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The book analyses the collective career of the artistic profession in Brno and Vilnius and the necessity to copy the behavior of the elites of the Old Regime. The "noble" values, which shaped the artistic careers in the 19^th　century press, were charity, good taste, cosmopolitism and patriotism. The newspaper discourse disposed potential to integrate and to smuggle novelties by exposing old values.

Artists and Radicalism in Germany, 1890-1933 traces the evolution of the German applied arts movement from 1890 through the interwar period, offering a fresh perspective on the role of radicalism and avant-garde labor in the history of modern art.

The book reveals how reforms in artistic and vocational education intersected with the professional politics of radical artists and the nature of intellectual labor. Challenging conventional views, Nikos Pegioudis reinterprets the conflict between modern art's advocates and opponents, arguing that professional politics—not merely political ideologies—shaped the historical avant-garde. In doing so, Artists and Radicalism casts new light on German modern art and its interpreters.

Why is it so hard for artists to have stable careers? Written with clarity and grounded in data, Artists at Work offers an eye-opening look at what it truly means to build a career as an artist today. Joanna Woronkowicz examines how artists navigate unique challenges in America's creative economy, from unpredictable job markets to evolving copyright laws and public funding constraints.

Woronkowicz exposes current public policy for artists as patchwork and susceptible to changes in the political climate. Such fragile infrastructure limits artists' ability to build sustainable careers. Remaking this system requires a deeper understanding of creative labor. By shining a light on today's artists-who they are, how they train, and what they do-Woronkowicz emphasizes both that artists are not unlike other workers, and also that policies have not been designed with their unique employment behaviors in mind. This book is a timely and critical guide for anyone invested in supporting the future of the arts, and artists, in America.

Margaret Randall reveals personal stories and profound insights about the artists who most influenced her life.

Artists in My Life is a collection of intimate and conversational accounts of the visual artists that have impacted the renowned poet activist Margaret Randall on her own journey as an artist. Randall writes of each relationship through multiple lenses: as makers of art, social commentators, women in a world dominated by male values, and in solitude or collaboration with communities and the larger artistic arena. Each story offers insight into the artist’s life and work, and analyses the impact it had on Randall’s own work and its impact on the larger art community. The work strives to answer bigger questions about visual art as a whole and its lasting political influence on the world stage.

Randalls describes her motivations: ”I go beneath the surface, asking questions and telling stories. I have wanted to answer questions such as: Why is it that visual art—drawing, painting, sculpture, photography, architecture—grabs me and, in particular instances, feels as if it changes me at the molecular level? How do art and memory interact? How do reason and intuition come together in art? Do women and men make art differently? Does great art change the viewer? Does it change the artist? How does art travel through time?”

Margaret Randall reveals personal stories and profound insights about the artists who most influenced her life.

Artists in My Life is a collection of intimate and conversational accounts of the visual artists that have impacted the renowned poet activist Margaret Randall on her own journey as an artist. Randall writes of each relationship through multiple lenses: as makers of art, social commentators, women in a world dominated by male values, and in solitude or collaboration with communities and the larger artistic arena. Each story offers insight into the artist’s life and work, and analyses the impact it had on Randall’s own work and its impact on the larger art community. The work strives to answer bigger questions about visual art as a whole and its lasting political influence on the world stage.

Randalls describes her motivations: ”I go beneath the surface, asking questions and telling stories. I have wanted to answer questions such as: Why is it that visual art—drawing, painting, sculpture, photography, architecture—grabs me and, in particular instances, feels as if it changes me at the molecular level? How do art and memory interact? How do reason and intuition come together in art? Do women and men make art differently? Does great art change the viewer? Does it change the artist? How does art travel through time?”

This book should serve as a source of inspiration to help creative people overcome the obstacles that can appear during the production process. Featuring 25 genre-defying artists working outside the mainstream, it takes readers inside their work spaces and challenges them to focus on details that help reveal some of the secrets of their creative activity. In addition to the many images of their work, the artists, in their own words, shed light on the creative processes that made them possible. They explain why they create, what they are trying to say and how they look to literature, sculpture, music, theater or scenes from everyday life to overcome creative blocks and self-doubt and stay inspired and productive. Through their words and work, the contemporary painters, sculptors, photographers, tattooists, graffiti artists and muralists that appear in this insightful and visually sumptuous book transmit the emotion, energy, individuality and irony that defines their artistic production and the creative processes behind it.

ARTISTS INCLUDED: ARGENTINA: Claudio Pedraza. BELGIUM: Ingrid Godon. CHILE: José Romussi. FRANCE: Alexandra Duprez, Eltono, Soeurs Siamoises. GERMANY: Hermann Josef Hack, z-e-b-u. IRAN: Mohammad Barrangi. ITALY: Gaia Bernasconi, Luca Giovagnoli. JAPAN: Sanae Sugimoto, Mogu Takahashi. MEXICO: Federico Jordán, Gimena Romero. PORTUGAL: Mariana Malhão. SAUDI ARABIA: David Shillinglaw. SPAIN: Karto Gimeno, Javier Pagola, Oscar Sanmartín. SWIZERLAND: Johanna Schaible. UK: Nicholas Stevenson, Sophie Woodrow. USA: Michael McGrath (Rhinbeck, NY). VENEZUELA: Cristina Sitja.

We have already released several bestselling, well-respected art-theory books including Art Fundamentals 2nd Edition and our much-loved character design titles. We cover the breadth of art and design, offering tutorials and inspiration from hundreds of experts across many genres. Now, this exciting new series takes a deep dive into the key areas of art theory, focusing on specific aspects which, when mastered, make the difference between good and world-class design. This innovative concept launches with Artists' Masters Series: Color & Light. A select few hugely popular industry experts reveal techniques they use to infuse characters with the advanced levels of color and light that make their work instantly recognizable and universally admired. Their in-depth illustrated advice, detailed step-by-step tutorials, enlightening case studies, and awe-inspiring inspiration provide a distinctive and invaluable blend of advanced techniques that can’t be found anywhere else. For artists and designers aiming to raise their game to an expert level, the Artists' Masters Series is the key to success.

