Bücher zum Thema „Sharpe Gallery“
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1
Gallery, Sharpe. James Albertson, Roberto Barni, Erwin Bohatsch, Francesco Bonami, Lorenzo Bonechi, Mark Dean .... New York, N.Y: Sharpe Gallery, 1985.
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2
W, Rothschild Henry, und Scottish Gallery, Hrsg. Shape & decoration: An exhibition of contemporary British studio ceramics selected by Henry W. Rothschild at the Scottish Gallery ... Edinburgh, July 7-August 2 1986. [Edinburgh: Scottish Gallery], 1986.
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3
May, Susie. Shape (Children's Art Series from the National Gallery of Victoria). National Gallery Of Victoria, 2006.
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4
Roscoe, Lucy. The Book Tree Press. University of Edinburgh, 2024. http://dx.doi.org/10.2218/ed.9781836450580.
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The output is a collection of fifteen creative book works which explore how the formal and sculptural properties of the book can be used to communicate narrative. The research is an iterative, cumulative, practice-based approach to making books, where repetition leads to extended insights. Illustrated books currently sit within several fields including fine art, illustration, and design. Roscoe’s research invests the spaces between these fields to interrogate the way the physical book acts as a form of visual communication through materials, binding, shape, and audience interaction. Individual books from the output have been selected for inclusion in The Liverpool & Knowsley Book Art Exhibition, Kirby Gallery, Knowsley (2019) and ICON 10 Gallery Show, Red Bull House of Art, Detroit (2018). The entire collection has been selected annually, in different iterations, for exhibition at Artists’ BookMarket at The Fruitmarket Gallery, Edinburgh (2016–2020).
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Keck, Ludwig. Digital Pictures Basics - 2012: Organize, Improve, Share your Photos using Windows Photo Gallery and Microsoft SkyDrive. CreateSpace Independent Publishing Platform, 2012.
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6
KATHERINE, GAVIN;, CHAPIN; SUZANNE H, SHEFFIELD; LINDA JENSEN und CASA; TUTITA M. Project M2 Level 2 Unit 1 : Designing a Shape Gallery: Geometry with the Meerkats Student Mathematician Journal. Kendall Hunt Publishing Company, 2017.
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7
KATHERINE, GAVIN;, CHAPIN; SUZANNE H, SHEFFIELD; LINDA JENSEN und CASA; TUTITA M. Project M2 Level 2 Unit 1 : Designing a Shape Gallery: Geometry with the Meerkats Student Mathematician Journal. Kendall Hunt Publishing Company, 2020.
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8
Gavin, Katherine, Tutita M. Casa und Linda Jensen Sheffield. Project M2 Level 2 Unit 1 : Designing a Shape Gallery: Geometry with the Meerkats Teacher Guide Package. Kendall Hunt Publishing Company, 2017.
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9
Project M2 Level 2 Unit 1 : Designing a Shape Gallery: Geometry with the Meerkats Student Mathematician Journal. Kendall Hunt Publishing Company, 2010.
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10
Burkinshaw, Mal. Silhouettes en Dentelle. University of Edinburgh, 2024. http://dx.doi.org/10.2218/ed.9781836450092.
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Silhouettes en Dentelle is a series of eight transparent tailored jackets, designed by Burkinshaw. The jackets were made in response to historic ideals of beauty presented in the collection of Renaissance portraits at the Scottish National Portrait Gallery. Burkinshaw’s research explores the ways in which contemporary fashion design can learn from changing historical perceptions of body-image and ideals of beauty. Challenging normative approaches to design by directly addressing questions of gender and body shape through design and production process, it invests fashion design to stimulate discussion around contemporary issues of diversity within the fashion industry – an industry that has historically been notoriously impervious to diversity.
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Aharon, Nir. ʻAl ha-ḥayim ṿe-ʻal ha-maṿet. 2003.
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12
Moore, James. High culture and tall chimneys. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784991470.001.0001.
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During the nineteenth century industrial Lancashire became a leading national and international art centre. In 1857 Manchester hosted the international Art Treasures Exhibition at Old Trafford, arguably the single most important art exhibition every held. By the end of the century almost every major Lancashire town possessed an art gallery, while Lancashire art schools and artists were recognised nationally and internationally. This book examines the reasons for the remarkable rise of visual art in Lancashire and its relationship to the rise of the commercial and professional classes who supported it. Lancashire is rarely seen by outsiders as a major cultural centre but the creation of a network of art institutions facilitated a vibrant cultural life and shaped the civic identity of its people. The modern industrial towns of Lancashire often looked to the cultural history of other great civilisations to understand the rapidly changing world around them. Roscoe’s Liverpool of the late eighteenth century emulated Medici’s Florence, Fairbairn’s Manchester looked to Rome, while a century later Preston built an art gallery as a tribute to Periclean Athens. Yet the art institutions and movements of the county were also distinctively modern. Many embraced the British fashions of the time, while some looked to new art movements abroad. Art institutions also became a cultural battleground for alternative visions of the future, from those that embraced modern mass production technologies and ‘commercial art’ to those that feared technology and capitalism would destroy artistic creativity and corrode standards of excellence.
