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An examination of the social and cultural significance of body art by a major new voice.The past few years have seen an explosion of interest in body art, in which the artist's body is integral to the work of art. With the revoking of NEA funding for such artists as Karen Finley, Tim Miller, and others, public awareness and media coverage of body-oriented performances have increased. Yet the roots of body art extend to the 1960s and before. In this definitive book, Amelia Jones explores body art projects from the 1960s and 1970s and relates their impact to the work of body artists active today, providing a new conceptual framework for defining postmodernism in the visual arts.Jones begins with a discussion of the shifting intellectual terrain of the 1950s and 1960s, focusing on the work of Ana Mendieta. Moving to an examination of the reception of Jackson Pollock's "performative" acts of painting, she argues that Pollock is a pivotal figure between modernism and postmodernism. The book continues with explorations of Vito Acconci and Hannah Wilke, whose practices exemplify a new kind of performance that arose in the late 1960s, one that represents a dramatic shift in the conception of the artistic subject. Jones then surveys the work of a younger generation of artists -- including Laurie Anderson, Orlan, Maureen Connor, Lyle Ashton Harris, Laura Aguilar, and Bob Flanagan -- whose recent work integrates technology and issues of identity to continue to expand the critique begun in earlier body art projects.Embracing an exhilarating mix of methodologies and perspectives (including feminism, queer theory, philosophy, psychoanalysis, and literary theory), this rigorous and elegantexamination of body art provides rich historical insight and essential context that rethinks the parameters of postmodern culture.

This white vase is different from traditional vases, this abstract and simple vase has a double-sided design, the elegant lines of the vase containing flowers are painted like a woman's hair, and the other side has a modern, personalized, matte ass shape, even if you don't want to arrange flowers, this ass vase will make a statement and impress people with your artistic taste. The ceramic vase is made of high quality ceramic material that will never fade. The surface of this artistic planter is matte and smooth, which is easy to clean. The vase is 1 of the most unique ones that can add instant appeal to your living space.

Patrizia Pepe TOP Body Art. 2M4195A055

A vintage body with modern attributes, the artistic form of this transitional lamp presents a striking accent for living and dining rooms. The glass frame has a beautiful blue marbled finish, neatly paired with the white linen drum shade. At the base and neck, the metal body has a brushed steel finish as well as acrylic accents.

-This vase is made of high quality ceramic combined with pearl glaze craft. -The vase has a unique appearance and is designed with reference to the upper body of a person, and the round handle is cleverly designed beside the round and smooth bottle mouth.-This vase can not only be used flower arrangements can also be used as decorations to decorate your home, or as gifts or collections for family and friends.

Color/pattern: beige Design details: ready to hang Measures 16in x 1.5in x 20in Canvas Wipe clean with dry cloth/duster Made in the USA

Give your space an addition of modern abstract design with this black figural artwork by Alexander Ginzburg. Its contemporary simplicity allows it to grace whatever space you're hoping to elevate. Framed in the USA in Waunakee, Wisconsin, this modern floating canvas art is sure to bring joy to your space. Our design team curates art that will fit perfectly in any room of your home. Showcase this art in your living room, bedroom, home office, kitchen, bathroom, nursery, or anywhere you want to bring a little beauty and charm to your walls. Specializing in home decor, we are continually bringing timeless works of art for the traditional decorator as well as trend-forward pieces for that eclectic art lover. Our high-quality framed canvas art also makes excellent gifts for birthdays, holidays, or housewarming parties. Printed on gallery-wrapped canvas and framed with a simple gallery frame this wall art is easy to display on the wall and will match with any decor style. The outer dimensions are 18 in. by 24 in. by 1.6 in. Print Name: "Figurine Black". Color: Gold.

Give your space an addition of modern abstract design with this black figural artwork by Alexander Ginzburg. Its contemporary simplicity allows it to grace whatever space you're hoping to elevate. Framed in the USA in Waunakee, Wisconsin, this modern floating canvas art is sure to bring joy to your space. Our design team curates art that will fit perfectly in any room of your home. Showcase this art in your living room, bedroom, home office, kitchen, bathroom, nursery, or anywhere you want to bring a little beauty and charm to your walls. Specializing in home decor, we are continually bringing timeless works of art for the traditional decorator as well as trend-forward pieces for that eclectic art lover. Our high-quality framed canvas art also makes excellent gifts for birthdays, holidays, or housewarming parties. Printed on gallery-wrapped canvas and framed with a simple gallery frame this wall art is easy to display on the wall and will match with any decor style. The outer dimensions are 18 in. by 24 in. by 1.6 in. Print Name: "Figurine Black". Color: Natural.

