Explore the vast range of titles available.

Mel Bochner (b. 1940) is celebrated as a key Conceptual artist of the 1960s. Less well-known are his paintings made after that period: complex works based on an exploration of language, often crowded with typography in lush, contrasting hues that both embrace and challenge the painterly tradition. Mel Bochner: Strong Language focuses on this important body of work, in which Bochner investigates the lines between text and image. Ranging from bold admonishments and witty emoticons to provocative floods of words, these works demonstrate conceptual seriousness, as well as delight in the playful potential of language. Norman L. Kleeblatt discusses the evolution of Bochner's art from his early word experiments through his return to painting, while Bochner offers a personal perspective. Both Kleeblatt and Bochner address the question of Jewishness in Bochner's work, particularly the ways in which the Jewish intellectual tradition embraces language as a visual expressive form. Exhibition: The Jewish Museum, NYC, USA (2.5.-7.9.2014).

Beauford Delaney and James Baldwin: Through the Unusual Door examines the thirty-eight-year relationship between painter Beauford Delaney (born in Knoxville, 1901; died in Paris, 1979) and writer James Baldwin (born in New York, 1924; died in Saint-Paul-de-Vence, France, 1987) and the ways their ongoing intellectual exchange shaped each other’s creative output and worldview. This full-color publication documents the groundbreaking exhibition organized by the Knoxville Museum of Art (KMA) and is drawn from the KMA’s extensive Delaney holdings, from public and private collections around the country, and from unpublished photographs and papers held by the Knoxville-based estate of Beauford Delaney. This book seeks to identify and disentangle the skein of influences that grew over and around a complex, lifelong relationship with a selection of Delaney’s works that reflects the powerful presence of Baldwin in Delaney’s life. While no other figure in Beauford Delaney’s extensive social orbit approaches James Baldwin in the extent and duration of influence, none of the major exhibitions of Delaney’s work has explored in any depth the creative exchange between the two. The volume also includes essays by Mary Campbell, whose research currently focuses on James Baldwin and Beauford Delaney within the context of the civil rights movement; Glenn Ligon, an internationally acclaimed New York-based artist with intimate knowledge of Baldwin’s writings, Delaney’s art, and American history and society; Levi Prombaum, a curatorial assistant at the Solomon R. Guggenheim Museum who did his doctoral research at University College London on Delaney’s portraits of James Baldwin; and Stephen Wicks, the Knoxville Museum of Art’s Barbara W. and Bernard E. Bernstein Curator, who has guided the KMA’s curatorial department for over 25 years and was instrumental in building the world’s largest and most comprehensive public collection of Beauford Delaney’s art at the KMA. Beauford Delaney and James Baldwin: Through the Unusual Door examines the thirty-eight-year relationship between painter Beauford Delaney (born in Knoxville, 1901; died in Paris, 1979) and writer James Baldwin (born in New York, 1924; died in Saint-Paul-de-Vence, France, 1987) and the ways their ongoing intellectual exchange shaped each other’s creative output and worldview. This full-color publication documents the groundbreaking exhibition organized by the Knoxville Museum of Art (KMA) and is drawn from the KMA’s extensive Delaney holdings, from public and private collections around the country, and from unpublished photographs and papers held by the Knoxville-based estate of Beauford Delaney. This book seeks to identify and disentangle the skein of influences that grew over and around a complex, lifelong relationship with a selection of Delaney’s works that reflects the powerful presence of Baldwin in Delaney’s life. While no other figure in Beauford Delaney’s extensive social orbit approaches James Baldwin in the extent and duration of influence, none of the major exhibitions of Delaney’s work has explored in any depth the creative exchange between the two. The volume also includes essays by Mary Campbell, whose research currently focuses on James Baldwin and Beauford Delaney within the context of the civil rights movement; Glenn Ligon, an internationally acclaimed New York-based artist with intimate knowledge of Baldwin’s writings, Delaney’s art, and American history and society; Levi Prombaum, a curatorial assistant at the Solomon R. Guggenheim Museum who did his doctoral research at University College London on Delaney’s portraits of James Baldwin; and Stephen Wicks, the Knoxville Museum of Art’s Barbara W. and Bernard E. Bernstein Curator, who has guided the KMA’s curatorial department for over 25 years and was instrumental in building the world’s largest and most comprehensive public collection of Beauford Delaney’s art at the KMA.

