Charles Bayliss was probably one of Australias greatest nineteenth-century photographers. In his day, Baylisss work was highly regarded and he received numerous prestigious government commissions. His photography has been praised since but, in contemporary terms, Bayliss has not yet received his due. This beautiful publication, drawing on the National Library of Australia exhibition of the same name, is the first to highlight the various strands of Baylisss photographic practice.

Published on the occasion of the exhibition of the same name held at the Museum of Modern Art, New York, October 27,1999 - March 14, 2000. French landscape is a part of larger exchbition, ModernStarts which is in turn part of a cycle of exchibitions entitled MoMa 2000.

This volume brings together a selection of streams present in modern mass-media culture, from classic cartoons to TV series. The chapters form a rich mosaic of interconnecting themes, and highlight the current process of transforming well-known fairy-tale plots. The book considers recent media productions, such as “Once Upon a Time” and “Beauty and the Beast” as modern fairy-tales for children and adults, showing these new versions of familiar characters to reflect the psychological demands of the contemporary audience in the post-modernist cultural environment. In addition, the book explores new Internet fiction genres, including fan-fiction, interactive fairy-tales, and fairy-tale blogs. As a part of cultural studies, the book considers classic cartoons based on books, such as “Mowgli” and “The Little Prince”, from philosophical and cross-cultural points of view.

Jonathan Crary's Techniques of the Observer provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. This analysis of the historical formation of the observer is a compelling account of the prehistory of the society of the spectacle. In Techniques of the Observer Jonathan Crary provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. Inverting conventional approaches, Crary considers the problem of visuality not through the study of art works and images, but by analyzing the historical construction of the observer. He insists that the problems of vision are inseparable from the operation of social power and examines how, beginning in the 1820s, the observer became the site of new discourses and practices that situated vision within the body as a physiological event. Alongside the sudden appearance of physiological optics, Crary points out, theories and models of "subjective vision" were developed that gave the observer a new autonomy and productivity while simultaneously allowing new forms of control and standardization of vision. Crary examines a range of diverse work in philosophy, in the empirical sciences, and in the elements of an emerging mass visual culture. He discusses at length the significance of optical apparatuses such as the stereoscope and of precinematic devices, detailing how they were the product of new physiological knowledge. He also shows how these forms of mass culture, usually labeled as "realist," were in fact based on abstract models of vision, and he suggests that mimetic or perspectival notions of vision and representation were initially abandoned in the first half of the nineteenth century within a variety of powerful institutions and discourses, well before the modernist painting of the 1870s and 1880s.

Murano Glass and its Collectors in Aesthetic America / Melody Barnett Deusner -- Venetian Mosaics and Glass in the United States, 1860-1917 / Sheldon Barr -- "Where Have Titian's Beauties Gone?" : Sargent and Whistler on the Streets of Venice / Stephanie Mayer Heydt -- Interweaving Worlds : Antique and Revival Lace in Italy and in the United States, 1872-1927 / Diana Jocelyn Greenwold -- Sparks of Genius : American Art and the Appeal of Modern Venetian Glass / Crawford Alexander Mann III -- Biographies / Brittany Emens Strupp, Crawford Alexander Mann III.

How do you keep the cracks in Starry Night from spreading? How do you prevent artworks made of hugs or candies from disappearing? How do you render a fading photograph eternal—or should you attempt it at all? These are some of the questions that conservators, curators, registrars, and exhibition designers dealing with contemporary art face on a daily basis. In Still Life, Fernando Domínguez Rubio delves into one of the most important museums of the world, the Museum of Modern Art (MoMA) in New York, to explore the day-to-day dilemmas that museum workers face when the immortal artworks that we see in the exhibition room reveal themselves to be slowly unfolding disasters. Still Life offers a fascinating and detailed ethnographic account of what it takes to prevent these disasters from happening. Going behind the scenes at MoMA, Domínguez Rubio provides a rare view of the vast technological apparatus—from climatic infrastructures and storage facilities, to conservation labs and machine rooms—and teams of workers—from conservators and engineers to guards and couriers—who fight to hold artworks still. As MoMA reopens after a massive expansion and rearranging of its space and collections, Still Life not only offers a much-needed account of the spaces, actors, and forms of labor traditionally left out of the main narratives of art, but it also offers a timely meditation on how far we, as a society, are willing to go to keep the things we value from disappearing into oblivion.

"It is said that art reveals the heart of humankind, architecture the soul of civilization. This summer, heart and soul will merge in the new building for Chicago's Museum of Contemporary Art. Designed by famous Berlin architect Josef Paul Kleihues (his first U.S. commission), the new MCA stands beside both celebrated Michigan Avenue and the city's stunning lake shore. This book examines the entire process of starting and then dramatically expanding a contemporary art museum, from the tumultuous sixties to the cusp of a new century. The MCA's achievements, such as Christo's first wrapping of a public building (1969), Frida Kahlo's first U.S. exhibition (1978), and Jeff Koons's first full-scale museum exhibition (1988) are discussed, accompanied by historic photographs. -- In his essay "Josef Paul Kleihues: Chicago and Berlin," art and architecture critic Franz Schulze considers the conceptual framework of Kleihues's design for the MCA, as well as the architect's adaptive reuse of the Hamburger Bahnhof train station to house Berlin's Museum of Contemporary Art. Finally, color reproductions of 40 works from the vast MCA permanent collection are juxtaposed with informative text on more than 30 featured artists, including Francis Bacon, Leon Golub, Jasper Johns, Sol LeWitt, Bruce Nauman, Ad Reinhardt, Mark Rothko, Cindy Sherman, and Andy Warhol. The sum of these parts is a fascinating volume that thoroughly examines the very idea of an art museum according to its corresponding ideal: presenting, interpreting, and collecting the art of our time for a diverse audience." -- Publisher description.

Spanning a century from the introduction of electric light to the dawn of the Space Age, this first major survey of American night scenes by artists such as Winslow Homer, Georgia O'Keeffe, Andrew Wyeth, and Joseph Cornell proposes the central importance of nocturnal images in the development of modern art. This gorgeously illustrated book investigates how leading American artists of diverse aesthetic convictions responded in a range of media--including paintings, drawings, prints, and photographs--to the unique challenges of picturing the night. Retooling their palette and reconsidering their techniques, artists cherished the night as a time of heightened alertness and active imagination. Mysterious and provocative, the darkness was experienced as liberating, both on an aesthetic and personal level--allowing artists to become invisible, turn inward, and express personal truths in unique and poetic ways. Night Vision expands the conversation on American art and the rise of modernism, as it demonstrates how the theme of the night inspired artists who sought to leave behind established styles and traditions to better reflect the broader societal and technological shifts as well as a new understanding of the value of art as personal expression.

This book, a valuable introduction to the Bauhaus movement, is generously illustrated with examples of students' experiments and typical contemporary achievements. The text also contains an autobiographical sketch.