh and Song Dong. She also engages with the work of philosophers and cultural theorists from Walter Benjamin and Gaston Bachelard to Johan Huizinga and Henri Lefebvre, who inform our understanding of living and dwelling. Ultimately, she argues that irony, parody, and play are equally important in our interpretations of these works on the home. With over one hundred images, Playing at Home covers a wide range of art and media in a fascinating look at why there’s no place like home.
Winner of the 2014 John Collier Jr. Award Winner of the Jo Anne Stolaroff Cotsen Prize Life at Home in the Twenty-First Century cross-cuts the ranks of important books on social history, consumerism, contemporary culture, the meaning of material culture, domestic architecture, and household ethnoarchaeology. It is a distant cousin of Material World and Hungry Planet in content and style, but represents a blend of rigorous science and photography that these books can claim. Using archaeological approaches to human material culture, this volume offers unprecedented access to the middle-class American home through the kaleidoscopic lens of no-limits photography and many kinds of never-before acquired data about how people actually live their lives at home. Based on a rigorous, nine-year project at UCLA, this book has appeal not only to scientists but also to all people who share intense curiosity about what goes on at home in their neighborhoods. Many who read the book will see their own lives mirrored in these pages and can reflect on how other people cope with their mountains of possessions and other daily challenges. Readers abroad will be equally fascinated by the contrasts between their own kinds of materialism and the typical American experience. The book will interest a range of designers, builders, and architects as well as scholars and students who research various facets of U.S. and global consumerism, cultural history, and economic history.
When it was published in 1979, Sandra M. Gilbert and Susan Gubar's The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imaginationwas hailed as a pathbreaking work of criticism, changing the way future scholars would read Jane Austen, Mary Shelley, the Brontës, George Eliot, and Emily Dickinson. This thirtieth-anniversary collection adds both valuable reassessments and new readings and analyses inspired by Gilbert and Gubar’s approach. It includes work by established and up-and-coming scholars, as well as retrospective accounts of the ways in which The Madwoman in the Attic has influenced teaching, feminist activism, and the lives of women in academia. These contributions represent both the diversity of today’s feminist criticism and the tremendous expansion of the nineteenth-century canon. The authors take as their subjects specific nineteenth- and twentieth-century women writers, the state of feminist theory and pedagogy, genre studies, film, race, and postcolonialism, with approaches ranging from ecofeminism to psychoanalysis. And although each essay opens Madwoman to a different page, all provocatively circle back—with admiration and respect, objections and challenges, questions and arguments—to Gilbert and Gubar's groundbreaking work. The essays are as diverse as they are provocative. Susan Fraiman describes how Madwoman opened the canon, politicized critical practice, and challenged compulsory heterosexuality, while Marlene Tromp tells how it elegantly embodied many concerns central to second-wave feminism. Other chapters consider Madwoman’s impact on Milton studies, on cinematic adaptations of Wuthering Heights, and on reassessments of Ann Radcliffe as one of the book’s suppressed foremothers. In the thirty years since its publication, The Madwoman in the Attic has potently informed literary criticism of women’s writing: its strategic analyses of canonical works and its insights into the interconnections between social environment and human creativity have been absorbed by contemporary critical practices. These essays constitute substantive interventions into established debates and ongoing questions among scholars concerned with defining third-wave feminism, showing that, as a feminist symbol, the raging madwoman still has the power to disrupt conventional ideas about gender, myth, sexuality, and the literary imagination.
A revealing look at the power of speaking out, Writing in an Age of Silence describes Paretski's coming of age in a time of great possibility, during the civil rights movement, the peace movement, and the women's movement. Bestselling crime-writer Sarah Paretsky has won critical acclaim for her V.I. Warshawski novels, centered around one of the first and most popular female investigators in contemporary fiction. In this fascinating and personal account, Paretsky describes a life shaped by the desire to act. From the feminist movement-which triggered her aspirations to write and shaped the character of her female detective-to the Patriot Act and the liberties we have lost, Paretsky describes the struggle of one individual to find a voice. A moving call to action, Writing in an Age of Silence chronicles the social changes that have shaped contemporary America, and mirrors a desire for freedom, both personal and political, that many Americans will relate to today.