Book Description
There had never been art like the art produced by women artists in the 1970s--and there has never been a book with the ambition and scope of this one about that groundbreaking era. WACK! documents and illustrates the impact of the feminist revolution on art made between 1965 and 1980, featuring pioneering and influential works by artists who came of age during that period--Chantal Akerman, Lynda Benglis, Theresa Hak Kyung Cha, Valie Export, Mary Heilmann, Sanja Ivekovič, Ana Mendieta, Annette Messager, and others--as well as important works made in those years by artists whose whose careers were already well established, including Louise Bourgeois, Judy Chicago, Sheila Levrant de Bretteville, Lucy Lippard, Alice Neel, and Yoko Ono.
The art surveyed in WACK! includes work by more than 120 artists, in all media--from painting and sculpture to photography, film, installation, and video--arranged not by chronology but by theme: Abstraction, "Autophotography," Body as Medium, Family Stories, Gender Performance, Knowledge as Power, Making Art History, and others. WACK!, which accompanies the first international museum exhibition to showcase feminist art from this revolutionary era, contains more than 400 color images. Highlights include the figurative paintings of Joan Semmel; the performance and film collaborations of Sally Potter and Rose English; the untitled film stills of Cindy Sherman; and the large-scale, craft-based sculptures of Magdalena Abakanowicz.
Written entries on each artist offer key biographical and descriptive information and accompanying essays by leading critics, art historians, and scholars offer new perspectives on feminist art practice. The topics--including the relationship between American and European feminism, feminism and New York abstraction, and mapping a global feminism--provide a broad social context for the artworks themselves. WACK! is both a definitive visual record and a long-awaited history of one of the most important artistic movements of the twentieth century.
Essays by:
Cornelia Butler, Judith Russi Kirshner, Catherine Lord, Marsha Meskimmon, Richard Meyer, Helen Molesworth, Peggy Phelan, Nelly Richard, Valerie Smith, Abigail Solomon-Godeau, Jenni Sorkin
Artists include:
Marina Abramovič, Chantal Akerman, Lynda Benglis, Dara Birnbaum, Louise Bourgeois, Judy Chicago, Lygia Clark, Jay DeFeo, Mary Beth Edelson, Valie Export, Barbara Hammer, Susan Hiller, Joan Jonas, Mary Kelly, Maria Lassnig, Linda Montano, Alice Neel, Senga Nengudi, Lorraine O’Grady, Pauline Oliveros, Yoko Ono, Orlan, Howardena Pindell, Yvonne Rainer, Faith Ringgold, Ketty La Rocca, Ulrike Rosenbach, Martha Rosler, Betye Saar, Miriam Schapiro, Carolee Schneemann, Cindy Sherman, and Hannah Wilke.
Average customer rating:
- A first-rate primer for the aspiring filmmaker
- An Excellent Overview
- good intro for the novice filmmaker
- Stick to "Film Art" by Bordwell/Thomspon
- Best introduction to filmmaking I've found
|
Art of Technique, The: An Aesthetic Approach to Film and Video Production
John S. Douglass , and
Glenn P. Harnden
Manufacturer: Allyn & Bacon
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ASIN: 0205142486 |
Book Description
This book provides readers with a teaching tool not currently available. It fills a gap in the literature by going beyond simple discussions of hardware usage, basic technical knowledge, and descriptions of technique to in-depth discussions of how this knowledge can be applied in a coherent approach to production.
Customer Reviews:
A first-rate primer for the aspiring filmmaker.......2002-01-21
"The Art of Technique: An Aesthetic Approach to Film and Video Production," is more of a primer than it is a critique of cinema. Yes, there is a big difference between this volume by John S. Douglass and Gleen P. Harnden and "Film Art: An Introduction" by David Bordwell and Kristin Thompson. The latter utilizes literally hundreds of frames from both classic and relatively unknown films to demonstrate cinematic techniques. "The Art of Technique" does the same thing with student models. Whether this has to do with the cost of using copyrighted images and/or transforming them into individual frames for use in a book, this is a major difference between the two textbooks. When Douglass and Harnden discuss something, like Ingmar Bergman's use of Extreme Close-ups (ECU) in "Scenes from a Marriage," they can only talk about the extraordinary intimacy it gave the production, without offering visual evidence to support their claim. However, the authors do use their "homemade" examples to good use at time; for example, when exploring the concept of framing they provide examples of "bad" shots (filled with distracting clutter) before showing better choices for the cinematographer.
