For more than two thousand years, a secret army of life-size terra-cotta soldiers lay buried underground in China. But in 1974, some farmers digging a well discovered the first of what turned out to be an army of more than 7,000. Who made them? And why? In this fascinating reader, kids will learn all about one of the wonders of the ancient world and the fierce first emperor of China.
Media screens—film, video, and computer screens—have increasingly pervaded both artistic production and everyday life since the 1960s. Yet the nature of viewing artworks made from these media, along with their subjective effects, remains largely unexplored. Screens addresses this gap, offering a historical and theoretical framework for understanding screen-reliant installation art and the spectatorship it evokes. Examining a range of installations created over the past fifty years that investigate the rich terrain between the sculptural and the cinematic, including works by artists such as Eija-Liisa Ahtila, Doug Aitken, Peter Campus, Dan Graham, VALIE EXPORT, Bruce Nauman, and Michael Snow, Kate Mondloch traces the construction of screen spectatorship in art from the seminal film and video installations of the 1960s and 1970s to the new media artworks of today’s digital culture. Mondloch identifies a momentous shift in contemporary art that challenges key premises of spectatorship brought about by technological objects that literally and metaphorically filter the subject’s field of vision. As a result she proposes that contemporary viewers are, quite literally, screen subjects and offers the unique critical leverage of art as an alternative way to understand media culture and contemporary visuality.
It was world-famous sculptor Gutzon Borglum's dream to carve sixty-foot-high likenesses of four presidents on a granite cliff in South Dakota. Does that sound like a wacky idea? Many at the time thought so. Borglum faced a lot of opposition and problems at every turn; the blasting and carving carried out through the years of the Great Depression when funding for anything was hard to come by. Yet Mount Rushmore now draws almost three million visitors to the Black Hills every year. This is an entertaining chronicle of one man's magnificent obsession, which even today sparks controversy.