Изобразительное искусство, фотография
Различные книги в жанре Изобразительное искусство, фотографияMoments
With 50mm lenses and available light, John Fraser took these classic humanist photos in Minneapolis, New York, London, Nova Scotia, Provence, starting in 1957.<br><br>In the tradition of Cartier-Bresson, there's no cropping. What you see is what was there—street interactions caught lightning fast, informal portraits, oldsters, kids, a Blues group, a campaigning JFK within arms-length, and always the impeccable composition and feel for the symbolic.<br><br>The images are arranged in poem-like sequences—moody Shadows, lyrical Sun, symbolic Erotics, the old and new London in eight Postcards. The Republicans at a little street rally look like type-casting. But there's no programmatic irony, and the pervasive tone of the book is enjoyment.<br><br>These are works that don't date.
Dwellings
Carol Hoorn Fraser, MFA, RCA (1930-1991) was a beautiful and unique American-born artist, who received a humanistic art education at the University of Minnesota, took first prizes in shows at the Walker Art Center and the Minneapolis Institute of Art, and lived for thirty years in Nova Scotia with her husband John, with stays in Provence and Mexico.<br><br>Like Sinatra, she did it her way, radically rethinking her popular expressionist style in the mid-Sixties and developing a decisive organicist iconography in oils that was all her own. Subsequently, when asthma became a problem, she embarked on a brilliant series of watercolours, returning to oils shortly before her death.<br><br>In Tepoztlán in 1981 she dripped undiluted watercolours onto a sheet of glass, pressed sheets of drawing paper down on it, and worked up the resulting colour patches into images. Back home she began revealing the poetry of houses embedded in nature in the various seasons, with the boundaries between inner and outer often porous. These are indeed Dwellings. The variety of techniques by which she made these thirty watercolours sing are illuminated in a long Afterword by artist Barbara Bickle. <br><br>Her work is represented in numerous public collections, including the Walker Art Center, the Smithsonian Institute, the National Gallery of Canada, and the Beaverbrook Art Gallery.
Focusing: Drawings by Carol Hoorn Fraser
Carol Hoorn Fraser, MFA, RCA (1930-1991) was a beautiful and unique American-born artist, who received a humanistic art education at the University of Minnesota, took first prizes in shows at the Walker Art Center and the Minneapolis Institute of Art, and lived for thirty years in Nova Scotia with her husband John, with stays in Provence and Mexico.<br><br>Like Sinatra, she did it her way, radically rethinking her popular expressionist style in the mid-Sixties and developing a decisive organicist iconography in oils that was all her own. Subsequently, when asthma became a problem, she embarked on a brilliant series of watercolours, returning to oils shortly before her death.<br><br>Her earlier drawings, of which she did a lot, were largely landscapes and explorations of bodily postures, nude and clothed. Later on, her drawings, much fewer now, were brilliantly expressive and personal, with women's experiences foregrounded–an unforgettable limp figure on a couch enduring migraine, a head strained upwards to receive a bitter pill (turn it sideways and she's a fury), the mouth as drama of exploratory tongue and teeth, a nude nesting contentedly amid forest birds. <br><br>Drawn from her later works, the twenty-seven images in Focussing are a master class in the imaginative possibilities of the medium, given by a virtuoso.<br><br>Her work is represented in numerous public collections, including the Walker Art Centre, the Smithsonian Institute, the National Gallery of Canada, and the Beaverbrook Art Gallery.
