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| beyond van gogh tucson: Van Gogh among the Philosophers David P. Nichols, 2017-12-06 This volume brings Continental philosophical interpretations of Van Gogh into dialogue with one another to explore how for Van Gogh, art places human beings in their world, and yet in other ways displaces them, not allowing them to belong to that world. |
| beyond van gogh tucson: Inconsistencies Marcus Steinweg, 2017-10-13 Meditations, aphorisms, maxims, notes, and comments construct a philosophy of thought congruent with the inconsistency of our reality. Those who continue to think never return to their point of departure. —Inconsistencies These 130 short texts—aphoristic, interlacing, and sometimes perplexing—target a perennial philosophical problem: Our consciousness and our experience of reality are inconsistent, fragmentary, and unstable; God is dead, and our identity as subjects discordant. How can we establish a new mode of thought that does not cling to new gods or the false security of rationality? Marcus Steinweg, as he did in his earlier book The Terror of Evidence, constructs a philosophical position from fragments, maxims, meditations, and notes, formulating a philosophy of thought that expresses and enacts the inconsistency of our reality. Steinweg considers, among other topics, life as a game (“To think is to play because no thought is firmly grounded”); sexuality (“wasteful, contradictory, and contingent”); desire (”Desire has a thousand names; It's earned none of them”); reality (“overdetermined and excessively complex”); and world (“a nonconcept”). He disposes of philosophy in one sentence (“Philosophy is a continual process of its own redefinition.”) but spends multiple pages on “A Tear in Immanence,” invoking Nietzsche, Heidegger, Sartre, and others. He describes “Wandering with Foucault” (“Thought entails wandering as well as straying into madness”) and brings together Derrida and Debord. He poses a question: “Why should a cat be more mysterious than a dog?” and later answers one: “Beauty is truth because truth is beauty.” By the end, we have accompanied Steinweg on converging trains of thought. “Thinking means continuing to think,” he writes, adding “But thinking can only pose questions by answering others.” The question of inconsistency? Asked and answered, and asked. |
| beyond van gogh tucson: Impressionism Robert L. Herbert, 1988-01-01 Examines the use of cafes, opera houses, dance halls, theaters, racetracks, and the seaside in impressionist French paintings |
| beyond van gogh tucson: While I Have Being Kenneth L. Vaux, 2012-08-23 This diary is a fine-grained, often daily, theological reflection on the author's final ponderings on his ordeal with a serious illness, a concluding sabbatical, a last year of teaching, a culminating lecture, presiding at Eucharist, and summarial notes about what God is doing in the world. Amid all these meanderings it holds the lectionary of the biblical and liturgical calendar in one hand and the newspaper in the other (K. Barth). Events during this time span were transformative and world shaking--and found resonance in my personal drama. One finds art and music, faith and politics. The reader will easily slip one's own story into this narrative. My purpose is precisely this--to offer symbiotic and symbolic story on life and its meaning. |
| beyond van gogh tucson: Chicago Psychoanalytic Literature Index , 1976 |
| beyond van gogh tucson: American Theatre , 2001 |
| beyond van gogh tucson: Mental Health, Psychiatry and the Arts Victoria Tischler, 2018-10-08 'Medicine and psychiatry, both based on science, require the art of caring, using the principles of art in learning and teaching. Sitting with a patient, making sense of their distress, being empathetic in understanding both the symptoms and the person and alleviating suffering needs a human touch. For that, doctors need the soul of an artist and must be aware of the value that arts have for society and the individual.' - from the Foreword by Dinesh Bhugra This comprehensive book explores how visual art, cinema, music, poetry, literature and drama can inform the teaching and practice of psychiatrists and mental health professionals. Edited and written by a team of expert practitioners, teachers and researchers, including both clinicians and users of mental health services, this comprehensive book will provide valuable insights for undergraduate and postgraduate educators with teaching reponsibilities in psychiatry and mental health. Students of the medical humanities, art, music and drama therapists, and educators in occupational therapy and psychology will also find this a valuable and insightful handbook. 'The authors of this wonderful handbook provide a convincing argument that the arts are good for what ails us. They have each used a preferred artistic medium to deepen personal reflection and to enhance their own creativity as physicians , teachers and therapists. Their models are clear, their suggestions practical, but none of the approaches you'll find here is reductive or simplistic. Try some of the reflective exercises and teaching strategies. You will be sure to rediscover something you have always cherished about the art of healing.' - from the Foreword by Allan D Peterkin |
