Text and accompanying photographs present art theory, practices, and history from ancient Egypt through the early twenty-first century.

Accompanying interactive CD-ROM contains video demonstrations of studio processes, a virtual image gallery and information about visiting museums.

Bringing together sixty-five primary documents vital to understanding the history of art in Latin America since 1900, Patrick Frank shows how modern art developed in Latin America in this important new work complementing his previous book, Twentieth-Century Art of Latin America, Revised and Expanded Edition. Besides autobiographies, manifestos, interviews, and artists’ statements, the editor has assembled material from videos, blogs, handwritten notes, flyers, lectures, and even an after-dinner speech. As the title suggests, many of the texts have a polemical or argumentative cast. In these documents, many of which appear in English for the first time, the artists themselves describe what they hope to accomplish and what they see as obstacles. Designed to show how modern art developed in Latin America, the documents begin with early modern expressions in the early twentieth century, then proceed through the avant-garde of the 1920s, the architectural boom of midcentury, and the Cold War years, and finally conclude with the postmodern artists in the new century.

Encompassing the socio-political, cultural background of the period, this title takes a look at the careers of the Old Masters and many lesser-known artists. The book covers artistic developments across six countries and examines in detail many of the artworks on display.

This book tells the story of Art1, a computer program developed in 1968 at the University of New Mexico by electrical engineer Richard Williams with the encouragement of art department chair and renowned kinetic artist Charles Mattox ,who wanted to make UNM a center of high-tech creativity. In a wider sense, Art1 was an attempt to bridge the cultural divide between art and science. Artists on the one hand were working in avant-garde modes beyond the comprehension of most people, just as scientists were using ever more arcane theories to describe the universe; the notion of a shared common culture that could draw the two together seemed remote in the modern age. UNM art faculty member Frederick Hammersley took a strong interest in Art1 and in two years made more than 150 works using it. The book features 50 works by Hammersley, Duane Palyka, Katherine Nash, and James Hill and interviews with Williams, Palyka, and Hill. The story of Art1 and its role in early digital creativity documents for the first time its far-reaching impact.

More than 115 entries clearly explain the who, what, when, and where of art since 1945. Some entries deal with concepts, such as formalism, multiculturalism, and the picture plane; some discuss specific movements, such as Abstract Expressionism and Fluxus; some describe various ways of making art, such as collage, performance, and video. Together they provide an invaluable key to the specialized, often baffling vocabulary so often used in today's art world. Complementing the entries are two additional noteworthy features. The first, a one-page ArtChart, presents the movements of the postwar years in a concise format that makes their chronological connections immediately visible. The second is a twenty-eight-page timeline - illustrated with full-color reproductions of paintings, sculptures, and installations - that chronicles events in the art world and the world at large, providing a context for the entries that follow, in addition, for this updated and revised edition, birth and death dates for the artists have been added to the index, along with their nationalities, making this easy-to-use reference even more informative.

The book provides a comprehensive overview of American cultural resource management and historic preservation. It is designed for introductory and advanced courses in archaeology, history, and architecture. It explores the structure, historic background, laws, and governmental and professional players in American heritage management systems.

This book offers a unified treatment of selected topics in the theory of financial markets. Starting with discrete time models, Dothan introduces discrete time stochastic calculus and discrete martingale methods of intuitive simplicity to characterize attainability, completeness, pricing, and the relationship between risk and return in financial markets. Subsequently, he uses the intuition developed in conjunction with the discrete time theory to introduce continuous time calculus for continuous, jump, and mixed continuous-jump processes, and to deal with attainability, completeness, pricing, and the relationship between risk and return in general continuous time models. Throughout, the exposition of the continuous time theory emphasizes the analogies between discrete time and continuous time methods and results. The book includes many examples, applications to the pricing of options and other derivative securities, and an extensive discussion of the Black-Scholes model and its most general theoretical extension.