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"The book presents a different history of the Russian avant-garde and its cultural encounters with the sciences. It is focusing on the entanglements of architects, filmmakers and philosophers with experimental psychologists and physiologists in the 1920s which are hardly known yet. Famous avant-garde artists like El Lissitzky, Vassily Kandinsky and Dziga Vertov helped propagate a movement in Russia - psychotechnics -, that was actually coming from Germany and America and can be characterized as "psychotechnical boom". At the end of the story told in this book, it becomes clear, that this boom has not finished until today. By analyzing concrete co-operations between artists and scientists and on the basis of not yet published archival material, this book challenges the notion of
socialist sciences. At the same time, it gives an entirely new picture of what was thought to be modern art and makes clear, that artistic experimentation had much more than a metaphorical meaning in the arts of the Russian 1920s. In 2007 the book was acknowledged with an award for interdisciplinary research by the Wilhelm-Ostwald-Society, Grossbothen. In 2011 the book received funding by the VolkswagenStiftung to be translated into English and Russian (the Russian edition was published by NLO books in 2019). The book got reviews in NZZ, NTM, Derive, Junge Welt, Sehepunkte"-- Provided by publisher.

• Introduction: Walls, Blockades, and Barricades
• Acting Politically: Counter Revanchist Art in the Public Sphere
• River Crossing: Lin Yilin's Safely Maneuvering Across Lin He Road (1995)
• The View from the Cell: Santiago Sierra's Obstruction of a Freeway with a Truck's Trailer (1998) in the Long Sixties
• 24 Hour Placemaking: Heather Peak and Ivan Morisons' I lost her near Fantasy Island. Life will not be the same (2006) and Journée des Barricades (2008)
• Reflecting the Commons at the Border of Enclosure: The Mirrored Repertoires of Euromaidan, Greenham Common and #NODAPL
• Conclusion: Counter Revanchist Art and the Inauguration of Change.

• On Working as an Aboriginal Museum Director and Curator of the Berndt Museum / Catherine Speck in conversation with Vanessa Russ
• The Toa of the Dieri / Martin Edmond
• Wrecking Culture: Australian Iconoclash 2020 / Helen McDonald.

• Introduction: Art for the Earth
• The Non-Objective World
• True Fictions and Dark Mediations
• Speculative Geology
• Conclusion: Out of the Spiral.

"Surveying the content and character of early Christian iconography from the third to the sixth century CE, this substantially revised and updated new edition of Understanding Early Christian Art makes the critical tools of art historians accessible to students. It opens by discussing a series of questions pertaining to the evidence itself and how scholars through the centuries have regarded this material as expressing and transmitting aspects of the developing faith and practice of early adherents of Christianity. It considers possible sources for the various motifs and the complex relationship between word and images, as well as the importance of studying visual and material culture alongside theological and liturgical texts. Rather than organising surviving examples by medium or chronology, the chapters categorize the evidence according to their general iconographic type, such as generic symbols, biblical narratives, and portraits. Each chapter takes up important questions of visual culture, formal style, and the ways in which the iconography is distinct from or shows parallels with contemporary documentary sources like sermons, exegetical works, catechetical lectures, or dogmatic treatises. Concluding with a discussion of the late-emerging depictions of Jesus's crucifixion, resurrection, and ascension, it remains a valuable guide to comprehending the complex theology, history, and context of Christian art. Augmented by over 140 full-colour images, accompanied by parallel text, the interdisciplinary and boundary-breaking approach taken in this extensively revised edition of Understanding Early Christian Art enables students and scholars in fields such as religion and art history to further their understanding and knowledge of the art of the early Christian era"-- Provided by publisher.

With the event of the stereoscope and the theatre, dioramas and panoramas before it, vision and perception in the eighteenth and nineteenth century is seen to be marketed to a mass audience. As such the spectacle of the stereoscope and other optical devices can be seen as a precursor to mass media dissemination today.0Yet artists use the stereoscope and VR to signify the spectacle, clairvoyance, vision and the mechanism of vision as well as a symbol for the act of looking, being looked at while looking and the gaze within an art new media practice.0Other artists have used 3-D and virtual reality to address themes such as theories of consciousness or embodied consciousness, the human ? machine relationship and the idea of mapping reality, alternative networked realities.0The book includes an introduction and summary of chapters, 86 anaglyphic 3-D images and presents a survey of artists working in 3-D and virtual reality, VR art. The convergence of other fields such as new media art, video art and early virtual reality art is described through many examples within the scope of the book.0Artists discussed include Mert Akbal, Zoe Beloff , Geoffrey Berliner, Lygia Clark, Dan Graham, Salvador Dali, Marcel Duchamp, Scott S. Fisher, Rebecca Hackemann, Perry Hoberman, Daniel Iglesia, Ken Jacobs, William Kentridge, Susan MacWilliam, Patrick Meagher, Rosa Menkman, Jim Naughten, Tony Ousler, Alfons Schilling, Joel Schlemowitz, Christopher Schneberger, Judith Sönniken, Ethan Turpin, Aga Ousseinov, Colleen Woolpert

