Storytellers of Art Histories

Of course, curators and art historians have more traditionally been seen as shapers of knowledge. ... The writing of histories is about storytelling, which is by its very nature subjective, yet histories are usually taught and presented ...

Author: Yasmeen Siddiqui

Publisher: Intellect Books

ISBN: 9781789384291

Category: Art

Page:

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The writings in this anthology, Storytellers of Art Histories, amplify the voices of those who are reshaping art histories: not only art historians and curators but also archivists and artists. At the same time, an overwhelming majority of our contributors have fluid practices, which render these categories moot. There is a special focus on gender, race (including Whiteness), class, sexuality and transnationality – all of which are often marginalized in dominant art histories. Each individual in this book has provided short, often very personal contributions indicating how they began to become passionate about their practice. The contributors respond in a multitude of surprising ways, appealing equally to people enmeshed in the field through their work and to those simply interested in the field. The stories you will read take various forms – a letter written to a friend, a revisioned grant application, the pastiche of image and text, children’s fables, interviews, co-authored narrative, memoir, manifesto, apology. A number of the essays perform, through a combination of recollected early memory alongside scholarly research, the roots of the theories they explore through publishing, curating and archival work.

Art History for Filmmakers

COLOR AND NARRATIVE COLOR THEORY NARRATIVE AND STORYTELLING IN ART IN CINEMA NARRATIVE AND STORYTELLING IN ART Films are stories; filmmaking is storytelling. Storytelling is one of the oldest human activities.

Author: Gillian McIver

Publisher: Bloomsbury Publishing

ISBN: 9781474246200

Category: Art

Page: 256

View: 354

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Since cinema's earliest days, literary adaptation has provided the movies with stories; and so we use literary terms like metaphor, metonymy and synecdoche to describe visual things. But there is another way of looking at film, and that is through its relationship with the visual arts – mainly painting, the oldest of the art forms. Art History for Filmmakers is an inspiring guide to how images from art can be used by filmmakers to establish period detail, and to teach composition, color theory and lighting. The book looks at the key moments in the development of the Western painting, and how these became part of the Western visual culture from which cinema emerges, before exploring how paintings can be representative of different genres, such as horror, sex, violence, realism and fantasy, and how the images in these paintings connect with cinema. Insightful case studies explore the links between art and cinema through the work of seven high-profile filmmakers, including Peter Greenaway, Peter Webber, Jack Cardiff, Martin Scorsese, Guillermo del Toro, Quentin Tarantino and Stan Douglas. A range of practical exercises are included in the text, which can be carried out singly or in small teams. Featuring stunning full-color images, Art History for Filmmakers provides budding filmmakers with a practical guide to how images from art can help to develop their understanding of the visual language of film.

Storytellers of Art Histories

Their pieces take various forms--epistolary, children's fable, interview, coauthored narrative, pastiche, memoir, manifesto, and apology--and a number of the essays perform in their structure or content the theories they explore about ...

Author: Yasmeen Siddiqui

Publisher: Intellect (UK)

ISBN: 1789384273

Category:

Page: 208

View: 723

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An anthology amplifying the voices of the figures reshaping art histories across disciplines and a range of fluid practices. With a focus on gender, race (including whiteness), class, sexuality, and transnationality--all of which are often marginalized in dominant art histories--each individual has provided short, often personal contributions detailing how they become passionate about their practice. The contributors' offerings are varied and surprising, appealing equally to people enmeshed in the field through their work as well as those with a beginner's interest. Their pieces take various forms--epistolary, children's fable, interview, coauthored narrative, pastiche, memoir, manifesto, and apology--and a number of the essays perform in their structure or content the theories they explore about publishing, curating, and archival work.

A Brief History of the Artist from God to Picasso

I think of history as a form of literary art, art history as artful storytelling about art, which aspires, however imperfectly, to ascertain the historical truth. The pivotal figure in my essay is Vasari, whose epoch-making Lives of the ...

Author: Paul Barolsky

Publisher: Penn State Press

ISBN: 9780271036755

Category: Art

Page: 147

View: 999

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Explores art history and imaginative literature to show how fiction and history inform each other. Traces the modern idea of the artist to the epic tradition from Homer and Ovid to Dante, leading to Michelangelo. Examines how Vasari shaped Balzac's idea of the artist, and Balzac influenced Picasso's --Provided by publisher.

Transnational Perspectives on Feminism and Art 1960 1985

Authors' Bios Lisa Binkley is an Anishinaabe (Algonquin)-settler, who works as an Assistant Professor in the Department of History at Dalhousie University in Halifax, Nova Scotia, Canada. Her primary research focuses on Indigenous and ...

Author: Jen Kennedy

Publisher: Routledge

ISBN: 9781000380934

Category: Art

Page: 244

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Transnational Perspecives on Feminism and Art, 1960–1985 is a collection of essential essays that bring transnational feminist praxis into conversation with histories of feminist art in the 1960s, 1970s, and early 1980s. The artistic practices and processes examined within these pages all centre on gender and sexual politics as they variously intersect with race, class, sovereignty, Indigeneity, citizenship, and migration at particular historical moments and within specific geopolitical contexts. The book’s central premise is that reconsidering this period from transnational feminist perspectives will enable new thinking about the critical commonalities and differences across heterogeneous and geographically dispersed practices that have contributed to the complex and multifaceted relationship between feminism and art today. The book will be of interest to scholars working in art history, cultural studies, visual culture, material culture, and gender studies.