As an established authority on art and design with a growing stable of high-calibre artist–authors, 3dtotal Publishing is uniquely placed to produce Artists’ Master Series. Launched in 2021 with Artists’ Master Series: Color & Light, the second volume in this exciting new series takes another deep dive into key areas of art theory, this time spotlighting composition and narrative. No matter what medium you work in, this combination can be the driving force that elevates art from “good” to “world-class”.

This book takes these fundamentals and pushes them to an advanced level of understanding and application. To achieve this ambitious brief, a select few, hugely popular industry experts reveal how they plan and execute these techniques. Their in-depth illustrated advice, detailed step-by-step tutorials, enlightening case studies, and awe-inspiring inspiration provide a distinctive and invaluable blend of professional-grade techniques that can’t be found anywhere else. For artists and designers aiming to raise their game to expert level, the Artists’ Masters Series is the key to success.

As an established authority on art and design with a growing stable of high-calibre artist–authors, 3dtotal Publishing is uniquely placed to produce Artists’ Master Series. Launched in 2021 with Artists’ Master Series: Color & Light, and followed up by Artists’ Master Series: Composition & Narrative, the series reaches its third volume with an exciting and considered analysis of the theories of perspective and depth within art. 

No matter what medium you work in, this combination can be the driving force that elevates art from “good” to “world-class”. This book takes these fundamentals and pushes them to an advanced level of understanding and application. To achieve this ambitious brief, a select few, hugely popular industry experts – Mike Hernandez, Devin Elle Kurtz, Nathan Fowkes, Orenji, and Guweiz – reveal how they plan and execute these techniques. 

Their in-depth illustrated advice, detailed step-by-step tutorials, enlightening case studies, and awe-inspiring inspiration provide a distinctive and invaluable blend of professional-grade techniques that can’t be found anywhere else. For artists and designers aiming to raise their game to expert level, the Artists’ Masters Series is the key to success.

During the 1960s and 1970s in New York City, young artists exploited an industrial wasteland to create spacious studios where they lived and worked, redefining the Manhattan area just south of Houston Street. Its use fueled not by city planning schemes but by word-of-mouth recommendations, the area soon grew to become a world-class center for artistic creation—indeed, the largest urban artists’ colony ever in America, let alone the world.

Richard Kostelanetz’s Artists’ SoHo not only examines why the artists came and how they accomplished what they did but also delves into the lives and works of some of the most creative personalities who lived there during that period, including Nam June Paik, Robert Wilson, Meredith Monk, Richard Foreman, Hannah Wilke, George Macuinas, and Alan Suicide. Gallerists followed the artists in fashioning themselves, their homes, their buildings, and even their streets into transiently prominent exhibition and performance spaces.

SoHo pioneer Richard Kostelanetz’s extensively researched intimate history is framed within a personal memoir that unearths myriad perspectives: social and cultural history, the changing rules for residency and ownership, the ethos of the community, the physical layouts of the lofts, the types of art produced, venues that opened and closed, the daily rhythm, and the gradual invasion of “new people.” Artists’ SoHo also explores how and why this fertile bohemia couldn’t last forever. As wealthier people paid higher prices, galleries left, younger artists settled elsewhere, and the neighborhood became a “SoHo Mall” of trendy stores and restaurants.

Compelling and often humorous, Artists’ SoHo provides an analysis of a remarkable neighborhood that transformed the art and culture of New York City over the past five decades.

From the end of World War II until the mid-1960s, exciting things were happening in American architecture. Emerging talents were focusing on innovative projects that integrated at once modern design and low-cost materials. The trend was most notably embodied in the famous Case Study House Program, a blueprint for modern habitation championed by the era’s leading American journal, Arts & Architecture.

The complete facsimile of the ambitious and groundbreaking Arts & Architecture was published by TASCHEN in 2008 as a limited edition. This new curation—directed and produced by Benedikt Taschen—brings together all the covers and the highlights from the first five years of the legendary magazine, with a special focus on the Case Study House Program and its luminary pioneers including Neutra, Schindler, Saarinen, Ellwood, Lautner, Eames, and Koenig.

A celebration of the first brave years of a politically, socially and culturally engaged publication, this special selection is also a testimony to one of the most unique and influential events in the history of American architecture.

From the end of World War II until the mid-1960s, exciting things were happening in American architecture. Emerging talents were focusing on innovative projects that integrated at once modern design and low-cost materials. The trend was most notably embodied in the famous Case Study House Program, a blueprint for modern habitation championed by the era’s leading American journal, Arts & Architecture.

The complete facsimile of the ambitious and groundbreaking Arts & Architecture was published by TASCHEN in 2008 as a limited edition. This new curation—directed and produced by Benedikt Taschen—brings together the magazine’s highlights from 1950 to 1954, with a special focus on mid-century American architecture and its luminary pioneers including Richard Neutra, Eero Saarinen, and Charles & Ray Eames.

A celebration of a politically, socially and culturally engaged publication, this special selection is also a testimony to one of the most unique and influential eras in the history of American architecture.

Dementia is a term that encompasses a wide range of symptoms. In Europe alone about 10 million people live with dementia. Where health policy and medical approaches reach their limits, art and design strategies can open up new perspectives for people living with dementia – in terms of their abilities and circumstances and their social environment.

This interdisciplinary handbook is aimed at people working and researching in the field of dementia. It offers insights into the possibilities and limitations of artistic and art-related interventions in relation to dementia. This publication brings together contributions from the disciplines of design, architecture, and art, music, and museum education, providing a variety of insights into this multifaceted syndrome.

Art schools in our universities play a big role in many ways and not only within the institutions they are situated in. When considering that the act of engaging in arts and culture has a demonstrable but indirect effect on innovation, welfare, social cohesion, entrepreneurship, local identity and the knowledge economy, our universities can and do use arts to make themselves more permeable and to provide co-created spaces of learning.

This book is a timely exploration of where creative practices and arts live in our higher education communities? How do creatives shape this creative education ecosystem? How does art provide an interface between what is within and outside of our knowledge institutions? And why should all of this matter for our communities, for the economy and for our society, specifically in a post pandemic recovery.

Carola Boehm explores the delightful ways that art finds itself in every corner of academia, exploring questions of where art lives in the university sector and how it interacts with the outside, interfacing with the communities beyond its boundaries, and how it got where it is today. And with all that comes the advocacy of providing a strong justification that we need creative provisions in our universities, as there are few more powerful tools left to our disposal that can glue together and heal our divided society and our fragmented humanity. 

