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      • Trusted Partner
        The invisible flâneuse?
        Human figures depicted in art
        April 2008

        The invisible flâneuse?

        Gender, public space and visual culture in nineteenth century Paris

        by Edited by Aruna D'Souza and Tom McDonough

        This collection of essays revisits gender and urban modernity in nineteenth-century Paris in the wake of changes to the fabric of the city and social life. In rethinking the figure of the flâneur, the contributors apply the most current thinking in literature and urban studies to an examination of visual culture of the period, including painting, caricature, illustrated magazines, and posters. Using a variety of approaches, the collection re-examines the long-held belief that life in Paris was divided according to strict gender norms, with men free to roam in public space while women were restricted to the privacy of the domestic sphere. Framed by essays by Janet Wolff and Linda Nochlin - two scholars whose work has been central to the investigation of gender and representation in the nineteenth century - this collection brings together new methods of looking at visual culture with a more nuanced way of picturing city life.

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      • Trusted Partner
        Maternal bodies in the visual arts
        The Arts
        January 2099

        Maternal bodies in the visual arts

        by Rosemary Betterton

        Maternal bodies in the visual arts brings images of the maternal and pregnant body into the centre of art historical enquiry. By exploring religious, secular and scientific traditions as well as contemporary art practices, it shows the power of visual imagery in framing our understanding of maternal bodies and affirming or contesting prevailing maternal ideals. This book reassesses these historical models and, in drawing on original case studies, shows how visual practices by artists may offer the means of reconfiguring the maternal. This book will appeal to students, academics and researchers in art history, gender studies and cultural studies, as well as to any readers with interests in the maternal and visual culture. It is based on visual case studies drawn from the UK, USA and Europe, which make it very attractive to an international readership. Maternal bodies in the visual arts is ideally placed to capture a growing post- and undergraduate market in maternal studies, which is beginning to emerge as a field of study in the UK and USA with courses in a wide range of social science and humanities disciplines now including the maternal as a key theme.

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      • Trusted Partner
        Maternal bodies in the visual arts
        The Arts
        May 2018

        Maternal bodies in the visual arts

        by Rosemary Betterton

        Maternal bodies in the visual arts brings images of the maternal and pregnant body into the centre of art-historical enquiry. By exploring religious, secular and scientific traditions as well as contemporary art practices, it shows the power of visual imagery in framing our understanding of maternal bodies and affirming or contesting prevailing maternal ideals. The book reassesses historical models and, in drawing on original case studies, shows how visual practices by artists may offer the means of reconfiguring the maternal. It will appeal to students, academics and researchers in art history, gender studies and cultural studies, as well as to general readers interested in the maternal and visual culture.

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      • Trusted Partner
        Goddesses and Queens
        The Arts
        June 2021

        Goddesses and Queens

        The iconography of Elizabeth I

        by Annaliese Connolly, Lisa Hopkins

        The visual images of Queen Elizabeth I displayed in contemporary portraits and perpetuated and developed in more recent media, such as film and television, make her one of the most familiar and popular of all British monarchs. This collection of essays examines the diversity of the queen's extensive iconographical repertoire, focusing on both visual and textual representations of Elizabeth, not only in portraiture and literature, but also in contemporary sermons, speeches and alchemical treatises. The collection broadens current critical thinking about Elizabeth, as each of the essays contributes to the debate about the ways in which the queen's developing iconicity was not simply a celebratory mode, but also encoded criticism of her. Each of these essays explains the ways in which the varied representations of Elizabeth reflect the political and cultural anxieties of her subjects

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      • Trusted Partner
        Painting her pleasure
        The Arts
        November 2022

        Painting her pleasure

        Three women artists and the nude in early twentieth-century Paris

        by Lauren Jimerson

        In France, women were banned from studying live nude models in public art institutions until the end of the nineteenth century. Social mores discouraged women from gazing at their own naked bodies, let alone another woman's. But three artists, Suzanne Valadon, Émilie Charmy and Marie Vassilieff, painted the nude without inhibition, rupturing conventions and reversing gender roles. This book sheds light on these pioneering women, previously marginalised within art history, each of whom recast the nude in accordance with her own perception of gender, sexuality and the self. At the same time, it argues that the participation of women artists was the very thing that made modernism modern.

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      • Trusted Partner
        Painting her pleasure
        The Arts
        November 2022

        Painting her pleasure

        Three women artists and the nude in early twentieth-century Paris

        by Lauren Jimerson

        In France, women were banned from studying live nude models in public art institutions until the end of the nineteenth century. Social mores discouraged women from gazing at their own naked bodies, let alone another woman's. But three artists, Suzanne Valadon, Émilie Charmy and Marie Vassilieff, painted the nude without inhibition, rupturing conventions and reversing gender roles. This book sheds light on these pioneering women, previously marginalised within art history, each of whom recast the nude in accordance with her own perception of gender, sexuality and the self. At the same time, it argues that the participation of women artists was the very thing that made modernism modern.