Gardens of Delight and Power
Carol Hoorn Fraser, MFA, RCA (1930-1991) was a beautiful and unique American-born artist, who received a humanistic art education at the University of Minnesota, took first prizes in shows at the Walker Art Center and the Minneapolis Institute of Art, and lived for thirty years in Nova Scotia with her husband John, with stays in Provence and Mexico.<br><br>Like Sinatra, she did it her way, radically rethinking her popular expressionist style in the mid-Sixties and developing a decisive organicist iconography in oils that was all her own. Subsequently, when asthma became a problem, she embarked on a brilliant series of watercolours, returning to oils shortly before her death.<br><br>Gardens of Delight and Power shows her at the top of her game, equally inventive and colour-rich in both mediums, with Mexico, which she visited six times, a strong presence. The gardens range from a great moon-glowing avenue of cypresses in Provence, to the interior of a car magically filled with green forms together with a reclining nude in the glove compartment, to a sheer uncontrolled burst of Mexican night blossoms. These twenty-one images are a joyous celebration of energy and order, with a few darker notes to remind us of their preciousness.<br><br>Her work is represented in numerous public collections, including the Walker Art Center, the Smithsonian Institute, the National Gallery of Canada, and the Beaverbrook Art Gallery.
Birmingham Royal Ballet
I came to Birmingham with the view to being creative, and today I believe we have not only successfully secured the future of the Company, but the whole dance culture in the city of Birmingham. We are geared for great things.' – David Bintley, BRB Director Twenty years ago, Birmingham Royal Ballet (BRB) took the brave step to set up on its own in Birmingham. It was the making of this marvellous company of dancers and dance makers. Now one of the foremost international ballet companies in the world, this book celebrates this story through stunning pictures. Following on from the success of the hardback edition, this eBook is a celebration of twenty years of the Birmingham Royal Ballet in Birmingham, illustrated with over 300 photographs by Bill Cooper and featuring an introduction about the Company from dance critic, Judith Flanders. New for the eBook edition is an additional chapter on the critically acclaimed, 20th anniversary BRB production of Cinderella, as broadcast by the BBC during Christmas 2011. Arranged thematically, this new book tells the story of this prestigious ballet company in full colour. Wonderful productions, wonderful dancers, a fairy tale made real.
The Centaur Types
In 1948, the world-renowned book designer Bruce Rogers wrote a brief text that documented and illustrated his creation of the Centaur typeface several decades earlier: The Centaur Types. The book was privately printed by Rogers himself under the name of his design studio, October House. This limited edition of the book was transferred to the Purdue University Libraries at the time of his death along with his other papers and books. Over the years remaining stock of the original private printing has found its home in the Special Collections of the Libraries, and although known as something of a collector's item by those who are aware of the few copies in circulation, it is here available to the general market for the first time in both paperback and digital versions.The Centaur Types is a fascinating book for several reasons: in the designer's own words, we learn of the evolution of the typeface and of his interest in the art and craft of creating type; it demonstrates different and comparable typefaces, and gives examples of Centaur from six to seventy-two point; and it stands as a fitting example of fine bookmaking from one of the master book designers of the twentieth century.
Severo Sarduy and the Neo-Baroque Image of Thought in the Visual Arts
Severo Sarduy never enjoyed the same level of notoriety as did other Latin American writers like García Márquez and Vargas-Llosa, and his compatriot, Cabrera-Infante. On the other hand, he never lacked for excellent critical interpretations of his work from critics like Roberto González Echevarría, René Prieto, Gustavo Guerrero, and other reputable scholars. Missing, however, from what is otherwise an impressive body of critical commentary, is a study of the importance of painting and architecture, firstly, to his theory, and secondly, to his creative work. In order to fill this lacuna in Sarduy studies, Rolando Pérez's book undertakes a critical approach to Sarduy's essays-Barroco, Escrito sobre un cuerpo, «Barroco y neobarroco,» and La simulación-from the stand point of art history. Often overlooked in Sarduy studies is the fact that the twenty-three-year-old Sarduy left Cuba for Paris in 1961 to study not literature but art history, earning the equivalent of a Master's Degree from the École du Louvre with a thesis on Roman art. And yet it was the art of the Italian Renaissance (e.g., the paintings as well as the brilliant and numerous treatises on linear perspective produced from the 15th to the 16th century) and what Sarduy called the Italian, Spanish, and colonial Baroque or «neo-baroque» visually based aesthetic that interested him and to which he dedicated so many pages. In short, no book on Sarduy until now has traced the multifaceted art historical background that informed the work of this challenging and exciting writer. And though Severo Sarduy and the Neo-Baroque Image of Thought in the Visual Arts is far from being an introduction, it will be a book that many a critic of Sarduy and the Latin American «baroque» will consult in years to come.