A comprehensive guide to every aspect of arts and crafts in Waldorf schools from experienced Waldorf teachers

Arts and crafts are a core part of the Steiner-Waldorf curriculum, helping children to develop emotionally, physically, socially and spiritually, as well as learning practical skills.

This comprehensive book addresses every aspect of arts and crafts, including woodwork, forestry, metalwork, stone carving, clay modeling, pottery and much more.

Written by experienced Waldorf craft teachers, this comprehensive book is an invaluable tool and resource for Middle and Upper School (Classes 5 to 13).

In this groundbreaking reassessment of the conventional understanding of a cohesive ‘Arts and Crafts movement’ in Britain, Imogen Hart argues that a sophisticated mode of looking at decorative art developed in England during the second half of the nineteenth century.

Bringing to light a significant number of little-known visual and textual sources, Arts and Crafts Objects insists that the history of British design between the 1830s and the 1910s is more complex and interwoven than concepts of clearly differentiated ‘movements’ allow for.

Reinvesting the objects with the original importance ascribed to them by their makers and users, this book places furniture, metalwork, tiles, vases, chintzes, carpets, and wallpaper at the centre of a rigorous reassessment of the concept of ‘Arts and Crafts’.
The book offers radical new interpretations of the Arts and Crafts Exhibition Society and the homes of William Morris, alongside illuminating analyses of less familiar but equally rich contexts.

A way for churches to conduct an artful exploration of faith.

Arts Camp provides practical, concrete instruction that a church needs to plan, organize, staff, and conduct an annual five-day Arts Camp, including guidance on logistics, funding, finding art instructors (within both the local church and the broader community), ideas for structuring and scheduling the five days of camp, and a celebration on the Sunday following camp. Each chapter includes details on art projects, programming, music, drama, games, and resources.

Beverly Naidus shares her passion and strategies for teaching socially engaged art, offering, as well, a short history of the field and the candid views of more than thirty colleagues.

A provocative, personal look at the motivations and challenges of teaching socially engaged arts, Arts for Change overturns conventional arts pedagogy with an activist's passion for creating art that matters.

How can polarized groups work together to solve social and environmental problems? How can art be used to raise consciousness? Using candid examination of her own university teaching career as well as broader social and historical perspectives, Beverly Naidus answers these questions, guiding the reader through a progression of steps to help students observe the world around them and craft artistic responses to what they see. Interviews with over 30 arts education colleagues provide additional strategies for successfully engaging students in what, to them, is most meaningful.

Beverly Naidus shares her passion and strategies for teaching socially engaged art, offering, as well, a short history of the field and the candid views of more than thirty colleagues.

A provocative, personal look at the motivations and challenges of teaching socially engaged arts, Arts for Change overturns conventional arts pedagogy with an activist's passion for creating art that matters.

How can polarized groups work together to solve social and environmental problems? How can art be used to raise consciousness? Using candid examination of her own university teaching career as well as broader social and historical perspectives, Beverly Naidus answers these questions, guiding the reader through a progression of steps to help students observe the world around them and craft artistic responses to what they see. Interviews with over 30 arts education colleagues provide additional strategies for successfully engaging students in what, to them, is most meaningful.

Beverly Naidus shares her passion and strategies for teaching socially engaged art, offering, as well, a short history of the field and the candid views of more than thirty colleagues.

A provocative, personal look at the motivations and challenges of teaching socially engaged arts, Arts for Change overturns conventional arts pedagogy with an activist's passion for creating art that matters.

How can polarized groups work together to solve social and environmental problems? How can art be used to raise consciousness? Using candid examination of her own university teaching career as well as broader social and historical perspectives, Beverly Naidus answers these questions, guiding the reader through a progression of steps to help students observe the world around them and craft artistic responses to what they see. Interviews with over 30 arts education colleagues provide additional strategies for successfully engaging students in what, to them, is most meaningful.

Modes of address are forms of signification that we direct at living beings, things, and places, and they at us and at each other. Seeing is a form of address. So are speaking, singing, and painting. Initiating or responding to such calls, we participate in encounters with the world. Widely used yet less often examined in its own right, the notion of address cries out for analysis.

Monique Roelofs offers a pathbreaking systematic model of the field of address and puts it to work in the arts, critical theory, and social life. She shows how address props up finely hewn modalities of relationality, agency, and normativity. Address exceeds a one-on-one pairing of cultural productions with their audiences. As ardently energizing tiny slippages and snippets as fueling larger impulses in the society, it activates and reaestheticizes registers of race, gender, class, coloniality, and cosmopolitanism. In readings of writers and artists ranging from Julio Cortázar to Jamaica Kincaid and from Martha Rosler to Pope.L, Roelofs demonstrates the centrality of address to freedom and a critical political aesthetics. Under the banner of a unified concept of address, Hume, Kant, and Foucault strike up conversations with Benjamin, Barthes, Althusser, Fanon, Anzaldúa, and Butler. Drawing on a wide array of artistic and theoretical sources and challenging disciplinary boundaries, the book illuminates address’s significance to cultural existence and to our reflexive aesthetic engagement in it. Keeping the reader on the lookout for flash fiction that pops up out of nowhere and for insurgent whisperings that take to the air, Arts of Address explores the aliveness of being alive.

Modes of address are forms of signification that we direct at living beings, things, and places, and they at us and at each other. Seeing is a form of address. So are speaking, singing, and painting. Initiating or responding to such calls, we participate in encounters with the world. Widely used yet less often examined in its own right, the notion of address cries out for analysis.

Monique Roelofs offers a pathbreaking systematic model of the field of address and puts it to work in the arts, critical theory, and social life. She shows how address props up finely hewn modalities of relationality, agency, and normativity. Address exceeds a one-on-one pairing of cultural productions with their audiences. As ardently energizing tiny slippages and snippets as fueling larger impulses in the society, it activates and reaestheticizes registers of race, gender, class, coloniality, and cosmopolitanism. In readings of writers and artists ranging from Julio Cortázar to Jamaica Kincaid and from Martha Rosler to Pope.L, Roelofs demonstrates the centrality of address to freedom and a critical political aesthetics. Under the banner of a unified concept of address, Hume, Kant, and Foucault strike up conversations with Benjamin, Barthes, Althusser, Fanon, Anzaldúa, and Butler. Drawing on a wide array of artistic and theoretical sources and challenging disciplinary boundaries, the book illuminates address’s significance to cultural existence and to our reflexive aesthetic engagement in it. Keeping the reader on the lookout for flash fiction that pops up out of nowhere and for insurgent whisperings that take to the air, Arts of Address explores the aliveness of being alive.