        More
      • Trusted Partner
        Killing Men & Dying Women
        The Arts
        July 2022

        Killing Men & Dying Women

        Imagining Difference in 1950s New York Painting

        by Griselda Pollock

        What did it mean for painter Lee Krasner to be an artist and a woman if, in the culture of 1950s New York, to be an artist was to be Jackson Pollock and to be a woman was to be Marilyn Monroe? With this question, Griselda Pollock begins a transdisciplinary journey across the gendered aesthetics and the politics of difference in New York abstract, gestural painting. Revisiting recent exhibitions of abstract expressionism that either marginalised the artist-women in the movement or focused solely on the excluded women, as well as exhibitions of women in abstraction, Pollock reveals how theories of embodiment, the gesture, hysteria and subjectivity can deepen our understanding of this moment in the history of painting co-created by women and men. Providing close readings of key paintings by Lee Krasner and re-thinking her own historic examination of images of Jackson Pollock and Helen Frankenthaler at work, Pollock builds a cultural bridge between the New York artist-women and their other, Marilyn Monroe, a creative actor whose physically anguished but sexually appropriated star body is presented as pathos formula of life energy. Monroe emerges as a haunting presence within this moment of New York modernism, eroding the policed boundaries between high and popular culture and explaining what we gain by re-thinking art with the richness of feminist thought.

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      • Trusted Partner
        Killing Men & Dying Women
        The Arts
        July 2022

        Killing Men & Dying Women

        Imagining Difference in 1950s New York Painting

        by Griselda Pollock

        What did it mean for painter Lee Krasner to be an artist and a woman if, in the culture of 1950s New York, to be an artist was to be Jackson Pollock and to be a woman was to be Marilyn Monroe? With this question, Griselda Pollock begins a transdisciplinary journey across the gendered aesthetics and the politics of difference in New York abstract, gestural painting. Revisiting recent exhibitions of abstract expressionism that either marginalised the artist-women in the movement or focused solely on the excluded women, as well as exhibitions of women in abstraction, Pollock reveals how theories of embodiment, the gesture, hysteria and subjectivity can deepen our understanding of this moment in the history of painting co-created by women and men. Providing close readings of key paintings by Lee Krasner and re-thinking her own historic examination of images of Jackson Pollock and Helen Frankenthaler at work, Pollock builds a cultural bridge between the New York artist-women and their other, Marilyn Monroe, a creative actor whose physically anguished but sexually appropriated star body is presented as pathos formula of life energy. Monroe emerges as a haunting presence within this moment of New York modernism, eroding the policed boundaries between high and popular culture and explaining what we gain by re-thinking art with the richness of feminist thought.

        More
      • Trusted Partner
        Killing Men & Dying Women
        The Arts
        July 2022

        Killing Men & Dying Women

        Imagining Difference in 1950s New York Painting

        by Griselda Pollock

        What did it mean for painter Lee Krasner to be an artist and a woman if, in the culture of 1950s New York, to be an artist was to be Jackson Pollock and to be a woman was to be Marilyn Monroe? With this question, Griselda Pollock begins a transdisciplinary journey across the gendered aesthetics and the politics of difference in New York abstract, gestural painting. Revisiting recent exhibitions of abstract expressionism that either marginalised the artist-women in the movement or focused solely on the excluded women, as well as exhibitions of women in abstraction, Pollock reveals how theories of embodiment, the gesture, hysteria and subjectivity can deepen our understanding of this moment in the history of painting co-created by women and men. Providing close readings of key paintings by Lee Krasner and re-thinking her own historic examination of images of Jackson Pollock and Helen Frankenthaler at work, Pollock builds a cultural bridge between the New York artist-women and their other, Marilyn Monroe, a creative actor whose physically anguished but sexually appropriated star body is presented as pathos formula of life energy. Monroe emerges as a haunting presence within this moment of New York modernism, eroding the policed boundaries between high and popular culture and explaining what we gain by re-thinking art with the richness of feminist thought.

        More
      • Trusted Partner
        Killing Men & Dying Women
        The Arts
        July 2022

        Killing Men & Dying Women

        Imagining Difference in 1950s New York Painting

        by Griselda Pollock

        What did it mean for painter Lee Krasner to be an artist and a woman if, in the culture of 1950s New York, to be an artist was to be Jackson Pollock and to be a woman was to be Marilyn Monroe? With this question, Griselda Pollock begins a transdisciplinary journey across the gendered aesthetics and the politics of difference in New York abstract, gestural painting. Revisiting recent exhibitions of abstract expressionism that either marginalised the artist-women in the movement or focused solely on the excluded women, as well as exhibitions of women in abstraction, Pollock reveals how theories of embodiment, the gesture, hysteria and subjectivity can deepen our understanding of this moment in the history of painting co-created by women and men. Providing close readings of key paintings by Lee Krasner and re-thinking her own historic examination of images of Jackson Pollock and Helen Frankenthaler at work, Pollock builds a cultural bridge between the New York artist-women and their other, Marilyn Monroe, a creative actor whose physically anguished but sexually appropriated star body is presented as pathos formula of life energy. Monroe emerges as a haunting presence within this moment of New York modernism, eroding the policed boundaries between high and popular culture and explaining what we gain by re-thinking art with the richness of feminist thought.

