Search

Contributed articles.

Publisher Description

The need for a "new" book on Greek colonization arose to analyse this phenomenon as a long-term process in a wide geographic area. The events related to individual cities and regions, although geographically very distant from each other, are linked through an articulated network of material and immaterial relations and have to be considered as part of a broader mobility process in a Mediterranean perspective. The intention of "Comparing Greek Colonies" is to bring geographically and culturally distant regions such as Southern Italy/Sicily and the Black Sea, closer together, not merely to find "similarities and differences", but to broaden the scholars’ perspective and overcome existing, generalizing, and biased models, that are often rooted in local scientific traditions. The proceedings of the international conference "Comparing Greek Colonies. Mobility and Settlement Consolidation from Southern Italy to the Black Sea (8th – 6th century BC)", 7.–9.11.2018 in Rome, are structured around three core topics (economic system; relationships with the indigenous populations; social and territorial systems) that constitute the cornerstones of the political formation of the polis in the Archaic period and for its development during the Classical and Hellenistic Ages.

Gary Indiana's collected columns of art criticism from the Village Voice, documenting, from the front lines, the 1980s New York art scene. In 1985, the Village Voice offered me a job as senior art critic. This made my life easier and lousy at the same time. I now had to actually enter all those galleries instead of peeking in the windows. At times, the only tangible perk was having the chump for a fifth of vodka whenever twenty more phonies had flattered my ass off in the course of a working week. —from Vile Days From March 1985 through June 1988 in The Village Voice, Gary Indiana reimagined the weekly art column. Thirty years later, Vile Days brings together for the first time all of those vivid dispatches, too long stuck in archival limbo, so that the fire of Indiana's observations can burn again. In the midst of Reaganism, the grim toll of AIDS, and the frequent jingoism of postmodern theory, Indiana found a way to be the moment's Baudelaire. He turned the art review into a chronicle of life under siege. As a critic, Indiana combines his novelistic and theatrical gifts with a startling political acumen to assess art and the unruly environments that give it context. No one was better positioned to elucidate the work of key artists at crucial junctures of their early careers, from Sherrie Levine and Richard Prince to Jeff Koons and Cindy Sherman, among others. But Indiana also remained alert to the aesthetic consequence of sumo wrestling, flower shows, public art, corporate galleries, and furniture design. Edited and prefaced by Bruce Hainley, Vile Days provides an opportunity to track Indiana's emergence as one of the most prescient writers of his generation.

This new revised edition of an established survey of 19th century European painting from David through Cézanne includes new chapters with fifteen new illustrations on four notable women artists-- Angelika Kauffmann, Elizabeth Vigée-Lebrun, Berthe Morisot, and Mary Cassatt. This edition also contains further text revisions and updates to the bibliographies. The focus of 19th Century European Painting remains on the important artists and movements of the period with chapters on each artist's life and work, characteristics of style, and the relationship of the artistic movements to historical and intellectual currents of the time.Neoclassicism, Romanticism, Realism, Academics and Salon Painters, and Impressionism are covered and the following artists receive substantial monographic treatment: David and his followers, Goya, Ingres, Géricault, Delacroix, Corot, Courbet, Millet and the Barbizon painters, Manet, Monet, Degas, Renoir, Sisley, Pissarro, and Cézanne. There are 435 illustrations, suggested readings and references, and an index..

An exploration of sexuality and gender in Renaissance art, literature, and society.

Victor Majzner arrived in Australia in 1959 as a Jewish refugee from Russia. His career as a painter accelerated during the 1980s when, as a migrant seeking identity, he began to travel inland and study the antiquity of the ancient continent as well as forming close bonds with several important Aboriginal artists from the Warmun Community in the Northern Territory. His spectacular and unconventional paintings deal with issues of identity and, over recent years, with his developing sense of his Jewish heritage. Some paintings, more surreal than his Australian landscapes, emerged from his late 1990s travels to the Negev Desert in Israel. A feature to this book is its inclusion of pen and ink studies made as preliminaries to the major paintings.Leigh Astbury teaches art history at Monash University, Melbourne.This book also comes as a special edition with original etching by Victor Majzner and a slip-case.