At the intersection of literary theory, philosophy of history and phenomenology, Arts of Connection: Poetry, History, Epochality explores the representation of connections between events in literary, historical and philosophical narratives. Events in a story can be seen as ordered according to proximate causation, which leads diachronically from one event to the next; and they can also be understood in view of the structure of the narrative as a whole – for instance in terms of the unity of plot. Feldman argues that there exists an essential narrative tension between these two kinds of connection, i.e. between the overarching arrangement or plot that holds together events from "outside," as it were, in order to produce an intelligible whole; and the portrayal of one-by-one, "interstitial" connections between events within the narrative. Arts of Connection demonstrates, by means of exemplary moments in Aristotle and classical German poetics, eighteenth-century philosophy of history, and twentieth-century phenomenology, that the task of connection is a fraught one, insofar as the formal unity of narrative competes or interferes with the representation of one-by-one connections between events, and vice versa.

At the intersection of literary theory, philosophy of history and phenomenology, Arts of Connection: Poetry, History, Epochality explores the representation of connections between events in literary, historical and philosophical narratives. Events in a story can be seen as ordered according to proximate causation, which leads diachronically from one event to the next; and they can also be understood in view of the structure of the narrative as a whole – for instance in terms of the unity of plot. Feldman argues that there exists an essential narrative tension between these two kinds of connection, i.e. between the overarching arrangement or plot that holds together events from "outside," as it were, in order to produce an intelligible whole; and the portrayal of one-by-one, "interstitial" connections between events within the narrative. Arts of Connection demonstrates, by means of exemplary moments in Aristotle and classical German poetics, eighteenth-century philosophy of history, and twentieth-century phenomenology, that the task of connection is a fraught one, insofar as the formal unity of narrative competes or interferes with the representation of one-by-one connections between events, and vice versa.

Arts of Engagement focuses on the role that music, film, visual art, and Indigenous cultural practices play in and beyond Canada’s Truth and Reconciliation Commission on Indian Residential Schools. Contributors here examine the impact of aesthetic and sensory experience in residential school history, at TRC national and community events, and in artwork and exhibitions not affiliated with the TRC. Using the framework of “aesthetic action,” the essays expand the frame of aesthetics to include visual, aural, and kinetic sensory experience, and question the ways in which key components of reconciliation such as apology and witnessing have social and political effects for residential school survivors, intergenerational survivors, and settler publics.
This volume makes an important contribution to the discourse on reconciliation in Canada by examining how aesthetic and sensory interventions offer alternative forms of political action and healing. These forms of aesthetic action encompass both sensory appeals to empathize and invitations to join together in alliance and new relationships as well as refusals to follow the normative scripts of reconciliation. Such refusals are important in their assertion of new terms for conciliation, terms that resist the imperatives of reconciliation as a form of resolution.
This collection charts new ground by detailing the aesthetic grammars of reconciliation and conciliation. The authors document the efficacies of the TRC for the various Indigenous and settler publics it has addressed, and consider the future aesthetic actions that must be taken in order to move beyond what many have identified as the TRC’s political limitations.

Arts of the Border investigates the consequences of unfolding catastrophes across the world and the displacement they continue to produce. Through recent narratives and media representations of the refugee “crisis” at Europe’s edges, it tells a new story about those on the move, the technologies unleashed on them at borders, the racialized and colonial histories that inform these technologies, and the artistry with which migrants and allies bear witness to displacement. The book reorients us toward the creativity and movement of migrants themselves– their “arts of the border”—as well as toward the political force of the arts that represent them, whether in literature, documentary film, or art installations.

Sanyal proposes kino-aesthetics as a framework for capture and fugitivity at borders. From kino—to set in motion—and aesthetics— relating to sensory perception—kino-aesthetics conveys the force of bodies in motion and the image in its circulation. The book examines the simultaneity of capture and escape at thresholds of illegalization, from airport detention zones to Calais’s “jungle” and the Euro-African border at Ceuta and Melilla. What emerges throughout these case studies is a portrayal of border violence in its racial and colonial forms as well as an archive of refusal, fugitivity, and un-bordered imagining.

Arts of the Border investigates the consequences of unfolding catastrophes across the world and the displacement they continue to produce. Through recent narratives and media representations of the refugee “crisis” at Europe’s edges, it tells a new story about those on the move, the technologies unleashed on them at borders, the racialized and colonial histories that inform these technologies, and the artistry with which migrants and allies bear witness to displacement. The book reorients us toward the creativity and movement of migrants themselves– their “arts of the border”—as well as toward the political force of the arts that represent them, whether in literature, documentary film, or art installations.

Sanyal proposes kino-aesthetics as a framework for capture and fugitivity at borders. From kino—to set in motion—and aesthetics— relating to sensory perception—kino-aesthetics conveys the force of bodies in motion and the image in its circulation. The book examines the simultaneity of capture and escape at thresholds of illegalization, from airport detention zones to Calais’s “jungle” and the Euro-African border at Ceuta and Melilla. What emerges throughout these case studies is a portrayal of border violence in its racial and colonial forms as well as an archive of refusal, fugitivity, and un-bordered imagining.

How and why are arts and cultural practices meaningful to communities?

Highlighting examples from Lebanon, Latin America, China, Ireland, India, Sri Lanka and beyond, this exciting book explores the relationship between the arts, culture and community development.

Academics and practitioners from six continents discuss how diverse communities understand, re-imagine or seek to change personal, cultural, social, economic or political conditions while using the arts as their means and spaces of engagement.

Investigating the theory and practice of ‘cultural democracy’, this book explores a range of aesthetic forms including song, music, muralism, theatre, dance, and circus arts.

How and why are arts and cultural practices meaningful to communities?

Highlighting examples from Lebanon, Latin America, China, Ireland, India, Sri Lanka and beyond, this exciting book explores the relationship between the arts, culture and community development.

