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| art history phd columbia: The Graven Image Zainab Bahrani, 2011-09-16 Mesopotamia, the world's earliest literate culture, developed a rich philosophical conception of representation in which the world was saturated with signs. Instead of imitating the natural world, representation—both in writing and in visual images—was thought to participate in the world and to have an effect upon it in natural, magical, and supernatural ways. The Graven Image is the first book to explore this tradition, which developed prior to, and apart from, the Greek understanding of representation. The classical Greek system, based on the notion of mimesis, or copy, is the one with which we are most familiar today. The Assyro-Babylonian ontology presented here by Zainab Bahrani opens up fresh avenues for thinking about the concept of representation in general, and her reading of the ancient Mesopotamian textual and visual record in its own ontological context develops an entirely new approach to understanding Babylonian and Assyrian arts in particular. The Graven Image describes, for the first time, rituals and wars involving images; the relationship of divination, the organic body, and representation; and the use of images as a substitute for the human form, integrating this ancient material into contemporary debates in critical theory. Bahrani challenges current methodologies in the study of Near Eastern archaeology and art history, introducing a new way to appreciate the unique contributions of Assyrian and Babylonian culture and their complex relationships to the past and present. |
| art history phd columbia: Women of Babylon Zainab Bahrani, 2013-03-07 Representations of sexual difference (whether visual or textual) have become an area of much theoretical concern and investigation in recent feminist scholarship. Yet although a wide range of relevant evidence survives from the ancient Near East, it has been exceptional for those studying women in the ancient world to stray outside the traditional bounds of Greece and Rome. Women of Babylon is a much-needed historical/art historical study that investigates the concepts of femininity which prevailed in Assyro-Babylonian society. Zainab Bahrani's detailed analysis of how the culture of ancient Mesopotamia defined sexuality and gender roles both in, and through, representation is enhanced by a rich selection of visual material extending from 6500 BC - 1891 AD. Professor Bahrani also investigates the ways in which women of the ancient Near East have been perceived in classical scholarship up to the nineteenth century. |
| art history phd columbia: Writing Architectural History Aggregate Architectural History Collaborative, 2021-12-14 Over the past two decades, scholarship in architectural history has transformed, moving away from design studio pedagogy and postmodern historicism to draw instead from trends in critical theory focusing on gender, race, the environment, and more recently global history, connecting to revisionist trends in other fields. With examples across space and time—from medieval European coin trials and eighteenth-century Haitian revolutionary buildings to Weimar German construction firms and present-day African refugee camps—Writing Architectural History considers the impact of these shifting institutional landscapes and disciplinary positionings for architectural history. Contributors reveal how new methodological approaches have developed interdisciplinary research beyond the traditional boundaries of art history departments and architecture schools, and explore the challenges and opportunities presented by conventional and unorthodox forms of evidence and narrative, the tools used to write history. |
| art history phd columbia: Anni & Josef Albers Nicholas Fox Weber, 2020 A spectacular and unprecedented visual biography of the leading pioneers and protagonists of modern art and design Josef - painter, designer, and teacher - and Anni Albers - textile artist and printmaker - are among the twentieth century's most important abstract artists, and this is the first monograph to celebrate the rich creative output and beguiling relationship of these two masters in one elegant volume. It presents their life and work as never before, from their formative years at the Bauhaus in Germany to their remarkable influence at Black Mountain College in the United States through their intensely productive period in Connecticut. Accessibly written, the book is packed with more than 750 artworks, archival images, and documents - many published here for the first time - all tracing the remarkable lives and careers of this legendary couple. Dispersed throughout area series of short essays on artists that focuses on the Alberses relationship with a number of important artists and architects of the 20th century, like Ruth Asawa, Marcel Breuer, Merce Cunningham, Philip Johnson, Paul Klee, Jacob Lawrence, and many more. The beautifully cloth-bound package utilizes an elegant color palette and design that speaks to the work of both artists. This comprehensive visual biography showcases the artists' rich and dynamic lives, and their infinite influence on each other, as they shared the profound conviction that art was central to human existence. |