In questo volume si vuole dare conto di come alcuni fra i massimi artisti contemporanei polacchi e tedeschi si riferiscano alle macro-tematiche dell'identità (nazionale, di genere) e della memoria. Una memoria che, in questi casi e in entrambi i Paesi, converge intorno all'anus mundi, Auschwitz nella sua dimensione concreta e simbolica: l'assassinio degli ebrei europei, realizzato dai nazisti e dai loro collaboratori in terra polacca. Punto di partenza per l'analisi di opere di artisti come Mirosław Bałka, Elżbieta Janicka, Zbigniew Libera, e Anselm Kiefer, Gerhard Richter, Eva & Adele, è la descrizione di alcune mostre, dalla pioneristica Mirroring Evil (New York, 2002) alla recente Estranged (Varsavia, 2018), riferendo anche di cataloghi e recensioni: in breve, dell'impatto 'sociale' e pubblico dell'arte. [Testo dell'editore]

• Institutional forewords
• Curatorial acknowledgements
• Keep it going : the enduring relevance of Abraham Ángel / Mark A. Castro
• Abraham Ángel : in the shadow of the legend / Mireida Valázquez Torres
• Catalogue
• Testimonials commemorating Abraham Ángel from 1924
• Checklist of known paintings by Abraham Ángel
• Selected bibliography
• Dallas Museum art staff
• Illustration and copyright credits.

• Introduction
• The anti-dictionary : the verbal non-object and neoconcrete poetry, books, and installation art
• Experiência Neoconcreta : Jornal do Brasil and its cultural supplement, graphic design, and the modern public
• A synergistic phenomenon : The Neoconcrete ballets and abstraction
• New monumentality and collaboration : Neoconcretism and architecture
• Conclusion

"The 1950s and early 1960s in Brazil gave birth to a period of incredible optimism and economic development. In The Affinity of Neoconcretism, Mariola V. Alvarez argues that the neoconcretists--a group of artists and poets working together in Rio de Janeiro from 1959 to 1961--formed an important part of this national transformation. She maps the interactions of the neoconcretists and discusses how this network collaborated to challenge existing divides between high and low art and between fields such as fine art and dance. This book reveals the way in which art and intellectual work in Brazil emerged from and within a local political and social context, and out of the transnational movements of artists, artworks, published materials, and ideas"-- Provided by publisher

• Historiography
• Participation
• Advocacy
• Visibility
• Aftermath

"Examines the involvement of African Americans in the New Deal art programs, shifting emphasis from individual artists toward broader issues informed by the uniqueness of Black experience"-- Provided by publisher

Through the 1880s the very essence of representation, meaning and process in Western art were profoundly interrogated. Plausible representations of the external world were cast aside in favour of non-naturalism expressed in varying degrees, from modest distortions of reality to pure abstraction.00 The decades that followed, up to the outbreak of the First World War in 1914, were a complex, vibrant period of artistic questioning, searching, risk-taking and innovation. Concentrating on this period of great upheaval, this book will explore the constructive dialogue between painting and sculpture, and the influential roles played by three giants of the era, Paul Cézanne, Paul Gauguin and Vincent van Gogh, across European art as a whole. While acknowledging the centrality of Paris as a cultural capital, it will also uniquely highlight other centres of artistic ferment in Europe, from Brussels and Barcelona to Berlin and Vienna, and track the variety of routes into modernism in the early twentieth century.00 This fully illustrated catalogue will contain four essays, introductions to each city of ferment and biographies of the artists.0 0Exhibition: The National Gallery, London, UK (25.03.2023 - 13.08.2023)

The first book to dive exclusively into Ai Weiwei's approach to design and collecting, shedding light on the value we ascribe to everyday objects. Artist, film-maker, architect, activist, collector - whatever mode Ai Weiwei is in, he is trying to tell us something about the state of the world. This book presents Ai's work as a commentary on design and what it reveals about our changing values. Confronted by the rapid pace of change in his country, Ai became fascinated by Chinese antiquities. His vast collections of historical artefacts, from Stone Age tools to broken teapot spouts, attest to the way the language of objects speaks across the ages. Is this a classic tale of technical progress, or have we lost crucial qualities with the march of time? Ai invites us to make sense of these objects as he explores the tensions between past and present, hand and machine, precious and worthless, construction and destruction. Exhibition: Design Museum, London, UK (07.04. - 30.07.2023).