《马修·巴尼：***肌的循环运动》 《Matthew Barney: The Cremaster Cycle》 pdf mobi 下载 kindle 115盘 chm 阿里云 rb

此书中充满了上百幅巴尼的幻想影象，并研究了这个用性差异的生物模型作为它的概念出发点的工程。三段巴尼专家的评论清楚阐明了该系列的不同理论，并发掘了艺术家富于创意的艺术词汇；现代艺术策展人南希的领导性评论将巴尼从20世纪90年代起至今的作品作成了图表，并对他的五部CREMASTER电影中的艺术词汇做了批判性的洞察，NEVILLE WAKEFIELD的CREMASTER术语表阐明了涉及电影广泛的内容和从各种各样的源头中来的引用（比如弗洛伊德的精神分析学、摩门法律和知识、硬核音乐和科幻杂志）。作为对这5部电影静态图的补充，该书给出了与此相关的雕塑、照片、图画和情节串联图板。

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在线阅读地址：《马修·巴尼：***肌的循环运动》 《Matthew Barney: The Cremaster Cycle》在线阅读

在线听书地址：《马修·巴尼：***肌的循环运动》 《Matthew Barney: The Cremaster Cycle》在线收听

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书籍介绍

The creativity of the most celebrated artists of the modern period has been enriched and expanded by thei***ork in the print medium. Exploiting the potential of such techniques as woodcut, lithography, etching and screenprint, as well as other processes, these artists have added immeasurably to their expressive vocabularies. Many have availed themselves of the expertise offered by master printers in professional workshops and have benefited from the fruits of such collaboration. They have found inspiration in traditional printed formats, such as portfolios and illustrated books, and have used them to explore thematic interests. As a result of these experiences, print*** has exerted influence on thei***ork in other mediums and has become integral to their creative thinking as a w***. Finally, the fact that prints are made in editi*** rather than as single impressi*** has enabled these artists to reach a much broader audience than would otherwise be possible.~This volume includes the work of artists from the late 19th century to the present and ***s the imaginative ways in which they used print techniques. The potential of the woodcut was explored by Paul Gauguin and Edvard Munch, and the woodcut later became a major preoccupation of the German Expressionists Ernst Ludwig Kirchner, Emil Nolde and Max Beckmann; lithographed posters were a specialty of Henri de Toulouse-Lautrec; Pablo Picasso and Joan Miró experimented with drypoint, etching, and lithography, among other techniques, in new and original ways; Andy Warhol and J***er Johns exploited the painterly ***ects of lithography and the commercial look of screenprint. The current generation of artists, among them Terry Winters and Kiki Smith, has gravitated to printed art as an essential ***ect of their creative practice, with major bodies of work already produced.~Including more than 200 illustrati***, this publication is ***anized as an unfolding historical narrative with a focus on individual artists, each with a succinct text describing his or her relati***hip to print***. Bibliographic references cite the latest scholarship in the field. An index of artists, printers, and publishers reflects the involvement of various partners in the print*** enterprise. All works reproduced are from The Museum of Modern Art's extraordinary collection of over 50,000 prints, the finest of its kind in the world. With more than 200 prints by such modern masters as Hans Arp, Ge*** Baselitz, Joseph Beuys, Louise Bourgeois, Ge***es Braque, Vija Celmins, Paul Cézanne, Chuck Close, Willem de Kooning, Sonia Delaunay-Terk, Marcel Duchamp, Helen Frankenthaler, Lucian Freud, Robert Gober, Natalia Goncharova, Peter Halley, Damien Hirst, David Hockney, Edward Hopper, Vasily Kandinsky, Anish Kapoor, William Kentridge, Fernand Léger, Sol LeWitt, Elizabeth Murray, Bruce Nauman, Barnett Newman, Emily Nolde, Chris Ofili, Sigmar Polke, Martin Puryear, Robert Rauschenberg, Odilon Redon, Gerhard Richter, Dieter Roth, Susan Rothenberg, Kurt Schwitters, Shahzia Sikander, Kiki Smith, Frank Stella, Richard Tuttle and Kara Walker Essay by Deborah Wye. Clothbound, 9.5 x 11 in./240 pgs / 275 color 20 BW0 duotone 0 ~ Item D20148