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Divine, Grace. L. A. Art Share Gallery Review Opening Los Angeles California Modern Digital Photography Prints in a Book by Artist Grace Divine. Independently Published, 2018.
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14
Owen, Jonathan. Untitled. University of Edinburgh, 2024. http://dx.doi.org/10.2218/ed.9781836450320.
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The output is a life-size figurative sculpture, produced as a publicly-funded commission for Edinburgh Art Festival, 2016, an annual city-wide festival of international contemporary art. It was made by carving into a section of a 19th century marble statue to alter its shape by replacing the torso with movable, interlinking forms. This intervention rendered the statue unstable, leaving it intact and upright but shifted into a new posture. The work is one of a series of deconstructions of neoclassical sculpture that Owen has made over the past five years. For the duration of the festival, the work was exhibited inside the Burns Monument, a neoclassical temple on Edinburgh’s Calton Hill. It received an audience of 13,058 people. The sculpture was subsequently exhibited at Frieze London, 2016, where it was acquired for the collection of the National Gallery of Victoria, Melbourne. It was exhibited in the NGV Triennial 2017–2018, with an audience of 1,231,742 people.
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Bisbort, Alan. Beatniks. ABC-CLIO, LLC, 2009. http://dx.doi.org/10.5040/9798400617140.
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This is a revealing look at the events and personalities that defined the Beat Generation, drawing on over three decades of research. Beatniks: A Guide to an American Subculture gets readers past the caricature of the “beatnik” as a goateed, beret-wearing, bongo-playing poseur, drawing on extensive research to show just how profound an impact the beats had on American culture, politics, and literature. Beatniks conveys the complexity, influences, events, and places that shaped the Beat Generation from the late 1940s to the cusp of the 1960s. The book also features a series of essays on specific aspects of the subculture, as well as interviews with Beat Generation luminaries like Allen Ginsberg, Ann Charters, Roy Harper and Michael McClure. Throughout, readers will meet an extraordinary gallery of people both famous―Jack Kerouac, William Burroughs, Neal Cassady―and lesser known but no less fascinating, including Kenneth Patchen, Lord Buckley, Mort Sahl, Jack Micheline, Lew Welch, Joan Vollmer Adams, and Lenore Kandel. Also included is a detailed glossary with the origins and meanings of the beat lingo.
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Hyslop, Jane. The Gardens. University of Edinburgh, 2024. http://dx.doi.org/10.2218/ed.9781836450504.
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The Gardens, Edinburgh is a group of five artefacts – consisting of three folios of drawings, a set of paper objects in a wedge-shaped box, and a publication made from linen. It was produced as an investigation into the history of the Royal Scottish Academy and the adjacent Princes Street Gardens in Edinburgh, and originally exhibited at the Royal Scottish Academy in 2015. The output was commissioned by Visual Art Scotland 2015, for their annual exhibition at the Royal Scottish Academy. It combines drawings, paper folding techniques and digital printing with historical and contextual research to investigate two key aspects of the site: first, the development of the linen industry in Scotland during the eighteenth century; second, the layout of the gardens, particularly the relation between the formal design arrangements and the growth of indigenous plants that infiltrate planned spaces. These interests tie into Hyslop’s longstanding research into the social and industrial history of Scotland and its impact on the land. Works from the exhibition were purchased and exhibited by the Scottish National Gallery of Modern Art and the National Library of Scotland.
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Radner, Hilary, und Alistair Fox. An Elegy for Cinema1. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0005.
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This chapter describes how Raymond Bellour in the twenty-first century enters into the on-going debates about the end of cinema that commenced in France in the late 1980s. The chapter underlines how he focuses largely on the changing shape and nature of the dispositif (or viewing situation, including the assumptions that a spectator brings to the viewing experience) in response to new technologies, with an emphasis on moving-image installation art shown in the museum or gallery. Whereas some scholars, such as Francesco Casetti, among others, have claimed that digital technologies and the proliferation of diverse viewing platforms mark a further development, a continuation of what was once cinema (and perhaps even the nineteenth century novel, the photo-roman, the comic book. etc.), Bellour sees these changes as constituting a fundamental break, an ontological shift in the nature of the medium. For Bellour, the dispositif – the apparatus, or physical setting and its technological and psychic potentiality for interaction, as well as the codes that inform this interaction, within which the viewer confronts and makes meaning out of a narrative, visual or otherwise – is fundamental to the experience of cinema and the ideas that it generates. This section offers an exploration Bellour’s understanding of these crucial changes, the implications of which animate discussions about contemporary media across the disciplines.
