Part of a comprehensive catalog of the International Quilt Study Center and Museum collection, American Quilts in the Industrial Age, 1760–1870 highlights the dazzling designs and intricate needlework of America’s treasured material culture. From whole cloth to pieced quilts to elaborate appliqué examples, all reflecting various design movements such as Neoclassicism and Eastern exoticism, the contributing authors address the development of quilt making in America from its inception in the 1700s to the period of the U.S. Civil War.
Covering more than one hundred years of quilt making, this volume examines the period’s quilts from both an artistic and a historical perspective. The contributors provide critical information regarding the founding of the republic and the influential republican values and ideals manifested in the quilts of this era. They also address the role that immigration and industrialization played in the evolution of materials and styles. With full-color photographs of nearly six hundred quilts, American Quilts in the Industrial Age, 1760–1870 offers new insights into American society.
Автор: Van Gogh Museum Amsterdam Van Gogh Muse, Belvedere Vienna Название: Klimt: Inspired by Rodin, Van Gogh, Matisse ISBN: 377743518X ISBN-13(EAN): 9783777435183 Издательство: Thames & Hudson Рейтинг: Цена: 5775.00 р. Наличие на складе: Нет в наличии.
Описание: A lavish volume revealing the artists who inspired Gustav Klimt, the great master of Viennese Modernism. Throughout his career, Gustav Klimt was attentive to the work of his contemporaries, including Lawrence Alma-Tadema, George Minne, Auguste Rodin, Jan Toorop, Ferdinand Hodler, Vincent Van Gogh, Claude Monet, Fernand Khnopff, Henri de Toulouse-Lautrec, James Abbott McNeill Whistler, Henri Matisse, and many others, and he continually adapted elements from a variety of styles. This stunning volume presents in large-format illustrations the works of Klimt alongside those of artists who were close to him, revealing significant and often surprising parallels. With these juxtapositions, we see Klimt contrasted with artists who worked in a variety of styles and techniques, all very different from Klimt's. These pages offer new insight into not just the work of Klimt and his contemporaries, but also the ways that artists share innovations in style and subject, and how the influence of an artistic milieu reveals itself in unexpected ways. The result is a lavishly illustrated volume about Modernism featuring many outstanding and iconic artworks from the beloved masters of the time.
Contemporary music, like other arts, is dealing with the rise of curators« laying claim to everything from festivals to playlists - but what are they and what do they do anyway? Drawing from backgrounds ranging from curatorial studies to festival studies and musicology, Brandon Farnsworth lays out a theory for understanding curatorial practices in contemporary music, and how they could be a solution to the field's diminishing social relevance. The volume focuses on two case studies, the Munich Biennale for New Music Theatre, and the Maerzmusik Festival at the Berliner Festspiele, putting them in a transdisciplinary history of curatorial practice, and showing what music curatorial practice can be.
Описание: In modernity, music has received an almost religious status while liturgical music has been increasingly regarded as art. This study of the unique Dutch festival Musica Sacra Maastricht demonstrates how this dual development leads to new frameworks for meaning-making. These frameworks provide traditional religions relevance in secularized contexts and emphasize the ritual qualities of music. Many visitors value the festival’s focus on the sacred, which it maintains in a program of both religious and non-religious music, from Gregorian chant to art music. The framework of sacrality transgresses the strongly-embedded boundary between the religious and the secular, displaying the multiplicity of contemporary sense-making practices. The ethnographic data of this study is situated in a discussion of the sacred’s theoretical potential. It draws attention to the values people attribute to music, whether or not it is religious. This study argues for a broad approach to the attribution of non-negotiable value. Such attribution results from experiences that connect everyday life with the non-ordinary reality of musical performance, evoking memories, feelings of recognition and homecoming, or the opposite feelings of discovery of the unknown.
Описание: Los Angeles, called Tehrangeles because it is home to the largest concentration of Iranians outside of Iran, is the birthplace of a distinctive form of postrevolutionary pop music. Created by professional musicians and media producers fleeing Iran's revolutionary-era ban on “immoral” popular music, Tehrangeles pop has been a part of daily life for Iranians at home and abroad for decades. In Tehrangeles Dreaming Farzaneh Hemmasi draws on ethnographic fieldwork in Los Angeles and musical and textual analysis to examine how the songs, music videos, and television made in Tehrangeles express modes of Iranianness not possible in Iran. Exploring Tehrangeles pop producers' complex commercial and political positioning and the histories, sensations, and fantasies their music makes available to global Iranian audiences, Hemmasi shows how unquestionably Iranian forms of Tehrangeles popular culture exemplify the manner in which culture, media, and diaspora combine to respond to the Iranian state and its political transformations. The transnational circulation of Tehrangeles culture, she contends, transgresses Iran's geographical, legal, and moral boundaries while allowing all Iranians the ability to imagine new forms of identity and belonging.
An estimated four hundred gold records have been recorded in the Muscle Shoals area. Many of those are thanks to Muscle Shoals Sound Studio and the Muscle Shoals Rhythm Section, dubbed "the Swampers."
Some of the greatest names in rock, R&B and blues laid tracks in the original, iconic concrete-block building--the likes of Cher, Lynyrd Skynyrd, the Rolling Stones and the Black Keys. The National Register of Historic Places now recognizes that building, where Lynyrd Skynyrd recorded the original version of "Free Bird" and the Rolling Stones wrote "Brown Sugar" and "Wild Horses." By combing through decades of articles and music reviews related to Muscle Shoals Sound, music writer Carla Jean Whitley reconstructs the fascinating history of how the Alabama studio created a sound that reverberates across generations.