"The Art of Technique" is divided into two main sections. After an introductory chapter on "Interpretation and Treatment," there are six chapters focusing on the various ways a film can tell a story, essentially pre-production considerations. There is a nice little section detailing the basic types of stories Hollywood tells over and over again ("Jack the Giant Killer," "Fish Out of Water," etc.). Clearly the emphasis here is more on production than criticism, which makes the orientation of this textbook more towards the filmmaker than the movie audience. This first section ends with a look at Mise en Scene and questions of design. In terms of concepts covered, separate from the issue of how those concepts are presented in the textbook, the authors provided a comprehensive, well-organized presentation.
The second half of the book covers "Techniques for Interpretation," which starts with a consideration of the trinity of how the camera, editing and lighting can be used for interpretation. Again, everything is here; I could not find a concept or technique that was an obviously glaring omission. The book concludes with a pair of chapters on Symbols and Significance, which get into the impact film can have on an audience. You might expect to find a glossary at the back of the book, but instead we have a pair of appendixes on Electricity and Measuring Light, which only serves to reaffirm that this book is geared towards the novice filmmaker. If you are looking for a textbook that because you are a budding film critic, then this is not going to be your first choice. I can even make the argument that by not saturating their textbook with frames from dozens of films, Douglass and Harden do their readers a favor, because instead of borrowing shots and techniques from the acknowledged masters of the art form, they are being asked to reinvent the wheel. Do not knock this, because that is basically how we think Orson Welles made "Citizen Kane."
An Excellent Overview.......2002-01-15
This book explores many aspects of filmmaking in a logical, easy-to-follow manner. A great find, albeit a bit pricy. I used it as my text for teaching a video class as it offers some aesthetic considerations for why techniques may or may not be used in a given situation. This approach helps to minimize the technique-euphoria beginners tend to have with techniques which are new to them (ala George Lucas in the new Star Wars...)
good intro for the novice filmmaker.......2000-04-21
this book works very well as an introduction to the creative use of techniques for filmmaking. it is quite clear and concise and is not bogged down by too much technical details or dicussions on film theory. a good starting point.
Stick to "Film Art" by Bordwell/Thomspon.......2000-04-17
I was shocked when I looked over this book. I had always relied on "Film Art" which is the standanrd intro to film but I wanted to branch out. I found this book to be a superficial approach to cinema, no probbing analysis or challenge to interpretaion of technique or narrative. Save your money and stick to the classics. No one seems to use this book in higher education film studies- ask your professor to suggest a book.
Best introduction to filmmaking I've found.......2000-02-16
I teach filmmaking, and needed a book that covers all the basics in a few meaty and meaningful pages. This is it. Most books on filmmaking technique either wax philosophical on the author's pet theories or get lost in gee-wiz-you-can-do-this-neat-trick-with-the-camera mania. There's little of either here; instead, you'll find a focused, highly readable series of lessons on what really matters most--how to communicate a meaningful message on film or video. Unlike some VERY annoying books that give examples of lighting and other techniques via badly drawn line-art, this book shows every technique with actual stills from video shoots so you can see how lighting, framing, lens use, etc. actually change the appearance and impact of a scene.
There are also numerous references to excellent classic and modern films with quite specific suggestions for examining the techniques that make those films work so well. Perhaps most important of all, the authors never lose sight of the fact that filmmaking is about interpreting and creating a reality that evokes a meaningful and powerful experience for the audience.
So if you want a book listing all the oh-so-tacky transitions and effects that your new NLE will do, or a thousand-page treatise on the history of film, THIS AIN'T IT. But if you want a book that will help you quickly learn to put cameras, lighting, and editing in the service of your creativity--buy this one first.