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Fay, Jessica, Hrsg. Collected Letters of Sir George and Lady Beaumont to the Wordsworth Family, 1803-1829. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859531.001.0001.
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This edition presents and contextualizes an archive of letters -- belonging to the Wordsworth Trust -- that reveal the creative and personal significance of the friendship between William Wordsworth and Sir George Beaumont. Beaumont is a key figure in the history of British Art. As well as being a respected amateur landscape painter, he was a prominent patron, collector, and co-founder of the National Gallery. Wordsworth described Beaumont’s friendship as one of the chief blessings of his life, and the letters reveal that the two men became collaborators as well as companions. In addition to documenting unique perspectives on social, political, and cultural events of the early nineteenth century (providing new contexts for reading Wordsworth’s mature poetry) the letters chart the progress of an increasingly intimate inter-familial relationship that included Lady Beaumont and Dorothy and Mary Wordsworth. The picture that emerges is of a coterie that—in influence, creativity, and affection—rivals Wordsworth’s more famous exchange with Coleridge in the 1790s. The edition includes an extended critical study of how Wordsworth and Beaumont helped shape one another’s work, tracing processes of mutual artistic development that involved not only a meeting of aristocratic refinement and rural simplicity, of a socialite and a lover of retirement, of a painter and a poet, but also an aesthetic rapprochement between neoclassical and romantic values, between the impulse to idealize and the desire to particularize.
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Volz, Jim. Introduction to Arts Management. Bloomsbury Publishing Plc, 2017. http://dx.doi.org/10.5040/9781474239820.
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Introduction to Arts Management offers a unique, dynamic and savvy guide to managing a performing or visual arts organization, be that an arts center, theatre, museum, art gallery, symphony orchestra, or other arts company. For those training to enter the industry, workers in arts administration, or those seeking to set up their own company, the wealth of expert guidance and direct, accessible style of this authoritative manual will prove indispensable. Gathering best practices in strategic planning, marketing, fundraising and finance for the arts, the author shares practical, proven processes and valuable tools from his work with over 100 arts companies and professional experience producing over 100 music, dance, theatre and visual arts events. Unique features include: boilerplate guides for marketing and fundraisinga sample Board of Trustee contractspecific budget checklistsday-to-day working tools that can be immediately instituted in any arts organizationresources at the end of each chapter designed to help readers consider and implement the strategies in their own practice. Interviews with arts leaders offer insights into the beginnings and growth of significant arts institutions, while examples based on real situations and successful arts organizations from both North America and Britain illustrate and underpin the strategic and practical advice. Expanded from the author’s highly successful How to Run a Theatre, this edition offers both trainees and seasoned professionals the hands-on strategic leadership tools needed to create, build and nurture a successful career in the challenging world of arts administration and management.
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Ferguson, Claire. Double Exposure. University of Edinburgh, 2024. http://dx.doi.org/10.2218/ed.9781836450429.
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The output is a garment, designed and made by Claire Ferguson. The research used fashion design to explore how fashion silhouettes signify accepted notions of female beauty within the Renaissance and contemporary eras. It was initiated in response to current issues relating to body image in fashion and contemporary culture. Ferguson’s aim was to raise awareness of these issues and explore historic trends and fashions and ideal body types. The garment is composed of two dresses layered over one another. The under dress is made from fine lace in a minimal, modern form. The outer is a knitted dress combining innovative knit structures and contemporary yarn, to create an accentuated Renaissance silhouette. In contrasting the theatrical dress of the Renaissance period with the simplicity of contemporary design, the garment invites us to reflect on the changing meaning of beauty. Double Exposure was created for ‘Beauty By Design’, an exhibition of contemporary fashion design and Renaissance painting at the Scottish National Portrait Gallery, 14 November 2014 – 3 May 2015. A collaboration with the fashion designer Malcolm Burkinshaw and the art historian Jill Burke, ‘Beauty By Design’ explored relations between contemporary fashion design and historic portraiture to interrogate changing ideals of body shapes and beauty from the Renaissance to the present day. Visitor numbers for the exhibition were in excess of 146,000. A range of associated events were attended by audiences of 1,166 in total.