| art history phd columbia: Notre-Dame of Amiens Stephen Murray, 2020-12-22 Notre-Dame of Amiens is one of the great Gothic cathedrals. Its construction began in 1220, and artistic production in the Gothic mode lasted well into the sixteenth century. In this magisterial chronicle, Stephen Murray invites readers to see the cathedral as more than just a thing of the past: it is a living document of medieval Christian society that endures in our own time. Murray tells the cathedral’s story from the overlapping perspectives of the social groups connected to it, exploring the ways that the layfolk who visit the cathedral occasionally, the clergy who use it daily, and the artisans who created it have interacted with the building over the centuries. He considers the cycles of human activity around the cathedral and shows how groups of makers and users have been inextricably intertwined in collaboration and, occasionally, conflict. The book travels around and through the spaces of the cathedral, allowing us to re-create similar passages by our medieval predecessors. Murray reveals the many worlds of the cathedral and brings them together in the architectural triumph of its central space. A beautifully illustrated account of a grand, historically and religiously important building from a variety of perspectives and in a variety of time periods, this book offers readers a memorable tour of Notre-Dame of Amiens that celebrates the cathedral’s eight hundredth anniversary. Notre-Dame of Amiens is enhanced by high-resolution images, liturgical music, and animations embedded in an innovative website. |
| art history phd columbia: Allegories of Time and Space Jonathan M. Reynolds, 2015-02-28 Allegories of Time and Space explores efforts by leading photographers, artists, architects, and commercial designers to re-envision Japanese cultural identity during the turbulent years between the Asia Pacific War and the bursting of the economic bubble in the 1990s. This search for a cultural home was a matter of broad public concern, and each of the artists under consideration engaged a wide audience through mass media. The artists under study had in common the necessity to establish distance from their immediate surroundings temporally or geographically in order to gain some perspective on Japan's rapidly changing society. They shared what Jonathan Reynolds calls an allegorical vision, a capacity to make time and space malleable, to see the present in the past and to find an irreducible cultural center at Japan's geographical periphery. The book commences with an examination of the work of Hamaya Hiroshi. A Tokyo native, Hamaya began to photograph the isolated snow country of northeastern Japan in the midst of the war. His empathetic images of village life expressed an aching nostalgia for the rural past widely shared by urban Japanese. Following a similar strategy in his search for authentic Japan was the photographer Tōmatsu Shōmei. Although Tōmatsu originally traveled to Okinawa Prefecture in 1969 to document the destructive impact of U.S. military bases in the region in his characteristically edgy style, he came to believe that Okinawa was still in some sense more truly Japanese than the Japanese main islands. The self-styled iconoclast artist Okamoto Tarō emphatically rejected the delicacy and refinement conventionally associated with Japanese art in favor of the hyper-modern qualities of the dynamic and brutal aesthetics that he saw expressed on the ceramics of the prehistoric Jōmon period. One who quickly recognized the potential in Okamoto's embrace of Japan's ancient past was the architect Tange Kenzō. As a point of comparison, Reynolds looks at the portrayal of the ancient Shintō shrine complex at Ise in a volume produced in collaboration with the photographer Watanabe Yoshio. Reynolds shows how this landmark book contributed significantly to a transformation in the meaning of Ise Shrine by suppressing the shrine's status as an ultranationalist symbol and re-presenting the shrine architecture as design consistent with rigorous modernist aesthetics. In the 1970s and 1980s, there circulated widely through advertising posters of the designer Ishioka Eiko, the ephemeral nomadic architecture of Itō Toyo'o, TV documentaries, and other media, a fantasy that imagined Tokyo's young female office workers as urban nomads. These cosmopolitan dreams may seem untethered from their Japanese cultural context, but Reynolds reveals that there were threads linking the urban nomad with earlier efforts to situate contemporary Japanese cultural identity in time and space. In its fresh and nuanced re-reading of the multiplicities of Japanese tradition during a tumultuous and transformative period, Allegories of Time and Space offers a compelling argument that the work of these artists enhanced efforts to redefine tradition in contemporary terms and, by doing so, promoted a future that would be both modern and uniquely Japanese. |
| art history phd columbia: Capitalscapes Matthew Philip McKelway, 2006-02-28 Following the destruction of Kyoto during the civil wars of the late fifteenth century, large-scale panoramic paintings of the city began to emerge. These enormous and intricately detailed depictions of the ancient imperial capital were unprecedented in the history of Japanese painting and remain unmatched as representations of urban life in any artistic tradition. Capitalscapes, the first book-length study of the Kyoto screens, examines their inception in the sixteenth to early seventeenth centuries, focusing on the political motivations that sparked their creation. Close readings of the Kyoto screens reveal that they were initially commissioned by or for members of the Ashikaga shogunate and that urban panoramas reflecting the interests of both prevailing and moribund political elites were created to underscore the legitimacy of the newly ascendant Tokugawa regime. Matthew McKelway’s analysis of the screens exposes their creators’ masterful exploitation of ostensibly accurate depictions to convey politically biased images of Japan’s capital. His overarching methodology combines a historical approach, which considers the paintings in light of contemporary reports (diaries, chronicles, ritual accounts), with a thematic one, isolating individual motifs, deciphering their visual language, and comparing them with depictions in other works. McKelway’s combined approach allows him to argue that the Kyoto screens were conceived and perpetuated as a painting genre that conveyed specific political meanings to viewers even as it provided textured details of city life. Students and scholars of Japanese art will find this lavishly illustrated work especially valuable for its insights into the cityscape painting genre, while those interested in urban and political history will appreciate its bold exploration of Kyoto’s past and the city’s late-medieval martial elite. |
