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The Modern Eye explores the origins and development of early 20th-century modernism in America through the lens of the major exhibitions that introduced this art to the general public. Author Kristina Wilson shows how modern artists and curators sought to relate high art to mass culture in order to make it accessible to more people, and successfully popularized modern painting and design during the interwar years. A major contribution to our understanding of the origins of modernism, this book captures the vibrant diversity that the term "modern art" meant at this time. The chapters examine exhibitions held in New York in the 1920s and 1930s, including those organized by Alfred Stieglitz, the Little Review, the Metropolitan Museum of Art, and the Museum of Modern Art. In examining the marketing of modernism, Wilson reveals how these exhibitions attempted to stage an intersection between art and everyday life, and how they taught viewers to look at, and care about, modern art.
"Only a learned and daring intelligence could produce these dazzling essays on clothes, painting, literature, movies, and much more."—Elizabeth Hardwick
Drawing on optic theory, ethnography, and the visual cultures of Christianity, this volume explores various discourses of vision in early modern Europe and the colonial Americas.
Catalog of an exhibition held at the Centre Pompidou, Paris, Sept. 22, 2011-Jan. 23, 2012, at Schirn Kunsthalle, Frankfurt, Feb. 9-May 28, 2012, and at Tate Modern, London, June 28-Oct. 14, 2012.
English-language translation of a major work by French philosopher Eric Alliez, in which he offers a new perspective on critical problems in modern aesthetics.
This gorgeous volume celebrates the creative eye and inspiration of the man who, through his art, photography, design, magazine work, and social life, influenced and changed our visual culture. This visually rich volume presents, for the first time side by side, the commercial work and artwork of Alexander Liberman. Liberman was not only one of the world’s most powerful editorial art directors, he was also a respected photographer, artist, and graphic designer. His personal exploration and relationships through these mediums shaped his own artistic vision that would alter the relationship of art, design, and fashion forever. In the early ’40s, he became art director of Vogue, and then editorial director for Condé Nast Publications from 1960 to 1994. His transformation of Vogue from a stately publication to the bold and lively publication that it is today forever changed the way women and men viewed fashion and style. It’s Modern is a vibrant volume that pairs Liberman’s professional efforts with his personal artwork and design. This juxtaposition, along with personal archival photographs and texts, artworks, and photographs by iconic friends and collaborators, builds a complete portrait of a genius whose personal life and inspirations were as fascinating as his artwork. With works by Matisse, Beaton, Leibovitz, Newton, Ritts, Brassaï, Parks, Horst, Picasso, Avedon, and Penn, this engaging book is a must for lovers of fashion, art, magazines, graphic design, or photography.
A haunting, evocative novel about a woman who might have to face the disturbing truth about her own daughter. Hanna and Joe send their awkward daughter Dawn off to college hoping that she will finally "come into her own." When she brings her new boyfriend, Rud, to her sister's wedding, her parents try to suppress their troubling impressions of him for Dawn's sake. Not long after, Hanna and Joe suffer a savage attack at home, resulting in Joe's death and Hanna's severe injury and memory loss. Rud is convicted of the crime, and the community speculates that Dawn may also have been involved. When Rud wins an appeal and Dawn returns to live in the family home, Hanna resolves to recall that traumatic night so she can testify in the retrial, exonerate her daughter, and keep her husband's murderer in jail. But as those memories resurface, Hanna faces the question of whether she knows her own daughter-and whether she ever did.
In 1959, Richard Bellamy was a witty, poetry-loving beatnik on the fringe of the New York art world who was drawn to artists impatient for change. By 1965, he was representing Mark di Suvero, was the first to show Andy Warhol’s pop art, and pioneered the practice of “off-site” exhibitions and introduced the new genre of installation art. As a dealer, he helped discover and champion many of the innovative successors to the abstract expressionists, including Claes Oldenburg, James Rosenquist, Donald Judd, Dan Flavin, Walter De Maria, and many others. The founder and director of the fabled Green Gallery on Fifty-Seventh Street, Bellamy thrived on the energy of the sixties. With the covert support of America’s first celebrity art collectors, Robert and Ethel Scull, Bellamy gained his footing just as pop art, minimalism, and conceptual art were taking hold and the art world was becoming a playground for millionaires. Yet as an eccentric impresario dogged by alcohol and uninterested in profits or posterity, Bellamy rarely did more than show the work he loved. As fellow dealers such as Leo Castelli and Sidney Janis capitalized on the stars he helped find, Bellamy slowly slid into obscurity, becoming the quiet man in oversize glasses in the corner of the room, a knowing and mischievous smile on his face. Born to an American father and a Chinese mother in a Cincinnati suburb, Bellamy moved to New York in his twenties and made a life for himself between the Beat orbits of Provincetown and white-glove events like the Guggenheim’s opening gala. No matter the scene, he was always considered “one of us,” partying with Norman Mailer, befriending Diane Arbus and Yoko Ono, and hosting or performing in historic Happenings. From his early days at the Hansa Gallery to his time at the Green to his later life as a private dealer, Bellamy had his finger on the pulse of the culture. Based on decades of research and on hundreds of interviews with Bellamy’s artists, friends, colleagues, and lovers, Judith E. Stein’s Eye of the Sixties rescues the legacy of the elusive art dealer and tells the story of a counterculture that became the mainstream. A tale of money, taste, loyalty, and luck, Richard Bellamy’s life is a remarkable window into the art of the twentieth century and the making of a generation’s aesthetic. -- "Bellamy had an understanding of art and a very fine sense of discovery. There was nobody like him, I think. I certainly consider myself his pupil." --Leo Castelli
"During the years of the Great Depression in America, modernist designers developed products and lifestyle concepts intended for middle-class, not elite, consumers. In this fascinating book, [the author] coins the term 'livable modernism' to describe this school of design. Livable modernism combined international style functional efficiency and sophistication with a respect for American consumers' desires for physical and psychological comfort, paving the way for the work of Charles and Ray Eames and other post-World War II designers. [The author] offers a new view of modernist furnishings marketed for middle-class living rooms, dining rooms, and bedrooms of the 1930s, and provides groundbreaking analyses of many of the most popular items, including George Sakier's stemware for the Fostoria Glass Company, Russel Wrights' American modern furniture for Macy's, and Gilbert Rohde's clocks for the Herman Miller Clock Company. As the first study of the marketing of modern design during the Depression years, [this book] features an extensive array of vintage advertisements from such magazines as 'Better Homes and Gardens', 'House Beautiful', 'Ladies' Home Journal', and the 'Saturday Evening Post'. [The author] discusses the relation of modernism to the cultural and economic climate of the Depression and examines the sophisticated marketing strategies of the movement that coincided with a period of tremendous growth for print magazines and the advertising industry. Filled with fresh insights into a fascinating period in American modern design, this book provides an important new look at these designers' and design companies' philosophies, innovations, and influence that until now have been under-appreciated"--Bookjacket.
The Eye Book is an essential read for anyone who wears glasses, for parents of children with eye problems, for students considering training in orthoptics or optometry, and for health-care professionals looking for an overview of eye health. It is written in a lively readable style and a glossary is provided for technical and medical terms. The structure and function of the eye and the mechanisms of vision are explained in the initial chapters, with explanatory illustrations. Eye problems, eye diseases and their treatment are examined, and the function of different eye-care professionals is explained. Modern medical techniques are also described, including laser treatment, transplantation of cells, and rejuvenation therapy which may give the possibility of restoring diminished sight. The book is illustrated throughout with helpful figures and explanatory illustrations, including 17 color plates.