Academics and practitioners from six continents discuss how diverse communities understand, re-imagine or seek to change personal, cultural, social, economic or political conditions while using the arts as their means and spaces of engagement.

Investigating the theory and practice of ‘cultural democracy’, this book explores a range of aesthetic forms including song, music, muralism, theatre, dance, and circus arts.

Artur Paul Duniecki praktizierte bei Karl Schwanzer und Wilhelm Holzbauer, bevor er 1975 sein Büro in Wien gründete. Nach einer Lehrtätigkeit an der Angewandten 1977–1980 zu Theoretischen Grundlagen des Entwurfs widmete er sich eigenen Entwürfen. Seine Projekte umfassten Messedesigns, Ladenbau und Bankfilialen, aber auch Teamplanungen wie U-Bahn-Stationen. Es folgten städtebauliche Entwürfe, Industrie- und Wohnbauten. Sein gestalterischer Ansatz gründet in der Tradition Oswald Haerdtls und Karl Schwanzers und entwickelt im Laufe der Zeit eine markante Gestik.

Neben der Biografie bietet das Buch eine detaillierte Darstellung der wichtigsten Projekte Dunieckis und einen Essay von Otto Kapfinger über die Architekturproduktion im Wien des späten 20. Jahrhunderts, der Leben und Werk des Architekten kontextualisiert.

Der Artushof ist fraglos, strukturell wie thematisch, das Zentrum der arthurischen Romane. Immer wieder hat er aus sozial-, macht- und institutionengeschichtlicher sowie poetologischer Perspektive interessiert. Heute, nach dem Durchschreiten verschiedener kulturwissenschaftlicher turns (wie dem performative oder dem spatial turn), lohnt es sich, einen neuen, explizit interdisziplinären und aus dem Dialog verschiedener nationaler Forschungsdiskurse profitierenden Blick auf diese Institution zu werfen. Die Beiträge dieses Bands fragen nach der räumlichen Inszenierung des Hofs durch die Literatur und nach deren performativer Einbindung am Hof, nach dem Status höfischer Öffentlichkeit sowie nach der Rolle von Macht und Eros am Hof, die ihn als Institution oder als literarisches Experiment konstituieren und gefährden. Sie hinterfragen kritisch die ›Idealität‹ des Artushofs und die Tragweite der Textsorte ›Artusroman‹. Schließlich untersuchen sie die Funktion und Rezeption des Hofs auch in hoffernen oder hofkritischen Kontexten, von der Hanse bis zur modernen amerikanischen Kultur.

Die Abstraktes und Fernes vergegenwärtigende, Vergangenes memorierende und Wahrheit beteuernde Funktion von Bildlichkeit steht in Verbindung mit Fiktionalem vor besonderen Herausforderungen und kann poetologische Funktionen übernehmen. Der vorliegende Band untersucht in exemplarischen Fallstudien den Stellenwert von Bildlichkeit im Artusroman. Zu den berühmtesten selbstreflexiven Szenen der europäischen Artusromane zählt die Betrachtung der Bildergeschichte von Lancelots Ehebruchsliebe durch König Artus im ›Lancelot‹: Der Roman spiegelt sich selbst im Bild und deckt damit eine außerordentliche Nähe des Genres zur Bildlichkeit auf. Sie reicht von pikturalen Neuschöpfungen der Romanstoffe in Bilderzyklen oder Darstellungen von Einzelszenen arthurischer Romane auf Gebrauchsgegenständen über sehr unterschiedliche Text-Bildverhältnisse in illustrierten Handschriften und Drucken bis hin zu plastisch-bildhaft beschriebenen Szenen in Artusromanen, die in der Regel auf bekannte ikonographische Muster verweisen. Oftmals werden im Text auch Bilder oder andere Kunstgegenstände beschrieben. Solche ›Text-Bilder‹ können eine handlungsbestimmende Funktion erhalten, als intertextuelle Referenzen dienen oder poetologische Reflexionen anstoßen.

Das Spektrum von ›Klang‹ in literarischen Texten ist weit gefasst. Darunter fällt die Beschreibung akustischer Phänomene wie natürlicher oder technisch erzeugter Geräusche, Musik, Lärm, der menschlichen Stimme, aber auch der Klang des Textes an sich, also seine rhetorische oder metrische Gestaltung und die Frage nach seinem medialen Status. In der literaturwissenschaftlichen Forschung spielen die akustischen Dimensionen von Texten zunehmend eine wichtige Rolle, wofür die kulturwissenschaftlich orientierten, interdisziplinär ausgerichteten sound studies den theoretisch-methodischen Rahmen bilden. Die Mediävistik hat diese neueren Forschungsansätze bereits in fruchtbarer Weise aufgegriffen; arthurische Texte wurden dabei aber bislang nur punktuell behandelt. Der vorliegende Band setzt an diesem Desiderat an und rückt Artusromane in den Mittelpunkt der Betrachtung. Anhand exemplarischer Fallstudien werden in den Beiträgen die vielfältigen Facetten der ›Klanglichkeit‹ des Artusromans untersucht. Dabei geht es um Klangphänomene im Text, aber auch um den Klang des Textes sowie die Verbindung dieser beiden Lautsphären; auch poetologische Aspekte, die mit der klanglichen Dimension des Artusromans zusammenhängen, werden berücksichtigt.

Oft ist vom ‚Artusmythos‘ die Rede, wobei ‚Mythos‘ alltagssprachlich letztlich alles Altertümliche, Bedeutungs- oder Geheimnisvolle bezeichnen kann. Dem steht eine aktuelle geisteswissenschaftliche Diskussion über den Begriff des ‚Mythos‘ gegenüber. Die Germanistik übernimmt hierbei meist eine Vorreiterrolle. Der vorliegende Band öffnet die Diskussion programmatisch für den interdisziplinären Dialog mit den anderen Philologien. Fokussiert auf das Feld der Artusliteratur, fragt der Band danach, welches Verständnis von ‚Mythos‘ welchen Phänomenen im arthurischen Roman angemessen ist. Inhaltlich wird der Begriff mit vorchristlichen Glaubens- und Weltmodellen verbunden; die Beiträge analysieren die Nachwirkung des mythischen Substrats in der Artusdichtung. Strukturell und formal wird der ‚Mythos‘ als eine a-kausale, zeitlose Erzählform verstanden, als eine Alternative zur Historiographie; zuweilen nähert er sich dem Fiktionalen, Magischen oder Symbolischen an. Deutlich wird, wie die einzelnen Romane je anders mit dem Mythischen umgehen, es destruieren, funktionalisieren oder restituieren. Der Band zeigt damit nachdrücklich, dass es einen literaturwissenschaftlichen Begriff des ‚Mythos‘ jenseits der Einzeltexte nicht geben kann.