Feminism and Art History Now

In this context, storytelling once again serves many purposes, including bringing to light previously ignored histories, exposing inequalities, and as acts of healing for the storyteller or storytellers.

Author: Victoria Horne

Publisher: Bloomsbury Publishing

ISBN: 9781786722355

Category: Social Science

Page: 288

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To what extent have developments in global politics, artworld institutions, and local cultures reshaped the critical directions of feminist art historians? The significant new research gathered here engages with the rich inheritance of feminist historiography since around 1970, and considers how to maintain the forcefulness of its critique while addressing contemporary political struggles. Taking on subjects that reflect the museological, global and materialist trajectories of twenty-first-century art historical scholarship, the chapters address the themes of Invisibility, Temporality, Spatiality and Storytelling. They present new research on a diversity of topics that span political movements in Italy, urban gentrification in New York, community art projects in Scotland and Canada's contemporary indigenous culture. Individual chapter analyses focus on the art of Lee Krasner, The Emily Davison Lodge, Zoe Leonard, Martha Rosler, Carla Lonzi and Womanhouse. Together with a synthesising introductory essay, these studies provide readers with a view of feminist art histories of the past, present and future.

Storytelling Art and Technique

It would take too much space to name all the wonderful people I have met over the years through storytelling, but they all have had a part in this book and I dedicate it to them. Chapter 1 is a brief overview of the history of ...

Author: Ellin Greene

Publisher: ABC-CLIO

ISBN: 9780313078613

Category: Language Arts & Disciplines

Page: 344

View: 549

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Join the countless professionals who have benefited from the best how to storytelling guide available today. Storytelling: Art and Technique is a proven handbook and selection tool that shows you how to select, prepare, and tell stories to and for children aged 3 to 13. Ideal for both beginning and experienced storytellers working in public or school library settings, this useful volume reveals the storyteller's art—from planning through performance.

Critical Terms for Art History Second Edition

Believing in such a process, you become—you act as, you figure yourself as—an artist (in the sense that I have been ... “Artists”—I use the quotes because not every artist is an “artist”—are therefore great fabricators and storytellers.

Author: Robert S. Nelson

Publisher: University of Chicago Press

ISBN: 0226571696

Category: Art

Page: 540

View: 139

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"Art" has always been contested terrain, whether the object in question is a medieval tapestry or Duchamp's Fountain. But questions about the categories of "art" and "art history" acquired increased urgency during the 1970s, when new developments in critical theory and other intellectual projects dramatically transformed the discipline. The first edition of Critical Terms for Art History both mapped and contributed to those transformations, offering a spirited reassessment of the field's methods and terminology. Art history as a field has kept pace with debates over globalization and other social and political issues in recent years, making a second edition of this book not just timely, but crucial. Like its predecessor, this new edition consists of essays that cover a wide variety of "loaded" terms in the history of art, from sign to meaning, ritual to commodity. Each essay explains and comments on a single term, discussing the issues the term raises and putting the term into practice as an interpretive framework for a specific work of art. For example, Richard Shiff discusses "Originality" in Vija Celmins's To Fix the Image in Memory, a work made of eleven pairs of stones, each consisting of one "original" stone and one painted bronze replica. In addition to the twenty-two original essays, this edition includes nine new ones—performance, style, memory/monument, body, beauty, ugliness, identity, visual culture/visual studies, and social history of art—as well as new introductory material. All help expand the book's scope while retaining its central goal of stimulating discussion of theoretical issues in art history and making that discussion accessible to both beginning students and senior scholars. Contributors: Mark Antliff, Nina Athanassoglou-Kallmyer, Stephen Bann, Homi K. Bhabha, Suzanne Preston Blier, Michael Camille, David Carrier, Craig Clunas, Whitney Davis, Jas Elsner, Ivan Gaskell, Ann Gibson, Charles Harrison, James D. Herbert, Amelia Jones, Wolfgang Kemp, Joseph Leo Koerner, Patricia Leighten, Paul Mattick Jr., Richard Meyer, W. J. T. Mitchell, Robert S. Nelson, Margaret Olin, William Pietz, Alex Potts, Donald Preziosi, Lisbet Rausing, Richard Shiff, Terry Smith, Kristine Stiles, David Summers, Paul Wood, James E. Young

Latino a Children s and Young Adult Writers on the Art of Storytelling

In 2007, Xavier received his MA in art history and criticism from the University of Texas at San Antonio. ... So, too, was my great-grandfather, whom I never met, but everybody says he was a really good storyteller.

Author: Frederick Luis Aldama

Publisher: University of Pittsburgh Press

ISBN: 9780822982951

Category: Literary Criticism

Page: 248

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Children’s and young adult literature has become an essential medium for identity formation in contemporary Latino/a culture in the United States. This book is an original collection of more than thirty interviews led by Frederick Luis Aldama with Latino/a authors working in the genre. The conversations revolve around the conveyance of young Latino/a experience, and what that means for the authors as they overcome societal obstacles and aesthetic complexity. The authors also speak extensively about their experiences within the publishing industry and with their audiences. As such, Aldama’s collection presents an open forum to contemporary Latino/a writers working in a vital literary category and sheds new light on the myriad formats, distinctive nature, and cultural impact it offers.