A reference guide to various forms of poetry with entries arranged in alphabetical order. Each entry defines the form and gives its history, examples, and suggestions for usage. For this second revised edition of the Handbook, 19 teaching poets have written 76 entries on traditional and modern poetic forms. The Handbook succintly defines the forms, summarizes ther histories, quotes good examples (both ancient and modern), and offers professional tricks of the trade on how to use each form.
VANITAS: a journal of poetry, writings by artists, criticism, and essays. VANITAS was created as a forum for international voices with an emphasis on coming to grips with current world situations. Each issue contained writings by artists whose primary modes are non-literary and featured the work of a visual artist, who contributed text and images in a color insert, in addition to an image designed for the magazine's cover.
Published from 1967 to 1969 in seven limited mimeographed editions, 0 to 9 was edited by artist Vito Acconci and poet Bernadette Mayer. Seeking to explore the relationship between language and the page, Mayer and Acconci brought together the pioneers of 1960s experimental poetry and conceptual art. Sol LeWitt, Adrian Piper, Dan Graham, Ted Berrigan, Clark Coolidge, Robert Barry, Les Levine, Robert Smithson, Hannah Weiner, Emmett Williams, Dick Higgins, Yvonne Rainer, Aram Saroyan, Bernar Venet, Alan Sondheim and the editors themselves are but a few of the artists and writers who appeared in 0 to 9.
Ten leading commentators explore the interfaces between art and aesthetics in dialogue with a philosophical text (Theodor Adorno's draft introduction to Aesthetic Theory), a piece of literary writing (Franz Kafka's A Report to an Academy), and a major contemporary painting (Gerhard Richter's Betty, 1988).
Theodor W. Adorno died in 1969 and his last major work, Ästhetische Theorie, was published a year later. Only recently, however, have his aesthetic writings begun to receive sustained attention in the English-speaking world. This collection of essays is an important contribution to the discussion of Adorno's aesthetics in Anglo-American scholarship.The essays are organized around the twin themes of semblance and subjectivity. Whereas the concept of semblance, or illusion, points to Adorno's links with Marx, Nietzsche, and Freud, the concept of subjectivity recalls his lifelong struggle with a philosophy of consciousness stemming from Kant, Hegel, and Lukács. Adorno's elaboration of the two concepts takes many dialectical twists. Art, despite the taint of illusion that it has carried since Plato's Republic, turns out in Adorno's account of modernism to have a sophisticated capacity to critique illusion, including its own. Adorno's aesthetics emphasizes the connection between aesthetic theory and many other aspects of social theory. The paradoxical genius of Aesthetic Theory is that it turns traditional concepts into a theoretical cutting edge.
Have we become beauty-blind? For two decades or more in the humanities, various political arguments have been put forward against beauty: that it distracts us from more important issues; that it is the handmaiden of privilege; and that it masks political interests. In On Beauty and Being Just Elaine Scarry not only defends beauty from the political arguments against it but also argues that beauty does indeed press us toward a greater concern for justice. Taking inspiration from writers and thinkers as diverse as Homer, Plato, Marcel Proust, Simone Weil, and Iris Murdoch as well as her own experiences, Scarry offers up an elegant, passionate manifesto for the revival of beauty in our intellectual work as well as our homes, museums, and classrooms.
We have 2 issues of Wedge, no.1(1982:summer) and no.2(1982:fall). The 10 numbers published between 1982 and 1988 represent the entire run. Some issues were published in combined form; no issues were published for fall 1983, spring 1984-fall 1984, summer 1985-1987. They have the following subject headings in our catalog, the links for which you can follow to other material in our catalog with the same assigned subject heading:
In order to start thinking about curating, this book takes a new approach to the topic. Instead of relying on conventional art historical narratives (for example, identifying the moments when artistic and curatorial practices merged or when the global curator-author was first identified), this book puts forward a multiplicity of perspectives that go from the anecdotal to the theoretical and from the personal to the philosophical. These perspectives allow for a fresh reflection on curating, one in which, suddenly, curating becomes an activity that implicates us all (artists, curators, and viewers), not just as passive recipients, but as active members. As such, the Curatorial is a book without compromise: it asks us to think again, fight against sweeping art historical generalizations, the sedimentation of ideas and the draw of the sound bite. Curating will not stop, but at least with this book it can begin to allow itself to be challenged by some of the most complex and ethics-driven thought of our times.
Once considered a mere caretaker for collections, the curator is now widely viewed as a globally connected auteur. Over the last twenty-five years, as international group exhibitions and biennials have become the dominant mode of presenting contemporary art to the public, curatorship has begun to be perceived as a constellation of creative activities not unlike artistic praxis. The curator has gone from being a behind-the-scenes organizer and selector to a visible, centrally important cultural producer.
en Fundamental Questions of Curating offers a real critique of existing publications and modes of thinking by explicitly asking the questions that others have missed, ignored or deemed already answered: What is a curator? What is the public? What is art? What about collecting? What is an exhibition? Why mediate art? What to do with the contemporary? What about responsibility? What is the process? How about pleasure?