| beyond van gogh tucson: No More Masterpieces Lucy Bradnock, 2021-01-01 This groundbreaking account of postwar American art traces the profound influence of Antonin Artaud Proposing an original reassessment of art from the 1950s to the 1970s, No More Masterpieces reveals how artistic practice in postwar America was profoundly shaped by the work of the rebellious French poet and dramatist Antonin Artaud (1896-1948). A generation of artists mobilized Artaud's countercultural ideas to imagine new forms of representation and to redefine the relationship between artist and audience. The book shows how Artaud's radical writings inspired the experimental theatrical work of John Cage, Rachel Rosenthal, and Allan Kaprow; the attack on artistic and social conventions launched by assemblage artists Wallace Berman and Bruce Conner; and the feminist work of Carolee Schneemann and Nancy Spero. Lucy Bradnock traces the dissemination of Artaud's writings in America and demonstrates how his interest in political and cultural disorder, the dangers of authority, and the unreliability of representation found fertile ground in the context of the Cold War, disillusionment with the ideals of Abstract Expressionism, and the early years of identity politics. |
| beyond van gogh tucson: Blood Lines Sheila Marie Contreras, 2009-07-21 2009 — Runner-up, Modern Language Association Prize in United States Latina and Latino and Chicana and Chicano Literary and Cultural Studies Blood Lines: Myth, Indigenism, and Chicana/o Literature examines a broad array of texts that have contributed to the formation of an indigenous strand of Chicano cultural politics. In particular, this book exposes the ethnographic and poetic discourses that shaped the aesthetics and stylistics of Chicano nationalism and Chicana feminism. Contreras offers original perspectives on writers ranging from Alurista and Gloria Anzaldúa to Lorna Dee Cervantes and Alma Luz Villanueva, effectively marking the invocation of a Chicano indigeneity whose foundations and formulations can be linked to U.S. and British modernist writing. By highlighting intertextualities such as those between Anzaldúa and D. H. Lawrence, Contreras critiques the resilience of primitivism in the Mexican borderlands. She questions established cultural perspectives on the native, which paradoxically challenge and reaffirm racialized representations of Indians in the Americas. In doing so, Blood Lines brings a new understanding to the contradictory and richly textured literary relationship that links the projects of European modernism and Anglo-American authors, on the one hand, and the imaginary of the post-revolutionary Mexican state and Chicano/a writers, on the other hand. |
| beyond van gogh tucson: Archaeoastronomy , 1985 |
| beyond van gogh tucson: The Wild Beasts John Elderfield, 1976 |
| beyond van gogh tucson: Tastemakers and Tastemaking Niamh Thornton, 2020-12-01 Tastemakers and Tastemaking develops a new approach to analyzing violence in Mexican films and television by examining the curation of violence in relation to three key moments: the decade-long centennial commemoration of the Mexican Revolution launched in 2010; the assaults and murders of women in Northern Mexico since the late 1990s; and the havoc wreaked by the illegal drug trade since the early 2000s. Niamh Thornton considers how violence is created, mediated, selected, or categorized by tastemakers, through the strategic choices made by institutions, filmmakers, actors, and critics. Challenging assumptions about whose and what kind of work merit attention and traversing normative boundaries between good and bad taste, Thornton draws attention to the role of tastemaking in both high and low media, including film cycles and festivals, adaptations of Mariano Azuela's 1915 novel, Los de Abajo, Amat Escalante's hyperrealist art films, and female stars of recent genre films and the telenovela, La reina del sur. Making extensive use of videographic criticism, Thornton pays particularly close attention to the gendered dimensions of violence, both on and off screen. |
| beyond van gogh tucson: Kartchner Caverns Neil Miller, 2008 Tells how amateur Arizona spelunkers Randy Tufts and Gary Tenen found a huge virgin cave in 1974, maintained the secrecy of this place, Kartchner Caverns, for fourteen years, and upon its discovery, helped preserve the location and transform the caverns into a public attraction. The author covers the twenty-five years from the caverns' discovery to its protection as an Arizona state park, using personal interviews, biographical facts, political maneuvering, and geological facts to illustrate the story. |
| beyond van gogh tucson: The Works of Vincent Van Gogh Vincent van Gogh, Jacob-Baart Faille, 1970 |
