A global survey of 100 of today's most important clay and ceramic artists, chosen by leading art world professionals. Vitamin C celebrates the revival of clay as a material for contemporary visual artists, featuring a wide range of global talent as selected by the world's leading curators, critics, and art professionals. Clay and ceramics have in recent years been elevated from craft to high art material, with the resulting artworks being coveted by collectors and exhibited in museums around the world. Packed with illustrations, Vitamin C is a vibrant and incredibly timely survey - the first of its kind.
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Time is changing. Human agency and experience lose their primacy in the complexity and scale of social organization today. The leading actors are instead complex systems, infrastructures and networks in which the future replaces the present as the structuring condition of time. As the political Left and Right struggle to deal with this new situation, we are increasingly wholly pre-empted and post-everything. The contributions in The Time Complex. Post-Contemporary re-localize the present as part of a changed, speculative time complex and draw a precise diagnosis of the situation in order to negotiate speculative predictions of a future presence.
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Prica a Zágrábi Művészeti Akadémián 1941-ben szerzett diplomát. A világháború után Párizsba, Indiába, Brazíliába tett tanulmányutat, amelyek nagy hatást gyakoroltak művészetére. A modern horvát művészet egyéni stílusú, kiművelt festői kultúrájú alakja a horvát művész, aki az 50-es évek elejétől kezdve ellenkezett az „új korszak” hasznos és tudatos építőinek kollektív optimizmusával. Önálló útján művészetében létrehozta a grafikai és kolorisztikus jellegzetességek ötvözetét. Prica, mint egy reneszánsz festő jól tudta, hogy a szépség a helyes arányokban rejlik, illetve, hogy a világ minden jelenségében benne rejlik belső szerkezete és mértani konstrukciós alapja...
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Das neue, umfassende Werk für Zeichnende: die menschliche Anatomie verdeutlicht mit detailgenauen Kreidezeichnungen. Sándor Dóró ist Leiter des Fachbereichs Künstleranatomie an der Hochschule für Bildende Künste Dresden. Seit Jahrhunderten beschäftigt sich die Künstleranatomie mit der Frage, wie man den menschlichen Körper darstellen kann und was mit Knochen, Muskeln, Gelenken und Bändern geschieht, wenn wir uns bewegen. In diesem großen Handbuch ermöglicht der ungarisch-deutsche Künstler Sándor Dóró mit seiner räumlich-perspektivischen Methode einen neuen, erfrischenden Zugang zur Künstleranatomie. Mit 700 Wandtafelzeichnungen, Modellskizzen und eigenständigen Arbeiten von Studierenden ist dieses bibliophil gestaltete Werk ein idealer Begleiter durchs Studium. Das Nachschlagewerk für Kunstschaffende vermag aber auch engagierten Laien einen umfassenden Einblick in die Verbindung von Wissenschaft und Kunst zu geben.
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This richly illustrated volume presents the extensive oeuvre of Attila Szűcs (*1967 in Miskolc), one of Hungary’s most important contemporary painters. Szűcs works with old newspaper clippings, postcards, photographs, and film stills, adding new meaning to these traces of the collective memory in his works. Besides issues concerning the culture of remembrance and memory research, the tendencies of East and Central European painting and the artist’s early experiences with totalitarianism have influenced his art...
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Live art is one of the most controversial and hotly discussed areas of creative practice to emerge in the second half of the twentieth century. The history of the art of performance is one of challenge to audiences, art traditions and cultural values. No longer at the margins of cultural production and recognition, performance is now a common occurrence in major art institutions. With the turn towards social and transient art, the use of performance by many of today’s best-known artists, and the blurring of boundaries between visual art, theatre and live art, this is a groundbreaking and timely anthology...
