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This will be the resource book for art historians, galleries, auctioneers and students of Soviet art history.
Essays by James Billington, Lidia Iovleva, Robert Rosenblum, Mikhail Allenov, Alexander Borovsky, Alexander Kostenevich, Valerie Hillings, Evgenia Petrova and others.
10 3/4 X 12 In, 320 Pp, 156 Color Plates 63 Black & White Photographs With Magnificence and Vivid Imagery, This Stunning Revision of Utah Art Traces Utah's Artist and Their Creations From The First European Settlements In 1847 Through The Current Generation. In The 1800's Talented Young Men and Women Were Sent East and To Paris By The Lds Chruch To Study and Bring The Ideas of The Mainstream Art World Back To Utah. The Results Were Fascinating. Today Utah's Visual Artists Magnify This Tradition.
- The first book to celebrate great artists who died before their time- Unique insight into the lives, work and deaths of some of history's most tragic artists- A richly illustrated resource, featuring many great names of art, including Masaccio, Basquiat, Schiele, Murayama, Anguissola, Girtin, Boty and moreDesperately Young introduces the masterpieces left behind by some of the greatest rising stars in fine art - all of whom died before their thirtieth birthday. Precocious talent seeps from each artist's work, along with a sense of unfulfilled potential. Informative biographies detail their legacies, while their tragic deaths lead us to wonder what heights they might've reached, had their lives not been cut short. Richly illustrated, Desperately Young presents prime examples of each artist's work, demonstrating how our cultural heritage is just a little narrower for their loss. From Europe to America to Japan and the Indian Subcontinent, the mid14-hundreds to the late 20th century, this book hails the acknowledged greats and introduces those who died before they could leave an indelible mark on history. A compendium of 111 artists who fell prey to sickness, warfare, heartbreak or bad luck, Desperately Young is the only book to provide an in-depth study of artists who died young.
The author of this enthralling book aims to present a well-illustrated and documented alternative history of the Western World through graphic accounts of looting and art theft from the time of Sargon, ruler of Syria in 721 BC, to the present day. Almost all the principal players included appear on the stage of World history and many of them are known as conquerors, confiscators (the old-fashioned word for looters) and ruthless administrators of the regions they created as a result of their conquests. Featured here are emperors, kings, queens, popes, adventurers, explorers and those whose energies and expertise supported the greed and acquisitive ambitions of their masters. The different motivation of the greatest looters in history is a recurrent theme which is examined throughout.
"Contemporary art in the early twenty-first century is often discussed as though it were a radically new phenomenon unmoored from history. Yet all works of art were once contemporary to the artist and culture that produced them. In What Was Contemporary Art? Richard Meyer reclaims the contemporary from historical amnesia, exploring episodes in the study, exhibition, and reception of early twentieth-century art and visual culture.
Photography possesses a powerful ability to bear witness, aid remembrance, shape, and even alter recollection. In Beyond Memory: Soviet Nonconformist Photography and Photo-Related Works of Art, the general editor, Diane Neumaier, and twenty-three contributors offer a rigorous examination of the medium's role in late Soviet unofficial art. Focusing on the period between the mid-1950s and the late 1980s, they explore artists' unusually inventive and resourceful uses of photography within a highly developed Soviet dissident culture. During this time, lack of high-quality photographic materials, complimented by tremendous creative impulses, prompted artists to explore experimental photo-processes such as camera and darkroom manipulations, photomontage, and hand-coloring. Photography also took on a provocative array of forms including photo installation, artist-made samizdat (self-published) books, photo-realist painting, and many other surprising applications of the flexible medium. Beyond Memory shows how innovative conceptual moves and approaches to form and content-echoes of Soviet society's coded communication and a Russian sense of absurdity-were common in the Soviet cultural underground. Collectively, the works in this anthology demonstrate how late-Soviet artists employed irony and invention to make positive use of difficult circumstances. In the process, the volume illuminates the multiple characters of photography itself and highlights the leading role that the medium has come to play in the international art world today. Beyond Memory stands on its own as a rigorous examination of photography's place in late Soviet unofficial art, while also serving as a supplement to the traveling exhibition of the same title.
A director reveals the original inspirations for his films, their history, his methods of work, and the problems of visual creativity