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Książki na temat „Galleria Cardi”

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Autor: Grafiati

Data publikacji: 27 lipca 2024

Data aktualizacji: 30 lipca 2024

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1

Valcamonica, Giulia. Untitled: The best of Galleria Cardi. Milano: Electa, 2008.

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2

Gosudarstvennyĭ t︠s︡entralʹnyĭ muzeĭ sovremennoĭ istorii Rossii, red. I︠A︡ khudozhnik velikoĭ derzhavy: Deni V.N. (1893-1946) : Katalog pochtovykh kartochek : Iz sobranii︠a︡ Gosudarstvennogo t︠s︡entralʹnogo muzei︠a︡ sovremennoĭ istorii Rossii. Moskva: Gosudarstvennyĭ t︠s︡entralʹnyĭ muzeĭ sovremennoĭ istorii Rossii, 2013.

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3

Edward, Weston. Edward Weston: Portraits. New York: Aperture, 1995.

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4

Edward, Weston. Edward Weston: Portraits. New York: Aperture, 1995.

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5

1886-1958, Weston Edward, i Morgan Susan, red. Edward Weston portraits: Aperture. New York: Aperture, 1995.

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6

Edward, Weston. Edward Weston. Firenze: Flli. Alinari, 1990.

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7

Susan, Danly, Spaulding Jonathan 1957-, Smith Jessica Todd, Watts Jennifer A i Henry E. Huntington Library and Art Gallery., red. Edward Weston: A legacy. London: Merrell, 2003.

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8

1945-, Mora Gilles, red. Edward Weston: Forms of passion. New York: H.N. Abrams, 1995.

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9

Gallery, Hayward, red. Edward Weston. London: Hayward, 1999.

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10

University of Arizona. Center for Creative Photography., red. Edward Weston: Color photography. Tucson, Ariz: Center for Creative Photography, University of Arizona, 1986.

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11

Steve, Crist, i Edward Weston Archive, red. Edward Weston: 125 photographs. [Pasadena, Calif.]: Ammo Books, 2012.

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12

Charis, Wilson, red. Edward Weston: Nudes : his photographs accompanied by excerpts from the daybooks& letters. London: Hale, 1993.

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13

H, Cravens Richard, red. Edward Weston. New York: Aperture, 1988.

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14

Cards, Hartman. Stained Glass Angels - 10 Christmas Cards - Assorted - The Museum & Galleries Collection (19th Century Window Designs). Museums & Galleries Marketing, 1993.

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15

Fairclough, Kirsty, Benjamin Halligan, Nicole Hodges Persley i Shara Rambarran, red. Diva. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781501368288.

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Streszczenie:

The diva – a central figure in the landscape of contemporary popular culture: gossip-generating, scandal-courting, paparazzi-stalked. And yet the diva is at the epicentre of creative endeavours that resonate with contemporary feminist ideas, kick back against diminished social expectations, boldly call-out casual sexism and industry misogyny and, in terms of hip-hop, explores intersectional oppressions and unapologetically celebrates non-white cultural heritages. Diva beats and grooves echo across culture and politics in the West: from the “hood” to the White House, from arena concerts to nightclubs, from social media to social activism, from #MeToo to Black Lives Matter. Diva: Feminism and Fierceness from Pop to Hip-Hop addresses the diva phenomenon and its origins: its identity politics and LGBTQ+ components; its creativity and interventions in areas of popular culture (music, and beyond); its saints and sinners and controversies old and new; and its oppositions to, and recuperations by, the establishment; and its shifts from third to fourth waves of feminism. This co-edited collection brings together an international array of writers – from new voices to established names. The collection scopes the rise to power of the diva (looking to Mariah Carey, Whitney Houston, Dolly Parton, Grace Jones, and Aaliyah), then turns to contemporary diva figures and their work (with Beyoncé, Amuro Namie, Janelle Monáe, Cardi B, Megan Thee Stallion, Shakira, Jennifer Lopez, and Nicki Minaj), and concludes by considering the presence of the diva in wider cultures, in terms of gallery curation, theatre productions, and stand-up comedy.

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16

Foley O'Connor, Elizabeth. Pamela Colman Smith. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781949979398.001.0001.

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Today, Pamela Colman Smith is primarily remembered for designing the storied 1909 tarot deck that served as the model for T. S. Eliot’s Madame Sosostris and “her wicked pack of cards” in The Waste Land. For almost one hundred years it was known as the Rider-Waite deck, named for the mystic A. E. Waite, who is credited with conceiving the deck, and the London publisher, William Rider. This omission perfectly encapsulates Colman Smith’s gendered erasure from the cultural imagination, a type of misogyny that affected many women artists and writers at the turn of the twentieth century but, in her case, was also tinged with racism. Colman Smith was much more than the graphic designer of the tarot deck. Active from the mid-1890s through the 1920s, Colman Smith had a burgeoning career as an American artist, writer, folklore performer, editor, publisher, stage designer, and suffrage activist. Colman Smith’s letters to friends, patrons, publishers, and gallery owners reveal an irrepressible spirit who was committed to rooting out all types of hypocrisy and prejudice, including classism, sexism, and racism, but who, nonetheless, capitalized on racial stereotypes through her Afro-Jamaican Anansi performances. Taken as a whole, Colman Smith’s prodigious body of work is particularly notable for its ability to take on, and often as quickly cast aside, a range of personas and identities.

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17

Schaefer, Sarah C. Gustave Doré and the Modern Biblical Imagination. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190075811.001.0001.

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Gustave Doré and the Modern Biblical Imagination explores the role of biblical imagery in modernity through the lens of Gustave Doré (1832–83), whose work is among the most reproduced and adapted scriptural imagery in the history of Judeo-Christianity. First published in France in late 1865, Doré’s Bible illustrations received widespread critical acclaim among both religious and lay audiences, and the next several decades saw unprecedented dissemination of the images on an international scale. In 1868, the Doré Gallery opened in London, featuring monumental religious paintings that drew 2.5 million visitors over the course of a quarter century; when the gallery’s holdings traveled to the United States in 1892, exhibitions at venues such as the Art Institute of Chicago drew record crowds. The United States saw the most creative appropriations of Doré’s images among a plethora of media, from prayer cards and magic lantern slides to massive stained-glass windows and the spectacular epic films of Cecil B. DeMille. This book repositions biblical imagery at the center of modernity, an era that has often been defined through a process of secularization. The veracity and authority of the Bible came under unprecedented scrutiny and were at the center of a range of historical, theological, and cultural debates. Gustave Doré is at the nexus of these narratives, as his work established the most pervasive visual language for biblical imagery in the past two and a half centuries and constitutes the means by which the Bible has persistently been translated visually for modern audiences.

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18

Weston, Cole, i Susan Morgan. Edward Weston: Portraits. Aperture, 2005.

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19

Weston, Cole, i Susan Morgan. Edward Weston: Portraits. Aperture, 2005.

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20

Edward Weston. Aperture, 1993.

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