Books

{"id":7396440932441,"title":"Transatlantic Encounters — Greet '93","handle":"transatlantic-encounters-greet-93","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBy Michele Greet, Class of 1993\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAn unprecedented and comprehensive survey of Latin American artists in interwar Paris\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e Paris was the artistic capital of the world in the 1920s and ’30s, providing a home and community for the French and international avant-garde, whose experiments laid the groundwork for artistic production throughout the rest of the century. Latin American artists contributed to and reinterpreted nearly every major modernist movement that took place in the creative center of Paris between World War I and World War II, including Cubism (Diego Rivera), Surrealism (Antonio Berni and Roberto Matta), and Constructivism (Joaquín Torres-García). Yet their participation in the Paris art scene has remained largely overlooked until now. This vibrant book examines their collective role, surveying the work of both household names and an extraordinary array of lesser-known artists.\u003cbr data-mce-fragment=\"1\"\u003e  \u003cbr data-mce-fragment=\"1\"\u003e Author Michele Greet illuminates the significant ways in which Latin American expatriates helped establish modernism and, conversely, how a Parisian environment influenced the development of Latin American artistic identity. These artists, hailing from former Spanish and Portuguese colonies, encountered expectations of primitivism from their European audiences, and their diverse responses to such biased perceptions—ranging from rejection to embrace to selective reinterpretation of European tendencies—yielded a rich variety of formal innovation. Magnificently illustrated and conveying with clarity a nuanced portrait of modernism, \u003cem data-mce-fragment=\"1\"\u003eTransatlantic Encounters\u003c\/em\u003e also engages in a wider discussion of the relationship between displacement, identity formation, and artistic production.\u003c\/p\u003e\n\u003cp\u003e-From the publisher.\u003c\/p\u003e","published_at":"2023-09-13T13:34:54-04:00","created_at":"2023-09-13T13:34:54-04:00","vendor":"The Bowdoin Store","type":"Book","tags":["Art","Bowdoin Alumni","History"],"price":6000,"price_min":6000,"price_max":6000,"available":true,"price_varies":false,"compare_at_price":6000,"compare_at_price_min":6000,"compare_at_price_max":6000,"compare_at_price_varies":false,"variants":[{"id":40590094368857,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"WBA431-Greet","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Transatlantic Encounters — Greet '93","public_title":null,"options":["Default Title"],"price":6000,"weight":0,"compare_at_price":6000,"inventory_quantity":1,"inventory_management":"shopify","inventory_policy":"deny","barcode":"9780300228427","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/store.bowdoin.edu\/cdn\/shop\/files\/wba431-transatlantic-greet.jpg?v=1694626496"],"featured_image":"\/\/store.bowdoin.edu\/cdn\/shop\/files\/wba431-transatlantic-greet.jpg?v=1694626496","options":["Title"],"media":[{"alt":"Transatlantic Encounters by Michele Greet","id":24333123715161,"position":1,"preview_image":{"aspect_ratio":1.0,"height":550,"width":550,"src":"\/\/store.bowdoin.edu\/cdn\/shop\/files\/wba431-transatlantic-greet.jpg?v=1694626496"},"aspect_ratio":1.0,"height":550,"media_type":"image","src":"\/\/store.bowdoin.edu\/cdn\/shop\/files\/wba431-transatlantic-greet.jpg?v=1694626496","width":550}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBy Michele Greet, Class of 1993\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAn unprecedented and comprehensive survey of Latin American artists in interwar Paris\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e Paris was the artistic capital of the world in the 1920s and ’30s, providing a home and community for the French and international avant-garde, whose experiments laid the groundwork for artistic production throughout the rest of the century. Latin American artists contributed to and reinterpreted nearly every major modernist movement that took place in the creative center of Paris between World War I and World War II, including Cubism (Diego Rivera), Surrealism (Antonio Berni and Roberto Matta), and Constructivism (Joaquín Torres-García). Yet their participation in the Paris art scene has remained largely overlooked until now. This vibrant book examines their collective role, surveying the work of both household names and an extraordinary array of lesser-known artists.\u003cbr data-mce-fragment=\"1\"\u003e  \u003cbr data-mce-fragment=\"1\"\u003e Author Michele Greet illuminates the significant ways in which Latin American expatriates helped establish modernism and, conversely, how a Parisian environment influenced the development of Latin American artistic identity. These artists, hailing from former Spanish and Portuguese colonies, encountered expectations of primitivism from their European audiences, and their diverse responses to such biased perceptions—ranging from rejection to embrace to selective reinterpretation of European tendencies—yielded a rich variety of formal innovation. Magnificently illustrated and conveying with clarity a nuanced portrait of modernism, \u003cem data-mce-fragment=\"1\"\u003eTransatlantic Encounters\u003c\/em\u003e also engages in a wider discussion of the relationship between displacement, identity formation, and artistic production.\u003c\/p\u003e\n\u003cp\u003e-From the publisher.\u003c\/p\u003e"}

