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This book analyses a group of Buddhist sculptures from ancient Southeast Asia, putting them into their historical, religious, and artistic context and then traces their relationship with art from India and elsewhere in Southeast Asia.
The newest novel by the acclaimed author/illustrator of the Griffin & Sabine trilogy is part love story, part mystery, and part ghostly tale--an altogether bewitching brew of sensualtiy and lost treasures. A young woman's obsession with a drawing of Shiva, the Hindu god, leads to a curious job offer: to find the few remaining pieces of a 15-th century adventurer's renowed collection of Indian sculptures. 90+ color illustrations.
The Art of Carol Janeway portrays the exotic life and artistic career of a woman whose commercial success as a tile decorator and ceramist in New York in the 1940s and later retirement due to lead poisoning offer a fascinating study. Victoria Jenssen presents the career of yet another previously unrecognized woman artist, Carol Janeway (1913-1989), who was an entrepreneur and a single mother. While Janeway often exhibited, twice at the MoMA for example, few museums today own Janeway ceramics. This book will appeal to those interested in the following artists and topics: Georg Jensen Inc. and Frederik Lunning, Jens Risom, Ossip Zadkine, Maya Deren, Leo Lerman and Richard Hunter, Harold Ambellan, Tusnelda Sanders, underglaze ceramic decoration both freehand and printed, Lisette Model, Catherine Yarrow, Ed Wiener, Madeleine Turner, Stalin’s Moscow of the early 1930s, syndicated woman journalists of the 1940s, Ralph Ingersoll and Charles Marsh, Josiah Wedgwood & Sons, Lou Block, Doris Lee, Walter Duranty, Eliot Janeway, Julien Levy’s The Imagery of Chess, preservation of Greenwich Village. Among several celebrity owners, Marilyn Monroe owned five Janeway doorknobs.
Shirley Gorelick (1924–2000) was an American artist who evolved a distinctive realist technique that allowed her to create penetrating psychological portraiture, often on a large scale. This profusely illustrated book is the first in-depth study of Gorelick’s oeuvre. Her development is traced from the early influences of Cubism, Surrealism, and Abstract Expressionism to her artistic maturity as a painter of compelling realist works. Gorelick’s creative achievements are revisited and illuminated through interviews, artist’s statements, press releases, published reviews, and detailed discussions of her major themes and important works. Shirley Gorelick’s acrylic paintings, silverpoint drawings, and intaglio prints were exhibited widely in the 1970s and early 1980s. Her work was lauded by reviewers in the New York Times, Newsday, Soho Weekly News, Long Island Press, Arts Magazine, Feminist Art Journal, and Womanart. In 1979, Ellen Lubell aptly declared that Shirley Gorelick “deserves consideration with the leading figure painters of the day.” She was also an early member of SOHO 20 Gallery (est. 1973), the second artist-run, all-women exhibition space in New York City, and was among the founders of Central Hall Artists Gallery (est. 1973) in Port Washington, New York, the first cooperative of its kind on Long Island.
In the early 1400s, Iranian elites began migrating to the Deccan plateau of southern India. Lured to the region for many reasons, these poets, traders, statesmen, and artists of all kinds left an indelible mark on the Islamic sultanates that ruled the Deccan until the late seventeenth century. The result was the creation of a robust transregional Persianate network linking such distant cities as Bidar and Shiraz, Bijapur and Isfahan, and Golconda and Mashhad. Iran and the Deccan explores the circulation of art, culture, and talent between Iran and the Deccan over a three-hundred-year period. Its interdisciplinary contributions consider the factors that prompted migration, the physical and intellectual poles of connectivity between the two regions, and processes of adaptation and response. Placing the Deccan at the center of Indo-Persian and early modern global history, Iran and the Deccan reveals how mobility, liminality, and cultural translation nuance the traditional methods and boundaries of the humanities.
The Collected Works of Chögyam Trungpa brings together in eight volumes the writings of one of the first and most influential and inspirational Tibetan teachers to present Buddhism in the West. Organized by theme, the collection includes full-length books as well as articles, seminar transcripts, poems, plays, and interviews, many of which have never before been available in book form. From memoirs of his escape from Chinese-occupied Tibet to insightful discussions of psychology, mind, and meditation; from original verse and calligraphy to the esoteric lore of tantric Buddhism—the impressive range of Trungpa's vision, talents, and teachings is showcased in this landmark series. Volume Seven features the work of Chögyam Trungpa as a poet, playwright, and visual artist and his teachings on art and the creative process, which are among the most innovative and provocative aspects of his activities in the West. While it includes material in which Trungpa Rinpoche shares his knowledge of the symbolism and iconography of traditional Buddhist arts (in Visual Dharma), this richly varied volume primarily focuses on his own, often radical creative expressions. The Art of Calligraphy is a wonderful showcase for his calligraphy, and Dharma Art brings together his ideas on art, the artistic process, and aesthetics. Tibetan poetics, filmmaking, theater, and art and education are among the topics of the selected writings.