Book Description
Film is an art form with a language and an aesthetic all its own. Since 1979, David Bordwell's and Kristin Thompson's Film Art has been the best-selling and widely respected introduction to the analysis of cinema. While it continues to provide the best introduction to the fundamentals of serious film study, the eighth edition has been revised be more classroom friendly by introducing film techniques earlier in the text, followed by the chapters on Film Genres. Supported by a text-specific Tutorial CD-ROM with video clips, Film Art is automatically packaged with this outstanding student learning tool.
Customer Reviews:
Excellent!.......2007-09-29
I purchased this book for a college course I'm taking. The book came promptly and in excellent condition. Would definitely recommend...
Book Description
Since it was first published in 1992, this book has become one of the leading anthologies of art theoretical texts in the English-speaking world. This expanded edition includes the fruits of recent research, involving a considerable amount of newly-translated material from the entire period, together with additional texts from the last decades of the twentieth century.The features that made the first edition so successful have been retained:- The volume provides comprehensive representation of the theories which underpinned developments in the visual arts during the twentieth century.- As well as writings by artists, the anthology includes texts by critics, philosophers, politicians, and literary figures.- The content is clearly structured into eight broadly chronological sections, starting with the legacy of symbolism and concluding with contemporary debates about the postmodern.- The editors provide individual introductions to each of the 371 anthologized texts.Material new to this expanded edition includes texts on African art, on the Bauhaus and on the re-emergent avant-gardes of the period after the Second World War. Post-modernist debates are amplified by texts on gender, on installation and performance art, and on the increasing globalization of culture.
Customer Reviews:
just O.K........2007-07-10
my college library had the "feminist art theory" volume from this same series, and i LOVED that book to death.
since i liked that book so much, i thought it would be a good investment to cash in a recent gift certificate on this hefty volume.
i wish that i had gone for the feminist art volume-- it's much more relevant for anyone who is interested in art as political expression... that topic is really not addressed in this anthology.
it's probably still good as a reference if you're going to be writing a lot of papers for standard survey courses covering this time period, though.
A valuable reference book.......2005-08-11
Had I read the reviews about this book, I wouldn't have bought it.
I had to though, for my "Art: Language and Theory" class, in my second year of Graphic Design major. I was shocked with it at first, it's almost 1300 pages, with not a single image in it! It looked extremely dull. But the thing is, I found it extremely useful, and enjoyable to read at times too. It covers art theories in the 20th century, and has texts written by artists, philosophers, polticians and much more.
I now refer to it with every paper I write, every presentation I make and so on. There are also letters and notes in the book by artists such as Cezanne and Matisse, which are delightful to read. I use a dictionary sometimes, but not always, though I agree, the language is hard to comprehend at first glance.
I don't think any art student or teacher could do without this book, I used it as a beginners guide while studying art, and I won't stop using it. Don't be put off when you first get this book, you'll learn to value and appreciate it with little time.
Good Overview.......2003-12-28
I used this book for a graduate theory class and ended up reading pretty much all of it. The book provides an excellent overview of the major movements during the past 100 years but also misses out on a lot of the most current trends. I believe there were less than 3 articles dated after 1999. The writings seem to be obscure at times, with the editors trying to draw distant similarites between varying fields. Most of the passages used overly pretentious language, so keep a dictionary nearby. This book is not a beginner guide and it helps to have some knowledge of art history as well as a little world history. A better or easier read would have to be "Theories and Documents of Contemporary Art"...
Book Description
This introductory exploration of basic artistic concepts and terms applies them to a skeletal multi-disciplinary and multi-cultural history of artistic styles. It treats all the arts–painting, printmaking, photography, sculpture, music, theatre, dance, film, architecture, literature–uniformly, and uses a common outline to reinforce the relationship of terms and concepts to the perceptual process. The book also ties both artistic media and history to the theme of art as a reflection of human reality
This examination focuses on the media of the arts, pictures, sculpture, music, theatre, cinema, dance, architecture, literature, the styles of the arts, ancient approaches, artistic reflections in the pre-modern world, as well as artistic styles in the emerging modern world and, the beginnings of modernism, pluralism in a post-modern age.
For art enthusiasts and others interested exploring how artists express themselves.
Average customer rating:
- Calculations are only as good as your numbers
- Pants on fire?
- Accepted History & Chronology Must Be Changed.