{"id":7071591006297,"title":"Flowers for Lisa — Morell '71, H '97","handle":"flowers-for-lisa-morell-71-h-97","description":"\u003cp\u003e\u003cstrong\u003eBy Abelardo Morell, Class of 1971\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBest known for his surreal camera obscura pictures and luminous black-and-white photographs of books, photographer Abelardo Morell now turns his transformative lens to one of the most common of artistic subjects, the flower. The concept for \u003cem data-mce-fragment=\"1\"\u003eFlowers for Lisa\u003c\/em\u003e emerged when Morell gave his wife, Lisa, a photograph of flowers on her birthday. “Flowers are part of a long tradition of still life in art,” writes Morell. “Precisely because flowers are such a conventional subject, I felt a strong desire to describe them in new, inventive ways.” With nods to the work of Jan Brueghel, Édouard Manet, Georgia O’Keeffe, René Magritte, and others, Morell does just that; the images are as innovative as they are arresting.\u003c\/p\u003e\n\u003cp\u003e-From the publisher\u003c\/p\u003e","published_at":"2022-05-18T15:11:45-04:00","created_at":"2022-05-18T15:11:44-04:00","vendor":"The Bowdoin Store","type":"Book","tags":["Art","Bowdoin Alumni"],"price":6000,"price_min":6000,"price_max":6000,"available":true,"price_varies":false,"compare_at_price":6000,"compare_at_price_min":6000,"compare_at_price_max":6000,"compare_at_price_varies":false,"variants":[{"id":39987756367961,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"WBA415-Morell","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Flowers for Lisa — Morell '71, H '97","public_title":null,"options":["Default Title"],"price":6000,"weight":0,"compare_at_price":6000,"inventory_quantity":3,"inventory_management":"shopify","inventory_policy":"deny","barcode":"9781419732331","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/store.bowdoin.edu\/cdn\/shop\/products\/wba415-morell-flowers.jpg?v=1652901106"],"featured_image":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wba415-morell-flowers.jpg?v=1652901106","options":["Title"],"media":[{"alt":"Flowers for Lisa by Abelardo Morell","id":21905403019353,"position":1,"preview_image":{"aspect_ratio":1.0,"height":550,"width":550,"src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wba415-morell-flowers.jpg?v=1652901106"},"aspect_ratio":1.0,"height":550,"media_type":"image","src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wba415-morell-flowers.jpg?v=1652901106","width":550}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cstrong\u003eBy Abelardo Morell, Class of 1971\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBest known for his surreal camera obscura pictures and luminous black-and-white photographs of books, photographer Abelardo Morell now turns his transformative lens to one of the most common of artistic subjects, the flower. The concept for \u003cem data-mce-fragment=\"1\"\u003eFlowers for Lisa\u003c\/em\u003e emerged when Morell gave his wife, Lisa, a photograph of flowers on her birthday. “Flowers are part of a long tradition of still life in art,” writes Morell. “Precisely because flowers are such a conventional subject, I felt a strong desire to describe them in new, inventive ways.” With nods to the work of Jan Brueghel, Édouard Manet, Georgia O’Keeffe, René Magritte, and others, Morell does just that; the images are as innovative as they are arresting.\u003c\/p\u003e\n\u003cp\u003e-From the publisher\u003c\/p\u003e"}

{"id":6557366583385,"title":"The Physical Comedy Handbook — Robinson","handle":"the-physical-comedy-handbook-robinson","description":"\u003cp\u003e\u003cstrong\u003eBy Davis Robinson, \u003ca href=\"https:\/\/www.bowdoin.edu\/profiles\/faculty\/drobinso\/index.html\" target=\"_blank\" title=\"Davis Robinson faculty profile\" rel=\"noopener noreferrer\"\u003eProfessor of Theater\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"text\"\u003e\n\u003cp\u003eAlthough there are numerous books that examine physical comedy from a historic or aesthetic perspective, few provide guidance in how to do it. So where can actors and teachers go for instruction? To \u003ci\u003eThe Physical Comedy Handbook.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eThe Physical Comedy Handbook\u003c\/i\u003e is a one-of-a-kind resource for actors, teachers, and directors interested in physical comedy from slapstick pratfalls to the theater of the absurd. Davis Robinson believes that the basic physical skills of comedy can be taught to anyone. His twenty years of practical experience including workshops with Jacques LeCoq, Tony Montanaro, Bill Irwin, Avner Eisenberg, Mark Morris, and Ronlin Foreman--have taught him so. Robinson shares what he has learned in this book, providing a thorough explanation of a range of techniques for developing comic timing, writing original material, and working with scripts. The book includes numerous hands-on exercises designed to help anyone, regardless of experience, develop their sense of play.