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Books on the topic 'CPC and artistic circles'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Drennan, Geo B. Voices, circles, echoes. El Paso, Tex: Printing Corner Press, 1996.

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2

Museum, Victoria and Albert, ed. Artistic circles: Design & decoration in the aesthetic movement. London: V&A Pub., 2010.

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3

Horn, Roni. To place: Arctic circles. Denver, CO: G. Williams, 1998.

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4

C.L.R. James and creolization: Circles of influence. Jackson: University Press of Mississippi, 2001.

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5

McCue, Michael J. Paris and Tryon: George C. Aid (1872-1938) and his artistic circles in France and North Carolina. Columbus, N.C: Condar, 2003.

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6

Artistic Circles: The Medal in Britain, 1880-1918. British Museum Press, 1992.

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7

Shards & Circles: Artistic Adventures in Spirit and Ecology. Trafford Publishing, 2007.

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8

Collaborative Circles: Friendship Dynamics and Creative Work. University Of Chicago Press, 2001.

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9

Farrell, Michael P. Collaborative Circles: Friendship Dynamics and Creative Work. University Of Chicago Press, 2003.

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10

Hodge, Susie, and Sarah Papworth. Artistic Circles: The Inspiring Connections Between the World's Greatest Artists. Quarto Publishing Group UK, 2021.

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11

Edition, Attaf. Mandala Artistic Circles Coloring Book: Adults over 50 Amazing High Quality Mandalas , Circles , Animals and More Much for Stress Relieving. Independently Published, 2020.

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12

Roni Horn - Island to Place Artic Circles. Verlag Der Buchhandlung Walther Konig, 1998.

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13

King, Nicole. C. L. R. James and Creolization: Circles of Influence. University Press of Mississippi, 2001.

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14

Patton, Raymond A. Prophets of Postmodern Provocation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190872359.003.0003.

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This chapter situates the rise of punk in the avant-garde artistic networks that spanned the First, Second, and Third Worlds of the Cold War era. It examines the roles of UK punk impresario Malcolm McLaren, who launched the Sex Pistols, and Polish punk impresario Henryk Gajewski, and the mutual interest between burgeoning punks and international art circles involved in avant-garde art movements such as Pop Art and Fluxus. It shows how punk evolved in dialogue with the wider phenomenon of postmodernism, challenging conventional metanarratives structuring the social order, blurring genres, and striking down the boundaries between art and everyday life.

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15

Reed, Christopher. Bachelor Japanists. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231175753.001.0001.

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Challenging clichés of Japanism as a feminine taste, Bachelor Japanists argues that Japanese aesthetics were central to contests over the meanings of masculinity in the West. Christopher Reed draws attention to the queerness of Japanist communities of writers, collectors, curators, and artists in the tumultuous century between the 1860s and the 1960s.Reed combines extensive archival research; analysis of art, architecture, and literature; the insights of queer theory; and an appreciation of irony to explore the East-West encounter through three revealing artistic milieus: the Goncourt brothers and other japonistes of late-nineteenth-century Paris; collectors and curators in turn-of-the-century Boston; and the mid-twentieth-century circles of artists associated with Seattle’s Mark Tobey. The result is a groundbreaking integration of well-known and forgotten episodes and personalities that illuminates how Japanese aesthetics were used to challenge Western gender conventions. These disruptive effects are sustained in Reed’s analysis, which undermines conventional scholarly investments in the heroism of avant-garde accomplishment and ideals of cultural authenticity.

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16

Andrew, Nell. Moving Modernism. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190057275.001.0001.

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This book reenacts the simultaneous eruption of three spectacular revolutions—the development of pictorial abstraction, the first modern dance, and the birth of cinema—which together changed the artistic landscape of early twentieth-century Europe and the future of modern art. Rather than seeking dancing pictures or pictures of dancing, however, this study follows the chronology of the historical avant-garde to show how dance and pictures were engaged in a kindred exploration of the limits of art and perception that required the process of abstraction. Recovering the performances, methods, and circles of aesthetic influence of avant-garde dance pioneers and experimental filmmakers from the turn of the century to the interwar period, this book challenges modernism’s medium-specific frameworks by demonstrating the significant role played by the arts of motion in the historical avant-garde’s development of abstraction: from the turn-of-the-century dancer Loïe Fuller, who awakened in symbolist artists the possibility of prolonged vision; to cubo-futurist and neosymbolist artists who reached pure abstraction in tandem with the radical dance theory of Valentine de Saint-Point; to Sophie Taeuber’s hybrid Dadaism between art and dance; to Akarova, a prolific choreographer whose dancing Belgian constructivist pioneers called “music architecture”; and finally to the dancing images of early cinematic abstraction from the Lumière brothers to Germaine Dulac. Each chapter reveals the emergence of abstractionas an apparatus of creation, perception, and reception deployed across artistic media toward shared modernist goals. The author argues that abstraction can be worked like a muscle, a medium through which habits of reception and perception are broken and art’s viewers are engaged by the kinesthetic sensation to move and be moved.

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17

Riggsby, Andrew. Mosaics of Knowledge. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190632502.001.0001.

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The book examines the invention, use, and diffusion of ancient Roman information technologies. In particular, it looks at technologies defined in conceptual terms—lists, tables, weights and measures, perspective and related artistic devices, and cartography—rather than mechanical ones (e.g., “tablet” or “scroll”). Each is viewed from both social and cognitive perspectives, as well as with attention to the interaction between the conceptual and its material instantiation. The study is particularly focused on the most powerful technologies, whose uptakes are in most cases sporadic across time, space, and use context. These systems display a tolerance for error and/or omission remarkable unless they are considered in the narrowest possible use-context. Similarly, they often presuppose shared knowledge (both of form and of content) that could only have existed in highly localized contexts. Further constraints on the use of these devices arise from preferences for facts that are constituted by the record, rather than recorded, and (at least in elite circles) for linear exposition on the model of oral discourse. As a consequence, on the one hand, Romans lived in a balkanized informational world. Persons in different “locations”—whether geographical, social, or occupational—would have had access to quite different informational resources, and the overall situation is thus not controlled by the needs of any particular class or group. On the other hand, seeming technological weakness often turn out to be illusory if we set them in their actual use-contexts.

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