Art

Christian cultures across the centuries have invoked Judaism in order to debate, represent, and contain the dangers presented by the sensual nature of art. By engaging Judaism, both real and imagined, they explored and expanded the perils and possibilities for Christian representation of the material world.

The thirteen essays in Judaism and Christian Art reveal that Christian art has always defined itself through the figures of Judaism that it produces. From its beginnings, Christianity confronted a host of questions about visual representation. Should Christians make art, or does attention to the beautiful works of human hands constitute a misplaced emphasis on the things of this world or, worse, a form of idolatry ("Thou shalt make no graven image")? And if art is allowed, upon what styles, motifs, and symbols should it draw? Christian artists, theologians, and philosophers answered these questions and many others by thinking about and representing the relationship of Christianity to Judaism. This volume is the first dedicated to the long history, from the catacombs to colonialism but with special emphasis on the Middle Ages and the Renaissance, of the ways in which Christian art deployed cohorts of "Jews"—more figurative than real—in order to conquer, defend, and explore its own territory.

A catalogue of Chinese belt toggles in the Bieber collection.

This is a print on demand edition of an important, hard-to-find publication.

Five brilliant essays on the renewal in the arts at a time when civilization was on the threshold of sweeping change. The authors discuss not merely a change in the forms or the subject matter of the arts but a spiritual phenomenon. Each emphasizes the artist's responsibility both to the individual self and to the society that he or she expresses.

Contributors: Lewis Mumford, Pete Viereck, James A. Michener, William Schuman, and Marc Connelly.

The life and times of extraordinary Philadelphia art collector Albert C. Barnes

Philadelphia art collector Albert C. Barnes (1872–1951) is renowned today for collecting many of the world’s most important impressionist, post-impressionist, and modern paintings, and displaying them alongside African masks, Native American jewelry, Greek antiquities, and decorative metalwork. The museum that bears his name holds more than eight hundred paintings, with a strong focus on Renoir, Cézanne, Matisse, and Picasso, as well as other European and American masters.

In The House of Barnes, Neil L. Rudenstine provides the first scholarly study on the historical, art historical, and political context during which Barnes purchased his masterpieces and attempted to redefine aesthetic education. Inspired by his good friend John Dewey’s educational philosophy, Barnes held art-appreciation classes for the workers in his factory. His successes there led him to establish the Barnes Foundation in Merion, Pennsylvania—more as an educational experiment than a typical museum.

In 2012, the Barnes Foundation moved to the Benjamin Franklin Parkway in Philadelphia. Rudenstine presents the controversial events surrounding the Barnes Foundation’s move to Philadelphia, including an analysis of the Foundation’s financial plight, a review of the major court cases over the decades, and a characterization of the fervent reactions following the court’s decision to allow the move to take place.

The House of Barnes chronicles the life and times of an extraordinary collector and the continued endurance of the Barnes Foundation long after the death of its founder. Originally published in 2012, this new edition contains sixteen pages of full-color reproductions of masterpieces from the collection, a new preface from the author, and a foreword from the prominent art historian Yve-Alain Bois.

A great unsolved mystery in American political culture is what became of the U.S. Congress’s state portraits of Louis XVI and Marie-Antoinette during the British invasion of the Capitol, Wash., D.C., on the night of 24-25 August 1814. These were official full length images of the French monarchs arrayed in ceremonial magnificence. The fate of the royal portraits has been difficult to determine. Larkin undertakes a comprehensive examination to test two theories -- that the royal portraits were burned by British troops during their occupation of the capital or looted by American scavengers during the chaotic aftermath. He breaks new ground for the creating of an art and material history for the War of 1812. Illus.

This is a print on demand edition of an important, hard-to-find publication. Over 400 illustrations.

The "Things of Greater Importance" provides a close look into the social and cultural context of medieval art, primarily as expressed in Bernard of Clairvaux's Apologia, the central document in the greatest artistic controversy to occur in the West prior to the Reformation and the most important source we have for understanding medieval attitudes toward art. Bernard wrote the Apologia during the medieval efflorescence of monumental sculpture and stained glass, of advanced architecture, of pilgrimage art, of high Romanesque, and of the origins of Gothic art.

Rudolph places the Apologia, traditionally seen as a condemnation either of all religious art or of all monastic art, in a broader context, using it to explore the role of art in medieval society. He shows that Bernard was interested in the impact of art on contemporary monasticism in a more complex way than previously believed. The book offers the most thorough study available of the theoretical basis of medieval art as it functioned in society; and its implications for the art of both the Romanesque and Gothic periods, which were spanned by Bernard's life, are significant.

How middle-class women transformed India’s screen and exhibition industries

Since the late 90s, multiplexes in India have almost always been located inside malls, rendering it impossible to inhabit one space without also inhabiting the other. Their prevalence coincides with a shift in the spectatorial imagination of India’s mass audience—spaces that, for several preceding decades, had been designed for the subaltern male, but are now built for the consuming, globalized middle-class woman. By catering to the mutable desires and anxieties of a rapidly expanding and heterogeneous middle class, the mall-multiplex has radically altered the politics of theatrical space and moviegoing.