| beyond van gogh tucson: Santa Fe Heat Gloria H. Giroux, 2021-05-17 The 1980s were a miasma of new thoughts, fashions, music, and ideas and for many people a respite from the turbulent ’70s. The city of Santa Fe is bursting with the new veneer. Even so, there are dark clouds roiling over the city and its inhabitants, stoking fires that will consume the innocent as well as the guilty. The next generation of the Grayhawk clan and their close relatives and friends has begun to make its mark, many choosing the professions of their parents or friends. Although their development is generally positive, the plague of the decade has infiltrated their lives and changed the course of many. Besides the personal impacts of life, the clan finds themselves battling evil on two fronts. One antagonist is executing vengeance on people who have wrought inhuman savagery on the world, seeking true “eye for an eye” justice. The other seeks a much more personal vengeance directed at Memphis Grayhawk and his family and lurks in the background until the time is ready to strike. The passion and determination of all factions heats up until it bursts into a roaring conflagration. Will it consume only the unremorseful perpetrators, or will the flames of hatred burn everything in sight, leaving only ash and destruction? |
| beyond van gogh tucson: The Rough Guide to Rock Peter Buckley, 2003 Compiles career biographies of over 1,200 artists and rock music reviews written by fans covering every phase of rock from R & B through punk and rap. |
| beyond van gogh tucson: Dancing Alone in Mexico Ron Butler, 2000 Poking into the nooks and crannies of Mexico, a travel writer shares Mexico's best-kept secrets. Informative and helpful as the best travel guide, Dancing Alone in Mexico will help even seasoned travelers to get the most out of their trips to Mexico. Casual and lively as the best travel memoir, the book will also delight the armchair traveler. |
| beyond van gogh tucson: Handbook of Research and Policy in Art Education Elliot W. Eisner, Michael D. Day, 2004-04-12 This work provides an overview of the progress that has characterized the field of research and policy in art education. It profiles and integrates history, policy, learning, curriculum and instruction, assessment, and competing perspectives. |
| beyond van gogh tucson: Die Nacht Paul Bogard, 2014-06-09 Auf der Suche nach Dunkelheit in einer Welt des künstlichen Lichts Die Nacht verschwindet. Über die ganze Erdkugel verteilt sich nachts gleißendes Licht von Straßenlaternen, Wohnhäusern, Tankstellen. Betrachtet man sich die nächtlichen Kontinente unseres Planeten auf Satellitenfotos, scheinen sie in Flammen zu stehen – so viel Licht strahlen sie aus. Das meiste davon ist reine Verschwendung. Unser lichtgesättigtes Zeitalter ermöglicht uns kaum noch die Vorstellung von einer Zeit, in der die Nacht wirklich dunkel war. Schon heute erleben rund zwei Drittel aller Amerikaner und Europäer keine wirkliche Nacht mehr oder wohnen in einer Region, die als lichtverschmutzt gilt. Dabei ist die natürliche Dunkelheit der Nacht unerlässlich für unsere Gesundheit und die aller Lebewesen. Paul Bogard begibt sich – vom hellsten bis zum dunkelsten Punkt der Erde – auf eine faszinierende Suche nach natürlicher Dunkelheit in einer Welt, die durch zunehmende Elektrifizierung immer heller wird. |
| beyond van gogh tucson: Vincent Van Gogh: Wilfred Niels Arnold, 1992-11 As a five year old I encountered a picture of a young man in a rakish hat and a yellow coat, on the wall of a large classroom. There was something instantly intriguing about the image, but it was also puzzling because it represented neither politician nor prince, the usual fare for Australian school decorations. I was eventually told that this was a reproduction of a painting, the artist was Vincent van Gogh, and that the subject was some young Frenchman. On special days we assembled in that room and during the next several years I found myself gazing beyond visiting speakers at the fellow in the yellow jacket. It was almost another fifty years before I felt properly conversant with the portrait and realized that van Gogh's subject, Armand Roulin, was seventeen at the time ofthe original painting and had died at seventy-four during my schoolboy contemplations. In the interim my enjoyment of the works of the Impressionists and Post Impressionists had grown and I occasionally ran into the name of Dr. Gachet, Vincent's last attending physician, in books and catalog essays. The doctor was my entree to the overlapping charms of medical and art histories. In 1987 I had the good fortune to participate as a biochemist in the centenary celebration of the Pasteur Institut in Paris. |
| beyond van gogh tucson: Martians and Misplaced Clues Jack Seabrook, 1993 Brown (1906-1972) was a popular and respected author of more than 20 mysteries and science fiction novels (The Fabulous Clipjoint, won the 1948 Edgar Award for best mystery novel). This study looks closely at his work and chronicles his unusual life. Paper edition (unseen), $16.95. Annotation copyright by Book News, Inc., Portland, OR |