- Very Interesting
- History as Science Fiction
|
History: Fiction or Science? (Chronology, No. 1)
Anatoly Fomenko
Manufacturer: Mithec
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Similar Items:
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History: Fiction or Science? Chronology 2 (Chronology)
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They Cast No Shadows: A Collection of Essays on the Illuminati, Revisionist History, and Suppressed Technologies
ASIN: 2913621058 |
Book Description
Recorded history is a finely-woven magic fabric of intricate lies about events predating the sixteenth century. There is not a single piece of evidence that can be reliably and independently traced back earlier than the eleventh century. This book details events that are substantiated by hard facts and logic, and validated by new astronomical research and statistical analysis of ancient sources.
Customer Reviews:
Calculations are only as good as your numbers.......2007-08-03
Yes, we can all agree that mainstream history is nearly 100% BS due to politics, economics, ego, problems with dating techniques, and various conspiracies. Agreed. But, I've been researching the distinct possibility that human history (in terms of civilizations) are much more ancient than we've been told, so coming across this book was very interesting to me. I wondered how Fomenko could be wrong (if at all) because he is very persuasive in his presentations. Then it dawned on me. If at previous times in prehistory, due to the various catastrophies that are well documented (comets, asteroids, planetary disruptions, plasma discharge, pole reversals, etc) the Earth was in a different position in relation to the sun, different tilt on its axis, different orbit, different rotation (in terms of velocity and DIRECTION), and the continents were in different positions, then would this not cause the ancients to see the sky (constellations) differently? In other words, is Fomenko making erronious assumptions about the physics of the Earth in pre-history, which then corrupt his data with regards to dating the relevant astrology? The last event to seriously disrupt our planet occured roughly 3500 years ago, according to other good researchers, so is it possible Fomenko has been confused by this? The vastly different physics of our planet in the not so distant past may explain this confusion, which is not to say the "mainstream" version of history is correct; on the contrary. I am not an expert in these fields, but wanted to see if this idea could spark discussion.
Pants on fire?.......2007-07-19
Will people ever read before spamming? Yes, Jesuits could not rewrite world history alone, they had help. Anyway, Dr Prof Acad A.Fomenko does not point to jesuits as the driving force of world wide history manipulation in published volumes 1,2,3;, actually he barely mentions the poor devils. Check it with 'Search inside' feature, please. China is rarely mentioned either, in fact, Dr Fomenko is completely eurocentric. Right, his theory contradicts all mainstream schools of history, because in their actual state they are all built on blatantly erroneus chronology. You don't need a mysterious cabal (conspiracy) to falsify history, the falsification is its modus operandi. It is inherent to history(ians) to falsify (distort) events, as it is inherent to humans to boast as it is inherent to power (authority) to legimize itself by referrring to glorious past made to its own order. Dr Prof Fomenko and team have identified scores of instances of such manipulation in Russian, European, etc.. history, and delivered valid statistical proof thereof. His own 'reconstruction' is completely another story. Forget c14 as a valid method of dating. W.Libby has initially discovered a brilliant method of INDEPENDENT dating. Too bad, c14 method has become a joke after a forced marrige with dendrochronology with consensual chronological scale inbuilt. Radiocarbon method can't stand blind tests, but is so very productive as a rubberstamp.
Accepted History & Chronology Must Be Changed. .......2007-04-09
There is no doubt that history as most know it is a sham, & institution's version of History both University & Church is fradulent & inaccurate. Everything was established with an agenda, The real "Dark Ages" are now when we have access to incredible amounts of information past authorities & more important 'common folk' didn't have but our institutions & educators are slow to evolve because of what has ignorantly & arrogantly been taught for too long. This is on many subjects not just Chronology.