Projecting Desire tells the story of this moment of historic transition as it played out across media industries, architecture and design, popular cinema, and public culture. Tupur Chatterjee highlights how the multiplex established a new link between media and architecture in the subcontinent, not only rewriting the relation between gender and urban space, but also changing the shapes of Indian cities.

Projecting Desire locates the post-globalization transformation of India’s screen and exhibition industries in a longer arc of ideas about urban planning and architecture, long mired in caste- and class-based gendered anxieties. It argues that the architectural mediations of India’s moviegoing cultures are key to imagining, planning, and policing the contemporary media city. Chatterjee integrates industrial and organizational ethnography, in-depth interviews, participant observation, discourse and textual analysis, and archival work with spatial and urban histories. Focusing on these new meccas of leisure and entertainment, Projecting Desire tracks the understudied nexus between new media architectures, cultures of public leisure, and popular cinema in the Global South.

Restless Infections is a collection of critical essays exploring artistic interventions in urban spaces, focusing on place-making and the politics of space in South Africa. The writers examine seminal artworks by South African artists, addressing diverse forms of expression such as site-specific performances, immersive installations, film, photography, and online performances.

The book is divided into three sections: The Restless City, Public Art for Multiple Publics, and Land, Home, Belonging. It introduces new perspectives on public sphere performance, such as Khanyisile Mbongwa’s re-imagining of township alleyways for public encounters and Mbongeni Mtshali’s study of everyday performances that challenge colonial and neo-colonial spatial organization.

The title, Restless Infections, is derived from the popular Infecting the City public art festival, symbolizing the persistent state of restlessness in a city still grappling with the legacies of colonialism, inequality, and racial segregation. This restlessness is tied to a desire for economic and political stability, expressed through transient art forms like Santu Mofokeng’s billboard photography.

The book shifts the focus of public art discourse in South Africa from static forms like monuments and statues to dynamic, temporary interventions that question the concept of publicness. These interventions engage with protest, public intimacy, audience interaction, and the disrupted topography of apartheid cities.

As the first scholarly volume to read public spheres through a multi- and interdisciplinary lens, Restless Infections argues that the diverse artistic modes explored are essential to understanding the complexities of publicness in South Africa.

Drawing on a rich archive of colonial photography, Mokoena explores how images of African policemen and nightwatchmen in colonial South Africa challenged traditional narratives of oppression, revealing how uniform and portraiture transformed the black male figure into an aesthetic subject worthy of admiration.

This illustrated collection of essays brings into focus African men in colonial uniforms as a subject of portraiture. It extends the literature on colonial ethnographic photography by creating a narrative of nightwatchman portraiture from the rich archive of images. While a genre of photography developed around images of the ‘Zulu warrior’ after the defeat of the English at Isandlwana, Hlonipha Mokoena argues that the spectacle of the Zulu male body was inaugurated after the last Zulu king, Cetshwayo, was photographed as a posing subject.

Much research has focussed on the African man as a functionary of settler power; these essays shift debates about how the body moves in history. Placed in uniform, the male subject becomes aestheticised and admired. Mokoena focuses on the sartorial selection processes and co-optation of colonial aesthetic culture that constructed the idea of the Nonqgqayi or nightwatchman as a fully formed photographic presence. The beauty captured in these images upends conceptions of colonial photography as a tool of oppression.

In its focus on the figure of the black and brown fighting man, The Nightwatchman offers an innovative work on the history of portraiture in colonial South Africa and new avenues for the interpretation of visual representations of the black male figure.

The story starts in totalitarian darkness (Czechoslovakia before 1989) and gradually lays out a groundwork for how creativity within community can influence and change society. All of this is rooted in the connection to the natural world, be it local sustainable farming practices, rural innovations, or international policies with governmental bodies on the global level. The book is a success story for a female artist (the author) who found a way to build a life in a rural, posttotalitarian, foreign country, with virtually no income, through her love of the place. It is a testament to the resilience of the people of that small nation that was sacrificed in the tumultuous chess game of colonial superpowers dividing up Europe after the devastation of WWII. It is a textbook protocol on how to instill civil society from the ground up, so that democratic life can thrive. This is a story that has been told in small pieces over the years in essays, catalogues, lectures, and radio and television interviews but needed the deeper context of a fulllength book.

101 Top Techniques for Artists is a colourful compendium packed full of practical tips and techniques by 101 of today’s most popular leading artists. Each technique is presented in clear, simple step-by-step instructions that describe how to complete the project yourself, including a full list of materials and detailed images to guide you along the way.

Divided into seven chapters that cover watercolours, acrylics, oils, pastels, drawing and mixed media, this handy book is bursting with some of the most popular styles and subjects, designed to showcase the very best of artistic abilities available to help develop your own creative streak.

All contributors featured in this book are professional artists belonging to the SAA, who together with a global community of over 46,000 other members, make up the world’s largest and friendliest art society. Whether you’re a beginner, an improver or a professional, there’s something new to learn for everyone in this comprehensive collection.