| art history phd columbia: Art, Science, and the Body in Early Romanticism Stephanie O'Rourke, 2021-11-04 Innovative, alternative account of romanticism, exploring how art and science together contested the evidentiary authority of the human body. |
| art history phd columbia: Gender and Architecture Louise Durning, Richard Wrigley, 2000-07-07 Until now, the study of gender and architecture has been confined to femininity and he present. This series of case study essays is designed with the idea that by providing a framework, gender can be further explored. This book is a historically coherent package of case studies, with the final essay bridging into the contemporary. |
| art history phd columbia: Great Zimbabwe Shadreck Chirikure, 2020-11-29 Conditioned by local ways of knowing and doing, Great Zimbabwe develops a new interpretation of the famous World Heritage site of Great Zimbabwe. It combines archaeological knowledge, including recent material from the author’s excavations, with native concepts and philosophies. Working from a large data set has made it possible, for the first time, to develop an archaeology of Great Zimbabwe that is informed by finds and observations from the entire site and wider landscape. In so doing, the book strongly contributes towards decolonising African and world archaeology. Written in an accessible manner, the book is aimed at undergraduate students, graduate students, and practicing archaeologists both in Africa and across the globe. The book will also make contributions to the broader field such as African Studies, African History, and World Archaeology through its emphasis on developing synergies between local ways of knowing and the archaeology. |
| art history phd columbia: The Learner-Centered Instructional Designer Jerod Quinn, 2023-07-03 “What does a new instructional designer need to know to find her or his feet when working with faculty to create online classes?” This is a practical handbook for established and aspiring instructional designers in higher education, readers who may also be identified by such professional titles as educational developer, instructional technologist, or online learning specialist. Jerod Quinn, together with a team of experienced instructional designers who have worked extensively with a wide range of faculty on a multiplicity of online courses across all types of institutions, offer key guiding principles, insights and advice on how to develop productive and collegial partnerships with faculty to deliver courses that engage students and promote enduring learning.Designing and developing online classes for higher education takes a combination of pedagogical knowledge, the ability to build trust with faculty, familiarity with frameworks on how people learn, understanding of accessibility and inclusion, and technical skills to leverage a learning management system into an educational experience. Coming from diverse backgrounds, few instructional designers enter academia well versed in all of these aspects of creating online classes. This book provides the foundation on which instructional designers can build their careers. The guiding principle that animates this book is that the student experience and successful learning outcomes are paramount, and governs discussion of course design, pedagogy, the use of multimedia and technological advances, as well as the use of different forms of interactive exercises and group assignments. The succinct, informally written chapters offer ideas and means to apply theory to the daily work of instructional design and cover the four key components that drive this work in higher education: ·Defining the scope and main design approaches of our work·Building trust with the faculty we work with·Applying frameworks of how people learn·Mastering common online instructional practices. |
| art history phd columbia: Early China Li Feng, 2013-12-30 A critical new interpretation of the early history of Chinese civilization based on the most recent scholarship and archaeological discoveries. |
| art history phd columbia: Why Evolution is True Jerry A. Coyne, 2010-01-14 For all the discussion in the media about creationism and 'Intelligent Design', virtually nothing has been said about the evidence in question - the evidence for evolution by natural selection. Yet, as this succinct and important book shows, that evidence is vast, varied, and magnificent, and drawn from many disparate fields of science. The very latest research is uncovering a stream of evidence revealing evolution in action - from the actual observation of a species splitting into two, to new fossil discoveries, to the deciphering of the evidence stored in our genome. Why Evolution is True weaves together the many threads of modern work in genetics, palaeontology, geology, molecular biology, anatomy, and development to demonstrate the 'indelible stamp' of the processes first proposed by Darwin. It is a crisp, lucid, and accessible statement that will leave no one with an open mind in any doubt about the truth of evolution. |