\u003c\/p\u003e\n\u003cp\u003eActing students will learn how to sharpen their physical skills. Teachers will learn how to structure and guide their students work. Actors will explore a range of comic styles. Directors will discover a number of tools for bringing comedy to life.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e-From the publisher.\u003c\/p\u003e","published_at":"2021-04-08T15:53:33-04:00","created_at":"2021-04-08T15:53:32-04:00","vendor":"The Bowdoin Store","type":"Book","tags":["Art","Bowdoin Faculty"],"price":1995,"price_min":1995,"price_max":1995,"available":true,"price_varies":false,"compare_at_price":1895,"compare_at_price_min":1895,"compare_at_price_max":1895,"compare_at_price_varies":false,"variants":[{"id":39299455451225,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"WBF352-Robinson","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"The Physical Comedy Handbook — Robinson","public_title":null,"options":["Default Title"],"price":1995,"weight":0,"compare_at_price":1895,"inventory_quantity":5,"inventory_management":"shopify","inventory_policy":"deny","barcode":"0325001146T","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf352-robinson-phys.jpg?v=1617911613"],"featured_image":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf352-robinson-phys.jpg?v=1617911613","options":["Title"],"media":[{"alt":"The Physical Comedy Handbook, by Davis Robinson","id":20330891935833,"position":1,"preview_image":{"aspect_ratio":1.0,"height":550,"width":550,"src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf352-robinson-phys.jpg?v=1617911613"},"aspect_ratio":1.0,"height":550,"media_type":"image","src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf352-robinson-phys.jpg?v=1617911613","width":550}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cstrong\u003eBy Davis Robinson, \u003ca href=\"https:\/\/www.bowdoin.edu\/profiles\/faculty\/drobinso\/index.html\" target=\"_blank\" title=\"Davis Robinson faculty profile\" rel=\"noopener noreferrer\"\u003eProfessor of Theater\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"text\"\u003e\n\u003cp\u003eAlthough there are numerous books that examine physical comedy from a historic or aesthetic perspective, few provide guidance in how to do it. So where can actors and teachers go for instruction? To \u003ci\u003eThe Physical Comedy Handbook.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eThe Physical Comedy Handbook\u003c\/i\u003e is a one-of-a-kind resource for actors, teachers, and directors interested in physical comedy from slapstick pratfalls to the theater of the absurd. Davis Robinson believes that the basic physical skills of comedy can be taught to anyone. His twenty years of practical experience including workshops with Jacques LeCoq, Tony Montanaro, Bill Irwin, Avner Eisenberg, Mark Morris, and Ronlin Foreman--have taught him so. Robinson shares what he has learned in this book, providing a thorough explanation of a range of techniques for developing comic timing, writing original material, and working with scripts. The book includes numerous hands-on exercises designed to help anyone, regardless of experience, develop their sense of play.\u003c\/p\u003e\n\u003cp\u003eActing students will learn how to sharpen their physical skills. Teachers will learn how to structure and guide their students work. Actors will explore a range of comic styles. Directors will discover a number of tools for bringing comedy to life.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e-From the publisher.\u003c\/p\u003e"}

{"id":6538917904473,"title":"Sculpture — Hooke '64","handle":"sculpture-hooke-64","description":"\u003cp\u003e\u003cstrong\u003eBy Robert L. Hooke, Class of 1964\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHandsome art volume of sculpture by Robert L. Hooke, Bowdoin Class of 1964.\u003c\/p\u003e","published_at":"2021-03-03T16:01:18-05:00","created_at":"2021-03-03T16:01:02-05:00","vendor":"The Bowdoin Store","type":"Book","tags":["Art","Bowdoin Alumni"],"price":3995,"price_min":3995,"price_max":3995,"available":true,"price_varies":false,"compare_at_price":3995,"compare_at_price_min":3995,"compare_at_price_max":3995,"compare_at_price_varies":false,"variants":[{"id":39256821235801,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"WBA291-Hooke","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Sculpture — Hooke '64","public_title":null,"options":["Default Title"],"price":3995,"weight":0,"compare_at_price":3995,"inventory_quantity":10,"inventory_management":"shopify","inventory_policy":"deny","barcode":"9780983541905","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/store.bowdoin.edu\/cdn\/shop\/products\/wba291-hooke-sculpture.jpg?v=1614805263"],"featured_image":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wba291-hooke-sculpture.jpg?v=1614805263","options":["Title"],"media":[{"alt":"Robert L. Hooke Sculpture by Robert L. Hooke '64","id":20240042295385,"position":1,"preview_image":{"aspect_ratio":1.0,"height":552,"width":552,"src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wba291-hooke-sculpture.jpg?v=1614805263"},"aspect_ratio":1.0,"height":552,"media_type":"image","src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wba291-hooke-sculpture.jpg?v=1614805263","width":552}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cstrong\u003eBy Robert L. Hooke, Class of 1964\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHandsome art volume of sculpture by Robert L. Hooke, Bowdoin Class of 1964.\u003c\/p\u003e"}

