"The revolutionary wave of demonstrations and protests that began to sweep across numerous countries in North Africa and the Middle East in December 2010 shocked the world. The significance of the uneven phenomenon which has often been named the 'Arab Spring' is still not fully understood. What is certain is that the events triggered partly by the self-immolation of the Tunisian fruit-stall owner, Mohammed Bouazizi, have changed this diverse region irrevocably, leading to the explosion of enduring political frameworks or - in Syria - to civil war and mass exodus. These Revolutions - like other Revolutions in diverse modern historical contexts - have often tended to be articulated, internally and externally, in black and white terms of success or failure, liberation or constraint, for or against, friend or enemy. The complex range of perspectives in Tunisia has, for example, at times, been reduced to binary perceptions of secularism and religion or, more extremely, a 'Western' notion of democracy and a radical version of Islamism. The metaphor of an 'Arab Spring' was swiftly replaced, in both journalism and scholarship, by that - equally reductive - of an 'Islamist Winter'. The Revolutions came often to be presented as a closed chapter. Yet, art engaging with this phenomenon frequently contributes an alternative perspective. A striking range of art evokes, and encourages, a more nuanced understanding of these Revolutions, and of the idea of 'revolution', more widely. In this book I ask how such work - in photography, sculpture, graffiti, performance, video and installation - forges a way between internal and external clichés. How does this art evoke the idea of revolution? How does it invent new aesthetics? How do these works call for alternative critical approaches?"--
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 ...