| art history phd columbia: Facts on the Ground Nadia Abu El-Haj, 2008-06-24 Archaeology in Israel is truly a national obsession, a practice through which national identity—and national rights—have long been asserted. But how and why did archaeology emerge as such a pervasive force there? How can the practices of archaeology help answer those questions? In this stirring book, Nadia Abu El-Haj addresses these questions and specifies for the first time the relationship between national ideology, colonial settlement, and the production of historical knowledge. She analyzes particular instances of history, artifacts, and landscapes in the making to show how archaeology helped not only to legitimize cultural and political visions but, far more powerfully, to reshape them. Moreover, she places Israeli archaeology in the context of the broader discipline to determine what unites the field across its disparate local traditions and locations. Boldly uncovering an Israel in which science and politics are mutually constituted, this book shows the ongoing role that archaeology plays in defining the past, present, and future of Palestine and Israel. |
| art history phd columbia: Michelangelo William E. Wallace, 2011-07-25 In this vividly written biography, William E. Wallace offers a new view of the artist. Not only a supremely gifted sculptor, painter, architect and poet, Michelangelo was also an aristocrat who firmly believed in the ancient, noble origins of his family. The belief in his patrician status fueled his lifelong ambition to improve his family's financial situation and to raise the social standing of artists. Michelangelo's ambitions are evident in his writing, dress and comportment, as well as in his ability to befriend, influence and occasionally say 'no' to popes, kings and princes. Written from the words of Michelangelo and his contemporaries, this biography not only tells his own stories, but also brings to life the culture and society of Renaissance Florence and Rome. Not since Irving Stone's novel The Agony and the Ecstasy has there been such a compelling and human portrayal of this remarkable yet credible human individual. |
| art history phd columbia: Defining Citizenship in Archaic Greece Alain Duplouy, Roger W. Brock, 2018-03-15 Citizenship is a major feature of contemporary national and international politics, but rather than being a modern phenomenon it is in fact a legacy of ancient Greece. The concept of membership of a community and participation in its social and political life first appeared some three millennia ago, but only towards the end of the fourth century BC did Aristotle offer the first explicit statement about it. Though long accepted, this definition remains deeply rooted in the philosophical and political thought of the classical period, and probably fails to account accurately for either the preceding centuries or the dynamics of emergent cities: as such, historians are now challenging the application of the Aristotelian model to all Greek cities regardless of chronology, and are looking instead for alternative ways of conceiving citizenship and community. Focusing on archaic Greece, this volume brings together an array of renowned international scholars with the aim of exploring new routes to archaic Greek citizenship and constructing a new image of archaic cities, which are no longer to be considered as primitive or incomplete classical poleis. The essays collected here have not been tailored to endorse any specific view, with each contributor bringing his or her own approach and methodology to bear across a range of specific fields of enquiry, from law, cults, and military obligations, to athletics, commensality, and descent. The volume as a whole exemplifies the living diversity of approaches to archaic Greece and to the Greek city, combining both breadth and depth of insight with an opportunity to venture off the beaten track. |
| art history phd columbia: Rituals of War Zainab Bahrani, 2008-03-06 Rituals of War is an investigation into the earliest historical records of violence and biopolitics. In Mesopotamia, ancient Iraq (ca. 3000–500 BC) rituals of war and images of violence constituted part of the magical technologies of warfare that formed the underlying irrational processes of war. In the book, three lines of inquiry are converged into one historical domain of violence, namely, war, the body, and representation. Building on Foucault’s argument in Discipline and Punish that the art of punishing must rest on a whole technology of representation, Zainab Bahrani investigates the ancient Mesopotamian record to reveal how that culture relied on the portrayal of violence and control as part of the mechanics of warfare. Moreover she takes up the more recent arguments of Giorgio Agamben on sovereign power and biopolitic to focus on the relationship of power, the body and violence in Assyro-Babylonian texts and monuments of war. Bahrani brings together and analyzes facets of war and sovereign power that fall under the categories of representation and display, the aesthetic, the ritualistic, and the supernatural. Besides the invention of the public monument of war, and the rituals of iconoclasm, destruction, and relocation of monuments in war, she investigates formulations of power through the body, narrative displays in battle, the reading of omens before the battle, and historical divination through the body and body parts. The author describes these as the magical technologies of war, the realm of the irrational that enables the ideologies of just war in the distant past as today. |
