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In How Do We Look? Fatimah Tobing Rony draws on transnational images of Indonesian women as a way to theorize what she calls visual biopolitics—the ways visual representation determines which lives are made to matter more than others. Rony outlines the mechanisms of visual biopolitics by examining Paul Gauguin’s 1893 portrait of Annah la Javanaise—a trafficked thirteen-year-old girl found wandering the streets of Paris—as well as US ethnographic and documentary films. In each instance, the figure of the Indonesian woman is inextricably tied to discourses of primitivism, savagery, colonialism, exoticism, and genocide. Rony also focuses on acts of resistance to visual biopolitics in film, writing, and photography. These works, such as Rachmi Diyah Larasati’s The Dance that Makes You Vanish, Vincent Monnikendam’s Mother Dao (1995), and the collaborative films of Nia Dinata, challenge the naturalized methods of seeing that justify exploitation, dehumanization, and early death of people of color. By theorizing the mechanisms of visual biopolitics, Rony elucidates both its violence and its vulnerability.
Drawing on examples from art, media, fashion, history and memoir, cultural critic Rosemarie Garland-Thomson tackles a basic human interaction which has remained curiously unexplored, the human stare. In the first book of its kind, Garland-Thomson defines staring, explores the factors that motivate it, and considers the targets and the effects of the stare. While borrowing from psychology and biology to help explain why the impulse to stare is so powerful, she also enlarges and complicates these formulations with examples from the realm of imaginative culture. Featuring over forty illustrations, Staring captures the stimulating combination of symbolic, material and emotional factors that make staring so irresistible while endeavoring to shift the usual response to staring, shame, into an engaged self-consideration. Elegant and provocative, this unique study advances new ways of thinking about visuality and the body that will appeal to readers who are interested in the overlap between the humanities and human behaviors.
Gayle Hayman is the Martha Stewart of beauty, fashion, and lifestyle. The co-founder of Giorgio, Beverly Hills, Hayman has dressed everyone from Barbra Streisand to Princess Grace, and was the inspiration for Judith Krnatz's Scruples. In How Do I Look?, she condenses a lifetime of experience in style into the only beauty book a woman will ever need. 30 line drawings. 8-page color insert.
This provocative collection of esays calls into question the ways in which the discipline of architecture engages a broad spectrum of social and political issues.[architecture][political][art][architecture]
It is my hope that through this book I can share with readers the excitement I feel in looking at sculpture all over the world. This is a general book on how to appreciate sculpture, not a lesson on any particular period or school or artist.
Poetry. Asian & Asian American Studies. Through a series of flash poetry/non-fiction pieces, Sennah Yee's debut full-length book HOW DO I LOOK? paints a colourful portrait of a woman both raised and repelled by the media. With pithy, razor-sharp prose, Sennah dissects and reassembles pop culture through personal anecdotes, crafting a love- hate letter to the media and the microaggressions that have shaped how she sees herself and the world. HOW DO I LOOK? is a raw and vulnerable reflection on identities real and imagined.
Following on from her bestselling book How to Survive Modern Art, Susie Hodge once again tackles a dauntingly complex subject: how can we evaluate, explore and respond to art? With the power to affect us all, art can be enjoyed in many different ways. Its impact can be both straightforward and unexpected. It can change our minds or our attitudes, provoke anger or shock, or make us laugh or cry. It can intimidate, disconcert, pose conundrums or puzzles, or instruct or enlighten. Ultimately, it offers a window on society's values and ideals, and every work of art expresses the perceptions and memories of the artist who created it. In her characteristically engaging style, Susie Hodge shows us how to interpret and respond to a broad variety of artwork and artists' philosophies. This enormously stimulating book enriches our experience of art, and in the process enhances our own creativity.
From prehistoric Mexico to modern Istanbul, Mary Beard looks beyond the familiar canon of Western imagery to explore the history of art, religion, and humanity. Conceived as a gorgeously illustrated accompaniment to “How Do We Look” and “The Eye of Faith,” the famed Civilisations shows on PBS, renowned classicist Mary Beard has created this elegant volume on how we have looked at art. Focusing in Part I on the Olmec heads of early Mesoamerica, the colossal statues of the pharaoh Amenhotep III, and the nudes of classical Greece, Beard explores the power, hierarchy, and gender politics of the art of the ancient world, and explains how it came to define the so-called civilized world. In Part II, Beard chronicles some of the most breathtaking religious imagery ever made—whether at Angkor Wat, Ravenna, Venice, or in the art of Jewish and Islamic calligraphers— to show how all religions, ancient and modern, have faced irreconcilable problems in trying to picture the divine. With this classic volume, Beard redefines the Western-and male-centric legacies of Ernst Gombrich and Kenneth Clark.
Please note: This is a companion version & not the original book. Sample Book Insights: #1 The history of art is about how we look. It is not only about the men and women who created the images that fill our world, from cheap trinkets to priceless masterpieces. We must consider the controversies, discussions, and debates around any such masterpieces. #2 Part One focuses on the art of the body, and how it has been portrayed around the world. It asks what those images were for and how they were viewed. #3 The idea that the female nude implies a predatory male gaze was not first thought up in the 1960s feminism. It was first seen in classical Greece, and some of the earliest intellectuals argued fiercely about the rights and wrongs of portraying gods in human form. #4 The concept of civilization is a process of exclusion as well as inclusion. It is difficult to define, but it is typically used to describe cultures that share certain values.