Mousse is a bimonthly magazine published in Italian and English. Established in 2006, Mousse contains interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating today, alternated with a series of distinctive articles in a unique tabloid format. Mousse keeps tabs on international trends in contemporary culture thanks to its city editors in major art capitals such as Berlin, New York, London, Paris, and Los Angeles.
The Artist as Curator is a serial publication (a supplement to Mousse) that examines a profoundly influential but still understudied phenomenon, a history that has yet to be written: the fundamental role that artists have played as curators. Taking the ontologically ambiguous thing we called “the exhibition” as a critical medium, artists have often in the process radically rethought the conventional form of the exhibition as such. This project is about precisely those exhibitions.
Two essays will appear in a loose booklet in each edition of Mousse over two years, before being published in book form at the end. Collectively, they will address twenty seminal artist-curated exhibitions, spanning a period from the postwar to the present.
The series is conceived and edited by Elena Filipovic, published by Mousse, and generously supported by an engaged group of art institutions and foundations that have made possible the research and production of the series.
The Exhibitionist was established in 2009 as a journal by curators, for curators, in which the most pertinent questions on exhibition making today would be considered and assessed. Currently released three times a year and modeled after the iconic French film journal Cahiers du cinéma, the journal is meant to serve a critical role in understanding current curatorial practices through a number of editorial formats focused specifically on the critical and historical importance of exhibitions.
Publication Date: Full Text: 01/01/2012 to present
Aims and Scope
The Journal of Curatorial Studies is an international, peer-reviewed publication that explores the cultural functioning of curating and its relation to exhibitions, institutions, audiences, aesthetics and display culture. The journal takes a wide perspective in the inquiry into what constitutes 'the curatorial'. Curating has evolved considerably from the connoisseurship model of arranging objects to now encompass performative, virtual and interventionist strategies. While curating as a spatialized discourse of art objects remains important, the expanded cultural practice of curating not only produces exhibitions for audiences to view, but also plays a catalytic role in redefining aesthetic experience, framing cultural conditions in institutions and communities, and inquiring into constructions of knowledge and ideology.
Robert Bogdan's fascinating social history brings to life the world of the freak show and explores the culture that nurtured and, later, abandoned it. In uncovering this neglected chapter of show business, he describes in detail the flimflam artistry behind the shows, the promoters and the audiences, and the gradual evolution of public opinion from awe to embarrassment. Freaks were not born, Bogdan reveals; they were manufactured by the amusement world, usually with the active participation of the freaks themselves. Many of the "human curiosities" found fame and fortune, becoming the celebrities of their time, until the ascent of professional medicine transformed them from marvels into pathological specimans.
"In Bodies of Subversion, Margot Mifflin insightfully chronicles the saga of skin as signage. Through compelling anecdotes and cleverly astute analysis, she shows and tells us new histories about women, tattoos, public pictures, and private parts. It's an indelible account of an indelible piece of cultural history."
—Barbara Kruger, artist
The gateway into art research and the access point for Oxford art reference subscriptions and publications which include Grove Art Online, Oxford Companion to Western Art, Encyclopedia of Aesthetics, and Concise Oxford Dictionary of Art Terms.
Formerly Art Source. Offers broad coverage of art topics, including painting, photography, sculpture advertising art, art history, film, graphic arts, industrial design, interior design archaeology, architecture, decorative arts, folk art, textiles and more. Full text access to over 630 art and design journals with coverage from 1929 to the present.
A full text scholarly database of 150 titles focused on the arts and humanities. The Arts & Sciences III collection includes articles from journals on the history and study of art and architecture, film studies, language and literature, music, folklore, performing arts, and religion.
Documents artistic traditions across many time periods and cultures including architecture, painting, sculpture, photography, decorative arts, and design. Digital images come from museums, archaeological teams, photo archives, slide collections, and art reference publishers. The collection is over 1.2 + million images and continues to grow. ARTstor supports the needs of faculty, students and researchers in the arts and humanities and is provided through the courtesy of the Visual Arts Foundation.
Kanopy is a streaming video platform with a "Netflix-like" user experience and a broad selection of over 30,000 documentaries, feature films and training videos from thousands of producers. Featured producers in Kanopy's collection include Criterion Collection, PBS, New Day Films, The Great Courses, California Newsreel, Kino Lorber, Media Education Foundation, First Run Features, BBC, and many more. Films can be watched from anywhere, anytime by all staff and students.