| art history phd columbia: The Untranslatable Image Alessandra Russo, 2014-04-15 From the first contacts between European conquerors and the peoples of the Americas, objects were exchanged and treasures pillaged, as if each side were seeking to appropriate tangible fragments of the world of the other. Soon, too, the collision between the arts of Renaissance Europe and pre-Hispanic America produced new objects and new images with the most diverse usages and forms. Scholars have used terms such as syncretism, fusion, juxtaposition, and hybridity in describing these new works of art, but none of them, asserts Alessandra Russo, adequately conveys the impact that the European artistic world had on the Mesoamerican artistic world, nor treats the ways in which pre-Hispanic traditions, expertise, and techniques—as well as the creation of post-Conquest images—transformed the course of Western art. This innovative study focuses on three sets of paradigmatic images created in New Spain between the sixteenth and seventeenth centuries—feather mosaics, geographical maps, and graffiti—to propose that the singularity of these creations does not arise from a syncretic impulse, but rather from a complex process of untranslatability. Foregrounding the distances and differences between incomparable theories and practices of images, Russo demonstrates how the constant effort to understand, translate, adapt, decode, transform, actualize, and condense Mesoamerican and European aesthetics, traditions, knowledge, techniques, and concepts constituted an exceptional engine of unprecedented visual and verbal creativity in the early modern transatlantic world. |
| art history phd columbia: Rarities of These Lands Claudia Swan, 2021-03-09 A vivid account of Dutch seventeenth-century art and material culture against the backdrop of the geopolitics of the early modern world The seventeenth century witnessed a great flourishing of Dutch trade and culture. Over the course of the first half of the century, the northern Netherlands secured independence from the Spanish crown, and the nascent republic sought to establish its might in global trade, often by way of diplomatic relations with the Ottoman Empire and other Muslim powers. Central to the political and cultural identity of the Dutch Republic were curious foreign goods the Dutch called rarities. Rarities of These Lands explores how these rarities were obtained, exchanged, stolen, valued, and collected, tracing their global trajectories and considering their role within the politics of the new state. Claudia Swan’s insightful, engaging analysis offers a novel and compelling account of how the Dutch Republic turned foreign objects into expressions of its national self-conception. Rarities of These Lands traces key elements of the formation of the Dutch Republic—artistic and colonialist ventures alike—offering new perspectives on this momentous period in the history of the Netherlands and its material culture. |
| art history phd columbia: Toward a More Perfect University Jonathan R. Cole, 2016-01-26 A renowned academic leader identifies the ways America's great universities should evolve in the decades ahead to maintain their global preeminence and enhance their intellectual stature and social mission as higher education confronts the twenty-first-century developments in technology, humanities, culture, and economics. Jonathan R. Cole, former provost and current University Professor at Columbia University, addresses some of the biggest challenges facing the modern American university: • developing effective admission policies, • creating the most meaningful examinations, • dealing with rising costs, • making undergraduate education central to the university's mission, • exploring the role of the humanities, • facilitating new discoveries and innovation, • determining the place for professional schools, • developing the research campuses of the future, • assessing the role of sports, • designing leadership and governance, • and combating intellectual and legal threats to academic freedom. |
| art history phd columbia: Horror Television in the Age of Consumption Kimberly Jackson, Linda Belau, 2017-11-15 Characterized as it is by its interest in and engagement with the supernatural, psycho-social formations, the gothic, and issues of identity and subjectivity, horror has long functioned as an allegorical device for interrogations into the seamier side of cultural foundations. This collection, therefore, explores both the cultural landscape of this recent phenomenon and the reasons for these television series’ wide appeal, focusing on televisual aesthetics, technological novelties, the role of adaptation and seriality, questions of gender, identity and subjectivity, and the ways in which the shows’ themes comment on the culture that consumes them. Featuring new work by many of the field’s leading scholars, this collection offers innovative readings and rigorous theoretical analyses of some of our most significant contemporary texts in the genre of Horror Television. |
| art history phd columbia: Three Women Artists Amy Von Lintel, Bonnie Roos, 2022 Offering a fresh perspective on the influence of the American southwest--and particularly West Texas--on the New York art world of the 1950s, Three Women Artists: Expanding Abstract Expressionism in the American West aims to establish the significance of itinerant teaching and western travel as a strategic choice for women artists associated with traditional centers of artistic authority and population in the eastern United States. The book is focused on three artists: Elaine de Kooning, Jeanne Reynal, and Louise Nevelson. In their travels to and work in the High Plains, they were inspired to innovate their abstract styles and introduce new critical dialogues through their work. These women traveled west for the same reason artists often travel to new places: they found paid work, markets, patrons, and friends. This Middle American context offers us a decentered modernism--demanding that we look beyond our received truths about Abstract Expressionism. Authors Amy Von Lintel and Bonnie Roos demonstrate that these women's New York avant-garde, abstract styles were attractive to Panhandle-area ranchers, bankers, and aspiring art students. Perhaps as importantly, they show that these artists' aesthetics evolved in light of their regional experiences. Offering their work as a supplement and corrective to the frameworks of patriarchal, East Coast ethnocentrism, Von Lintel and Roos make the case for Texas as influential in the national art scene of the latter half of the twentieth century. |