Dieses Kompendium dokumentiert erstmals vollständig und methodisch reflektiert die Sentenzen und Sprichwörter in den deutschsprachigen Artusromanen des Mittelalters. In einem differenzierten Gesamtverzeichnis werden die Sentenzen in der deutschen Artusepik des 12. und 13. Jahrhunderts gesammelt, im narrativen Kontext abgebildet, über eine Sinnparaphrase semantisch erläutert, durch den Nachweis von Parallelstellen im Sentenzen-Netzwerk des jeweiligen Werks verortet und mittels Belegen aus der Bibel und der lateinischen bzw. volkssprachigen Literatur des Mittelalters in die zugehörige Anwendungstradition eingeordnet. Dieser Band bietet außerdem eine grundlegende methodologische und forschungsgeschichtliche Einführung in die historische Sprichwörterforschung als Fundament des Handbuchs. Damit liegt das zweibändige Referenzwerk nun komplett vor. Es stellt ein Standardwerk für die künftige mediävistische Erzähl- und Sentenzenforschung dar.

Dieses Kompendium dokumentiert erstmals vollständig und methodisch reflektiert die Sentenzen und Sprichwörter in den deutschen Artus-, Gral- und Tristanromanen des Mittelalters und erschließt damit eine wichtige, zwischen Mündlichkeit und Schriftlichkeit aufgespannte kommunikativ-pragmatische Dimension der höfischen Versromane. In einem differenzierten Gesamtverzeichnis werden die Sentenzen in 21 Romanen aus einem Zeitraum von ca. 100 Jahren (ca. 1170-1300) gesammelt, im narrativen Kontext abgebildet, über eine Sinnparaphrase semantisch erläutert, durch den Nachweis von Parallelstellen im Sentenzen-Netzwerk des jeweiligen Werks verortet und mittels Belegen aus der Bibel und der lateinischen bzw. volkssprachlichen Literatur des Mittelalters in die zugehörige Anwendungstradition eingeordnet.

Das Kompendium fundiert damit nicht nur die Theorie der mediävistischen Sentenzen- und Sprichwörterforschung neu, sondern rekonstruiert über die Abbildung der einzelnen Belege hinaus werkimmanente ‚Sentenzen-Netzwerke', die interpretatorisch von großer Bedeutung sind und aufzeigen, wie sehr im hohen Mittelalter schriftliterarische Erzählhandlungen von mündlich vermittelten Wertmaßstäben und allgemeinem ‚Weltwissen' durchzogen sind. Die narrativ eingebetteten Sentenzen tragen maßgeblich zur Lenkung des Lesers und zur semantischen Aufladung der Handlungselemente bei, indem sie allgemein akzeptiertes Orientierungswissen in die fiktionalen Texte integrieren und diese damit kausal bzw. ethisch autorisieren.

Durch die tabellarische Dokumentation des Materials geraten hier erstmals die Quantität, aber auch die kommunikativen Leistungen der in die Romane eingearbeiteten Sentenzen systematisch in den Blick. Das Werk berücksichtigt die neueste Forschung zur Sprichwortforschung und ist ein wichtiges Hilfsmittel sowohl für die Erforschung der berücksichtigten einzelnen Romane als auch der Poetik der epischen Literatur des Mittelalters im Ganzen. Neben dem eigentlichen Tabellenwerk stellt die ausführliche Einleitung die methodischen Grundlagen des Handbuchs sowie den gattungsgeschichtlichen und textpragmatischen Erkenntniswert des dokumentierten Textkorpus dar. Das aus einem DFG-Projekt hervorgegangene Kompendium ist eine Gemeinschaftsleistung der Universitäten Bochum und Münster.

Artvoices Magazine 2008-2018 "Special Collection" features ground breaking articles mainly on emerging, neglected and under recognized artists of color, LGBTQ, mature and women. 

Established in 2008 Artvoices Magazine was an important and necessary platform for artists and art professionals who were contributing to the landscape of contemporary art but were routinely left out of the conversation. 

Artvoices Magazine 2008-2018 celebrates the individuals featured in our publication, many or whom are influential, famous and household names today. 

his book will educate and inspire collectors, art enthusiasts and the public-at-large about their favorite artists before they became famous. 

Artvoices Magazine 2008-2018 Past Notable Features: Frank Stella, Thelma Golden, Thomas Hirschhhorn, Gary Simmons, Elizabeth Catlett, Carrie Mae Weems, Christian Boros, Tony Fehrer, Fischli & Weiss, Willie Birch, Robert Tannen, Renee Stout, Dan Cameron, Franklin Sirmans, Sanford Biggers, Alexander Venet, Ammar Eloueini, Lucien Smith, Derrick Adams, Danny Simmons, Kathy Grayson, Deborah Willis, Amanda Coulson, Shamim Momin, Swoon, Jeremy Kost, Sandow Birk, Bruce High Quality Foundation, Miljohn Ruperto, Clifford Owens, iona rozeal brown, Rasheed Newsome, Albert Ledner, Billie Milam Weisman, Mel Chin, Paul D Miller aka DJ Spooky, Jefferson Pinder, Annina Nosei, Spike Lee, Frank Gehry, James Franco, Bernar Venet, Kenny Scharf.

Artvoices Magazine was created by artists for artists and was instrumental in launching the careers of artists and art writers in the USA. No other art periodical in this period had the influence this magazine had on the art community and the public at large. 