| beyond van gogh tucson: John Wayne: The Life and Legend Scott Eyman, 2015-04-21 The celebrated Hollywood icon comes fully to life in this complex portrait by noted film historian and master biographer Scott Eyman. Exploring Wayne's early life with a difficult mother and a feckless father, Eyman gets at the details that the bean-counters and myth-spinners miss ... Wayne's intimates have told things here that they've never told anyone else (Los Angeles Times). Eyman makes startling connections to Wayne's later days as an anti-Communist conservative, his stormy marriages to Latina women, and his notorious--and surprisingly long-lived--passionate affair with Marlene Dietrich. |
| beyond van gogh tucson: Mad Enchantment Ross King, 2016-09-20 Acclaimed historian Ross King paints the most nuanced, riveting and humane portrait yet of Claude Monet, arguably the most famous artist of the 20th century. We have all seen—live, in photographs, on postcards—some of Claude Monet's legendary water lily paintings. They are in museums all over the world, and are among the most admired paintings of our time. Yet nobody knows the extraordinarily dramatic story behind their creation. Telling that story is the brilliant historian, Ross King—and in the process, he presents a compelling and original portrait of perhaps the most beloved artist in history. As World War I exploded within hearing distance of his house at Giverny, Monet was facing his own personal crucible. In 1911, his adored wife, Alice, had died, plunging him into deep mourning at age 71. A year later he began going blind. Then, his eldest son, Jean, fell ill and died of syphilis, and his other son was sent to the front to fight for France. Within months, a violent storm destroyed much of the garden that had been his inspiration for some 20 years. At the same time, his reputation was under attack, as a new generation of artists, led by Pablo Picasso and Henri Matisse, were dazzling the art world and expressing disgust with Impressionism. Against all this, fighting his own self-doubt, depression and age, Monet found the wherewithal to construct a massive new studio, 70 feet long and 50 feet high, to accommodate the gigantic canvases that would, he hoped, revive him. Using letters, memoirs and other sources not employed by other biographers, and focusing on this remarkable period in the artist's life, Ross King reveals a more complex, more human, more intimate Claude Monet than has ever been portrayed, and firmly places his water lily project among the greatest achievements in the history of art. |
| beyond van gogh tucson: The New Republic Herbert David Croly, 1981 |
| beyond van gogh tucson: Vincent and Theo Deborah Heiligman, 2017-04-18 Beautifully told, this is the true story of the relationship between brothers Theo and Vincent van Gogh. |
| beyond van gogh tucson: Coevolutionary Economics: The Economy, Society and the Environment John Gowdy, 2013-04-18 The subject of this volume is the human economy and its coevolutionary relationship with the natural world. This relationship is examined in three broad types of societies; hunter--gatherers, agriculturalists, and modern market economies. A growing body of scientific evidence has made it clear that the current human impact on the environment is far above the level that can be maintained without causing profound changes in the biophysical world to which we belong. The new fields of ecological economics and evolutionary economics can help us understand the relationship between the economy, society and the environment and may help us to formulate effective policies to manage these changes. |
| beyond van gogh tucson: Artbibliographies Modern , 1991 Abstracts of journal articles, books, essays, exhibition catalogs, dissertations, and exhibition reviews. The scope of ARTbibliographies Modern extends from artists and movements beginning with Impressionism in the late 19th century, up to the most recent works and trends in the late 20th century. Photography is covered from its invention in 1839 to the present. A particular emphasis is placed upon adding new and lesser-known artists and on the coverage of foreign-language literature. Approximately 13,000 new entries are added each year. Published with title LOMA from 1969-1971. |
| beyond van gogh tucson: American Book Publishing Record , 2003 |
| beyond van gogh tucson: The Art of the Brick Nathan Sawaya, 2014-10-14 Nathan Sawaya is renowned for his incredible, sometimes surreal, sculptures and portraits—all made from LEGO bricks. The Art of the Brick is a stunning, full-color showcase of the work that has made Sawaya the world’s most famous LEGO artist. Featuring hundreds of photos of his impressive art and behind-the-scenes details about how these creations came to be, The Art of the Brick is an inside look at how Sawaya transformed a toy into an art form. Follow one man’s unique obsession and see the amazing places it has taken him. |
