Contemporary Iranian Art
Iranian artists have been producing some of the world's mostthought-provoking and intellectually grounded artworks. In this landmark compendium, renowned art historian HamidKeshmirshekan provides a thorough review of contemporary art in Iran and showsthat the twentieth century was a crucial period in the country's art andculture, when the legacies of tradition and modernism where criticallyreassessed. Contemporary Iranian Art is an unprecedentedintroduction to Iran's vibrant art history over the past one hundred years.This fully revised and updated edition features more than 370 colourillustrations by the country's leading artists, including Mahmoud Bakhshi, Shadi Ghadirian, Barbad Golshiri, Marcos Grigorian, Farhad Moshiri, ShirinNeshat, Sohrab Sepehri, Mitra Tabrizian, Parviz Tanavoli and Charles HosseinZenderoudi.
![Boston Painters, 1720-1940. [Exhibition Catalogue]](https://cdn.kingstone.com.tw/english/images/product/8640/9781024218640m.webp?Q=39b58 "Boston Painters, 1720-1940. [Exhibition Catalogue]")
![Annual American Exhibition [of] Paintings And Sculpture, Volumes 11-17](https://cdn.kingstone.com.tw/english/images/product/7651/9781024377651m.webp?Q=b1a5e "Annual American Exhibition [of] Paintings And Sculpture, Volumes 11-17")
Annual American Exhibition [of] Paintings And Sculpture, Volumes 11-17
![Annual American Exhibition [of] Paintings And Sculpture, Volumes 11-17](https://cdn.kingstone.com.tw/english/images/product/3059/9781024373059m.webp?Q=adc15 "Annual American Exhibition [of] Paintings And Sculpture, Volumes 11-17")
Annual American Exhibition [of] Paintings And Sculpture, Volumes 11-17
Black Artists in Their Own Words
The first book to center Black artists' voices on Black aesthetics, revealing a century of evolving relationships to race, identity, and art. What is Black art? No one has thought harder about that question than Black artists, yet their perspectives have been largely ignored. Instead, their stories have been told by intellectuals like W. E. B. Du Bois and Alain Locke, who defined "a school" of Black art in the early twentieth century. For the first time, Black Artists in Their Own Words offers an insightful corrective. Esteemed art historian Lisa Farrington gathers writing spanning a century across the United States, the Caribbean, and the African continent--including from renowned artists Henry Tanner, Nancy Elizabeth Prophet, Romare Bearden, Wifredo Lam, Renee Cox, and many more--that reveals both evolutions and equivocations. Many artists, especially during the civil rights era, have embraced Black aesthetics as a source of empowerment. Others prefer to be artists first and Black second, while some have rejected racial identification entirely. Here, Black artists reclaim their work from reductive critical narratives, sharing the motivations underlying their struggles to create in a white-dominated art world.
Karl Friedrich Schinkel - Ein Sohn der Spataufklarung
Literature on Schinkel has grown enormously since the 200th anniversary of his birth in 1981, but this is the first book that deals with his education and training. No one seems to have seen that Schinkel was actually a son of the late Enlightenment.
F.N. Souza
F.N. Souza: The Archetypal Artist is an analysis of the paintings created by the modern Indian painter F.N. Souza and his colorful and eventful life. The Archetypal Artist, a collection of essays on the life and art of F.N. Souza, invites readers to the collective unconscious party; a high voltage zone consisting of stark art images and commentary. Be prepared to be shocked, bewildered, and amazed. Beware -- since most of Souza's art images overlap with your personal unconscious, you will be triggered. Everything you have repressed and rejected will stare back at you in full glory. As the shadows and multivalent archetypes come alive and begin dancing, be strong to hold aloft the light of your own consciousness. This is what Souza did when confronted by the collective unconscious. He began mining images from it, giving them form on his canvas, culminating in a journey towards individuation and wholesomeness. This collection of 21 essays combining research in art history, Eastern - Western philosophy, classical literature, Jungian analysis, psychology, anthropology, religion and theater began as a personal quest by the author to seek answers to cultural constructs of life, body and sexuality. The conditioned and structured lives of men and women in society troubled her. Authoritarian narratives from religion and state thwarted attempts to attain autonomy at every step. The path to spiritual enlightenment was strewn with doubts and finding a synthesis of East and West was challenging. The tryst with Souza's art began with questions, but the very first interlude was cathartic. Embark on a subjective journey into the world of F.N. Souza.
Disoriented
'Desnortar', or disoriented, means to lose the north or the sense of direction, to disorient. In Disoriented a collective book from a gender perspective, we consciously seek to lose both the geographical north and the north of the contemporary art canon. We aim to rethink and disrupt, from feminist, LGTBQ+ and postcolonial approaches, the coordinates that have articulated the discourses on the art history and art system along the 20th and 21st centuries. Coordinates that define how these artistic practices and systems of modernity and the contemporary are understood, the cardinal directions and main conceptual issues, or which artists are relevant or expendable according to the narratives of avant-garde and contemporary art history. It is crucial to reinterpret and disorientate, to disnorth and thereby shatter these references to overcome the gaps that prevent the emergence of alternative knowledges. To address questions or artists often perceived as peripheral to a grand historical narrative, we propose an intersection of modern and contemporary art history, gender, feminist, queer and postcolonial approaches, and transnational interrelations. This intersectionality allows us to actively lose the north of the canon and to direct our gaze towards subjects outside the usual centres of legitimation. Mostly, we attend to women artists, to peripheral geographical centres, to subaltern collectives, or to practices or materials regularly considered of little artistic interest. All of the above critiques how conventional discourses have excluded some collectives or certain artistic proposals, and the resistances that have emerged against them.