Completely updated, the new edition of this acclaimed guide brings us 33 tours of public art, covering the length of the island, from the Cloisters and Harlem in northern Manhattan, to Central Park and the museum mile, to Rockefeller Center and Chelsea, and all the way down to the southern tip at Battery Park City. This indispensable guide also covers the outer boroughs, from Snug Harbor, Staten Island to the Socrates Sculpture Park and the Noguchi Museum in Queens, from Wave Hill in the Bronx all the way to the botanical gardens in Brooklyn.
The perfect guidebook for residents and tourists alike, Harrison and Rosenfeld uncover nooks and crannies off the beaten track alongside favored treasures, reminding us all why New York City is the art capital of the world.
Artwalks in New York contains:
Completely revised and updated entries, including seven new walks, reflecting the ever-changing city Includes over 25 walking tour maps, directions, and suggested visitation hours Listings of museums, art and auction galleries, art-filled public spaces, hotel lobbies, gardens, restaurants, subway stations, public sculpture and murals, and more Hundreds of interesting facts, anecdotes, and tidbits about New York City art from two expert guides

Completely updated, the new edition of this acclaimed guide brings us 33 tours of public art, covering the length of the island, from the Cloisters and Harlem in northern Manhattan, to Central Park and the museum mile, to Rockefeller Center and Chelsea, and all the way down to the southern tip at Battery Park City. This indispensable guide also covers the outer boroughs, from Snug Harbor, Staten Island to the Socrates Sculpture Park and the Noguchi Museum in Queens, from Wave Hill in the Bronx all the way to the botanical gardens in Brooklyn.
The perfect guidebook for residents and tourists alike, Harrison and Rosenfeld uncover nooks and crannies off the beaten track alongside favored treasures, reminding us all why New York City is the art capital of the world.
Artwalks in New York contains:
Completely revised and updated entries, including seven new walks, reflecting the ever-changing city Includes over 25 walking tour maps, directions, and suggested visitation hours Listings of museums, art and auction galleries, art-filled public spaces, hotel lobbies, gardens, restaurants, subway stations, public sculpture and murals, and more Hundreds of interesting facts, anecdotes, and tidbits about New York City art from two expert guides

Completely updated, the new edition of this acclaimed guide brings us 33 tours of public art, covering the length of the island, from the Cloisters and Harlem in northern Manhattan, to Central Park and the museum mile, to Rockefeller Center and Chelsea, and all the way down to the southern tip at Battery Park City. This indispensable guide also covers the outer boroughs, from Snug Harbor, Staten Island to the Socrates Sculpture Park and the Noguchi Museum in Queens, from Wave Hill in the Bronx all the way to the botanical gardens in Brooklyn.
The perfect guidebook for residents and tourists alike, Harrison and Rosenfeld uncover nooks and crannies off the beaten track alongside favored treasures, reminding us all why New York City is the art capital of the world.
Artwalks in New York contains:
Completely revised and updated entries, including seven new walks, reflecting the ever-changing city Includes over 25 walking tour maps, directions, and suggested visitation hours Listings of museums, art and auction galleries, art-filled public spaces, hotel lobbies, gardens, restaurants, subway stations, public sculpture and murals, and more Hundreds of interesting facts, anecdotes, and tidbits about New York City art from two expert guides

First collected in Italy in 1985, Art's Claim to Truth is considered by many philosophers to be one of Gianni Vattimo's most important works. Newly revised for English readers, the book begins with a challenge to Plato, Aristotle, Kant, and Hegel, who viewed art as a metaphysical aspect of reality rather than a futuristic anticipation of it. Following Martin Heidegger's interpretation of the history of philosophy, Vattimo outlines the existential ontological conditions of aesthetics, paying particular attention to the works of Kandinsky, which reaffirm the ontological implications of art.

Vattimo then builds on Hans-Georg Gadamer's theory of aesthetics and provides an alternative to a rationalistic-positivistic criticism of art. This is the heart of Vattimo's argument, and with it he demonstrates how hermeneutical philosophy reaffirms art's ontological status and makes clear the importance of hermeneutics for aesthetic studies. In the book's final section, Vattimo articulates the consequences of reclaiming the ontological status of aesthetics without its metaphysical implications, holding Aristotle's concept of beauty responsible for the dissolution of metaphysics itself. In its direct engagement with the works of Gadamer, Heidegger, and Luigi Pareyson, Art's Claim to Truth offers a better understanding of the work of Vattimo and a deeper knowledge of ontology, hermeneutics, and the philosophical examination of truth.

First collected in Italy in 1985, Art's Claim to Truth is considered by many philosophers to be one of Gianni Vattimo's most important works. Newly revised for English readers, the book begins with a challenge to Plato, Aristotle, Kant, and Hegel, who viewed art as a metaphysical aspect of reality rather than a futuristic anticipation of it. Following Martin Heidegger's interpretation of the history of philosophy, Vattimo outlines the existential ontological conditions of aesthetics, paying particular attention to the works of Kandinsky, which reaffirm the ontological implications of art.

Vattimo then builds on Hans-Georg Gadamer's theory of aesthetics and provides an alternative to a rationalistic-positivistic criticism of art. This is the heart of Vattimo's argument, and with it he demonstrates how hermeneutical philosophy reaffirms art's ontological status and makes clear the importance of hermeneutics for aesthetic studies. In the book's final section, Vattimo articulates the consequences of reclaiming the ontological status of aesthetics without its metaphysical implications, holding Aristotle's concept of beauty responsible for the dissolution of metaphysics itself. In its direct engagement with the works of Gadamer, Heidegger, and Luigi Pareyson, Art's Claim to Truth offers a better understanding of the work of Vattimo and a deeper knowledge of ontology, hermeneutics, and the philosophical examination of truth.

A startling, character-driven debut of skilled writing and intelligence, Arx: City of Broken Minds is a standalone epic of grimdark fantasy.

In Arx, no-one remembers anything. Not the Flame Protests. Not the Sightless executioner. Not even themselves.

The story unwinds through the tales of three young characters:

Caelan: His memories have been stolen. All he has left is instinct and fear. Fear of the Fog-Eyes, mindless and drooling. The emptiness that lies in his future unless he can quiet the nameless voice screaming in his head. And he will burn Arx to ashes to avoid it.

Samantha: an asexual blacksmith and perpetual paternal disappointment, knows exactly what she'll be remembered for: Callisteel. A mythic metal that can pierce reality, it waits for her beneath the smog that scars the sky black. No matter the cost.

Ruairi: a famer boy with a twisted spine, heads to Arx desperate to avoid being pitied. On the way, he rescues a man with violet eyes. His reward is a nightmare of blue fire and blood that pushes him to the edge of what his broken body can take – and beyond.