When the mind turns more than one would wish towards questions of - as W.G. Sebald puts it - the \"natural history of destruction\", comparative consideration by artists and interdisciplinary scholars is directed to the interstices between images, novel, essay, (auto)biography, memorial and travelogue. Artists have been among Sebald's most prolific interpreters - as they are among the more fearless and holistic researchers on questions concerning what it means never to be able to fix an identity, to tell a migrant's story, or to know where a historical trauma ends. Sebald has - as this book attests - also given artists and scholars a means to write with images, to embrace ambiguity, and to turn to today's migrants with empathy and responsibility; as well as to let academic research, creation and institutional engagement blend into or substantially inform one another in order to account for and enable such necessary work in the most diverse contexts.

Before the Museums Came: A Social History of the Fine Arts in the Twin Cities gives an engaging portrayal of the fine arts scene of Minneapolis and St. Paul, Minnesota in the United States, spanning from the appearance of the earliest artists in 1835 to the opening of the first permanent museum, the Minneapolis Institute of Arts in 1915. Readers will learn about the institutions and organizations that were created in support of the fine arts, the early art exhibitions and events, and the collectors, dealers and artists whose efforts made all of that come to fruition. The text - enriched and supplemented by reproductions of artworks, photographs of various personages, exhibition venues, studios, art galleries, catalogues, and ephemera - presents a clear understanding of the period and breaks new ground for future scholars to research. Leo John Harris had pursued three different careers before retiring to follow yet another vocation, this time as a writer. He served in the U.S. Department of State and Foreign Service; he was an international lawyer; and he founded a niche publishing house devoted to books on the arts, history, and popularculture. In his retirement he has written articles and books on philately, the arts and regional history, and this passion has now resulted in a well-researched and richly illustrated publication.

In the post-pandemic era, there has been a heightened global focus on the mental health challenges facing individuals, with a particular emphasis on innovative and effective therapeutic approaches. Despite the extensive body of research within the realm of art therapy addressing individual psychological healing, the potential of digital mediums in this field has been largely overlooked. This gap is especially pronounced in studies targeting the unique demographic of Generation Z, known as ‘digital natives.’ This study aims to investigate the role of engagement in online digital exhibitions as a potential restorative intervention for enhancing the mental well-being of Generation Z users. Grounded in the Stimulus-Organism-Response (S-O-R) framework and the theory of restorative environments, this research examines the psychological responses of Generation Z participants to online digital art exhibitions, particularly from the perspective of website aesthetics. The impact of these responses on users’ place attachment and loyalty behaviors is also explored. Utilizing a structural equation modeling approach, an online digital art exhibition was deployed on the ZEPETO app, a platform popular among Chinese Generation Z users. Participants were subsequently invited to partake in an online survey post-exhibition, yielding a dataset of 332 valid responses. The findings reveal that: (1) the four design elements of website aesthetics (coherence, novelty, interactivity, immersion) significantly influence the perceived restoration among Generation Z users, with immersion being the most influential factor; (2) perceived restoration and place attachment are crucial predictors of loyalty behavior; (3) perceived restoration has a positive impact on the place attachment of Generation Z users towards online digital art exhibitions. This study demonstrates that online digital art exhibitions can facilitate an emotional healing journey for Generation Z, contributing to the alleviation of psychological stress and the promotion of psychological well-being. Moreover, digital technology exhibitions have the potential to transcend human creativity and imagination, offering a unique and promising pathway for future research and practices in design related to emotional healing.

InInessential Solidarity,Diane Davis examines critical intersections of rhetoric and sociality in order to revise some of rhetorical theory's basic presumptions. Rather than focus on the arguments and symbolic exchanges through which social relations are defined, Davis exposes an underivable rhetorical imperative, an obligation to respond that is as undeniable as the obligation to age. Situating this response-ability as the condition for, rather than the effect of, symbolic interaction, Davis both dissolves contemporary concerns about linguistic overdetermination and calls into question long-held presumptions about rhetoric's relationship with identification, figuration, hermeneutics, agency, and judgment. Spotlighting a rhetorical \"situation\" irreducible to symbolic relations, Davis proposes quite provocatively that rhetoric-rather than ontology (Aristotle/Heidegger), epistemology (Descartes), or ethics (Levinas)-is \"first philosophy.\" The subject or \"symbol-using animal\" comes into being, Davis argues both with and against Emmanuel Levinas, only inasmuch as it responds to the other; the priority of the other is not a matter of the subject's choice, then, but of its inescapable predicament. Directing the reader's attention to this inessential solidarity without which no meaning-making or determinate social relation would be possible, Davis aims to nudge rhetorical studies beyond the epistemological concerns that typically circumscribe theories of persuasion toward the examination of a more fundamental affectability, persuadability, responsivity.