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In Art versus Nonart, Tsion Avital poses the question: 'Is modern art art at all?' He argues that much, if not all, of the nonrepresentational art produced in the twentieth century was not art, but rather the debris of the visual tradition it replaced. Modern art has thrived on the total confusion between art and pseudo-art and the inability of many to distinguish between them. As Avital demonstrates, modern art has served as a critical intermediate stage between art of the past and the future. This book, first published in 2003, proposes a distinct way to define art, anchoring the nature of art in the nature of the mind, solving a major problem of art and aesthetics for which no solution has yet been provided. The definition of art proposed in this book paves the way for a fresh and promising paradigm for future art. Read more at http://www.cambridge.org/hu/academic/subjects/arts-theatre-culture/western-art/art-versus-nonart-art-out-mind#wrAQjX6LCf2MKLKb.99
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A new breed of contemporary artist engages science and technology—not just to adopt the vocabulary and gizmos, but to explore and comment on the content, agendas, and possibilities. Indeed, proposes Stephen Wilson, the role of the artist is not only to interpret and to spread scientific knowledge, but to be an active partner in determining the direction of research. Years ago, C. P. Snow wrote about the "two cultures" of science and the humanities; these developments may finally help to change the outlook of those who view science and technology as separate from the general culture...
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Wuthnow (After Heaven; The Restructuring of American Religion; etc.) and his associates interviewed 100 successful artists who are interested in spirituality, offering many of their stories in this topically organized book. Ceramicists, painters, dancers, sculptors, musicians and writers talked to interviewers about their spiritual journeys, their professional lives and the way the two have informed each other, often to the point of becoming indistinguishable. While each artist's story is unique, many common themes emerge: often dealing with family trauma, these artists were spiritually curious children who asked tough questions and emerged as adults who found solace through a series of spiritual practices, romantic relationships and artistic pursuits. Compelling in some respects, these biographies are unfortunately pervaded by narcissism. In particular, several of the artists Wuthnow features have lived nomadically with children in tow, often separating them from the other parent. Wuthnow anticipates that his subjects will be perceived as self-absorbed spiritual dabblers, and takes pains on several occasions to argue that they are not. He does a fine job of finding common themes in these narratives, particularly many interviewees' appreciation of mystery and ineffability, and admiringly calls artists the spiritual leaders of our time. Artistically minded readers will likely agree with this assertion, and discover in these pages a vibrant perspective on spirituality and the meaning of contemporary life.
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This anthology provides comprehensive coverage of the major contributions of analytic philosophy to aesthetics and the philosophy of art, from the earliest beginnings in the 1950’s to the present time. Traces the contributions of the analytic tradition to aesthetics and the philosophy of art, from the 1950’s to the present time. Designed as a comprehensive guide to the field, it presents the most often-cited papers that students and researchers encounter. Addresses a wide range of topics, including identifying art, ontology, intention and interpretation, values of art, aesthetic properties, fictionality, and the aesthetics of nature. Explores particular art forms, including pictorial art, literature, music, and the popular arts.
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One of the most widely read books on European architecture; Nikolaus Pevsner's landmark work was first published in 1942. Through several revisions and updates during Pevsner's lifetime, it continued to be a seminal essay on the subject, and even after his death, it remains as stimulating as it was back in the mid-twentieth century.
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Az elmúlt másfél évtizedben – Ausztráliát kivéve – bejárta a fél világot, közel száz országban szerzett tapasztalatokat, hol gyalogosan, hol négylábú állatok hátán ülve, hol terepjárón közlekedve. Több nyelven kommunikál, magyarul és románul anyanyelvi, angolul tárgyalási szinten, ha muszáj, oroszul németül, franciául, spanyolul is beszél, de nem adják el svédül, hollandul sem, valamint ismer egy-két ázsiai, afrikai, dél-amerikai nyelvjárást is. Sportbaleset következtében megsérül a gerince, kerekesszékbe kerül. Régi-új hobbijának, az utazásnak hódolva a kerekesszék csak nyűg a nyakán. Skandináviában jön rá, hogy a De Jure Alapítvány filozófiája, miszerint közös a világunk, nincs külön világ épeknek és sérülteknek, nagyon is igaz, ezért itthon is részt vesz az önrendelkező életért, emberi jogokért és akadálymentességért vívott harcban.
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