Mindbreakers walk once more in Arx, drawn to the spire of unbroken metal that hangs like a blade against the rotten heart of the city. Now their master has returned, it is only a matter of time before it awakens and slices the connection between reality and memory for good...

Mit Zunahme von Multimorbidität und der Anzahl verordneter Medikamente steigt die Wahrscheinlichkeit unerwünschter Arzneimittelwirkungen im Alter. Die Versorgung älterer Menschen erfordert die Zusammenarbeit verschiedener Professionen (Pflegepersonen, Ärzte, Therapeuten u.a.). Arzneitherapiewissen ist wegen des hohen Verordnungsaufkommens für versorgende Berufsgruppen wichtig.
Der Band thematisiert die wichtigsten Grundregeln der Arzneitherapie im Alter. Auf Besonderheiten des Risikofaktors Multimorbidität wird neben der Bedeutung der Arzneimittelanwendung durch ältere Patienten selbst (Adhärenz) eingegangen. Eine detaillierte Darstellung von Arzneimitteltherapien für die am häufigsten erkrankten Organsysteme sowie Geriatrischen Syndrome berücksichtigt aktuelle Forschungsergebnisse, z.B. zu potentiell inadäquater Medikation. Übersichten ermöglichen die Anwendung aktuellen Wissens in der Praxis.

Die Einnahme von Medikamenten gehört bei schwangeren Frauen zum Alltag: Etwa 9 von 10 Frauen nehmen während ihrer Schwangerschaft mindestens ein Medikament ein; etwa die Hälfte der Frauen auch zwei oder mehr Medikamente, vor allem Eisenpräparate, schmerzstillende und fiebersenkende Mittel. Gründe dafür sind das höhere Durchschnittsalter der Schwangeren - verbunden mit dem vermehrten Auftreten von Krankheiten - und die zunehmende Selbstmedikation.
Die Einnahme von Medikamenten in der Schwangerschaft ist nicht ohne Risiken.
Dieses Handbuch bietet Gynäkologen in Praxis und Klinik, Pharmazeuten und Apothekern eine wissenschaftlich fundierte Hilfe für die risikofreie bzw. risikoärmste medikamentöse Therapie von werdenden und stillenden Müttern. Es liefert eine Übersicht aller relevanten Hauptgruppen von Medikamenten inklusive Subgruppen von A bis Z sowie ausgewählter Nahrungsergänzungsmittel hinsichtlich ihrer Anwendung in Schwangerschaft und Stillzeit. In jeder Haupt- und Subgruppe sind konkrete Empfehlungen einschließlich der Nennung der Handels-Namen, der Anwendung und der Dosierung von Präparaten aufgeführt. Die Präparate werden in Bezug auf ihre fetalen und neonatalen Risiken sowie die relativen und absoluten Kontraindikationen bewertet. Die Grundlage dieser Bewertung bilden klinische Beobachtungsstudien und - soweit diese vorliegen - Langzeitbeobachtungsstudien.
Das Buch gibt zudem Anleitungen zum Umgang mit Empfehlungen und Risikoklassifikationen. In weiteren Kapiteln werden Medikamente bei besonderen Indikationen (z. B. Malaria, Hypertonie) behandelt. Es schließt mit einer praxistauglichen Zusammenstellung der Arzneimittel der ersten Wahl für die Sprechstunde, der "Grünen Liste".

Fachärzte für Allgemeinmedizin betreuen über Jahrzehnte einen festen Patientenstamm, kennen Familien in ihrer Entwicklung, wissen um familiäre und berufliche Probleme, erleben die Entstehung von Erkrankungen im Zusammenhang mit sozialen Ereignissen. Dennoch bestehen einerseits wegen der geringen Zeit für den einzelnen Patienten in der Sprechstunde und andererseits wegen nicht ausreichender Aus-, Weiter- und Fortbildung Defizite, schwierige Gesprächssituationen effizient zu meistern, für Patienten schnell Hilfe zu ermöglichen bzw. in Kooperation mit Vertretern anderer Fachgebiete eine bestmögliche Versorgung zu realisieren.
Im Verlauf des letzten Jahrzehnts ist es - auch im Rahmen tiefgreifender gesellschaftlicher Veränderungen - zu einer deutlichen Zunahme von stressassoziierten Beschwerden und Erkrankungen gekommen.
Als ersten Ansprechpartner suchen Patienten den Hausarzt auf, der oft nicht ausreichend vorbereitet ist und nicht adäquat reagieren kann. Im Gegensatz zur Vielzahl organischer Erkrankungen, für deren Diagnostik und Therapie er angemessene Voraussetzungen besitzt, ist er für stressbedingte Krankheitsbilder nicht entsprechend gewappnet. Trotz umfänglicher Hinweise zur Erfordernis der ganzheitlichen Betrachtungsweise des Menschen durch den Arzt werden durch die enorme Spezialisierung und Subspezialisierung der Medizin in der Regel diagnostische und therapeutische Pfade nur organ- und krankheitsbezogen beschrieben.
Zur Besserung dieser weitreichenden Problematik soll eine Kommunikationsfibel erstellt werden, in der beispielhaft das Vorgehen bei häufigen Beratungsanlässen im Rahmen von Stresssymptomen und -krankheiten unterschiedlicher Art aufgezeigt wird.
In diesem Buch sollen Handlungsschritte im niedrigschwelligen Arzt-Patient-Kontakt der Hausarztpraxis dargestellt werden, die sowohl somatische als auch psychische Ebenen betreffen und dezidiert das Procedere bei Patienten mit stressbedingten Erkrankungen beschreiben, die erfahrungsgemäß langfristige Leidenswege durchlaufen.
Wichtiger Schwerpunkt ist die salutogene Herangehensweise. Es ist vorgesehen, Ärzten das Verständnis nahe zu bringen, von welch besonderer Bedeutsamkeit die partizipative Entscheidungsfindung und Stärkung der Selbstwirksamkeit ihrer Patienten sind.
Die Vermittlung ressourcenorientierter Gesprächsführung wird fallbezogen in kurzer knapper Form dargestellt, um dem Zeitlimit der Hausärzte Rechnung zu tragen und sie zu befähigen, auch vormals "schwierige" Patienten vor chronischen Krankheitsverläufen zu bewahren.