Thames&Hudson
Ширина 153

Описание:
Bauhaus Goes West is a story of cultural exchange - between the Bauhaus emigres in the years following the school's closure in 1933 and the countries to which they moved, focusing in particular on Britain. Taking as its starting point the cultural connections between the UK and Germany in the early part of the 20th century, the book offers a timely re-evaluation of the school's influence on and relationship with modern art and design in Britain, concluding with the school's American legacy. Following the closure of the Bauhaus in 1933, teachers and students found new opportunities in Britain and the United States. Among them were Walter Gropius, Marcel Breuer and Laszlo Moholy-Nagy, who simultaneously spent time in London before moving to America, an episode often overlooked but freshly explored here in the context of the interaction between German Modernism and British-based design reform from 1900. Other Bauhaus-trained artists - women as well as men - stayed in the UK and made important contributions into the 1960s. In America, Mies van der Rohe and Josef and Anni Albers had significant late careers, but, over time, the Bauhaus became a shorthand for Modernism's failure. Now, the centenary of the school's founding provides a key opportunity to reconsider how its values emerged and were contested both during it's lifetime and beyond.

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Vincent van Gogh's letters have long been prized as some of the most valuable documents in the world of art. Not only do they throw light on Van Gogh's own complex and intriguing character, they enlighten the whole creative process as seen through his eyes. Here we can observe Van Gogh's thoughts and opinions at first hand, as well as his close ties with his brother Theo, his sometimes troubled relationships with friends and fellow artists, his personal doubts and fears, and above all his overriding passion for his art. This is not only an immense treasure trove of biographical and art-historical information, it provides a lasting pleasure as a personal written testimony to a life consecrated to art. Vincent van Gogh: A Life in Letters belongs on the shelves of every reader in search of self-revelatory documents of one of the greatest creative minds.

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In the last few decades, the world of contemporary art has become more globalized and visible than ever before. And yet this world has long been perceived as closed and obscure, provoking in the uninitiated a range of responses from reverence to bafflement and rage. Taking the reader on a cross-continental journey through a notional calendar year in the field of art, Matthew Israel lifts the veil on a world that emerges from his narrative as diverse, adventurous, nuanced and meaningful to all. From Los Angeles to Hong Kong via Paris and New York, the author travels among the world's best-known artists, curators, critics, gallerists and institutions as they work towards some of the art world's most defining international events. A Year in the Art World relates the exploits of a curious insider, who ventures deep into the workings of the art industry to ask: what is it that people in the art world actually do? What drives an interest in working with art? How do artworks acquire value? And how has technology transformed the art world of today? Israel combines in-depth personal profiles with expert context to reveal both new and longstanding artworld realities. From biennials in summer to auctions in the fall, this fascinating narrative reveals how "the art world" describes a realm that is both surprisingly vast and deeply interconnected.

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Revolutions hold a distinct place in the popular imagination. This may be because their rhetoric, such as "liberty, fraternity, equality", articulates aspirations with which we identify; or because we are shocked by the destructive forces unleashed when social conventions break down. Yet each revolution is unique - a product of it's time, it's society, it's people and the outcomes vary dramatically, from liberal reform to cruel dictatorship. Twenty four leading historians, each writing about their country of origin, consider revolutions from England's Glorious Revolution of 1688 to the Arab Spring of 2011, reflecting not only on their causes, crises and outcomes, but also their long-term legacies and their changing, sometimes contested, meanings today. They reflect on key questions, such as: "What were the reasons for the revolution?", "What were the main events and dominant ideologies, and who were the leading protagonists?", "How is it considered today and what is it's ideological legacy?". Whether as inspiration or warning, the legacies of these revolutions are not only important to those interested in protest, political change and the power of the people but also impact on virtually every one of us today.

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When we look at the landscape, what do we see? Do we experience the view over a valley or dappled sunlight on a path in the same way as those who were there before us? We have altered the countryside in innumerable ways over the last thousand years, and never more so than in the last hundred. How are these changes reflected in and affected by art and literature? English landscape painting is often said to be an 18th century invention. But when we look for representations of the countryside in British art and literature, we find a story that begins with Old English poetry and treads a winding path up to the present day. "Spirit of Place" offers a panoramic view of the British landscape as seen through the eyes of writers and artists from Bede and the Gawain-poet to Gainsborough, Austen, Turner and Constable; from Paul Nash and Barbara Hepworth to Robert Macfarlane. Guided by these distinctive voices and imagery, and with a sharp eye for an anecdote, Susan Owens elucidates how the British landscape has been framed, reimagined and reshaped by generations. Each account, whether limned in a psalter, jotted down in a journal or constructed from sticks and stones, holds up a mirror to it's maker and their world.

