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I make prints and visual books. I founded Bridge Press, now in Kennebunk, Maine, 1989 to publish limited edition artist's books and etchings. The name of the press underscores the collaborative nature of book making. Visual books offered possibilities for the continuity, connection, and unfolding of images—each image is complete yet linked to every other through the structure of the book. Books seemed an ideal vehicle to assemble and connect my prints, to order and unfold a sequence of images, with defined and recurrent shapes, motifs, and composition, and to create a setting in which each image is complete yet linked to every other through the structure of the binding or enclosure.
An endlessly fascinating and extensive compendium of reproductions of photographs, diagrams, charts, maps, paintings – bizarre, sublime, caustic, illuminating – from the ancients to the modern era. Each image retains something of its historical context, yet they are arrayed with a compelling visual logic by a brilliant visual editor.
An exploration of echoes and resonances across two millennia of visual culture, celebrating ten years of The Public Domain Review.
Gathering a remarkable collection of over 500 public domain images, Affinities is a carefully curated visual journey illuminating connections across more than two thousand years of image-making. Drawing on a decade of archival immersion at The Public Domain Review, the book has been assembled from a vast array of sources: from manuscripts to museum catalogues, ship logs to primers on Victorian magic. The images are arranged in a single captivating sequence which unfurls according to a dreamlike logic, through a…
I make prints and visual books. I founded Bridge Press, now in Kennebunk, Maine, 1989 to publish limited edition artist's books and etchings. The name of the press underscores the collaborative nature of book making. Visual books offered possibilities for the continuity, connection, and unfolding of images—each image is complete yet linked to every other through the structure of the book. Books seemed an ideal vehicle to assemble and connect my prints, to order and unfold a sequence of images, with defined and recurrent shapes, motifs, and composition, and to create a setting in which each image is complete yet linked to every other through the structure of the binding or enclosure.
Ellcock curated a remarkable selection of images that are provocative, transformative, and universal – an anthology of archetypes, scanning the world’s vast catalog of visual images from cultures, religions, time periods, political viewpoints, and media. I don’t know a more comprehensive anthology of moral, political, environmental, social, and cultural images, all vivid, challenging, and eternally relevant.
Stephen Ellcock, one of the world's most beloved digital curators, presents a collection of radically beautiful and provocative images designed to inspire reflection, revelation, and transformation.
Stephen Ellcock pairs hundreds of images, icons, and symbols spanning three thousand years of artistic creation with quotes from activists and writers to provoke reflection, revelation, and transformation. This eye-opening compendium highlights the environmental challenges facing our planet and the social injustice rampant in our societies, while offering hope that a better world is within our grasp. The artwork includes archival images from prominent and obscure artists, Renaissance paintings, counter-cultural iconography, documentary photography, and…
I make prints and visual books. I founded Bridge Press, now in Kennebunk, Maine, 1989 to publish limited edition artist's books and etchings. The name of the press underscores the collaborative nature of book making. Visual books offered possibilities for the continuity, connection, and unfolding of images—each image is complete yet linked to every other through the structure of the book. Books seemed an ideal vehicle to assemble and connect my prints, to order and unfold a sequence of images, with defined and recurrent shapes, motifs, and composition, and to create a setting in which each image is complete yet linked to every other through the structure of the binding or enclosure.
The advent of the exactly repeatable pictorial statement is arguably the most significant technological and cultural innovation in the history of humankind. This book examines in detail the contributions to scientific knowledge made by significant Renaissance artists, Hans Holbein, Albrecht Dürer, and Hendrick Goltzius principally among them. In addition to reproducing woodcuts, engravings, and etchings, the book depicts various complex forms of paper engineering from the Renaissance that acted as scientific instruments, maps, simulacra, or utile devices in themselves.
An unusual collaboration among distinguished art historians and historians of science, this book demonstrates how printmakers of the Northern Renaissance, far from merely illustrating the ideas of others, contributed to scientific investigations of their time. Hans Holbein, for instance, worked with cosmographers and instrument makers on some of the earliest sundial manuals published; Albrecht Durer produced the first printed maps of the constellations, which astronomers copied for over a century; and Hendrick Goltzius's depiction of the muscle-bound Hercules served as a study aid for students of anatomy. Prints and the Pursuit of Knowledge in Early Modern Europe features fascinating reproductions…
I make prints and visual books. I founded Bridge Press, now in Kennebunk, Maine, 1989 to publish limited edition artist's books and etchings. The name of the press underscores the collaborative nature of book making. Visual books offered possibilities for the continuity, connection, and unfolding of images—each image is complete yet linked to every other through the structure of the book. Books seemed an ideal vehicle to assemble and connect my prints, to order and unfold a sequence of images, with defined and recurrent shapes, motifs, and composition, and to create a setting in which each image is complete yet linked to every other through the structure of the binding or enclosure.