Our stretched canvas is created with the highest standards. We use only the highest quality inks and canvas on our in house Mimaki printers, and then hand cut and stretch each piece over a 1.5 in. thick wooden frame for hanging. The art comes ready to hang with no installation required. Color: Beige.

Our stretched canvas is created with the highest standards. We use only the highest quality inks and canvas on our in house Mimaki printers, and then hand cut and stretch each piece over a 1.5 in. thick wooden frame for hanging. The art comes ready to hang with no installation required. Color: Beige.

Our stretched canvas is created with the highest standards. We use only the highest quality inks and canvas on our in house Mimaki printers, and then hand cut and stretch each piece over a 1.5 in. thick wooden frame for hanging. The art comes ready to hang with no installation required. Color: Beige.

Our stretched canvas is created with the highest standards. We use only the highest quality inks and canvas on our in house Mimaki printers, and then hand cut and stretch each piece over a 1.5 in. thick wooden frame for hanging. The art comes ready to hang with no installation required. Color: Beige.

Tiki Mask tropical wall decoration adds charming and flair to any home decor or backyard and garden spaces. Hand-carved and hand-painted Tiki masks are made of Albesia wood by Indonesian artisans. Each design is unique and no 2 masks are exactly alike. Polynesian tiki mask is the perfect Tiki Bar and Palapa decoration. Tiki mask is originally used in ancient Polynesian and Hawaiian culture, every Tiki mask is intended to represent deities and bestow specific traits upon the setting in which they're placed. Each Tiki mask represents a different purpose. Although they are called masks and were sometimes meant to protect and empower wearers, traditional Tiki masks were less frequently worn on the body than displayed as statues or decor in the home or the community. Backyard X-Scapes brings a variety of Tiki Mask designs to transform your backyard into tropical paradise, choose 1 or collect them, create an escape from your everyday life right in your own backyard with an exotic outdoor space.

This third volume (after Vehicles and Architecture) in the series entitled Art Brut: The Collection, accompanying the Biennales de l'Art Brut, includes only works from the Lausanne museum, some of which have rarely been exhibited. The book contains a large number of drawings, paintings, photographs and sculptures, reflecting the manifold representations of the human body in Art Brut, while paying close attention to the intimate relationship the artists have established with their creations. These works represent a sort of hand-to-hand combat; they are 'battles' in which no quarter is asked or given between the creator and his own image and unique personal history. For some the body is the refuge of a complex intimacy, for others it is a prison from which to escape, and for still others a storehouse of energy that needs to be set free and transformed. Rarely exhibited or published, Jean Dubuffet's prisoners' tattoos reveal how creations lying on the margins of art's traditional subject matter held a magnetic attraction for the founder of the concept of Art Brut, the core of the Lausanne museum's collection. The great 'classics' of Art Brut, such as Aloïse Corbaz, rub shoulders with more recent discoveries, such as Eric Derkenne's body-faces, or the all-powerful 'nuclear trans-sexuality' of Giovanni Galli. The doubling of the self and a play of mirrors highlight the instinctive search for identity typical of Josef Hofer and Robert Gie. Whether dismembered and fragmented in Giovanni Bosco's work, or tightly gathered in cosmic unity in Guo Fengyi's creations, the body gives form to a perpetual flux which art can exploit to express existential experience.

To the time-honored myth of the artist creating works of genius in isolation, with nothing but inspiration to guide him, art historians have added the mitigating influences of critics, dealers, and the public. Bodies of Art completes the picture by adding the model. This lively look at atelier politics through the lens of literature focuses in particular on the female model, with special attention to her race, ethnicity, and class. The result is a suggestive account of the rise and fall of the female model in nineteenth-century realism, with a final emphasis on the passage of the model into photography at the turn of the century. This history of the model begins in nineteenth-century Paris, where the artist–model dynamic was regularly debated by writers and where the most important categories of models appear to be Jewish, Italian, and Parisian women. Bodies of Art traces an evolution in the representation of this model in realist and naturalist literary works from her "birth" in Balzac to her "death" in Maupassant, in the process revealing how she played a key role in theories of representation advanced by writers. Throughout the book, Marie Lathers connects the artist's work to the social realities and actual bodies that surround and inhabit the atelier. Her work shows how much the status of the model can tell us about artistic practices during the century of the birth of modernity.

Unread. No markings in book. Binding is tight. Item must have been rolled at one point. Now it is just a wave. I have placed it below many heavy books so perhaps it will flatten out but for now consider it waved from shelf wear.

