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Copublished by UNESCO, combines a geographical and a chronological survey of Islamic art. Surveys the architecture from Iran to China, the Maghreb to India; and traces artistic styles from the Umayyad and early Abbasid dynasties (650-750 A.D.) to the Ottoman and Mughal empires of the 18th and 19th c
Many years back, stamp collecting was an extra-curricular activity of school kids around the world. Modern technology was thought to have killed this hobby due to the decrease in the usage and demand of postage stamps. Out of surprise, this turned out to be untrue. Out of 60 million stamp collectors around the world, one third come from China. Wealthy Chinese are now beginning to buy back their heritage on a massive scale. Investors are laughing their way to the bank with significant gains on their China stamp portfolio. This 268-page book, fully illustrated with pictures, reveals everything you need to know about China stamps and how to build a solid collection for potential future liquidation.
With a foreword by S Zuckerman The First Julian Huxley Memorial Lecture by J Needham Sir Julian Huxley was especially noted for his versatility — great biologist, first Director-General of UNESCO, Director of the London Zoo, bird watcher, skilled popular writer of science and a tireless champion of wildlife conservation. This book is a biographical account of Huxley as revealed through his own correspondence and the correspondence of his great contemporaries. An introductory biographical summary is followed by his and others' letters and a collection of some of his writings. A complete bibliography of Huxley is included. The book would be of great interest to all biologists, students of the United Nations, historians of science and nature conservationists.
The study of provenance—the history of the creation and ownership of an artefact, work of art, or specimen—provides insights into the history of taste and collecting, illuminating the social, economic, and historic trends in which an object was created and collected. It is as much a history of people as it is of objects, and its study often reveals intricate networks of relationships, patterns of activity and motivations. This book promotes the study of the history of collecting and collections in all their variety through the lens of provenance, and explores the subject as a cross-disciplinary activity. Perhaps for the first time in a publication, it draws on expertise ranging from art history and anthropology, to natural history and law, looking at periods from antiquity through the 18th century and the Holocaust era to the present, and materials from Europe and the Americas to China and the Pacific. The issues raised are wide-ranging, touching on aspects of authenticity, cultural meaning and material transformation and economic and commercial drivers, as well as collector and object biography. The book fills a gap in the study of collecting and provenance, taking the subject holistically and from multiple standpoints, better to reflect the widening interest in provenance from a range of disciplinary perspectives. This book will be a service to the field, from established scholars and museum professionals to students of collecting history, cultural heritage, and museum studies.
Writings by the conceptual artist Michael Asher—including notes, proposals, exhibition statements, and letters to curators and critics—most published here for the first time. The California conceptual artist Michael Asher (1943–2012) was known for rigorous site specificity and pioneering institutional critique. His decades of teaching at CalArts influenced generations of artists. Much of Asher's artistic practice was devoted to creating works that had no lasting material presence and often responded to the material, social, or ideological context of a situation. Because most of Asher's artworks have ceased to exist, his writings about them have special significance. Public Knowledge collects writings by Asher about his work—including preliminary notes and ideas, project proposals, exhibition statements, and letters to curators and critics—most of which have never been previously published. Asher gave few interviews, didn't write art criticism, and rarely published extensive accounts of his own work. Yet writing was central to his artistic practice, serving as a tool for working out ideas, negotiating institutional parameters, and describing thought processes. In these texts, he considers writing and documentation, discusses artistic practice, offers notes for gallery and museum talks, presents artist statements for exhibition-goers, describes individual works and their situational context, and reflects on teaching and art education. Among other things, Asher provides his definition of site specificity, addresses the function of art in public space, and analyzes the intersection of teaching art and institutional models of education. Readers will see an artist at work, formulating ethical and political strategies for making art in a situational world.