{"id":6538892181593,"title":"Gendered Bodies — Cui","handle":"gendered-bodies-cui","description":"\u003cp\u003e\u003cstrong\u003eBy Shuqin Cui, \u003ca href=\"https:\/\/www.bowdoin.edu\/profiles\/faculty\/scui2\/index.html\" title=\"Shuqin Cui faculty profile\"\u003eBowdoin Professor of Asian Studies and Cinema Studies\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis book introduces readers to women's visual art in contemporary China by examining how the visual process of gendering reshapes understandings of historiography, sexuality, pain, and space. When artists take the body as the subject of female experience and the medium of aesthetic experiment, they reveal a wealth of noncanonical approaches to art. The insertion of women's narratives into Chinese art history rewrites a historiography that has denied legitimacy to the woman artist. The gendering of sexuality reveals that the female body incites pleasure in women themselves, reversing the dynamic from woman as desired object to woman as desiring subject. The gendering of pain demonstrates that for those haunted by the sociopolitical past, the body can articulate traumatic memories and psychological torment. The gendering of space transforms the female body into an emblem of landscape devastation, remaps ruin aesthetics, and extends the politics of gender identity into cyberspace and virtual reality. The book presents a critical review of women's art in contemporary China in relation to art traditions, classical and contemporary. Inscribing the female body into art generates not only visual experimentation, but also interaction between local art\/cultural production and global perception. While artists may seek inspiration and exhibition space abroad, they often reject the (Western) label “feminist artist.”\u003c\/p\u003e\n\u003cp\u003e-From the publisher.\u003c\/p\u003e","published_at":"2021-03-03T15:01:20-05:00","created_at":"2021-03-03T15:00:03-05:00","vendor":"The Bowdoin Store","type":"Book","tags":["Art","Bowdoin Faculty","Non-Fiction"],"price":5299,"price_min":5299,"price_max":5299,"available":true,"price_varies":false,"compare_at_price":5500,"compare_at_price_min":5500,"compare_at_price_max":5500,"compare_at_price_varies":false,"variants":[{"id":39256665817177,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"WBF283-Cui","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Gendered Bodies — Cui","public_title":null,"options":["Default Title"],"price":5299,"weight":0,"compare_at_price":5500,"inventory_quantity":1,"inventory_management":"shopify","inventory_policy":"deny","barcode":"9780824840037","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf283-cui-gendered.jpg?v=1614802570"],"featured_image":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf283-cui-gendered.jpg?v=1614802570","options":["Title"],"media":[{"alt":"Gendered Bodies by Shuqin Cui","id":20239877701721,"position":1,"preview_image":{"aspect_ratio":1.0,"height":552,"width":552,"src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf283-cui-gendered.jpg?v=1614802570"},"aspect_ratio":1.0,"height":552,"media_type":"image","src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf283-cui-gendered.jpg?v=1614802570","width":552}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cstrong\u003eBy Shuqin Cui, \u003ca href=\"https:\/\/www.bowdoin.edu\/profiles\/faculty\/scui2\/index.html\" title=\"Shuqin Cui faculty profile\"\u003eBowdoin Professor of Asian Studies and Cinema Studies\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis book introduces readers to women's visual art in contemporary China by examining how the visual process of gendering reshapes understandings of historiography, sexuality, pain, and space. When artists take the body as the subject of female experience and the medium of aesthetic experiment, they reveal a wealth of noncanonical approaches to art. The insertion of women's narratives into Chinese art history rewrites a historiography that has denied legitimacy to the woman artist. The gendering of sexuality reveals that the female body incites pleasure in women themselves, reversing the dynamic from woman as desired object to woman as desiring subject. The gendering of pain demonstrates that for those haunted by the sociopolitical past, the body can articulate traumatic memories and psychological torment. The gendering of space transforms the female body into an emblem of landscape devastation, remaps ruin aesthetics, and extends the politics of gender identity into cyberspace and virtual reality. The book presents a critical review of women's art in contemporary China in relation to art traditions, classical and contemporary. Inscribing the female body into art generates not only visual experimentation, but also interaction between local art\/cultural production and global perception. While artists may seek inspiration and exhibition space abroad, they often reject the (Western) label “feminist artist.”\u003c\/p\u003e\n\u003cp\u003e-From the publisher.\u003c\/p\u003e"}