The research on teaching scaffolding for preschool children’s oral language development (OLD) has become an important topic in the academic world. However, there remains a lack of evidence-based research on the integration of scaffolding strategies integrated into creative art contexts to support children’s creative expression and language production. In this study, a qualitative case study was conducted to analyze the non-participatory observation and artwork analysis of five-year-old children’s drawing activities in a kindergarten in China based on socio-cultural and scaffolding theories. Three types of core scaffolding strategies were summarized. The findings reveal that the three strategies work together dynamically within the children’s Zone of Proximal Development (ZPD): (1) the visual prompt strategy enriches the vocabulary diversity of metaphors, adjectives, and ordinal words; (2) dialogic narrative co-construction effectively improves narrative coherence across exposition, rising action, climax, and resolution; and (3) emotional engagement strategies foster a safe expressive environment, promoting the integration of affective vocabulary with intrinsic motivation. Accordingly, a three-dimensional integrated “visual-linguistic-emotional” scaffolding model was constructed, emphasizing the practical guidelines of simultaneous scaffolding and gradual scaffolding withdrawal during the warm-up, creation, and sharing sessions of the drawing activity. This study expands the application of scaffolding theory in unstructured art contexts, and provides a systematic practical framework for the design of cross-contextual language support strategies and teacher training in preschool education.

The Russian empire’s displays of applied and decorative art at the Great Exhibition of 1851 and its immediate successors have long galvanised scholars for their semantic complexity. By contrast, Russia’s first selection of paintings for this fiercely competitive arena, shown at London’s International Exhibition of 1862, failed to ignite the public imagination and has largely evaded the historian’s gaze. While the three-dimensional artworks provided a recurrent source of wonderment for their superlative craftsmanship, stupendous materials, and often hyperbolic proportions, the paintings were apparently flat in every sense of the word: derivative, lacklustre, and incapable of capitalising on the opportunity that international exhibitions offered to present a national school. The dismissive comments they attracted set the tone for many later accounts, embedding the idea that Russian painting prior to the twentieth century was of limited consequence—a perception that would prove convenient to those asserting the originality of the avant-garde. Yet renewed consideration of Russia’s display of paintings in 1862 suggests that their critical reception speaks to concerns that went well beyond the pictures’ supposed obligation to represent a national school. Notably, a small but significant number of history and portrait paintings by academically trained and often well-travelled artists challenged notions of Russians as primitive and parochial. The technically adventurous of these parried the belief that Russian art was insufficiently mature to experiment in painterly effect. Most audacious of all, they broached unspoken national boundaries by daring to suggest that Imperial Russian artists could innovate in areas on which the success of British painting rested. The attitudes towards Russian painting in 1862 thus invite fresh scrutiny, revealing as they do a disruptive arena in which aesthetic rivalries and chauvinist sensibilities came to the fore.

We present a short survey and exposition of some of the important aspects of Turkish that have proven challenging for natural language processing. Most of the challenges stem from the complex morphology of Turkish and how morphology interacts with syntax. We also provide a short overview of the major tools and resources developed for Turkish natural language processing over the last two decades.

This paper addresses the potential of public exhibitions to challenge long taken-for-granted assumptions about the history of exploration and geography. The Hidden Histories of Exploration exhibition, originally held in 2009, was based on historical research in the Royal Geographical Society's extensive collections, including manuscripts, books, maps and atlases, artefacts, artworks, photography and film. The exhibition was designed to reveal the agency of indigenous peoples and intermediaries in the history of exploration, as reflected especially in the recruitment of guides, interpreters, porters and pilots. By highlighting and to some extent celebrating the role of such individuals, it sought to prompt questions about what is made visible and what is obscured in standard narratives of exploration, especially when seen from a metropolitan perspective. However, the relationship between research and exhibition was by no means one-way, as is implied by the language of 'dissemination' and 'output': the process of bringing the exhibition into being raised questions about the structure of the archives on which the exhibition depended, as well as prompting further reflection on the biographical mode in which the work of recovery of 'hidden histories' is often conceived in the heritage sector. Particular attention is devoted to the impact of collaboration with designers on the presentation and interpretation of materials in the exhibition. The paper focuses on three design strategies reflected in the exhibition space: 'role reversal' (celebrating the role of intermediaries and presenting the explorers as dependent); 'juxtaposition' (emphasising the importance of partnership and the co-production of geographical knowledge); and 're-scaling' (transforming anonymous archival fragments into documents of a truly human history).