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Political intrigue and treachery, heroism and brutal violence, victory and defeat - all this is depicted in the Bayeux Tapestry, an epic account of one of the pivotal episodes in English history embroidered on a strip of linen. Famously, it shows the stricken Anglo-Saxon king Harold dying on the battlefield of Hastings in 1066 amid a shower of arrows, as axes clash, spears fly and fallen warriors are trampled beneath charging hooves. However, there is much more to this remarkable historical and artistic treasure, which tells it's tale with an intensity and immediacy that speak to our modern world, almost 1,000 years after it's creation. Many mysteries and questions still surround this unique embroidery and not all is as it might appear at first glance. Who made it, when, why, where and what for? David Musgrove and Michael Lewis skilfully lead us through the full story of the Tapestry and the history it relates, providing illuminating insight into a world of fascinating details that might otherwise be overlooked or their significance missed. They set the events in the context of the machinations on either side of the English Channel in the years leading up to the Norman Conquest, and tease out what the Tapestry tells us of the deeds of kings as well as aspects of everyday life in medieval Europe. A complete and accessible up to date account, illustrated throughout in colour with new photography, this is the definitive guide to the Bayeux Tapestry and it's legacy, exploring the rich narrative behind it's stitches and the turbulent times in which it was created.

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The ancient city of Angkor in Cambodia has fascinated scholars and visitors alike since it's rediscovery in the mid-19th century. All are wonderstruck by the beauty and multiplicity of the sculptures that adorn it's temples and structures and are overwhelmed by the sheer size of Angkor. There is nothing to equal it in the archaeological world. A great deal was already known about the history of Angkor and the brilliant Khmer civilization that built it thanks to pioneering work by archaeologists and scholars, but our knowledge has now been completely revolutionized by cutting-edge technology. Airborne laser scanning (LiDAR) has revealed entire cities that were previously unknown and a complex urban landscape with highways and waterways, profoundly transforming our interpretations of the development and supposed decline of Angkor. In this comprehensively updated edition of Angkor and the Khmer Civilization, respected archaeologist Michael Coe is joined by Damian Evans, who led this remarkable programme of scientific exploration, to present for the first time in book form the results and implications of these ground-breaking discoveries that are rewriting history.

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The National Portrait Gallery, the National Gallery and the Royal Academy all saw either radical architectural interventions or rethinks of their mission under Charles Saumarez Smith's leadership, making him uniquely qualified to explore the ways in which art museums have changed over the past century and examine where they might be headed in the future. For this book, Saumarez Smith has undertaken an odyssey to art museums across the globe. From Tate Modern in London to the Benesse House Museum on the Japanese island of Naoshima; from the Getty Center in Los Angeles to the Museum of New and Old Art, a ferry-ride from Hobart in Tasmania; from the Pompidou Centre in Paris to the West Bund Museum in Shanghai - he has visited them all, casting an acute eye on the way the experience of art is shaped by the buildings that house it and the organizing principles by which it is displayed. What has changed over the past century? Where the public once visited museums to be educated in art history, he argues, they are now more likely to be in search of a private, aesthetic experience. Museum displays that were automatically didactic, chronological and either national or Western in viewpoint are now thematic and global. While museums used to be invariably in city centres, they may now be in remote locations, destinations of cultural pilgrimage. And where architects once created neutral spaces in which to display art, they now build spectacular architectural landmarks, stamping an identity on run-down neighbourhoods and sparking regeneration through cultural tourism.

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King David is a pivotal figure in the Bible, which provides stirring accounts of his deeds, including the slaying of the Philistine giant Goliath and the founding of his capital in Jerusalem. However, no certain archaeological finds from the period of his reign or of the united kingdom he ruled over have been uncovered - until now. In this first-hand and highly readable account, the excavators of Khirbet Qeiyafa in the Valley of Elah, where the Bible says David fought Goliath, reveal how seven years of exhaustive investigation have uncovered a city dating to the time of David the late 11th and early 10th century bc - surrounded by massive fortifications with impressive gates, a clear urban plan and an abundance of finds that tell us much about the inhabitants, including a pottery sherd with the earliest known Hebrew inscription. The authors clearly describe the methods of the excavation and the evidence they discovered, as well as how we interpret it. But more than just a simple excavation report, this book also explains the significance of these discoveries and how they shed new light on David's kingdom, as well as discussing the link between the Bible, archaeology and history. This topic is at the centre of a decades-long controversy, with some scholars disputing that the Bible contains a record of historical events and people, an approach that is convincingly challenged here.