{"id":4638247485529,"title":"L.A. River — Kolster","handle":"l-a-river","description":"\u003cp\u003eBy Michael Kolster\u003cbr\u003e\u003ca href=\"https:\/\/www.bowdoin.edu\/profiles\/faculty\/mkolster\/index.html\" target=\"_blank\" title=\"Michael Kolster faculty website\" rel=\"noopener noreferrer\"\u003eProfessor of Art\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eThree centuries ago, the Los Angeles River meandered through marshes and forests of willow and sycamore. Trout spawned in its waters, and grizzly bears roamed its shores in search of food. The river and its adjacent woodlands helped support one of the largest concentrations of indigenous peoples in North America, and it also largely determined the location of the first Spanish Pueblo and ultimately the city itself. The Los Angeles River was also the city's sole source of water for more than a century before flood-control projects made the river a ribbon of concrete.\u003c\/p\u003e\n\u003cp\u003eMichael Kolster, in \u003cem\u003eL.A. River\u003c\/em\u003e, relies on a nineteenth-century photographic technology to render the Los Angeles River today, from its headwaters in Canoga Park and the suburbs of the San Fernando Valley to its mouth at the Pacific Ocean in Long Beach. Coincidentally, the founding of the city of Los Angeles and California's achievement of statehood in 1850 coincide historically with the invention of the wet-plate photographic process, forever linking the city and state with the centrality of photography. The emotionally moving images that define \u003cem\u003eL.A. River\u003c\/em\u003e show a feature of the city's landscape that initially attracted native peoples to its banks and gave rise to the formation of our nation's second-largest city.\u003c\/p\u003e\n\u003cp\u003eChanneled in concrete during the last century to control flooding, the river was all but removed from the life of the city until the turn of the twenty-first century, when concerted efforts were made by some to peel back some of the concrete and let nature live once again. In his photographic journey, Kolster considers both the past and present and how the accumulation of life along the river suggests a larger a role for the L.A. River in the lives of the city's inhabitants.\u003c\/p\u003e\n\u003cp\u003e-From the publisher.\u003c\/p\u003e\n\u003cp\u003eHardcover\u003c\/p\u003e","published_at":"2020-05-26T09:26:57-04:00","created_at":"2020-05-26T09:33:53-04:00","vendor":"Bowdoin College","type":"Book","tags":["Art","Bowdoin Faculty"],"price":4000,"price_min":4000,"price_max":4000,"available":true,"price_varies":false,"compare_at_price":4000,"compare_at_price_min":4000,"compare_at_price_max":4000,"compare_at_price_varies":false,"variants":[{"id":31876779376729,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"WBF248-Kolster","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"L.A. River — Kolster","public_title":null,"options":["Default Title"],"price":4000,"weight":0,"compare_at_price":4000,"inventory_quantity":2,"inventory_management":"shopify","inventory_policy":"deny","barcode":"9781938086649","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/store.bowdoin.edu\/cdn\/shop\/products\/wba248-lariver-kolster.jpg?v=1614106575"],"featured_image":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wba248-lariver-kolster.jpg?v=1614106575","options":["Title"],"media":[{"alt":"L.A. River by Michael Kolster","id":6342752075865,"position":1,"preview_image":{"aspect_ratio":1.0,"height":550,"width":550,"src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wba248-lariver-kolster.jpg?v=1614106575"},"aspect_ratio":1.0,"height":550,"media_type":"image","src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wba248-lariver-kolster.jpg?v=1614106575","width":550}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eBy Michael Kolster\u003cbr\u003e\u003ca href=\"https:\/\/www.bowdoin.edu\/profiles\/faculty\/mkolster\/index.html\" target=\"_blank\" title=\"Michael Kolster faculty website\" rel=\"noopener noreferrer\"\u003eProfessor of Art\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eThree centuries ago, the Los Angeles River meandered through marshes and forests of willow and sycamore. Trout spawned in its waters, and grizzly bears roamed its shores in search of food. The river and its adjacent woodlands helped support one of the largest concentrations of indigenous peoples in North America, and it also largely determined the location of the first Spanish Pueblo and ultimately the city itself. The Los Angeles River was also the city's sole source of water for more than a century before flood-control projects made the river a ribbon of concrete.\u003c\/p\u003e\n\u003cp\u003eMichael Kolster, in \u003cem\u003eL.A. River\u003c\/em\u003e, relies on a nineteenth-century photographic technology to render the Los Angeles River today, from its headwaters in Canoga Park and the suburbs of the San Fernando Valley to its mouth at the Pacific Ocean in Long Beach. Coincidentally, the founding of the city of Los Angeles and California's achievement of statehood in 1850 coincide historically with the invention of the wet-plate photographic process, forever linking the city and state with the centrality of photography. The emotionally moving images that define \u003cem\u003eL.A. River\u003c\/em\u003e show a feature of the city's landscape that initially attracted native peoples to its banks and gave rise to the formation of our nation's second-largest city.