University Ink - A Showcase of UofL Authorship: Art

The book explores a pivotal moment in art and culture in New York City. The radical changes that occurred in the three years between January 1962 and December 1964 had a profound effect on creative life in the city and around the world, altering not only the fine arts but everything from performance to music to design. Together with these creative innovations, the period from 1962 through 1964 saw a shift in the center of artistic gravity from Europe to the United States and the rise of a new leadership in the arts, centered on a number of New York-based curators, gallerists, and other impresarios. Inspired by the scale and format of the widely read,image-forward magazines of the time such as Life and Look, this lavishly illustrated oversize paperback traces a detailed itinerary of artists and curators, experimental exhibitions and groundbreaking happenings, as well as historical and political events that transformed society during this explosive moment. From the important "NewRealists" exhibition at Sidney Janis Gallery in 1962 to the award of the International Grand Prize in Painting to the New York-based artist Robert Rauschenberg at the Venice Biennale in 1964, the city saw a flood of new approaches to art making, as well as fertile encounters among creators across mediums and disciplines.

Martin Kippenberger's diverse oeuvre comprises paintings, drawings, sculptures, installations, photographs, multiples, graphical prints, posters, artist's books, and other publications, performances, music and exhibition organisations. The second volume of the catalogue raisonné of Martin Kippenberger's paintings comprises all of the works that were created between 1987 and 1992, following on from volume IV. Almost 300 paintings are registered, with work number, title, year, technique,measurements, epigraphs, provenance, exhibitions and bibliography. Each work is illustrated in colour and, where informative, is also supplemented by its respective original. This volume is also concluded with a register of unfinished works. Work series and work groups are organised into chapters and are elucidated with opening texts. The authors comment on the story of the painting's origin and on references to his own works and to those of other artists. Alongside two large series of self portraits from 1988 and 1992, six further blocks of works are presented in volume III, including the 'Preis Bilder' series (1987), the so-called 'fabric paintings' (1987), a group of paintings made in Spain (1988), the latex and rubber paintings, and the 'Krieg Böse' series. The appendix contains a chronological list of exhibitions and the bibliography, which takes into account Martin Kippenberger's special working method in dealing with the categories of 'exhibition catalogue', 'artist's book' and book'. This part is supplemented by the exhibitions that have taken place and the literature published since volume IV was printed.

Semiotics concepts from a design perspective, offering the foundation for a coherent theory of graphic design as well as conceptual tools for practicing designers.Graphic design has been an academic discipline since the post-World War II era, but it has yet to develop a coherent theoretical foundation. Instead, it proceeds through styles, genres, and imitation, drawing on sources that range from the Bauhaus to deconstructionism. In FireSigns, Steven Skaggs offers the foundation for a semiotic theory of graphic design, exploring semiotic concepts from design and studio art perspectives and offering useful conceptual tools for practicing designers. Semiotics is the study of signs and significations; graphic design creates visual signs meant to create a certain effect in the mind (a "FireSign"). Skaggs provides a network of explicit concepts and terminology for a practice that has made implicit use of semiotics without knowing it. He offers an overview of the metaphysics of visual perception and the notion of visual entities, and, drawing on the pragmatic semiotics of the philosopher Charles Sanders Peirce, looks at visual experience as a product of the action of signs. He introduces three conceptual tools for analyzing works of graphic design-semantic profiles, the functional matrix, and the visual gamut-that allow visual "personality types" to emerge and enable a greater understanding of the range of possibilities for visual elements. Finally, he applies these tools to specific analyses of typography.

From the very beginning of his artistic career -- which started immediately upon his graduation from the Art Institute of Chicago -- Wadsworth Jarrell refused to align himself on a continuous basis with mainstream galleries or art establishments. Instead, he allied himself with other black artists to seek a self-determining artistic philosophy that would free African American art from narrow European concepts and theories. Jarrell's bright palette and shimmering compositions evidence this bold departure. This book explores the development of Jarrell's career and examines seventy of his finest works. Wadsworth Jarrell lives in New York City, where he continues to paint.The book contains beautiful color reproductions.... it intimately chronicles the life of a loving family man as well as the public, politically adamant artist. -- International Review of African American Art

This volume catalogues 137 drawings by nearly one hundred artists active in the Netherlands, Germany, France, Switzerland, and Spain from the very end of the fifteenth century through 1600. Compiled by a team of twenty-two scholars, the book fully documents each of the drawings from twenty-four museums, outside of Chicago, with detailed scholarly entries and photographs of every work. Taken as a group, the drawings in this book present some of the most able draughtsmen of the period active north of the Alps. A sampling of the artists include Albrecht Durer and his contemporaries in Germany, Albrecht Altdorfer, Hans Beham, and Georg Pencz; in the Lowlands, Jan Wellens de Cock, Maerten van Heemskerck, Hendrick Goltzius, and Maerten de Vos; and from other countries, members of the Dumonstier family in France and the Swiss artists Tobias Stimmer and David Lindtmayer. The volume also presents over forty drawings which are published here for the first time with attributions to such artists as Christopher Amberger, Wouter Pietersz. Crabeth, Virgil Solis, and Otto van Veen, among others. In sum, the compilation of 73 Netherlandish drawings, 42 German works, and 22 sheets from other countries presents an important cross-section of the brilliant evolution of the drawing medium during the century. It is during this period that drawings become truly of age, for both artists who view their creations as works in themselves (as well as models for paintings and prints) and now their public, who become fascinated with the collecting of drawings as glimpses into the most personal and immediate artistic thoughts of the skillful artists who made them.

Looking Modern: East Asian Visual Culture from Treaty Ports to World War II examines multiple dimensions of visual modernity in East Asia from the nineteenth century through the early decades of the twentieth. The papers were drawn from two symposia held at the Center for the Art of East Asia in the Department of Art History, the University of Chicago, which brought out important themes in East Asian Art and visual culture in the nineteenth and twentieth centuries including photography, cinema, and fashion, changing roles of women, commercialization of art, and the impact of Western cultures. They undertook a broad interpretation of visual modernity to include visual dimensions of human endeavor traditionally seen as outside of artistic production in order to encourage exploration of new and understudied materials across disciplinary boundaries. This volume not only provides important background in the growth of modern visual culture in East Asia, but also is a collection of seminal research on specific topics that have a broad impact upon present-day visual arts of China and Japan.

40 Acres Art Gallery exhibition catalogue, documenting the contributions of laborers to creating and maintaining the railroads. Catalogue also includes historical photographs from the archives of the California State Railroad Museum

An inquiry into how art was used to express the discontent and aspirations of Black America during the turbulent 60s and 70s. Following the assassination of Dr. Martin Luther King Jr, many African Americans became more convinced that the strategies of the civil rights movement were not enough to meet their needs. As a result, some black artists joined what came to be known as the Black Arts Movement. The distinctive visions that unite the art of Mari Evans and Nelson Stevens exemplify the Black Arts Movement's spirit of achievement and self-determination.

There may be prettier or more expensive books on the development of simple logos, but none better than this look at the work of a single project and the issues it must balance.

In the early twentieth century, Chinese traditional architecture and the French-derived methods of the 381cole des Beaux-Arts converged in the