For anyone to question "Why would a Mathematician have anything credible to say of History?" The answer is from Dr. Fomenko's preface in the book: "It would be worthwhile to remind the reader that in the XVI-XVII century Chronology was considered to be a subdivision of Mathematics." These volumes could possibly be some of the most important works to date & should be read by everyone with an interest in History, especially professors & educators who have a duty to the public. I have read both books & must say that 'Chronology 1' has some very eye opening & revolutionary information. Even if these volumes are part true the implications are profound & opens the doors to further investigations & questions which must be done. I speak several different lanquages & must say the logic Dr. Fomenko uses with "inflection" of words & words being read from left to right in one region & right to left in another then written backwards, the removal of vowels & get down to basics of words, or different cities & locations having the same name etc. is correct. Vowel usage has always been optional & varied, actually complicating linquistics & study. The first thing one has to understand is that words never had a fixed spelling in history like we do now, the spelling of words was mutable & regional, as well as names & titles of people were vast, varied & changed, NOTHING WAS FIXED or understood linear. Matters of Life & Death as well as financial profiteering yesterday & today were & are made with ignorant, illogical & conspiratorial views of history & reality, it's time people get closer to the Truth & society collectively grow up.
Very Interesting.......2007-03-07
It is a good proposal and I believe it will mature into something even better in the future. I think it deserves to be read.
History as Science Fiction.......2007-01-10
Anatoly Fomenko has written a very intriguing book, full of pictures, charts, and computer 'proof' of his thesis: backwards of AD900 we don't really know what happened or when. Between AD900 and AD1600 there is more certainty, but there is still a lot of fuzzy ground, and things don't get reliable until we get past the 1600's where the printing press made it very difficult for the perpetrators of this timeline manipulation to change anything that had been committed to print. The Dark Ages did not happen. Books were burned for a reason. One organization has doubled the actual length of its existence by expanding the real chronology. Read why.
I had always wondered why Christ died about AD33 and yet men waited until the 11th century to form the Knights Templar, the Cathars, etc and go after the Holy Land by force. Why the 1000 year gap? Turns out there wasn't more than a 10-12 year gap and he proves it using astronomy. This also implies that the planet is not as old as we have been told, and current Christian and other creationist scientists are already championing that idea without being aware of Fomenko's book. The two groups, creationist scientists and the Russian mathematical analysts corroborate each other. Fascinating.
Of course, all this flies in the face of what we have been told traditionally is the 'proper' chronology of western civilization, and most readers will experience 'cognitive dissonance' in reading this book. It means that our history going backwards from AD1600 becomes progressively more incorrect and unreliable until it cannot be trusted at all... in the space of 700-800 years.
Naturally, the curious, open-minded reader will want to know WHO did this, WHY, and did any of the events we think of as really ancient ever happen?
Dr. Fomenko is a respected scientist/mathematician at Moscow State University who has already answered these questions to the satisfaction of his initially skeptical colleagues. Most of them are now believers, a few still refuse to believe (the usual diehards), and of course the western press has ignored Fomenko's work -- for obvious reasons when you read the book. The ones who perpetrated this chronology ruse have a lot to answer for. They are still with us. That's why this book is a well-kept secret.
I gave the book a 4-star rating because I was unable to check out some of his claims; those I checked were as he said. But if even 1/3 of his claims are true, this punches a big hole in what we think is our history, the meaning of western civilization, our educational process (for repeating the ruse as gospel), and the trustworthiness of the organization that perpetrated this ruse, well-intentioned or not.
This book relates to current research into a Young Earth paradigm, to John Keel's discoveries about our planet, and Fr Malachi Martin's insights (in his now out-of-print books). We are indeed sheep who are manipulated and kept ignorant -- for a reason. While knowing what these men have to say may be the "booby prize" (as in: 'what can you do with this knowledge?'), it will provide interesting reading. Didn't someone say: "...and the Truth will set you free."?? For you to judge if this book contains the truth.
Book Description
David Lynch is an anomaly. A pioneer of the American 'indie' aesthetic, he also works in Hollywood and for network TV. He has created some of the most disturbing images in contemporary cinema, and produced startlingly innovative work in sound. If the consistency of his 'vision' suggests he might be approached as an auteur, defining that vision raises many questions. The essays in this collection push toward a fuller account of the cultural and technological contexts within which his works developed during the 1980s and 1990s, and of his intense engagement with the creative and working practices of the industry. They offer an up-to-date range of theoretically divergent readings that demonstrates not only the difficulty of locating stable interpretative positions for Lynch's work, but also the pleasure of finding new ways of thinking about it. Films discussed include Blue Velvet, Wild at Heart, The Straight Story, and Mulholland Drive.