\u003c\/p\u003e\n\u003cp\u003eChanneled in concrete during the last century to control flooding, the river was all but removed from the life of the city until the turn of the twenty-first century, when concerted efforts were made by some to peel back some of the concrete and let nature live once again. In his photographic journey, Kolster considers both the past and present and how the accumulation of life along the river suggests a larger a role for the L.A. River in the lives of the city's inhabitants.\u003c\/p\u003e\n\u003cp\u003e-From the publisher.\u003c\/p\u003e\n\u003cp\u003eHardcover\u003c\/p\u003e"}

{"id":63386472,"title":"Horror after 9\/11 — Briefel","handle":"horror-after-9-11-world-of-fear-cinema-of-terrror","description":"\u003cp\u003e\u003cb\u003eEdited by Aviva Briefel, \u003ca href=\"http:\/\/www.bowdoin.edu\/faculty\/a\/abriefel\/\"\u003eProfessor of English and Cinema Studies\u003c\/a\u003e\u003cbr\u003eand Sam J. Miller\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e Horror films have exploded in popularity since the tragic events of September 11, 2001, many of them breaking box office records and generating broad public discourse.  These films have attracted A-list talent and earned award nods, while at the same time becoming darker, more disturbing, and increasingly apocalyptic.  Why has horror suddenly become more popular, and what does this say about us?  What do specific horror films and trends convey about American society in the wake of events so horrific that many pundits initially predicted the death of the genre?  How could American audiences, after tasting real horror, want to consume images of violence on screen?\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eHorror after 9\/11 \u003c\/i\u003erepresents the first major exploration of the horror genre through the lens of 9\/11 and the subsequent transformation of American and global society.  Films discussed include the \u003ci\u003eTwilight \u003c\/i\u003esaga; the \u003ci\u003eSaw\u003c\/i\u003e series; \u003ci\u003eHostel\u003c\/i\u003e; \u003ci\u003eCloverfield\u003c\/i\u003e; \u003ci\u003e28 Days Later\u003c\/i\u003e; remakes of \u003ci\u003eThe Texas Chainsaw Massacre\u003c\/i\u003e, \u003ci\u003eDawn of the Dead\u003c\/i\u003e, and \u003ci\u003eThe Hills Have Eyes\u003c\/i\u003e; and many more.  The contributors analyze recent trends in the horror genre, including the rise of \"torture porn,\" the big-budget remakes of classic horror films, the reinvention of traditional monsters such as vampires and zombies, and a new awareness of visual technologies as sites of horror in themselves.  The essays examine the allegorical role that the horror film has held in the last ten years, and the ways that it has been translating and reinterpreting the discourses and images of terror into its own cinematic language.\u003c\/p\u003e\n\u003cp\u003e- From the jacket.\u003c\/p\u003e\n\u003cp\u003ePaperback.\u003c\/p\u003e","published_at":"2011-10-31T16:05:00-04:00","created_at":"2011-10-31T16:05:02-04:00","vendor":"University of Texas Press","type":"Book","tags":["Art","Bowdoin Faculty","Non-Fiction"],"price":5500,"price_min":5500,"price_max":5500,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":151733542,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"WBA199","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Horror after 9\/11 — Briefel","public_title":null,"options":["Default Title"],"price":5500,"weight":0,"compare_at_price":null,"inventory_quantity":4,"inventory_management":"shopify","inventory_policy":"deny","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf199-briefel-horror.jpg?v=1614029707"],"featured_image":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf199-briefel-horror.jpg?v=1614029707","options":["Title"],"media":[{"alt":"Horror After 9\/11 by Aviva Briefel","id":7516051112025,"position":1,"preview_image":{"aspect_ratio":1.0,"height":550,"width":550,"src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf199-briefel-horror.jpg?v=1614029707"},"aspect_ratio":1.0,"height":550,"media_type":"image","src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf199-briefel-horror.jpg?v=1614029707","width":550}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cb\u003eEdited by Aviva Briefel, \u003ca href=\"http:\/\/www.bowdoin.edu\/faculty\/a\/abriefel\/\"\u003eProfessor of English and Cinema Studies\u003c\/a\u003e\u003cbr\u003eand Sam J. Miller\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e Horror films have exploded in popularity since the tragic events of September 11, 2001, many of them breaking box office records and generating broad public discourse.  These films have attracted A-list talent and earned award nods, while at the same time becoming darker, more disturbing, and increasingly apocalyptic.  Why has horror suddenly become more popular, and what does this say about us?  What do specific horror films and trends convey about American society in the wake of events so horrific that many pundits initially predicted the death of the genre?  