As a printmaker and student of the history and techniques of printmaking, this is my “desert island” volume, the most comprehensive, literate, knowledgeable, and articulate statement on this influential, historically significant, and often overlooked art form. Eichenberg, himself a brilliant and trenchant wood engraver, book illustrator, and political commentator, shows himself to be an eloquent historian, scholar, and interpreter of various printmaking media, not only in Europe and the Americas, but throughout the world, in its long history.
I'm currently an Honorary Fellow in Social Theory at the University of York, U.K. For more than five decades I've been working to promote more reflexive perspectives in philosophy, sociology, social theory, and sociological research. I've written and edited many books in the field of social theory with particular emphasis upon questions of culture and critical research in the expanding field of visual culture. Recent projects include Interpreting Visual Culture(with Ian Heywood), The Handbook of Visual Culture, and an edited multi-volume textbook to be published by Bloomsbury,The Bloomsbury Encyclopedia of Visual Culture. The passion to understand the thought and visual culture of both the ancient and modern world continues to inform my work.
Crary’s work provides a theoretical and empirically informed synthesis of the work of theorists like Berger, Debord, Baudrillard, Barthes, and Sontag. Like these earlier writers, the technological transformations of visual culture are at the heart of the social transformations of the modern world. To understand modernity is thus first to make sense of its visual logics, procedures, and practices. This general argument allowed the author to enter the granular historical details of how seeing and 'observation’ have become essential to the concerns of modern life. What he calls 'techniques of the observer’ are in fact the core sensory apparatus that has helped to shape the institutions and practices of modern life.
What can be visualized is correlated to the technical affordances and historical development of representational practices. This makes technologies of the visual central to social analysis. Some of the most powerful drivers of modern life are thus linked to…
Jonathan Crary's Techniques of the Observer provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. This analysis of the historical formation of the observer is a compelling account of the prehistory of the society of the spectacle.
In Techniques of the Observer Jonathan Crary provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity.
Inverting conventional approaches, Crary considers the problem of visuality not through the study of art works and images, but by analyzing…
Crypto’s rollercoaster journey has given rise to some of the most thrilling real-life tales of the last two decades. These tales teem with personal drama and reveal much larger truths: about our fractured global moment, about the ripple effects of well-intentioned technological systems, and about the massive divide between how we want society to function and how it actually does.
As much as some people wish it dead, crypto is not going away any time soon. Many of its followers have adopted a religious-like belief that it will transform humanity and bring unlimited wealth to its followers; others simply believe it to be a good investment. Their collective trust in these strange digital currencies means that crypto will continue to shape the world in unpredictable ways.
This book is not about crypto at all, but it does ask and answer complex questions about the very nature of value, which are central to understanding why crypto is now worth as much as it is. The economist Don Thompson takes on this question through the lens of the art world, examining why some pieces of canvas garner so much more attention and fame than others.
Through his reporting, Thompson reveals a self-serving, crime-adjacent industry that has convinced itself of its value to the world, but it is too often a glinting hall of mirrors. Sound familiar?
Why would a smart New York investment banker pay $12 million for the decaying, stuffed carcass of a shark? By what alchemy does Jackson Pollock's drip painting No. 5, 1948 sell for $140 million?
Intriguing and entertaining, The $12 Million Stuffed Shark is a Freakonomics approach to the economics and psychology of the contemporary art world. Why were record prices achieved at auction for works by 131 contemporary artists in 2006 alone, with astonishing new heights reached in 2007? Don Thompson explores the money, lust, and self-aggrandizement of the art world in an attempt to determine what makes a particular…
I fell in love with the British Romantic poets when I took a course about them, and I fixated like a chick on the first one we studied, William Blake. He seemed very different from me, and in touch with something tremendous: I wanted to know about it. Ten years later I wrote my doctoral dissertation on Blake, and then published quite a bit about him. Meanwhile there were other poets, poets in other countries, and painters and musicians: besides being accomplished at their art, I find their ideas about nature, the self, art, and society still resonate with me.
