"In 2009, William Kentridge and Gerhard Marx were commissioned to make a public sculpture for the City of Johannesburg to be installed in time for the 2010 Soccer World Cup. The sculpture is based on a drawing by Kentridge of a woman street vendor - known colloquially as a fire walker - carrying a burning brazier on her head. The eleven-metre-high striding figure would take her place at the foot of the Queen Elizabeth Bridge on a site formerly used by informal traders and taxi washers. Eschewing the bronze monumentalism of traditional public sculpture, Kentridge and Marx devised a figure made up of steel plates that resolves into a coherent image from one vantage point only. A pedestrian passing the sculpture has only a momentary view of the striding woman before the sculpture 'fragments' into its black and white parts. Fire Walker represents not a grand public office-bearer, but an ordinary citizen whose survival depends on her ability to negotiate often-contested urban terrain. began as a project to document the making of Fire Walker has evolved, in this book, into a number of conversations about - and meditations on - the meaning of public art. Essays by Mark Gevisser, Mpho Matsipa, Alexandra Dodd, and Jonathan Cane and Zen Marie prise open critical questions about public space in Johannesburg; interviews with the various collaborators on the sculpture reveal the complexities and challenges of creating such a work; and the extraordinary images of the construction of the sculpture, alongside two photo essays on street vendors and old city monuments, suggest the metaphorical power of Fire Walker as well as the fragile hold of street vendors over their small share of city space."--Publisher's description.
Blue Book of Art Values: Artists & Their Works from Around the World
Peter Jennings and Todd Brewster, The Century (New York: Doubleday, 1998), 154. 8. Time-Life Editors, This Fabulous Century, Vol. IV, 23. 9.
Offers a selection of eighty-seven full-color reproductions of Timberlake's paintings, with an introduction by the painter
THE FERRELL BROTHERS, WILBUR AND WARREN , in their own words "were not known as singular artists but a duo." Wilbur began his career as a motion picture ...
Adelson, Warren, “John Singer Sargent and the 'New Painting,'” in Stanley Olson, Warren Adelson, and Richard Ormond, Sargent at Broadway: The Impressionist ...
This is a rich undiscovered history—a history replete with competing art departments, dynastic scenic families, and origins stretching back to the films of Méliès, Edison, Sennett, Chaplin, and Fairbanks.
Through careful research, Carol Gibson-Wood exposes the mythology surrounding the Morellian method, especially the mythology of the coherence and primacy of his method of attribution. She argues that it “could also be said that Berenson ...
Gibson translates from the Phoenician: “Beware! Behold, there is disaster for you ... !” (SSI 3, no. 5=KAI nr. 2). Examples from Cyprus include SSI 3, no. 12=KAI nr. 30. Gibson's translation of the Phoenician reads (SSI 3, ...
Examines the emergence of abstract organic forms and their assimilation into the popular arts and culture of American life from 1940-1960, covering advertising, decorative arts, commercial design, and the fine arts.
... S. Newman ACCOUNTING Christopher Nobes ADAM SMITH Christopher J. Berry ADOLESCENCE Peter K. Smith ADVERTISING ... ALGEBRA Peter M. Higgins AMERICAN CULTURAL HISTORY Eric Avila AMERICAN HISTORY Paul S. Boyer AMERICAN IMMIGRATION ...