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"The Militant Muse" documents what it meant to be young, ambitious and female in the context of an avant-garde movement defined by celebrated men whose educational, philosophical and literary backgrounds were often quite different from those of their younger lovers and companions. Focusing on the 1930s, 1940s and 1950s, Whitney Chadwick charts five intense, far-reaching female friendships among the Surrealists to show how Surrealism, female friendship and the experiences of war, loss and trauma shaped individual women's transitions from beloved muses to mature artists. Her vivid account includes the fascinating story of Claude Cahun and Suzanne Malherbe's subversive activities in occupied Jersey, as well as the experiences of Lee Miller and Valentine Penrose at the frontline. Chadwick draws on personal correspondence between women, including the extraordinary letters between Leonora Carrington and Leonor Fini during the months following the arrest and imprisonment of Carrington's lover Max Ernst at the beginning of World War Two, and the letter Frida Kahlo shared with her friend and lover Jacqueline Lamba years after it was written in the late 1930s during a difficult stay in Paris, marred by her intense dislike of Breton. Thoroughly engrossing, this history brings a new perspective to the political context of Surrealism, as well as fresh insights on the vital importance of female friendship to it's artistic and intellectual flowering.

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People who saw the first moving pictures at the end of the nineteenth century were delighted by a new art that communicated without words - yet they were also alarmed to be witnessing events in a strange, mute, spectral realm, where the laws of time and space were suspended and magical transformations could occur. Some early commentators hailed cinema as a blessing and praised it for resurrecting the dead; others likened it to a hypnotic trance or a hallucinogenic drug. The medium has always been excited by speed, and it enjoys sending the body on furious kinetic chases; at the same time, it stealthily probes our minds, invading our dreams and titillating our desires. Although this is an art kindled by light and inflamed by colour, it is nurtured by darkness and can reduce life to an insubstantial shadow play. Either way, as Peter Conrad argues in this brilliant book, the movie camera has given us new eyes and changed forever our view of reality. "The Mysteries of Cinema" sets out to map this ambiguous territory by taking readers on a thematic roller-coaster ride through movie history. Directors and critics speculate about the nature of cinematic vision, and there are contributions to the debate from writers like Kafka, Virginia Woolf and Joan Didion, artists including Salvador Dali, George Grosz and Fernand Leger, and the composers Arnold Schoenberg and Dmitri Shostakovich. The book begins from the audacious innovations of silent film, and examines the influence of French surrealism and German expressionism; it accounts for the appeal of Hollywood genres like the Western, the horror film and the musical, and ends by considering the fate of the moving image in our visually glutted society. Combining contagious enthusiasm with an eye for the subjective quirks of filmmakers and the allure of favourite performers, Conrad delivers an astonishing addition to the literature on the seventh art.

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The lively and revealing correspondence that Vincent van Gogh maintained with his art-dealer brother Theo is famous as a source of insight into the mind of one of the most celebrated artists of all time. But what of Anna, Lies and Willemien van Gogh, with whom Vincent had intimate and sometimes turbulent relationships? It was an argument with his oldest sister, Anna, in the aftermath of their father's death that provoked Vincent to leave the Netherlands and never return. The Van Gogh siblings grew up at a time when long-distance travel by train first became possible. As each went their own way, following work and study to London, Paris, Brussels and beyond, they maintained the close relationships forged in their youth in the Netherland's idyllic countryside by sending candid and personal letters. In this thoughtful and unprecedented biographical history, Willem-Jan Verlinden delves into previously unpublished correspondence in the Van Gogh family archives to bring Vincent's three sisters out from their brothers shadow, poignantly portraying their dreams, disappointments and grief. The oldest sister, Anna, worked as a governess in England as a young woman before marrying a Dutch industrialist. The second sister, Lies, fell into poverty in spite of her literary aspirations and was forced to sell many of her brother's paintings. Willemien, the third sister, was an active participant in the first feminist wave. She visited the studio of Edgar Degas in Paris with Theo and discussed art enthusiastically with her painter brother. She and Vincent also shared their struggles with mental health, which for Willemien resulted in institutionalization for the second half of her life. With great clarity and empathy, "The Van Gogh Sisters" captures a moment of profound social, economic and artistic change. The sisters intimate discussions of poetry and books, love, personal ambition and the opportunities afforded them broaden our understanding of this dramatic era in European history when the feminist movement was emergent and idealists of all stripes climbed the barricades in pursuit of revolution.

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"Make to Know: From Spaces of Uncertainty to Creative Discovery" will change the way you think about creativity. The book upends popular notions of innate artistic and visionary genius and probes instead the event of discovery that happens through the act of making. In contrast to the classic tale of Michelangelo, who "saw the angel in the stone", the artists and designers Buchman interviews for this book talk about knowing their work as they engage in the doing. Make to Know explores the revelatory nature of the creative journey itself. As Buchman weaves together the vivid stories of his multiple conversations, we learn about writers of all stripes as they confront creative spaces of uncertainty - "the blank page"; about visual artists and what they understand from the materials they encounter; about designers and architects and the iterative process of solving problems; and about actors and musicians facing the surprises of improvisational performance. "Make to Know" is a book that will, ultimately, open a path to your own making, and, in the end, will have significant implications for how you live. "Make to Know" presents a way of thinking that democratizes creativity and uncovers a process that leads to knowing both one's work and oneself. It is relevant to anyone interested in why creativity matters.