| art history phd columbia: Sofonisba's Lesson Michael W. Cole, 2019 Within a span of seven or eight years in the 1550s, the Italian painter Sofonisba Anguissola produced more self-portraits than any known painter before her had in a lifetime. She was the first known artist in history to take her parents and siblings as primary subject matter, and may have painted the first group portrait featuring only women. Cole examines Sofonisba's paintings as expressions of her relationships and networks, looking at why Sofonisba was able to become a great woman artist: at her father, who decided to allow her to be educated as a painter; at her teacher, Bernardino Campi; and at her relationships with her students, sisters, and patrons, who included the Queen of Spain. Cole demonstrates that Sofonisba made teaching and education a central theme of her painting. The book also provides the first complete catalogue of all of Sofonisba's known works-- |
| art history phd columbia: Measuring Culture John W. Mohr, Christopher A. Bail, Margaret Frye, Jennifer C. Lena, Omar Lizardo, Terence E. McDonnell, Ann Mische, Iddo Tavory, Frederick F. Wherry, 2020-08-11 Social scientists seek to develop systematic ways to understand how people make meaning and how the meanings they make shape them and the world in which they live. But how do we measure such processes? Measuring Culture is an essential point of entry for both those new to the field and those who are deeply immersed in the measurement of meaning. Written collectively by a team of leading qualitative and quantitative sociologists of culture, the book considers three common subjects of measurement—people, objects, and relationships—and then discusses how to pivot effectively between subjects and methods. Measuring Culture takes the reader on a tour of the state of the art in measuring meaning, from discussions of neuroscience to computational social science. It provides both the definitive introduction to the sociological literature on culture as well as a critical set of case studies for methods courses across the social sciences. |
| art history phd columbia: Directory of Ph.D. Programs in Art History , 1984 |
| art history phd columbia: Heart & Soul in the Kitchen Jacques Pépin, 2015 In the companion book to his final PBS series, the world-renowned chef shows his close relationship to the land and sea as he cooks for close friends and family. Jacques P pin Heart & Soul in the Kitchen is an intimate look at the celebrity chef and the food he cooks at home with family and friends--200 recipes in all. There are the simple dinners Jacques prepares for his wife, like the world's best burgers (the secret is ground brisket). There are elegant dinners for small gatherings, with tantalizing starters like Camembert cheese with a pistachio crust and desserts like little foolproof chocolate souffl s. And there are the dishes for backyard parties, including grilled chicken tenderloin in an Argentinean chimichurri sauce. Spiced with reminiscences and stories, this book reveals the unorthodox philosophy of the man who taught millions how to cook, revealing his frank views on molecular gastronomy, the locovore movement, Julia Child and James Beard, on how to raise a child who will eat almost anything, and much, much more. For both longtime fans of Jacques and those who are discovering him for the first time, this is a must-have cookbook. |
| art history phd columbia: Visual Literacy James Elkins, 2009-09-11 What does it mean to be visually literate? Does it mean different things in the arts and the sciences? In the developed West or in developing nations? This groundbreaking collection explores what impact the new concept of visual literacy has on art history. |
| art history phd columbia: Unfolding Practice Arzu Mistry, 2016-06-01 Unfolding Practice: Reflections on Learning and Teaching is a conversation between two artist-educators. Flowing across five chapters, the double sided accordion book has been curated from ten years of recorded conversations, field notes, planning, sketches, reflection, and teaching. The front of the book weaves text, illustration, cutouts, and screen prints, journeying through artistic process and educational practice. The back of the book is a guide, expanding on the practice of using accordion books as a tool for capturing, visualizing, and building upon reflective thinking. The brown paper alludes to the craft paper that is ubiquitous in schools and captures process more than the preciousness of a final product. |
