The Baku Museum of Modern Art has opened its doors to Lalla Essaydi’s Beyond Time and Beauty exhibition. Beyond Time and Beauty is Essaydi’s first exhibition in Azerbaijan and follows her retrospective at the Smithsonian Museum of African Art in 2012-13. Bringing together works from across her career, the show features the series Harem, Bullets, Converging Territories and Les Femmes du Maroc. As the curator, Dina Nasser-Khadivi, describes “Essaydi is a remarkable international artist; she navigates pervasive cultural and aesthetic dichotomies to make something wholly original - East and West, Tradition and Modernity and the changing perceptions of women.” A fully illustrated colour catalogue will accompany the exhibition and include an essay by Olga Nefedova, the founding director at the Orientalist Museum, Qatar. Essaydi was raised in Morocco and spent many years in Saudi Arabia, and although she was educated in Europe and the United States, this experience of traditional Islamic life was fundamental in shaping her. Essaydi’s photography provides a contemporary reflection on an iconography that stretches as far back as the Orientalist imagery of nineteenth century artists such as Ingres, Delacroix, and Gérôme. More recently Essaydi has produced a series of pictures in a former harem in Morocco, often swathing her subjects in robes which closely echo the decorative tiles that wall the complex. Lalla Essaydi lives in New York. Selections from her series Les Femmes du Maroc were published by powerHouse Books in 2009. Recent exhibitions of her work have been staged at the Smithsonian Museum of African Art, Boston Museum of Fine Arts, Williams College Museum, Williamstown, Mass.; and the Columbus Museum of Art, Ohio. Her work is represented in the collections of the Louvre, Paris; Los Angeles County Museum of Art (LACMA), Los Angeles; Art Institute of Chicago; Brooklyn Museum of Art, New York; Museum of Fine Arts, Houston; Museum of Fine Arts, Boston, and many others
The book includes a general introduction to the everyday in contemporary philosophy, as well as a number of specialized articles. These articles provide short presentations of important 20th and 21st century thinkers of the everyday. The pertinence of their approaches is visualised in empirical studies of the everyday and its representations in photography, film, theatre, childhood narratives and painting.
Under the title Phenomenology of the Eveyday we meant both the stricter sense of the philosophical endeavour launched by Edmund Husserl, and the wider sense of a description of significant features of a phenomenon that concerns us all and that nobody can reject as irrelevant.
This book explores how artistic strategies of resistance have survived under the conservative-authoritarian regime which has been in place in Russia since 2012. It discusses the conditions under which artists work as the state spells out a new state cultural policy, aesthetics change and the state attempts to define what constitutes good taste. It examines the approaches artists are adopting to resist state oppression and to question the present system and attitudes to art. The book addresses a wide range of issues related to these themes, considers the work of individual artists and includes besides its focus on the visual arts also some discussion of contemporary theatre. The book is interdisciplinary: its authors include artists, art historians, theatre critics, historians, linguists, sociologists and political scientists from Russia, Europe and the United States.
Shafik Gabr started his collection of Orientalist art in 1993 by acquiring a painting by Ludwig Deutsch entitled Egyptian Priest Entering a Temple. His collection is today amongst the very few in the world to count such a large number of works by the famed Austrian artist as well as some of the finest examples of the greatest masters of Orientalism such as Jean-Leon Gerome, Frederick Arthur Bridgman, Gustav Bauernfeind and many others. Important for both scholars and art lovers, the Shafik Gabr Collection impresses us with its richness and variety. It includes masterpieces by some of the major nineteenth and twentieth century Orientalists found in private hands today and demonstrates the owner's appreciation of differences as well as similarities in European visions of the versatile and diverse Orient. The selection of paintings in this collection illustrates the owner's evolving taste, his relationship with the world of Orientalism and his interest in its European expression. This Orientalist collection is a harmonious "kaleidoscope" of genres, presenting the Orient through a variety of forms, styles and techniques, and revealing to the European viewer the mysterious East with its bright colors, its exotic and leisurely lifestyle. Over the years, it has become one of the most complete and magnificent tributes dedicated to the world of Orientalism and as such some of the most renowned experts in this field have contributed to this book in order to mark its importance in the art world.
The volume is organized into three main sections: "Art and Culture", "History" and "Language and Literature". Several authors address various aspects of Spanish-Russian relations: historical, political and cultural contacts at various times, the image of Russia in Spain, influences of Russian writers in Spanish literature, etc. In the field of painting, there are studies focusing on the great Spanish authors: El Greco, Ribera, Murillo, Goya, and Picasso. There are studies which are focused on other arts such as architecture and sculpture work. History issues cover topics and times, as the Christian Church in the time of the Muslim conquest, the Crown of Aragon in the 14th century, the Spanish Monarchy, and the Inquisition. Several studies deal with the works of Spanish literature.
This collection of essays was published in a form of a catalogue for one of the propgrams screened at the Yamagata International Documentary Film Fstival in October 2019. The program entitled "The Creative Treatment of Grierson in Wartime Japan" was co-organized by the Yamagata International Documentary Film Festival and the National Film Archive of Japan and presented a broad variety of wartime Japanese documentaries as well as British and Soviet films that have influenced them. The collection of essays explores the development of wartime Japanese documentary cinema from variety of historical and theoretical perspectives.