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Kim-Cohen, Seth. In the Blink of an Ear. Continuum International Publishing Group Ltd, 2009. http://dx.doi.org/10.5040/9781501382796.
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An ear-opening reassessment of sonic art from World War II to the present Marcel Duchamp famously championed a "non-retinal" visual art, rejecting judgments of taste and beauty. In the Blink of an Ear is the first book to ask why the sonic arts did not experience a parallel turn toward a non-cochlear sonic art, imagined as both a response and a complement to Duchamp's conceptualism. Rather than treat sound art as an artistic practice unto itself-or as the unwanted child of music-artist and theorist Seth Kim-Cohen relates the post-War sonic arts to contemporaneous movements in the gallery arts. Applying key ideas from poststructuralism, deconstruction, and art history, In the Blink of an Ear suggests that the sonic arts have been subject to the same cultural pressures that have shaped minimalism, conceptualism, appropriation, and relational aesthetics. Sonic practice and theory have downplayed - or, in many cases, completely rejected - the de-formalization of the artwork and its simultaneous animation in the conceptual realm. Starting in 1948, the simultaneous examples of John Cage and Pierre Schaeffer initiated a sonic theory-in-practice, fusing clement Greenberg's media-specificity with a phenomenological emphasis on perception. Subsequently, the "sound-in-itself" tendency has become the dominant paradigm for the production and reception of sound art. Engaged with critical texts by Jacques Derrida, Rosalind Krauss, Friedrich Kittler, Jean François Lyotard, and Jacques Attali, among others, Seth Kim-Cohen convincingly argues for a reassessment of the short history of sound art, rejecting sound-in-itself in favor of a reading of sound's expanded situation and its uncontainable textuality. At the same time, this important book establishes the principles for a nascent non-cochlear sonic practice, embracing the inevitable interaction of sound with the social, the linguistic, the philosophical, the political, and the technological.
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Rood, Steven. The Philippines. Oxford University Press, 2019. http://dx.doi.org/10.1093/wentk/9780190920609.001.0001.
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Since the colonization of the Philippines by Spain in the sixteenth century, the island chain has been at the center of global trade flows, imperial rivalries, and the globalization process. From its role as the main base of Spain’s Pacific Galleon trade to its conquest centuries later by the United States and Japan, the Philippines has been a focal point of economic and military rivalry. Decolonized in 1946, the Philippines is growing economically after years of stagnation, is ruled today by a modern populist, President Rodrigo Duterte, and is embroiled in disputes with the East Asia region’s rising superpower, China. In The Philippines: What Everyone Needs to Know®, Steven Rood draws from more than 30 years of residence in and study of the Philippines in order to provide a concise overview of the nation. Arranged in a question-and-answer format, this guide shares concise, nuanced analysis and helps readers find exactly what they seek to learn about Filipino geography and geology, history, culture, economy, politics through the ages, and prospects for the future. This book is an ideal primer on an enormously diverse country that has been and will likely remain a key site in world affairs.
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Eaton, Alice Knox, Maxine Lavon Montgomery und Shirley A. Stave, Hrsg. New Critical Essays on Toni Morrison's God Help the Child. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828873.001.0001.
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American Nobel Laureate Toni Morrison’s 11th novel, God Help the Child, released in 2015, set in contemporary times, explores the relationship between a financially successful, beautiful young Black woman with a haunted past and an intelligent disaffected young Black man who is equally alienated from his past. This collection of essays, edited by Morrison scholars Alice Knox Eaton, Maxine Lavon Montgomery, and Shirley A. Stave, and including essays by well-known Morrison critics Evelyn Schreiber, Mar Gallego, Susana Vega, Anissa Wardi, and Justine Tally, explores the novel’s themes and tropes through a multiplicity of critical and theoretical approaches. The first of the collection’s three sections focuses on the issue of trauma in the novel. The various essays featured here delve into the thorny topic of childhood neglect and sexual abuse, considering how the main characters carry the burden of the pain they experienced into adulthood. These essays probe the healing achieved in the novel through various approaches, all focused on arriving at an understanding of Morrison’s sense of what healthy adulthood entails. The collection’s second section considers Morrison’s narrative choices in her novel, concentrating on the formal experimentation that occurs within the text. The authors in this section reflect upon the myriad ways in which Morrison's novel relies upon intertextual play in the creation of a fictional cosmology that engages the reader on multiple levels. Essays included in the collection's final section turn attention to God Help the Child in terms of the novel's signifying relation with earlier Morrison texts, bringing into sharp focus the predominant concerns throughout Morrison's fictional canon, from her debut work of fiction, The Bluest Eye, until the present.