| art history phd columbia: Ottoman Baroque Ünver Rüstem, 2019-04-02 A new approach to late Ottoman visual culture and its place in the world With its idiosyncratic yet unmistakable adaptation of European Baroque models, the eighteenth-century architecture of Istanbul has frequently been dismissed by modern observers as inauthentic and derivative, a view reflecting broader unease with notions of Western influence on Islamic cultures. In Ottoman Baroque—the first English-language book on the topic—Ünver Rüstem provides a compelling reassessment of this building style and shows how between 1740 and 1800 the Ottomans consciously coopted European forms to craft a new, politically charged, and globally resonant image for their empire’s capital. Rüstem reclaims the label “Ottoman Baroque” as a productive framework for exploring the connectedness of Istanbul’s eighteenth-century buildings to other traditions of the period. Using a wealth of primary sources, he demonstrates that this architecture was in its own day lauded by Ottomans and foreigners alike for its fresh, cosmopolitan effect. Purposefully and creatively assimilated, the style’s cross-cultural borrowings were combined with Byzantine references that asserted the Ottomans’ entitlement to the Classical artistic heritage of Europe. Such aesthetic rebranding was part of a larger endeavor to reaffirm the empire’s power at a time of intensified East-West contact, taking its boldest shape in a series of imperial mosques built across the city as landmarks of a state-sponsored idiom. Copiously illustrated and drawing on previously unpublished documents, Ottoman Baroque breaks new ground in our understanding of Islamic visual culture in the modern era and offers a persuasive counterpoint to Eurocentric accounts of global art history. |
| art history phd columbia: African American Political Thought Melvin L. Rogers, Jack Turner, 2021-05-07 African American Political Thought offers an unprecedented philosophical history of thinkers from the African American community and African diaspora who have addressed the central issues of political life: democracy, race, violence, liberation, solidarity, and mass political action. Melvin L. Rogers and Jack Turner have brought together leading scholars to reflect on individual intellectuals from the past four centuries, developing their list with an expansive approach to political expression. The collected essays consider such figures as Martin Delany, Ida B. Wells, W. E. B. Du Bois, James Baldwin, Toni Morrison, and Audre Lorde, whose works are addressed by scholars such as Farah Jasmin Griffin, Robert Gooding-Williams, Michael Dawson, Nick Bromell, Neil Roberts, and Lawrie Balfour. While African American political thought is inextricable from the historical movement of American political thought, this volume stresses the individuality of Black thinkers, the transnational and diasporic consciousness, and how individual speakers and writers draw on various traditions simultaneously to broaden our conception of African American political ideas. This landmark volume gives us the opportunity to tap into the myriad and nuanced political theories central to Black life. In doing so, African American Political Thought: A Collected History transforms how we understand the past and future of political thinking in the West. |
| art history phd columbia: Is It Ours? Martha Buskirk, 2021-04-13 If you have tattoos, who owns the rights to the imagery inked on your body? What about the photos you just shared on Instagram? And what if you are an artist, responding to the surrounding landscape of preexisting cultural forms? Most people go about their days without thinking much about intellectual property, but it shapes all aspects of contemporary life. It is a constantly moving target, articulated through a web of laws that are different from country to country, sometimes contradictory, often contested. Some protections are necessary—not only to benefit creators and inventors but also to support activities that contribute to the culture at large—yet overly broad ownership rights stifle innovation. Is It Ours? takes a fresh look at issues of artistic expression and creative protection as they relate to contemporary law. Exploring intellectual property, particularly copyrights, Martha Buskirk draws connections between current challenges and early debates about how something intangible could be defined as property. She examines bonds between artist and artwork, including the ways that artists or their heirs retain control over time. The text engages with fundamental questions about the interplay between authorship and ownership and the degree to which all expressions and inventions develop in response to innovations by others. Most importantly, this book argues for the necessity of sustaining a vital cultural commons. |
| art history phd columbia: The Landscape of Words Robert E. Harrist, 2008 This is the first study in a Western language devoted to one of the most visually distinctive features of the landscape in China--moya or moya shike, texts carved into granite boulders and cliffs that are part of the natural terrain at thousands of sites of historic or scenic interest. These inscriptions, carved in large, bold characters, served as a vast repository of texts produced continuously for over two thousand years and constitue an important form of public art. Focusing on the period prior to the eighth century C.E., Harrist demonstrates that the significance of the inscriptions depends on the interaction of words with topography, so that the medium of the written work has transformed geological formations into landscapes of ideological and religious significance. |
| art history phd columbia: Sebastiano Serlio on Architecture Sebastiano Serlio, 1996 |