How could American audiences, after tasting real horror, want to consume images of violence on screen?\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eHorror after 9\/11 \u003c\/i\u003erepresents the first major exploration of the horror genre through the lens of 9\/11 and the subsequent transformation of American and global society.  Films discussed include the \u003ci\u003eTwilight \u003c\/i\u003esaga; the \u003ci\u003eSaw\u003c\/i\u003e series; \u003ci\u003eHostel\u003c\/i\u003e; \u003ci\u003eCloverfield\u003c\/i\u003e; \u003ci\u003e28 Days Later\u003c\/i\u003e; remakes of \u003ci\u003eThe Texas Chainsaw Massacre\u003c\/i\u003e, \u003ci\u003eDawn of the Dead\u003c\/i\u003e, and \u003ci\u003eThe Hills Have Eyes\u003c\/i\u003e; and many more.  The contributors analyze recent trends in the horror genre, including the rise of \"torture porn,\" the big-budget remakes of classic horror films, the reinvention of traditional monsters such as vampires and zombies, and a new awareness of visual technologies as sites of horror in themselves.  The essays examine the allegorical role that the horror film has held in the last ten years, and the ways that it has been translating and reinterpreting the discourses and images of terror into its own cinematic language.\u003c\/p\u003e\n\u003cp\u003e- From the jacket.\u003c\/p\u003e\n\u003cp\u003ePaperback.\u003c\/p\u003e"}

{"id":57143332,"title":"The Book of Ice — Miller '92","handle":"the-book-of-ice","description":"\u003cp\u003e\u003cb\u003eBy Paul D. Miller '92\u003cbr\u003e a.k.a. DJ Spooky That Subliminal Kid\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eThe unforgiving and nationless continent of Antarctica serves as the perfect point of entry for considering our relationship with the natural world.  Inspired by his visits to this frozen landscape, Paul D. Miller, a.k.a. DJ Spooky , created \u003ci\u003eThe Book of Ice \u003c\/i\u003eto offer his visual and textual meditations on Antarctica as a place and metaphor.\u003c\/p\u003e\n\u003cp\u003e-From the back cover.\u003c\/p\u003e\n\u003cp\u003eHardcover.\u003c\/p\u003e","published_at":"2011-09-30T10:27:00-04:00","created_at":"2011-09-30T10:27:19-04:00","vendor":"Mark Batty Publisher","type":"Book","tags":["Art","Bowdoin Alumni"],"price":2995,"price_min":2995,"price_max":2995,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":134465272,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"WBA193","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"The Book of Ice — Miller '92","public_title":null,"options":["Default Title"],"price":2995,"weight":0,"compare_at_price":null,"inventory_quantity":2,"inventory_management":"shopify","inventory_policy":"deny","barcode":"9781935613145","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/store.bowdoin.edu\/cdn\/shop\/products\/wba193-miller-book.jpg?v=1614025835"],"featured_image":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wba193-miller-book.jpg?v=1614025835","options":["Title"],"media":[{"alt":"Book of Ice by Paul Miller '92, aka DJ Spooky","id":7515964014681,"position":1,"preview_image":{"aspect_ratio":1.0,"height":550,"width":550,"src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wba193-miller-book.jpg?v=1614025835"},"aspect_ratio":1.0,"height":550,"media_type":"image","src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wba193-miller-book.jpg?v=1614025835","width":550}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cb\u003eBy Paul D. Miller '92\u003cbr\u003e a.k.a. DJ Spooky That Subliminal Kid\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eThe unforgiving and nationless continent of Antarctica serves as the perfect point of entry for considering our relationship with the natural world.  Inspired by his visits to this frozen landscape, Paul D. Miller, a.k.a. DJ Spooky , created \u003ci\u003eThe Book of Ice \u003c\/i\u003eto offer his visual and textual meditations on Antarctica as a place and metaphor.\u003c\/p\u003e\n\u003cp\u003e-From the back cover.\u003c\/p\u003e\n\u003cp\u003eHardcover.\u003c\/p\u003e"}

{"id":32898562,"title":"The Deceivers — Briefel","handle":"the-deceivers-art-forgery-identity-in-the-nineteenth-century","description":"\u003cspan style=\"font-weight: bold;\"\u003e By Aviva Briefel\u003c\/span\u003e\u003cbr style=\"font-weight: bold;\"\u003e\u003ca href=\"http:\/\/www.bowdoin.edu\/faculty\/a\/abriefel\/\"\u003e\u003cspan style=\"font-weight: bold;\"\u003eProfessor of English and Cinema Studies\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e \u003cbr\u003e The nineteenth century witnessed an unprecedented increase in art forgery, caused both by the advent of national museums and by a rapidly growing bourgeois interest in collecting objects from the past. This rise had profound repercussions on notions of selfhood and national identity within and outside the realm of art. Although art critics denounced forgery for its affront to artistic traditions, they were fascinated by its power to shape the human and object worlds and adoped a language of art forgery to articulate a link between the making of fakes and the making of selves. \u003cspan style=\"font-style: italic;\"\u003eThe Deceivers\u003c\/span\u003e explores the intersections among artistic crime, literary narrative, and the definition of identity.