Amy Dempsey – författare

From the Renaissance to the present day, this is the history of art told through the female form, with over 80 works of art. A cultural mirror of the times, the female body has captivated both artists and audiences for centuries. But what can we learn from these pieces of art? What are they trying to tell us about the world we live in? And how has that changed over time? Explore the luminous portraiture of Gustav Klimt, astonishing wartime photography from Lee Miller and the ground-breaking performance art of Marina Abramović. Meet Leonor Fini's shepherdess, Barkley L. Hendricks's 'Madonna', Graciela Iturbide's 'Medusa', Toyin Ojih Odutola's adventuresses and Hayv Kahraman's 'army of fierce women'.Discover the idealized female body as envisioned by Sandro Botticelli and the gender non-conforming portraits of Zanele Muholi and Yuki Kihara, as Amy Dempsey looks at how and why the female body has been depicted time and time again, and why its portrayal has often delivered important messages about - and to - the world.With a foreword by writer and curator, Hettie Judah.

Modern Art takes the reader through individual movements from Impressionism to Conceptual Art, situating these within five broader chronological themes. Starting with Impressionism in 1860, Dempsey proceeds through the essentials of Modernism, the post-war New Disorder and beyond. The material is arranged with great care to lead the reader through over seventy essential topics of modern art in a practical and easy-to-navigate structure. Each boldly designed feature includes a clear definition of the theme, a list of key artists, features, media and collections, and expertly curated illustrations with explanatory captions. A reference section includes a useful glossary of modern art terms, an easy-to-navigate timeline and suggestions for further reading.

Surrealism was launched as a literary and artistic movement by French poet André Breton in 1924, and by the time of his death in 1966 had become one of the most popular art movements of the 20th century. Its very name has entered everyday usage as a synonym for bizarre. Taking the reader on a narrative journey through the history of Surrealism, this book is a digestible introduction to the movement’s key figures, their works and where to find them. Complete with a glossary of key terms and chronology, this new addition to the Art Essentials series provides an indispensable resource for anyone interested in learning about this most influential of art phenomena.

Manifesting in a broad range of media, from massive land and environmental works and extensive sculpture parks to giant public murals, ‘destination art’ demands to be found and met in its own space and on its own terms. Some works require a committed pilgrimage to find – in deserts, forests, and quarries, on farmland and in mountains, in ghost towns and nature reserves. Others might be hidden gems in urban environments. What unites them in every instance is an artistic symbiosis between the installation and its setting. Through the eyes of renowned art historian Amy Dempsey, the magic of public art comes alive – and while the art is undoubtedly important, the journey there is often equally so. Perfect both for armchair adventurers and keen globetrotters, Destination Art offers a clear way in to a vast subject. From the vibrant Rainbow Village in Taiwan and the Rock Garden of Chandigarh, to Antony Gormley’s Inside Australia at Lake Ballard, Dempsey expertly guides readers through the most exciting and significant destination artworks in the world. Each featured installation is accompanied by a short essay, stunning photographs and useful information on key works and where to find them.With 104 illustrations in colour

A essential reference for anyone seeking to understand 20th- and 21st-century art. Organized chronologically, Styles, Schools and Movements offers fully cross-referenced summaries of over 300 major and minor movements, from Arts and Crafts and Impressionism to Destination Art and Afrofuturism, tracing intriguing patterns of influence across styles and over time. Enhanced with a comprehensive timeline, further reading suggestions and details of major international collections, the book serves as both an accessible introduction and a valuable resource for deeper exploration. Thoroughly updated and expanded, this new edition brings the original publication firmly into the contemporary era. New entries – such as Art and Nature, Black Atlantic and Indigenous Futurism – highlight emerging discourses, while newly featured artists – including El Anatsui, Frida Kahlo, Hilma af Klint, Faith Ringgold and Ai Weiwei – reflect the ever-evolving landscape of global art in the 21st century.

From the Renaissance to the present day, this is the history of art told through the female form, with over 80 works of art. A cultural mirror of the times, the female body has captivated both artists and audiences for centuries. But what can we learn from these pieces of art? What are they trying to tell us about the world we live in? And how has that changed over time? Explore the luminous portraiture of Gustav Klimt, astonishing wartime photography from Lee Miller and the ground-breaking performance art of Marina Abramovi . Meet Leonor Fini's shepherdess, Barkley L. Hendricks's 'Madonna', Graciela Iturbide's 'Medusa', Toyin Ojih Odutola's adventuresses and Hayv Kahraman's 'army of fierce women'.Discover the idealized female body as envisioned by Sandro Botticelli and the gender non-conforming portraits of Zanele Muholi and Yuki Kihara, as Amy Dempsey looks at how and why the female body has been depicted time and time again, and why its portrayal has often delivered important messages about - and to - the world.

'It seems that making art is chasing after an elusive dream of perfection that sits somewhere in my head. It will not go away, even after fifty years of trying. After all this time the process of holding materials, rubbing, crushing, cradling or just placing them violently or tenderly, is what it's about. Every action is a stream of discovery of something that hasn't existed before - it's a miracle and a bloody disaster. And so every sculpture leads to the next piece in the great puzzle. Much of this work is initiated in the subconscious. The different processes connect me with something physical or metaphysical that needs to be understood. In this way I discovered and dealt with past trauma. Things that didn't make sense but once transposed into clay became obvious. In this way personal experiences were opened out into universal experiences.'