| beyond van gogh tucson: AB Bookman's Weekly , 1998 |
| beyond van gogh tucson: Ceramics Monthly , 1989 |
| beyond van gogh tucson: Antoine Predock Geoffrey Baker, 1997 Devoted to the work of Antoine Predock, an American architect based in new Mexico, this monograph includes previously unpublished images and line drawings, which should present a greater insight into the working methods of the architect. |
| beyond van gogh tucson: National Geographic Traveler , 1992 |
| beyond van gogh tucson: The Van Gogh Blues Eric Maisel, PhD, 2012-08-22 Creative people will experience depression — that’s a given. It’s a given because they are regularly confronted by doubts about the meaningfulness of their efforts. Theirs is a kind of depression that does not respond to pharmaceutical treatment. What’s required is healing in the realm of meaning.In this groundbreaking book, Eric Maisel teaches creative people how to handle these recurrent crises of meaning and how to successfully manage the anxieties of the creative process. Using examples both from the lives of famous creators such as van Gogh and from his own creativity coaching practice, Maisel explains that despite their inevitable difficulties, creative people possess the ability to forge relationships, repair themselves, and find meaning in their work and their lives. Maisel presents a step-by-step plan to help creative people handle their special brand of depression and rediscover the reasons they are driven to create in the first place. |
| beyond van gogh tucson: Wildlife Art News , 1991 |
| beyond van gogh tucson: The Barnes & Noble Encyclopedia , 1990 |
| beyond van gogh tucson: Edward Weston Edward Weston, 1995-10-30 This new book surveys Edward Weston's work more comprehensively and exhaustively than any previous work. A combination of biography and critical analysis, it offers more than 320 meticulously reproduced duotone images, nearly a quarter of which have never been reproduced in books before. The selected photographs trace Weston's career from his early days, through formative years in Mexico, and on through the balance of his career, which ended because of the onset of Parkinson's disease ten years prior to his death in 1958. Treated chronologically and emphasizing Weston's creative preoccupations in each period, the book includes work that he created in 1938 and 1939 with funds from the first two Guggenheim Foundation grants ever awarded to a photographer. To illustrate the book vintage prints have been selected from the copious Weston Archives at the Center for Creative Photography in Tucson, Arizona, and the highly important Lane Collection at the Boston Museum of Fine Arts. Nearly 10,000 photographs have been examined in order to select those reproduced in the book. |
| beyond van gogh tucson: White Boots William Pitt Root, 2006 William Pitt Root's White Boots: New and Selected Poems of West [are] poems of tender awe and Rilkean praise erasing completely the divisions between man and beast, poems that invite the reader upon their back and carry him across buttes and vistas, arroyos and sheer cliff shimmy holes, poems whose music is wound so tight that the stitches and sinews disappear and all that remains is the pure imagination made manifest and majestic, the reader alone on the plain riding their shine. --Keith Flynn, Asheville Poetry Review |
| beyond van gogh tucson: Art and Race Matters: The Career of Robert Colescott Raphaela Platow, Lowery Stokes Sims, 2019-09-24 The most comprehensive volume devoted to the life and work of pioneering African American artist Robert Colescott, accompanying the largest traveling exhibition of his work ever mounted. Robert Colescott (1925-2009) was a trailblazing artist, whose august career was as unique as his singular artistic style. Known for figurative satirical paintings that exposed the ugly ironies of race in America from the 1970s through the late 1990s, his work was profoundly influential to the generations of artists that have followed him, such as Kara Walker, Kehinde Wiley, and Henry Taylor, among many others. This volume surveys the entirety of Colescott's body of work, with contributions by more than ten curators and writers, including a substantive essay by the show's cocurator, the renowned Lowery Stokes Sims. It provides a detailed stylistic analysis of his politically inflected oeuvre, focusing on Colescott's own consideration of his work in the context of the grand traditions of European painting and contemporary polemic. In addition, the book features reminiscences and thought pieces by a variety of family, friends, students, curators, dealers, and scholars on his work as well as a selection of writings by the artist himself. Relying on previously unpublished transcripts of lectures, reviews, and archival materials provided by institutions and individuals, the book will provide a fuller story of the artist's life and career. |
| beyond van gogh tucson: The Chowder Review , 1978 |
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