Art history also knows a Romantic movement, as does music history. Brown’s book has 250 color plates, mostly of painting from Constable, Turner, Blake, Friedrich, Delacroix, Goya, and many others, but also of some architectural wonders. Brown makes continual connections to the poetry and philosophy of the time, and to political events, as he organizes his chapters by theme: the cult of the artist, the religion of nature, the sense of the past, orientalism, and the exotic, and so on. There are several fine books on Romantic painting, but this is probably the best place to begin.
Romanticism was a way of feeling rather than a style in art. In the period c.1775-1830 - against the background of the French Revolution and the Napoleonic Wars - European artists, poets and composers initiated their own rebellion against the dominant political, religious and social ethos of the day. Their quest was for personal expression and individual liberation and, in the process, the Romantics transformed the idea of art, seeing it as an instrument of social and psychological change.
In this comprehensive volume, David Blayney Brown takes a thematic approach to Romanticism, relating it to the concurrent, more stylistic movements…
Having written several books on cultural history, I was puzzled in the late 1990s by the insistence of most American curators, art historians, and gallerists that there could not possibly be any spiritual content in modern artbecause the modernproject (beginning, they assert, with the first Impressionist exhibition in 1874) was all about the rejection of tradition, religion, etc. This overarching narrative has dominated the professional art world since World War II. I knew it was false because I was aware that many prominent modern artists had spiritual interests, which were expressed in their art. So began a 17-year-long research quest focused on what the artists themselves had said.
Lipsey, an art historian, was inspired by Coomaraswamy’s perception of spiritual interests in the work of early modernist artists who exhibited at Alfred Stieglitz’s 291 gallery in New York in the 1920s. Lipsey had a hunch that many more prominent 20th-century artists most likely had a similar engagement with the spiritual. In seeking to present “the hidden side” of modern art, he discusses some 20 renowned artists and relevant movements that attracted many of them in various decades, such as Theosophy, Orphism, and Cubism. The title is taken from a quotation by the sculptor Constantin Brancusi, who favored a nature-based spiritual sensibility that was distinct from church-based religious art: “It is time we had an art of our own.” Lipsey is an insightful and graceful guide in this area.
I have been professionally involved with contemporary art since the 1980s, when I was a curator at the Institute of Contemporary Art in Boston. In the forty years since I've seen an enormous shift in the orientation of American curators and scholars from Western art to a global perspective. After earning my PhD at Harvard, and writing several books on contemporary art, I wanted to tackle the challenge of a truly comparative contemporary art history. To do so, I've depended on the burgeoning scholarship from a new more diverse generation of art historians, as well as on many decades of travel and research. My book Heritage and Debt is an attempt to synthesize that knowledge.
Hito Steyerl is one of the most prominent artists and media theorists in the world. Her essays draw unexpected and always stimulating connections between media technologies, surveillance, war, and political power. They are short, concise, and a pleasure to read, but they always engage with big ideas around the ethical and social challenges of a world made global through the framework of the Internet and digital communication more broadly.
In Duty Free Art, filmmaker and writer Hito Steyerl wonders how we can appreciate, or even make art, in the present age. What can we do when arms manufacturers sponsor museums, and some of the world's most valuable artworks are used as a fictional currency in a global futures market that has nothing to do with the work itself? Can we distinguish between creativity and the digital white noise that bombards our everyday lives? Exploring artefacts as diverse as video games, Wikileaks files, the proliferation of spam, and political actions, she exposes the paradoxes within globalization, political economies, visual culture,…
Having written several books on cultural history, I was puzzled in the late 1990s by the insistence of most American curators, art historians, and gallerists that there could not possibly be any spiritual content in modern artbecause the modernproject (beginning, they assert, with the first Impressionist exhibition in 1874) was all about the rejection of tradition, religion, etc. This overarching narrative has dominated the professional art world since World War II. I knew it was false because I was aware that many prominent modern artists had spiritual interests, which were expressed in their art. So began a 17-year-long research quest focused on what the artists themselves had said.
This is the grand exhibition catalogue that burst through the professional art world’s wall of denial that modern, especially abstract, art would have any spiritual content. The extensive exhibition this book accompanied opened at the Los Angeles County Museum of Art in 1986 and then travelled to The Hague, where it influenced young European art historians (though was largely ignored in the United States). This catalogue contains excellent articles by 17 noted “rebellious” art historians, including an overview by the head curator of the exhibition, Maurice Tuchman. The many color plates are stunning. This book is indispensable for anyone seeking to learn about the subject.
The seventeen essays in this provocative book provide a radical rethinking of abstraction, from the Symbolism that prefigured abstract art through the current manifestations of spiritual content in American and European painting.
