One of today's best-known contemporary artists, New Leipzig School painter Neo Rauch (born 1960) blends the realistic figuration of Social Realism with Surrealism: brightly colored figures parade thro
This book presents works from the first joint exhibition of the artists Neo Rauch and Rosa Loy. Neo Rauch and Rosa Loy live and work as a successful artist couple on the international stage. They have
The term Neo-Dada surfaced in New York in the late 1950s and was used to characterize young artists like Robert Rauschenberg and Jasper Johns whose art appeared at odds with the serious emotional and
Martha Ward tracks the development and reception of neo-impressionism, revealing how the artists and critics of the French art world of the 1880s and 1890s created painting's first modern vanguard mov
In Trans Exploits Jian Neo Chen explores the cultural practices created by trans and gender nonconforming artists and activists of color. They argue for a radical rethinking of the policies and techno
In Trans Exploits Jian Neo Chen explores the cultural practices created by trans and gender nonconforming artists and activists of color. They argue for a radical rethinking of the policies and techno
A study illustrating the confrontational, parodic, and anti-commercial aesthetics of punk and neo-tribalism, as well as its relationship with music, art, dance, and "anti-social" behavior. Wojcik's 30
The artists of the seventeenth-century baroque period used spectacle to delight andastonish; contemporary entertainment media, according to Angela Ndalianis, are imbued with aneo-baroque aesthetic tha
The artists of the seventeenth-century baroque period used spectacle to delight and astonish; contemporary entertainment media, according to Angela Ndalianis, are imbued with a neo-baroque aesthetic t
Robert Rauschenberg is one of the most important visual artists of the second half of the twentieth century. In Random Order, Branden Joseph examines Rauschenberg's work in the context of the America
A common sight in American cities today is the local bohemia, filled with hipsters, funky stores, picturesque dive bars, and aspiring artists. Yet not so long ago, these sorts of districts were relati
My book draws on studies shows how the neo-baroque can be understood as a strategy that allows artists in Latin America and the Caribbean to rearticulate the imperial, colonialist gaze of globalizatio
From Toni Morrison's First Novel, The Bluest Eye, to bestselling black fiction of the 1980s to a string of recent work by black and nonblack authors and artists, Jim Crow haunts the post-civil rights
In a comparative study of Central European neo-avant-garde artists' engagement with ecology, Fowkes seeks to identify an ensemble of outstanding and complementary artistic approaches that could help p
Julian Schnabel (b. 1951) is regarded throughout the world as one of the most important artists of our time. He burst onto the neo-expressionist art scene of the early 1980s with huge, arresting paint
In and Out of View models an expansion in how censorship is discursively framed. Contributors from diverse backgrounds, including artists, art historians, museum specialists, and students, address controversial instances of art production and reception from the mid-20th century to the present in the Americas, Africa,Asia, Europe, and the Middle East. Their essays, interviews, and statements invite consideration of the shifting contexts, values, and needs through which artwork moves in and out of view. At issue are governmental restrictions and discursive effects, including erasure and distortion resulting from institutional policies, canonical processes, and interpretive methods. Crucial considerations concerning death/violence, authoritarianism, (neo)colonialism, global capitalism, immigration, race, religion, sexuality, activism/social justice, disability, campus speech, and cultural destruction are highlighted. The anthology―a thought-provoking resource for students and scholars in
The experimental practices of a group of artists in the former East Germany upends assumptions underpinning Western art’s postwar histories. In Paper Revolutions, Sarah James offers a radical rethinking of experimental art in the former East Germany (the GDR). Countering conventional accounts that claim artistic practices in the GDR were isolated and conservative, James introduces a new narrative of neo-avantgarde practice in the Eastern Bloc that subverts many of the assumptions underpinning Western art’s postwar histories. She grounds her argument in the practice of four artists who, uniquely positioned outside academies, museums, and the art market, as they functioned in the West, created art in the blind spots of state censorship. They championed ephemeral practices often marginalized by art history: postcards and letters, maquettes and models, portfolios and artists’ books. Through their “lived modernism,” they produced bodies of work animated by the radical legacies of the inter
This book, first published in 1991, is a general history of Roman painting written specifically for English-language readers. Large numbers of wall-paintings have survived from the Roman world, and particularly from Rome itself and from the cities of Pompeii, Herculaneum and Stabiae, buried in the eruption of Mount Vesuvius in AD 79. Their influence upon European artists of the Renaissance and Neo-Classical periods has been considerable. Recent research has provided a much clearer idea of the chronology of these paintings, of their sources of inspiration, and of their meaning to the various classes of patrons who commissioned them. All aspects of our knowledge are brought together in this survey. Among other topics the book discusses the so-called Four Pompeian Styles, their spread to the provinces, the broad developments in scheme, style and subject-matter which followed them, the factors which dictated the choice of particular subjects and the way in which they were represented, and
How one of the leading artists of Neo-Concretism Hélio Oiticica presaged the unique trajectory of Brazilian contemporary art with his intensive color-architectures.“The IMAGE-grip is dislocated and a more fundamental element emerges: in short, IMAGE is not the work’s supreme motive or unifying end.”―Hélio Oiticica At the turn of the 1950s–1960s, one of the leading artists of Neo-Concretism, Hélio Oiticica, presaged the unique trajectory of Brazilian contemporary art with his intensive color-architectures. In the wake of this vivência of “time-color,” which subordinates the aesthetic to the sensorimotor powers of color, Oiticica’s transcategorial, transmedia works critically and clinically undermine physical and social architecture, while semiotically subverting the forms of domination exerted by the image. In this culmination of their reassessment of the relation among art, philosophy, and the contemporary, Éric Alliez and Jean-Claude Bonne show how these works are exemplary not o