\u003cbr\u003e \u003cbr\u003e Literary texts joined more specialized artistic discourses in describing the various identities associated with art forgery: the forger, the copyist, the art expert, the dealer, the restorer. Built into new characters were assumptions about gender, sexuality, race, and nationality that themselves would come to be presented in a language of artistic authenticity. Aviva Briefel places special emphasis on the gendered distinction between male forgers and female copyists. \"Copying,\" a benign occupation when undertaken by a woman, became \"forgery,\" laden with criminal intent, when performed by men. Those who could successfully produce, handle, or detect spurious things and selves were distinguished from others who were incapable of distinguishing the authentic from the artistic and human forgeries.\u003cbr\u003e \u003cbr\u003e Through close reading of literary narratives such as \u003cspan style=\"font-style: italic;\"\u003eTrilby\u003c\/span\u003e and \u003cspan style=\"font-style: italic;\"\u003eThe Marble Faun\u003c\/span\u003e as well as newspaper accounts of forgery scandals, \u003cspan style=\"font-style: italic;\"\u003eThe Deceivers\u003c\/span\u003e reveals the identities -- both authentic and fake -- that emerged from the Victorian culture of forgery.\u003cbr\u003e - From the jacket.\u003cbr\u003e \u003cbr\u003e Hardcover.","published_at":"2011-02-22T10:32:00-05:00","created_at":"2011-02-22T10:32:30-05:00","vendor":"Bowdoin College","type":"Book","tags":["Art","Bowdoin Faculty","History"],"price":4195,"price_min":4195,"price_max":4195,"available":true,"price_varies":false,"compare_at_price":3995,"compare_at_price_min":3995,"compare_at_price_max":3995,"compare_at_price_varies":false,"variants":[{"id":77640402,"title":"Default","option1":"Default","option2":null,"option3":null,"sku":"WBF141","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"The Deceivers — Briefel","public_title":null,"options":["Default"],"price":4195,"weight":0,"compare_at_price":3995,"inventory_quantity":2,"inventory_management":"shopify","inventory_policy":"deny","barcode":"9780801444609","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf141-briefel-deceivers.jpg?v=1614030628"],"featured_image":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf141-briefel-deceivers.jpg?v=1614030628","options":["Title"],"media":[{"alt":"The Deceivers by Aviva Briefel","id":7516078014553,"position":1,"preview_image":{"aspect_ratio":1.0,"height":550,"width":550,"src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf141-briefel-deceivers.jpg?v=1614030628"},"aspect_ratio":1.0,"height":550,"media_type":"image","src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf141-briefel-deceivers.jpg?v=1614030628","width":550}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cspan style=\"font-weight: bold;\"\u003e By Aviva Briefel\u003c\/span\u003e\u003cbr style=\"font-weight: bold;\"\u003e\u003ca href=\"http:\/\/www.bowdoin.edu\/faculty\/a\/abriefel\/\"\u003e\u003cspan style=\"font-weight: bold;\"\u003eProfessor of English and Cinema Studies\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e \u003cbr\u003e The nineteenth century witnessed an unprecedented increase in art forgery, caused both by the advent of national museums and by a rapidly growing bourgeois interest in collecting objects from the past. This rise had profound repercussions on notions of selfhood and national identity within and outside the realm of art. Although art critics denounced forgery for its affront to artistic traditions, they were fascinated by its power to shape the human and object worlds and adoped a language of art forgery to articulate a link between the making of fakes and the making of selves. \u003cspan style=\"font-style: italic;\"\u003eThe Deceivers\u003c\/span\u003e explores the intersections among artistic crime, literary narrative, and the definition of identity.\u003cbr\u003e \u003cbr\u003e Literary texts joined more specialized artistic discourses in describing the various identities associated with art forgery: the forger, the copyist, the art expert, the dealer, the restorer. Built into new characters were assumptions about gender, sexuality, race, and nationality that themselves would come to be presented in a language of artistic authenticity. Aviva Briefel places special emphasis on the gendered distinction between male forgers and female copyists. \"Copying,\" a benign occupation when undertaken by a woman, became \"forgery,\" laden with criminal intent, when performed by men. Those who could successfully produce, handle, or detect spurious things and selves were distinguished from others who were incapable of distinguishing the authentic from the artistic and human forgeries.\u003cbr\u003e \u003cbr\u003e Through close reading of literary narratives such as \u003cspan style=\"font-style: italic;\"\u003eTrilby\u003c\/span\u003e and \u003cspan style=\"font-style: italic;\"\u003eThe Marble Faun\u003c\/span\u003e as well as newspaper accounts of forgery scandals, \u003cspan style=\"font-style: italic;\"\u003eThe Deceivers\u003c\/span\u003e reveals the identities -- both authentic and fake -- that emerged from the Victorian culture of forgery.\u003cbr\u003e - From the jacket.\u003cbr\u003e \u003cbr\u003e Hardcover."}