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From award-winning author Tonya Bolden comes the fascinating story of one of America’s most influential African American voices Teacher. Self-emancipator. Orator. Author. Man. Frederick Douglass (1818–1895) is one of the most important African American figures in US history, best known, perhaps, for his own emancipation. But there is much more to Douglass’s story than his time spent in slavery and his famous autobiography. Delving into his family life and travel abroad, this book captures the whole complicated, and at times perplexing, person that he was. As a statesman, suffragist, writer, newspaperman, and lover of the arts, Douglass the man, rather than the historical icon, is the focus in Facing Frederick.
Additional keywords : Aboriginal or Native peoples, First Nations art, artist.
This is an indispensible volume for creators, curators, and conservators of installation art. Installation art is an evolving, often ephemeral medium that defies rigid categorization. It has also radically transformed the concepts of space, time, and the experience of art. The conservation field is faced with unique challenges over how best to manage and preserve the essence of these works. How detailed can documentation get? When does the replacement of original components become acceptable? How does the field cope with the obsolescence of certain technologies? By exploring the questions and dilemmas facing those who care for art installations, this book intends to raise awareness and promote discussion about the various conservation approaches for these works.
The enormous task of preserving the world's heritage in the face of war, natural disaster, vandalism, neglect, and technical obsolescence. The monuments—movable, immovable, tangible, and intangible—of the world's shared cultural heritage are at risk. War, terrorism, natural disaster, vandalism, and neglect make the work of preservation a greater challenge than it has been since World War II. In The Monumental Challenge of Preservation Michèle Cloonan makes the case that, at this critical juncture, we must consider preservation in the broadest possible contexts. Preservation requires the efforts of an increasing number of stakeholders. In order to explore the cultural, political, technological, economic, and ethical dimensions of preservation, Cloonan examines particular monuments and their preservation dilemmas. The massive Bamiyan Buddhas, blown up by the Taliban in 2001, are still the subject of debates over how, or whether, to preserve what remains, and the U. S. National Park Service has undertaken the complex task of preserving the symbolic and often ephemeral objects that visitors leave at the Vietnam Veterans Memorial—to take just two of the many examples described in the book. Cloonan also considers the ongoing genocide and cultural genocide in Syria; the challenges of preserving our digital heritage; the dynamic between original and copy; efforts to preserve the papers and architectural fragments of the architect Louis Sullivan; and the possibility of sustainable preservation. In the end, Cloonan suggests, we are what we preserve—and don't preserve. Every day we make preservation decisions, individually and collectively, that have longer-term ramifications than we might expect.
"This catalogue is published in conjunction with the exhibition Shirin Neshat: Facing History, organized by the Hirshhorn Museum and Sculpture Garden, Smithsonian institution, Wahington DC May18- September 20, 2015"--Title page verso.
The first site-specific outdoor public sculpture ever to be commissioned for the United States from Anselm Kiefer (b. 1945) was unveiled in 2019 at the top of Rockefeller Center's Channel Gardens, facing Fifth Avenue. Titled 'Uraeus', the work consists of a gigantic open book with eagle's wings 30 feet in span, both made of lead, on top of a 20-foot-tall lead-clad stainless steel column. Clustered around the base of the column are further outsize lead books, while a large snake coils up the column. Lead is one of the artist's preferred materials for its soft, fluid properties traditionally associated with alchemical transformation, especially its second stage: dissolution. In Kiefer's mind alchemy is a symbol for the artist you have to destroy and then recreate. Uraeus extends his vocabulary of striking mythic forms, presented at an arresting new scale. It explores longtime motifs in his work that, in this context and contemporary moment, resonate in powerful new ways. Kiefer is the most prominent German artist of the generation born in or shortly after World War II, a figure of international standing who was recently awarded the J. Paul Getty Medal (2017).
A handbook of new curatorial strategies based on pioneering examples of curators working to offset racial and gender disparities in the art world Current art world statistics demonstrate that the fight for gender and race equality in the art world is far from over: only sixteen percent of this year’s Venice Biennale artists were female; only fourteen percent of the work displayed at MoMA in 2016 was by nonwhite artists; only a third of artists represented by U.S. galleries are female, but over two-thirds of students enrolled in art and art-history programs are young women. Arranged in thematic sections focusing on feminism, race, and sexuality, Curatorial Activism examines and illustrates pioneering examples of exhibitions that have broken down boundaries and demonstrated that new approaches are possible, from Linda Nochlin’s “Women Artists” at LACMA in the mid-1970s to Jean-Hubert Martin’s “Carambolages” in 2016 at the Grand Palais in Paris. Profiles key exhibitions by pioneering curators including Okwui Enwezor, Linda Nochlin, Jean-Hubert Martin and Nan Goldin, with a foreword by Lucy Lippard, internationally known art critic, activist and curator, and early champion of feminist art, this volume is both an invaluable source of practical information for those who understand that institutions must be a driving force in this area and a vital source of inspiration for today’s expanding new generation of curators.
Explores the social significance of representation of the human body in Preclassic Mesoamerica.
Edward S. Curtis's The North American Indian is the most ambitious photographic and ethnographic record of Native American cultures ever produced. Published between 1907 and 1930 as a series of twenty volumes and portfolios, the work contains more than two thousand photographs intended to document the traditional culture of every Native American tribe west of the Mississippi. Many critics have claimed that Curtis's images present Native peoples as a "vanishing race," hiding both their engagement with modernity and the history of colonial violence. But in this major reappraisal of Curtis's work, Shamoon Zamir argues instead that Curtis's photography engages meaningfully with the crisis of culture and selfhood brought on by the dramatic transformations of Native societies. This crisis is captured profoundly, and with remarkable empathy, in Curtis's images of the human face. Zamir also contends that we can fully understand this achievement only if we think of Curtis's Native subjects as coauthors of his project. This radical reassessment is presented as a series of close readings that explore the relationship of aesthetics and ethics in photography. Zamir's richly illustrated study resituates Curtis's work in Native American studies and in the histories of photography and visual anthropology.