Cybernethisms
Working extensively as both artist and scientist, Aldo Giorgini (1934-1994) was one of the first computer artists to combine software writing with early printing technologies. His innovative process involved producing pen-plotted drawings that were embellished by painting, drawing, photography, and screen printing. This biography is the first to uncover the remarkable work and life of an underappreciated artist, providing insights into the innovative methods and computerized techniques he used to weave creations that seamlessly combined technological sophistication with artistic sensibility.Buried manuscripts, documentation, and art taken directly from Giorgini's former studio in Indiana have been used to tell the story of this digital pioneer. The book explores the artist's life as a professor of civil engineering at Purdue University as well as providing a catalog of his artistic contributions. Placing his work in the context of the wider development of computer art, the book also presents a valuable contribution to the history of the field. Giorgini's papers have been recently transferred to Purdue University's Virginia Kelly Karnes Archives and Special Collections Research Center, where they will be preserved and made accessible for future researchers of digital media art history. While complete in itself, this book also plays an important role in contextualizing and providing an access point for that collection.
Analyzing Design Review Conversations
Design is ubiquitous. Speaking across disciplines, it is a way of thinking that involves dealing with complex, open-ended, and contextualized problems that embody the ambiguities and contradictions in everyday life. It has become a part of pre-college education standards, is integral to how college prepares students for the future, and is playing a lead role in shaping a global innovation imperative.Efforts to advance design thinking, learning, and teaching have been the focus of the Design Thinking Research Symposium (DTRS) series. A unique feature of this series is a shared dataset in which leading design researchers globally are invited to apply their specific expertise to the dataset and bring their disciplinary interests in conversation with each other to bring together multiple facets of design thinking and catalyze new ways for teaching design thinking.Analyzing Design Review Conversations is organized around this shared dataset of conversations between those who give and those who receive feedback, guidance, or critique during a design review event. Design review conversations are a common and prevalent practice for helping designers develop design thinking expertise, although the structure and content of these reviews vary significantly. They make the design thinking of design coaches (instructors, experts, peers, and community and industry stakeholders) and design students visible. During a design review, coaches notice problematic and promising aspects of a designer's work. In this way, design students are supported in revisiting and critically evaluating their design rationales, and making sense of a design review experience in ways that allow them to construct their design thinking repertoire and evolving design identity.
Cosmopolitics of the Camera
In Cosmopolitics of the Camera , the leading experts in the field present Les Archives de la Planète ( The Archives of the Planet ) – Albert Kahn’s stunning collection of early colour photography and documentary film – and discuss the extraordinary intellectual context from which it grew. The archives, collected between 1909 and 1932, show the cultural richness and diversity of humanity at a time of drastic geographical and historical change. Consisting of 183,000 metres of film, 72,000 autochromes and more than 6,000 stereographs, it portrays the beauty and creativity of cultures, and their fatal disappearance of which Kahn believed to be only a question of time. The Archives of the Planet was one of a string of institutions for research and international cooperation established in Kahn’s utopian World Gardens near Paris. Some of the best-known minds of the age met there regularly in order to discuss the problem of how to make new media of communication serve the cause of peace and human development. The Cosmopolitics of the Camera presents ten expert voices from seven different countries, studying the work of Kahn and his key collaborators, the geographer Jean Brunhes and the philosopher Henri Bergson, in the spirit of their culturally diverse venture, placing it in its proper historical and intellectual context, and exploring its ambitious achievements and failures. By pushing Kahn’s work back into active discussion, the analysis forces us to reflect on the ways our world is shaped and recorded by the media, and reactivates the time capsule that Kahn designed to communicate with the future.