Customer Reviews:
Very good read on David Lynch.......2007-07-06
I'm reading this book a 2nd time now. I would say this book is im my top three Lynch books as well and it provides a very good outline, and possibly, a key, for the way Lynch thinks. If anything, it will help you come up with more of your own conclusions. From a devoted Lynch fan, this is a great read!
lynch debunk.......2005-10-14
I gotta agree with Critic-AL... too much ink is being spilled about Lynch that reads like retread po-mo theories. I'll go with Pervert in the Pulpit too, and I'm not alone. You don't have to be a film student or academic to appreciate Johnson's heady read ... still, I think the review of Pervert by David Lancaster in the latest issue of Film and History totally sums up my thinking: "There is a slightly malicious pleasure in seeing a modish reputation being debunked, especially when the reader was mystified by the fuss in the first place. Pervert in the Pulpit is not a crude hatchet job, however. Rather, it is clear-sighted and informed, and, in true Manichean fashion, on the side of the critical angels."
adulation or criticism?.......2005-03-26
By calling Nochimson's book "amazing," [...]the problem with a lot of Lynch criticism: the audience for his films is divided between fans and serious students of cinema. As Lynch's reputation as an innovator continues to wear thin - face, it, his uneven oeuvre is not aging well - die-hard loyalists continue to gush about his, in my opnion, limited success as a cutting-edge film director. This book may be timely, but it isn't as interesting as Jeff Johnson's iconoclastic "Pervert in the Pulpit: Morality in the Work of David Lynch," which I'd recommend before any of the other, more pandering texts Joe cites.
One of the Best Books on Lynch.......2004-09-23
Is it possible for a good book of film criticism to be dominated by lavish photos and the like? Not in my experience. The closest to that is the BFI series, and those are hardly the sort of thing "a reader" is talking about. Of all the books on Lynch out there, this is probably my #3, behind Martha Nomchinson's amazing "Wild at Heart in Hollywood" and the essential "Lynch on Lynch."
The simataneous release of the paperback and hardcover editions should have clued "a reader" into the HC edition being a library edition... Don't let this person's stupidty put you off, this is one of the best books analyzing Lynch one can find.
Book Description
Since its original publication in 1987, Channels of Discourse has provided the most comprehensive consideration of commercial television, drawing on insights provided by the major strands of contemporary criticism: semiotics, narrative theory, reception theory, genre theory, ideological analysis, psychoanalysis, feminist criticism, and British cultural studies.
The second edition features a new introduction by Robert Allen that includes a discussion of the political economy of commercial television. Two new essays have been added—one an assessment of postmodernism and television, the other an analysis of convergence and divergence among the essays—and the original essays have been substantially revised and updated with an international audience in mind. Sixty-one new television stills illustrate the text.
Each essay lays out the general tenets of its particular approach, discusses television as an object of analysis within that critical framework, and provides extended examples of the types of analysis produced by that critical approach. Case studies range from Rescue 911 and Twin Peaks to soap operas, music videos, game shows, talk shows, and commericals.
Channels of Discourse, Reassembled suggests new ways of understanding relationships among television programs, between viewing pleasure and narrative structure, and between the world in front of the television set and that represented on the screen. The collection also addresses the qualities of popular television that traditional aesthetics and quantitative media research have failed to treat satisfactorily, including its seriality, mass production, and extraordinary popularity.
The contributors are Robert C. Allen, Jim Collins, Jane Feuer, John Fiske, Sandy Flitterman-Lewis, James Hay, E. Ann Kaplan, Sarah Kozloff, Ellen Seiter, and Mimi White.
Customer Reviews:
Excellent Overview of Media Studies Methodologies.......2002-07-04
In a critical writing course I taught in Spring 2002, I used Channels of Discourse, Reassembled as the core text for the course readings. The many chapters within are written by the best of the best in the fields of media studies and cultural studies, and the methodologies are presented in an easy-to-read manner which is informative and full of examples and case studies. This is an excellent book for media studies students, as its chapters lay out the basic information they should know about many of the methodologies often used in media criticism.