To the time-honored myth of the artist creating works of genius in isolation, with nothing but inspiration to guide him, art historians have added the mitigating influences of critics, dealers, and the public. Bodies of Art completes the picture by adding the model. This lively look at atelier politics through the lens of literature focuses in particular on the female model, with special attention to her race, ethnicity, and class. The result is a suggestive account of the rise and fall of the female model in nineteenth-century realism, with a final emphasis on the passage of the model into photography at the turn of the century. This history of the model begins in nineteenth-century Paris, where the artist–model dynamic was regularly debated by writers and where the most important categories of models appear to be Jewish, Italian, and Parisian women. Bodies of Art traces an evolution in the representation of this model in realist and naturalist literary works from her "birth" in Balzac to her "death" in Maupassant, in the process revealing how she played a key role in theories of representation advanced by writers. Throughout the book, Marie Lathers connects the artist's work to the social realities and actual bodies that surround and inhabit the atelier. Her work shows how much the status of the model can tell us about artistic practices during the century of the birth of modernity.

This third volume (after Vehicles and Architecture) in the series entitled Art Brut: The Collection, accompanying the Biennales de l'Art Brut, includes only works from the Lausanne museum, some of which have rarely been exhibited. The book contains a large number of drawings, paintings, photographs and sculptures, reflecting the manifold representations of the human body in Art Brut, while paying close attention to the intimate relationship the artists have established with their creations. These works represent a sort of hand-to-hand combat; they are 'battles' in which no quarter is asked or given between the creator and his own image and unique personal history. For some the body is the refuge of a complex intimacy, for others it is a prison from which to escape, and for still others a storehouse of energy that needs to be set free and transformed. Rarely exhibited or published, Jean Dubuffet's prisoners' tattoos reveal how creations lying on the margins of art's traditional subject matter held a magnetic attraction for the founder of the concept of Art Brut, the core of the Lausanne museum's collection. The great 'classics' of Art Brut, such as Aloïse Corbaz, rub shoulders with more recent discoveries, such as Eric Derkenne's body-faces, or the all-powerful 'nuclear trans-sexuality' of Giovanni Galli. The doubling of the self and a play of mirrors highlight the instinctive search for identity typical of Josef Hofer and Robert Gie. Whether dismembered and fragmented in Giovanni Bosco's work, or tightly gathered in cosmic unity in Guo Fengyi's creations, the body gives form to a perpetual flux which art can exploit to express existential experience.

Paperback. Body art, especially tattoos and piercings, has enjoyed an explosion of interest in recent years. However, the response of many health professionals and researchers to this phenomenon is often negative, as body art continues to be associated with issues ranging from ill mental health to offending behaviors.Arguing for a reappraisal of the diverse range of practices that fall under this heading, Brian Brown and Virginia Kuulei Berndt reconsider body art as an underappreciated yet accessible source for mental and physical wellbeing. How, they ask, does body art open up new sources of community, sociality, and aesthetics? How is it used for the reclamation of one's body, as a marker of success or accomplishment, or for building friendships? How does participation in these practices impact the health and wellbeing of body artists themselves?Providing a radical rethink that integrates tattoos and other body modifications within health, wellbeing, and positive psychology, Body Art disrupts the narrative of stigmatisation that so often surrounds these practices to welcome a broader discussion of the benefits they can offer. Providing a radical rethink that integrates tattoos and other body modifications within health, wellbeing, and positive psychology, this book disrupts the narrative of stigmatisation that so often surrounds these practices to welcome a broader discussion of the benefits they can offer. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

An examination of the social and cultural significance of body art by a major new voice.The past few years have seen an explosion of interest in body art, in which the artist's body is integral to the work of art. With the revoking of NEA funding for such artists as Karen Finley, Tim Miller, and others, public awareness and media coverage of body-oriented performances have increased. Yet the roots of body art extend to the 1960s and before. In this definitive book, Amelia Jones explores body art projects from the 1960s and 1970s and relates their impact to the work of body artists active today, providing a new conceptual framework for defining postmodernism in the visual arts.Jones begins with a discussion of the shifting intellectual terrain of the 1950s and 1960s, focusing on the work of Ana Mendieta. Moving to an examination of the reception of Jackson Pollock's "performative" acts of painting, she argues that Pollock is a pivotal figure between modernism and postmodernism. The book continues with explorations of Vito Acconci and Hannah Wilke, whose practices exemplify a new kind of performance that arose in the late 1960s, one that represents a dramatic shift in the conception of the artistic subject. Jones then surveys the work of a younger generation of artists -- including Laurie Anderson, Orlan, Maureen Connor, Lyle Ashton Harris, Laura Aguilar, and Bob Flanagan -- whose recent work integrates technology and issues of identity to continue to expand the critique begun in earlier body art projects.Embracing an exhilarating mix of methodologies and perspectives (including feminism, queer theory, philosophy, psychoanalysis, and literary theory), this rigorous and elegantexamination of body art provides rich historical insight and essential context that rethinks the parameters of postmodern culture.