Contemporary art biennials are sites of prestige, innovation and experimentation, where the category of art is meant to be in perpetual motion, rearranged and redefined, opening itself to the world and its contradictions. They are sites of a seemingly peaceful cohabitation between the elitist and the popular, where the likes of Jeff Koons encounter the likes of Guy Debord, where Angela Davis and Frantz Fanon share the same ground with neoliberal cultural policy makers and creative entrepreneurs. Building on the legacy of events that conjoin art, critical theory and counterculture, from Nova Convention to documenta X, the new biennial blends the modalities of protest with a neoliberal politics of creativity.
This book examines a strained period for these high art institutions, a period when their politics are brought into question and often boycotted in the context of austerity, crisis and the rise of Occupy cultures. Using the 3rd Athens Biennale and the 7th Berlin Biennale as its main case studies, it looks at how the in-built tensions between the domains of art and politics take shape when spectacular displays attempt to operate as immediate activist sites. Drawing on ethnographic research and contemporary cultural theory, this book argues that biennials both denunciate the aesthetic as bourgeois category and simultaneously replicate and diffuse an exclusive sociability across social landscapes.
This book is a result of the "Urban treasures: Photography" workshop organized by Strelka Institute for media architecture and design and held by Charlie Koolhaas in Moscow from July 2-8 2014.
This book examines Japanese culture of the Muromachi epoch (14-16 centuries) with Ikkyu Sojun (1394-1481) as its focal point. Ikkyu's contribution to the culture of his time was all-embracing and unique. He can be called the embodiment of his era, given that all the features typical for the Japanese culture of the High Middle Ages were concentrated in his personality. This multidisciplinary study of Ikkyu's artistic, religious, and philosophical heritage reconstructs his creative mentality and his way of life. The aesthetics and art of Ikkyu are shown against a broad historical background. Much emphasis is given to Ikkyu's interpretation of Zen. The book discusses in great detail Ikkyu's religious and ethical principles, as well as his attitude towards sex, and shows that his rebellious and iconoclastic ways were deeply embedded in the tradition. The book pulls together materials from cultural and religious history with literary and visual artistic texts, and offers a multifaceted view on Ikkyu, as well as on the cultural life of the Muromachi period. This approach ensures that the book will be interesting for art historians, historians of literature and religion, and specialists in cultural and visual studies.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
Traveller and explorer, art patron and collector, benefactor and connoisseur, politician and Danzig mayor, Bartholomäus Schachman lived in a time of major political and religious changes in Europe, a time of grand geographical discoveries, a time when both religious and secular arts flourished, a time of great expansion of the Ottoman Empire. He was born on 11th September 1559 in Danzig (nowadays called Gda´nsk), member of The Hanseatic League, within the Kingdom of Poland. Danzig was one of the largest Hansa’s cities and one of the most important sea ports and shipbuilding markets. Bartholomäus Schachman’s journey through the Ottoman Empire lasted two years from 1588 to 1589, and his album, conveying the tale of his adventures, became one of the greatest travelogues of the sixteenth century. - See more at: http://www.skira.net/bartholomaus-schachman-1559-1614-6043.html#sthash.V8do6qMK.dpuf
The volume presents for the first time four 17th-century paintings commissioned by the Habsburg Ambassador Hans-Ludwig von Kuefstein after his diplomatic mission to Istanbul, accompanied by twelve gouache works from a collection in Austria. In spite of its diplomatic and political success in the Ottoman–Habsburg relations, the Kuefstein’s embassy is remembered first of all for its artistic legacy documented by the ambassador’s diary, the draft of a final report to the Emperor, diplomatic correspondence, a list of gifts presented and received, and last but not least, a series of gouaches, executed in Istanbul, and a series of oil paintings – which serve to illustrate various aspects of 17th-century Ottoman life, and provide a detailed account of the ambassador’s mission. The Orientalist Museum of Qatar curatorial and conservation departments, with the assistance of external scientific experts, have embarked upon a collaborative project to provide new insights into the history of the Ottoman–Habsburg relations. The result is the exhibition and the volume Heritage of Art Diplomacy: Memoirs of an Ambassador – the culmination of two years’ restoration and research work aimed to provide a better understanding of the cultural heritage in respect to its aesthetic and historic significance and its physical integrity. - See more at: http://www.skira.net/heritage-of-art-diplomacy-6092.html#sthash.hA0kDD45.dpuf
The story about a young man named Lucius who was turned into an ass by a witch appears in the ancient literature twice at least: in Lucian's novella entitled Lucius, or the Ass and in Apuleius' Metamorphoses. Besides, as reported by Photius in his Bibliotheca (cod.129), there also existed one more work on the same subject, entitled Metamorphoses, which gas not come down to us. The most fascinating question for scholars here was always the question of origin of this plot. The book is an attempt to give an answer to the question.
In the Methodical grant technological bases of performance of tasks at the rate "Materials science" are stated, the main receptions and features of process of work in technicians of a batic, a list on glass, a decoupage are considered. The original technique on installation interpretation performance on the basis of the analysis of work of the fine arts is presented. The sequence of performance of tasks is presented as the complex, comprehensive solution of a specific objective with the description of stage-by-stage performance of an outline row, with the subsequent detailed performance of art object.
The book addresses a wide audience interested in the history of art and art market in the 20th and 21st centuries, as well as scholars specialising in cultural studies and art economy.