Book Description
Now in Paperback
"This remarkable set of essays defines the role of imagination in general education, arts education, aesthetics, literature, and the social and multicultural context.... The author argues for schools to be restructured as places where students reach out for meanings and where the previously silenced or unheard may have a voice. She invites readers to develop processes to enhance and cultivate their own visions through the application of imagination and the arts. Releasing the Imagination should be required reading for all educators, particularly those in teacher education, and for general and academic readers."
--Choice
"Maxine Greene, with her customary eloquence, makes an impassioned argument for using the arts as a tool for opening minds and for breaking down the barriers to imagining the realities of worlds other than our own familiar cultures.... There is a strong rhythm to the thoughts, the arguments, and the entire sequence of essays presented here."
--American Journal of Education
Customer Reviews:
Pedagogically provoking but also repetitive.......2007-08-23
This was a required text for a literacy studies graduate class. The context was pedagogically provoking along the threads of progressive modern education standards that are taught to budding teachers. Some repetition was present as it is a lengthy text with a primary focus and one author. My classmates and I were a bit disappointed with the lack of example and proposals for the curriculum/pedagogy changes being presented. This is a text to be read for establishing perspective not for quick tips or golden ticket ideas.
One of the most important books I've ever read.......2004-01-08
Maxine Greene defends the role of the arts as social medicine and advancement. She brilliantly argues for maintaining art in curriculum. Art often requires of us to imagine things which do not exist in reality. This excercise is vital in creating social change. In order to create a new and better world, we must first imagine it. We must encourage our children (and adults for that matter) to imagine. That's the first step and I feel society becoming less imaginative and more homogenized. PLEASE READ THIS BOOK!!! AND BUY A COPY FOR A TEACHER.
Book Description
Global Feminisms is a celebration of contemporary feminist art that brings together works by over eighty women artists from around the world. Contributions by a multinational team of authors focus particular attention on socio-cultural, racial and gender identities. By offering new perspectives on feminist artistic expression since 1990, this ground-breaking book moves the discourse of feminism away from its traditional linear history and towards a global inclusiveness that acknowledges the cultural differences in women's lives and the ever-changing perceptions of feminism.
Features the work of more than eighty contemporary women artists from over fifty countries, among them Catherine Opie, Miwa Yanagi, Pilar Albarracín, Shahzia Sikander and Yin Xiuzhen
Includes essays offering new perspectives by internationally known contributors
Customer Reviews:
tremendous diversity and scope.......2007-07-30
Global Feminisms is a beautifully compiled collection of feminist art from all over the world, literally. Instead of focusing on works from the past, however, the earliest of the pieces in this book date from the year 1990 and looks forward to the future of feminism and art. The countless paintings, sculptures, pieces of installation art, photographs, portraits, etc. come from fifty countries and all continents (excluding Antarctica), and challenges the notion that feminism is Western-centric and male defined. It is comprehensive and easy to read, without being dry or inaccessible.
This book manages to cover such a broad arena so smoothly. Its chapters are focused: "Gender Mobility: The Lens of Five Women Artists in India," "Post-Totalitarian Art: Eastern and Central Europe" and "What is Contemporary About Asian-American Women's Art?" are just a few of the many chapters. The intersections of race, class and sex are presented, and many of the pieces deal with cultural, political, economic, gender and sexual identities. The artists share their experiences as women in their particular culture and have created profound works that inspire dialogue, critiques or, simply, wonder.
The art in this book is outstanding on its own with its tremendous diversity and scope - either in presentation, media and look; however, they all unite beautifully to present a successful global presentation of feminist art. And though the art can speak for itself, the writing accompanying it I fantastic and educational. A true enjoyment to read!
A celebration of modern feminist perspectives and works.......2007-06-17
Over 80 women artists from over 50 countries are profiled in the fine catalog Global Feminisms: New Directions in Contemporary Art, which captures feminist art since 1990. Struggles for women's equality are reflected in works by women who strive to portray alternative perspectives. GLOBAL FEMINISMS accompanies an exhibit which coincides with the thirtieth anniversary of the first major feminist art show to explore women in Western Art, but it stands well alone as a celebration of modern feminist perspectives and works and is an acquisition any college-level art or women's issues collection needs, pairing in-depth history and essays with full-page color photos.
Diane C. Donovan
California Bookwatch
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