| art history phd columbia: From Lived Experience to the Written Word Pamela H. Smith, 2022-09-23 This book focuses on how literate artisans began to write about their discoveries starting around 1400: in other words, it explores the origins of technical writing. Artisans and artists began to publish handbooks, guides, treatises, tip sheets, graphs and recipe books rather than simply pass along their knowledge in the workshop. And they tried to articulate what the new knowledge meant. The popularity of these texts coincided with the founding of a new philosophy that sought to investigate nature in a new way. Smith shows how this moment began in the unceasing trials of the craft workshop, and ended in the experimentation of the natural scientific laboratory. These epistemological developments have continued to the present day and still inform how we think about scientific knowledge-- |
| art history phd columbia: Kennan and the Art of Foreign Policy Anders Stephanson, 1989 From an array of intellectual reference points, Stephanson (history, Rutgers U.) has written a serious assessment of this complicated, often controversial, highly respected American policymaker. A work of general significance for a wide range of contemporary issues in foreign and domestic politics a |
| art history phd columbia: Student Participation in Academic Governance Lora H. Robinson, Janet D. Shoenfeld, 1971 |
| art history phd columbia: Nancy Holt Alena J. Williams, Pamela M. Lee, 2015-07-21 Newly available in paperback, this landmark volume is the definitive study of the work of visionary American artist Nancy Holt (1938–2014). Since the late 1960s, Holt’s wide-ranging production has included Land art—particularly the monumental Sun Tunnels (1973–76)—as well as significant projects in sculpture, installation, photography, film, and video. A comprehensive representation of Holt’s working process in both word and image, Alena J. Williams’s momentous publication illuminates the artist’s interest in physical space and reveals how the geographic variety and boundlessness of the American landscape afforded her numerous opportunities to develop large-scale projects beyond the confines of New York City’s gallery walls. Contributions by a distinguished group of writers—including Pamela M. Lee, Lucy R. Lippard, Ines Schaber, and Matthew Coolidge—chart Holt’s fascinating trajectory from her initial experiments with sound, light, and industrial materials to major site interventions and environmental sculpture. James Meyer’s valuable interview with Holt and Julia Alderson’s illustrated chronology expand our knowledge of this groundbreaking artist and the crucial contexts in which she worked. More than twenty original writings by the artist and a rare selection of her concrete poetry, documentary photographs, and preparatory drawings reveal Holt’s revolutionary concepts of space, time, optics, and scale. |
| art history phd columbia: Is Art History Global? James Elkins, 2013-10-18 This is the third volume in The Art Seminar, James Elkin's series of conversations on art and visual studies. Is Art History Global? stages an international conversation among art historians and critics on the subject of the practice and responsibility of global thinking within the discipline. Participants range from Keith Moxey of Columbia University to Cao Yiqiang, Ding Ning, Cuautemoc Medina, Oliver Debroise, Renato Gonzalez Mello, and other scholars. |
| art history phd columbia: The Exhibitionist Karl Katz, 2016-09-27 The renowned curator gives a personal tour of his journey from archeology to the Met, the Jewish Museum, and helping found the Israel Museum. In The Exhibitionist, museum director Karl Katz discusses his tireless, impassioned work spanning six decades and numerous countries. As a young man, Karl traveled to the newly-formed state of Israel to pursue archaeology, only to be thrust into the role of directing the Bezalel National Art Museum in Jerusalem. From that early trial by fire to his many leadership roles at the Museum of Tolerance, the International Center of Photography, the Metropolitan Museum of Art, and elsewhere, Katz found innovative ways to make museums inviting, educational, living, and vibrant. A book for lovers of history and art criticism, as well as collectors, curators, administrators, and students, The Exhibitionist is filled with a wide range of discussions both cultural and personal. Katz discusses the exhibits, the discoveries, and the incredible people he worked with along the way, from his mentor Teddy Kollek, the mayor of Jerusalem and founder of the Israel Museum, to Jaqueline Kennedy Onassis and Broadway showman Billy Rose. |
| art history phd columbia: The Infinite Image Zainab Bahrani, 2014 In the ancient civilizations of the Near East and Mediterranean, images were used as a way to create reality and reach out to the infinite. Reviving the fascination that gripped the avant-garde and the surrealists when confronted with the arts of the ancient Near East, The Infinite Image presents a radical new reading of Mesopotamian art as an aesthetic realm defined by objects that transcend time in order to carry traces of the past into the present. Zainab Bahrani's book opens in the early twentieth century, when artists and intellectuals like Alberto Giacometti, Henry Moore, and Georges Bataille were captivated by the ancient sculptures they encountered in European museums--before the question of the aesthetic in ancient art was rejected by rationalist scientific archaeology later in the century. She then travels back through the writings of Derrida, Hegel, Kant, and Plato to Mesopotamia, using these thinkers to argue that ancient images formed an aesthetic dimension that was both historical and evolving. She also addresses issues of the politics of cultural heritage important to Near Eastern art in the context of the wars in Iraq and Afghanistan and current instabilities in the Middle East. With over one hundred illustrations, The Infinite Image will be necessary reading for anyone interested in the questions at the center of contemporary history and the anthropology of art. |
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