Libros de Arte, página 66 de 5797

El cine de Wong Kar-wai, el autor de Deseando amar, fluye a través de vasos comunicantes que trazan rutas sinuosas y alejadas de la linealidad característica del modelo cinematográfico hegemónico. Este libro, uno de los primeros editados en nuestro pais sobre el conjunto de su obra, se propone identificar los parametros que han convertido al autor hongkones en referente indiscutible del cine mundial de los ultimos tiempos. Las peliculas de Wong nunca ponen a nuestra disposicion una totalidad compacta y sin fisuras que nos ahorre la tarea de la interpretacion. Al instaurar grietas en el espacio-tiempo, al detenerse siempre en la antesala del acontecimiento, el realizador de 2046 obliga, por el contrario, a cultivar un arte de estar alerta no solo a la materialidad de la pantalla, sino al mundo de sensaciones y de sentimientos que esa forma sutil de hacer cine (destilado perfecto del arte de Bresson y de la encrucijada de las Tres Chinas en el nuevo milenio) despierta en nuestro interior.

Cronista lírico, pero no sentimental, del desamor y de la soledad, Wong Kar-wai propone con sus películas una estilizada forma estética y mental de cultivar los anhelos amorosos, de combatir la amargura provocada por la ausencia o de cauterizar el dolor de la perdida. En su cine, autentica "guarida de almas en pena", el ardor romantico de sus personajes alimenta unas imagenes que generan capsulas de memoria y fulgores de recuerdo, y que radiografian la percepcion sensorial del tiempo para ofrecer resistencia a su torbellino. Cineasta de metodos inasimilables para la industria tradicional, producto inequivoco de la posmodernidad y objeto de culto cinefilo en Occidente, su obra esta llena de secretos y de hallazgos deslumbrantes que conforman una de las filmografias mas personales y rigurosas de todo el cine contemporaneo.

Let s go on a floral quest Colour your way through these inky pages bursting to life with wildflowers both real and imagined Alongside familiar lush bluebells tangles of honeysuckle and cornflower meadows you ll find some new and rather curious species fluffy pom pom flowers speckled poppies and miniature buttercups all awaiting your colors As you adventure through these wild pages peppered with bees birds and berries keep an eye out for the twelve magical wildflowers featured in the Plant Hunter s list Can you find them all and complete the floral quest

Wander into the immersive illustrated universe of Beatrice Blue Filled with playful characters enchanting natural scenery and captivating narratives Beatrice s designs will appeal to everyone s inner child Her fantastic use of vibrant color and luminous finishes give her imaginative scenes life and vigor while her expressive texturing techniques embellish her already intricately detailed works further to create designs with depth and integrity Discover how Beatrice harmoniously manages her work and life schedule to stay inspired and keep producing fresh and engaging art She also explains how she builds her stunning compositions and considers every integral detail to create balanced designs Make sure to take note of the invaluable insights she has to share from her experiences working for industry leaders and find out how to develop designs with personality in order to stand out from the crowd This beautiful handheld hardback title is the perfect book to carry with you on all your exciting adventures providing you with a portal to a colorful and deeply magical world

Richard Prince,Perfectly beautiful yet strangely faceless, hundreds of interchangeable fashion models and bare-breasted biker chicks find themselves reincarnated in the artwork of Richard Prince. Prince recycles these American (male) pop culture fantasies from found materials, most often advertising images and magazine layouts which he rephotographs, repaints or overpaints, arranges in collages, or breaks down into fragments. Images of women representing various spheres of trivial culture, marketing iconography like the Marlboro Man, and figures borrowed from chauvinist cartoons are central motifs in his art. Without comment, Prince cites and duplicates them in supposedly defunct role cliches that remain stubbornly present even today. Women goes even further, presenting a diverse yet decidedly thematic selection of appropriations chosen by the artist himself and ranging across his body of work. From bad sexist jokes to the covers of books written by female authors, from rockin' out naked biker chicks to Kate Moss, from a rephotographed Untitled Film Still to penny-novel nursesthese are Richard Prince's Women.

Judy MalloyA sourcebook of documentation on women artists at the forefront of work at the intersection of art and technology. Although women have been at the forefront of art and technology creation, no source has adequately documented their core contributions to the field. Women, Art, and Technology, which originated in a Leonardo journal project of the same name, is a compendium of the work of women artists who have played a central role in the development of new media practice. The book includes overviews of the history and foundations of the field by, among others, artists Sheila Pinkel and Kathy Brew; classic papers by women working in art and technology; papers written expressly for this book by women whose work is currently shaping and reshaping the field; and a series of critical essays that look to the future. Artist contributors include computer graphics artists Rebecca Allen and Donna Cox; video artists Dara Birnbaum, Joan Jonas, Valerie Soe, and Steina Vasulka; composers Cecile Le Prado, Pauline Oliveros, and Pamela Z; interactive artists Jennifer Hall and Blyth Hazen, Agnes Hegedus, Lynn Hershman, and Sonya Rapoport; virtual reality artists Char Davies and Brenda Laurel; net artists Anna Couey, Monika Fleischmann and Wolfgang Strauss, Nancy Paterson, and Sandy Stone; and choreographer Dawn Stoppiello. Critics include Margaret Morse, Jaishree Odin, Patric Prince, and Zoe Sofia.

A new edition of a groundbreaking classic one of the bestselling World of Art titles updated for this urgent moment for women artists and feminist history in general

Expanding interdisciplinary investigations into gender and material culture, Katherine A. McIver here adds a new dimension to Renaissance patronage studies by considering domestic art the decoration of the domestic interior as opposed to patronage of the fine arts (painting, sculpture and architecture). Taking a multidimensional approach, McIver looks at women as collectors of precious material goods, as organizers of the early modern home, and as decorators of its interior. By analyzing the inventories of women''s possessions, McIver considers the wide range of domestic objects that women owned, such as painted and inlaid chests, painted wall panels, tapestries, fine fabrics for wall and bed hangings, and elaborate jewelry (pendant earrings, brooches, garlands for the hair, necklaces and rings) as well as personal devotional objects. Considering all forms of patronage opportunities open to women, she evaluates their role in commissioning and utilizing works of art and architecture as a means of negotiating power in the court setting, in the process offering fresh insights into their lives, limitations, and the possibilities open to them as patrons. Using her subjects'' financial records to track their sources of income and the circumstances under which it was spent, McIver thereby also provides insights into issues of Renaissance women''s economic rights and responsibilities. The primary focus on the lives and patronage patterns of three relatively unknown women, Laura Pallavicina-Sanvitale, Giacoma Pallavicina and Camilla Pallavicina, provides a new model for understanding what women bought, displayed, collected and commissioned. By moving beyond the traditional artistic centers of Florence, Venice and Rome, analyzing instead women''s artistic patronage in the feudal courts around Parma and Piacenza during the sixteenth century, McIver nuances our understanding of women''s position and power both in and out of the home. Carefully integrating extensive archival research with a set of important critical inquiries, McIver offers up a well-balanced picture of domestic space, subject and object in and against the conventions of Italian Renaissance art history. By moving beyond the usual artistic centers of Florence, Venice, and Rome, McIver nuances our understanding of women''s position and power both in