        More
      • Trusted Partner
        Painting her pleasure
        The Arts
        November 2022

        Painting her pleasure

        Three women artists and the nude in early twentieth-century Paris

        by Lauren Jimerson

        In France, women were banned from studying live nude models in public art institutions until the end of the nineteenth century. Social mores discouraged women from gazing at their own naked bodies, let alone another woman's. But three artists, Suzanne Valadon, Émilie Charmy and Marie Vassilieff, painted the nude without inhibition, rupturing conventions and reversing gender roles. This book sheds light on these pioneering women, previously marginalised within art history, each of whom recast the nude in accordance with her own perception of gender, sexuality and the self. At the same time, it argues that the participation of women artists was the very thing that made modernism modern.

        More
      • Altered Views. Voluspa Jarpa
        The Arts
        April 2021

        Altered Views. Voluspa Jarpa

        by Voluspa Jarpa, Agustín Pérez Rubio, Sabine Breitwieser, Charles Esche, Andrea Giunta, Alberto Mayol, Cuauhtémoc Medina, Adriana Valdés

        Altered Views. Voluspa Jarpa is the publication of the Chilean Pavilion at the 58th Venice Biennale of Art, presented by Voluspa Jarpa and curated by Agustín Pérez Rubio. The project originates in a question the artist seeks to answer: how is the modernist, Eurocentric and colonial gaze configured? The gaze that later expands from Europe to the U.S. and constructs a symbolic contempt that is imposed as political, cultural and economic subjugation in non-hegemonic regions?Altered Views is an unprecedented research project that works as a cross-reference between various instances of European history from the 17th to the 20th Century, full of social manifestations, ethnographic searches and dominant powers, attempting to restore the conquered awe of the coloniser. The work seeks to rescue concepts coined from a Eurocentric perspective that shed light on the violence with which the world is reduced to an expansionist, developmentalist and hegemonic model. Altered Views is an invitation to reflect on issues that prevail and are still visible in our contemporary society. The volume contains a general text from the Chilean pavilion´s curator and editor of this book, Agustín Pérez Rubio explaining each part of the project; along with six different texts by Charles Esche, Sabine Breitwieser, Andrea Giunta, Adriana Valdés, Alberto Mayol and Cuauhtémoc Medina. These texts talk about the historical and contemporary repercussions of the hegemonic model.

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      • Julia Kay's Portrait Party
        Portraits in art

        Julia Kay's Portrait Party

        Inspiration, tips and techniques for creating portraits

        by Julia Kay (author)

        This book has grown out of an international collaborative project known as Julia Kay's Portrait Party in which hundreds of artists from all over the world have come together online and made tens of thousands of portraits of each other, working from photographs posted online. Along the way oil painters, iPad artists, professional artists and beginners, bus drivers and architects have learned from and influenced each other, become friends and begun meeting up in person all over the world.  Julia Kay's Portrait Party - Inspiration, tips and technicques for creating portraits draws on the work of many of these artists to show how the idea of a potrait can be interpreted in many different and creative ways, making portraiture accessible to anyone. The book features hundreds of portraits in a huge variety of media including drawing (pencil, charcoal), painting (oils, watercolours, acrylics), pastels, prints, digital media, mosaic and collage. It showcases different styles from realism to caricature, showing how artists approach and interpret the same subject in diferent ways. Also included are helpful tips and considerations for creating a portrait fro a photograph and drawing from life.

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      • Figuras recortadas por otra luz. José Pedro Godoy
        The Arts
        March 2017

        Figuras recortadas por otra luz. José Pedro Godoy

        by Juan José Richards

        Figuras recortadas por otra luz, exhibits his emerging and productive career.It comprises a journey through the diverse period of Godoy’s work, and places on perspective his obsessions, as the development of a proposal that has maintained a defined and persistent line, transforming him into one of the few Chilean artists that breaches the subject of homosexuality in such a non-judgmental and direct manner. A constant reference to flashy elements extracted from nature, mass culture and human bodies, has been his language of expression, through irony or the contrast between violent and disturbing images.

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      • Cornelia Gurlitt
        The Arts
        April 2020

        Cornelia Gurlitt

        Begegnung. Eine Hommage zum 130sten Geburtstag. / An encounter. A homage for her 130th birthday.

        by Hubert Portz

        The artist Cornelia Gurlitt (1890-1919) served as a nurse in Vilnius from 1915 to 1918. As a witness close to the needs and the suffering of the sick, the Jews, and particularly the women and children, she allows us to feel what they and others endured. Cornelia was the sister of the “notorious” art collector Hildebrand Gurlitt. This publication showcases all her work from Cornelius Gurlitt’s estate, in the hands of the Kunstmuseum Bern since 2014, for the first time.

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