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Translated from the German by Omicron Language Solutions, LLC.
"This is the book on women's art I've been waiting for--smart, deeply rooted, and up-to-date, with an overdue focus on women of color that fills in the historical cracks. Read it and run with it."--Lucy R. Lippard, author of The Pink Glass Swan: Selected Essays on Feminist Art "More than merely beautiful and ground-breaking, Art/ Women/ California 1950-2000 is also about the enriching interventions created by diverse women artists, the effect of whose work is not only far-reaching, but has also opened up the very definition of American art. It is about intellectual interdisciplinality and the dialectical relationship between art and social context. It is about the way various California cultures--Native, Latino, Asian, feminist, immigrant, politically active, and virtual, which are so different from the trope of the Western cowboy--have intervened in that entity we imagine as 'America.' "--Elaine Kim, editor of Dangerous Women: Gender and Korean Nationalism "Rich and provocative. A pleasure to read and to look at."--Linda Nochlin, author of The Body in Pieces: The Fragment as a Metaphor of Modernity "This book should greatly help everyone understand the remarkably diversified evolution of art in California, which is largely due to the great influx of women and the transformative effect of a new feminist consciousness."--Arthur C. Danto, author of Philosophizing Art: Selected Essays
Published in conjunction with an exhibition devoted to the encaustic medium, Waxing Poetic: Encaustic Art in America examines a painting method first used by the ancient Greeks and Romans. The word "encaustic" derives from the Greek term "enkaustikos," meaning "to burn in." The basic technique calls for dry pigments to be mixed with molten wax on a warm palette and applied to any ground or surface. A heat source is passed close to the surface, burning in and fusing the colors. Currently enjoying a widespread revival among painters, sculptors, and even printmakers, the encaustic medium's resurgence has been bolstered by the availability of commercially prepared paints and the availability of electrically heated equipment. In this lavishly illustrated volume, featuring more than 100 art works, Gail Stavitsky examines the twentieth-century encaustic renaissance. She discusses the work of such well-known artists as Jasper Johns, Jackson Pollock, Robert Rauschenberg, Lyndia Vengalis, and many others who have turned to this ancient medium to express their aesthetic, philosophical, and environmental concerns. The other two essays in this volume are "Encaustic Painting and Revivals: A History of Discord and Discovery" by Danielle Rice and "Encaustic Painting as a Contemporary Paint Medium" by Richard Frumess.
The number 108, a potent symbol in Buddhism, Hinduism and other Eastern spiritual traditions, has inspired the work of Seattle-based abstract painter Catherine Eaton Skinner since 2004. Best known for her encaustic paintings incorporating natural imagery, Skinner's Gya Gye(Tibetan for 108) and related series represent dramatic experimentation in form, process and viewer engagement. Informed by extensive travels in Bhutan, India, Japan and elsewhere--along with her corresponding research into languages and philosophical systems--she expanded her mediums to include rope, fabric, glass, stones and found objects which she modified in unpredictable ways. Although some of the series, such as the Elementspaintings, retain recognizable imagery, her recent series bring 108 into the 21st century. From QR code patterns to the simple, interminable zeroes and ones of binary language, Skinner discerns pictorial aptitude in contemporary digital codes. Other series explore ancient tally marks--both Eastern and Western--and the abstracting impact of systematically repeating simplified mountains or tight details of eyes, among other universal motifs.
From the founder of Encausticamp comes this guide to the wax-painting technique, including step-by-step demonstrations, innovative techniques, and examples of student projects and finished pieces.
The Language of Mixed-Media Sculpture is both a survey and a celebration of contemporary approaches to sculptures that are formed from more than one material. It profiles the discipline in all its expanded forms and recognizes sculpture in the twenty-first century not as something solid and static, but rather as a fluid interface in material, time and space. It gives insightful revelations of the creative journeys of ten renowned sculptors and showcases twenty-eight international sculptors. With over two hundred colour photographs, this sumptuously illustrated volume will inspire those intrigued by and interested in contemporary sculpture. Lavishly illustrated with 223 colour illustrations.
More than just a technical guide, this book provides comprehensive information for those new to cold wax medium, as well as technical expertise and inspiration to those with experience. Featuring nearly 100 artists from around the world, Cold Wax Medium will strengthen your work and studio practice, suggest new directions, and support thoughtful self-critique.
Art for a New Understanding, an exhibition from Crystal Bridges Museum of American Art that opened in October 2018, seeks to radically expand and reposition the narrative of American art since 1950 by charting a history of the development of contemporary Indigenous art from the United States and Canada, beginning when artists moved from more regionally-based conversations and practices to national and international contemporary art contexts. This fully illustrated volume includes essays by art historians and historians and reflections by the artists included in the collection. Also included are key contemporary writings—from the 1950s onward—by artists, scholars, and critics, investigating the themes of transculturalism and pan-Indian identity, traditional practices conducted in radically new ways, displacement, forced migration, shadow histories, the role of personal mythologies as a means to reimagine the future, and much more. As both a survey of the development of Indigenous art from the 1950s to the present and a consideration of Native artists within contemporary art more broadly, Art for a New Understanding expands the definition of American art and sets the tone for future considerations of the subject. It is an essential publication for any institution or individual with an interest in contemporary Native American art, and an invaluable resource in ongoing scholarly considerations of the American contemporary art landscape at large.
Since the dawn of Christianity, artists have been fascinated and stirred by the figure of Christ. His likeness appears in frescoes on the walls of catacombs that date from Roman times; he is featured in the stained glass windows of Gothic churches; and he can be found in various forms in today’s pop culture. The Biblical Saviour is not a static, immaterial deity: Christ’s mortal birth, unusual life and dramatic death make him an accessible subject for religious and secular artists alike.Whether they show the spirituality of God Incarnate or the earthly characteristics of a flesh-and-blood man, artistic depictions of Christ are the most controversial, moving or inspirational examples of religious art. This richly illustrated book explores the various ways that Christ is rendered in art, from Cimabue’s Nativity scenes and Fra Angelico’s paintings of the Crucifixion to the provocative portraits of Salvador Dalí and Andres Serrano. Author Joseph Lewis French guides the reader through the most iconic representations of Christ in art - tender or graphic, classical or bizarre, these images of the Messiah reveal the diverse roles of the Son of God in the social milieus and personal lives of the artists.
Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.