Best Selling Books by Marina Warner

Depicting a skating party on a frozen river in the Fens, this novel draws together fragments of myth, painting and tribal custom, to create a picture of people tragically at odds in their need for love and in their mastery of the ways to meet it.

Using the method and approach of an anthropologist, Marina Warner describes the tribal behaviour of the new savages - British adults in the late Eighties - and the declining role played by children in this new society.

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Art-writing at its most useful should share the dynamism, fluidity and passions of the objects of its enquiry, argues Marina Warner. In this new anthology of some of her most compelling work, she captures the visual experience of the work of several artists with a notable focus on the inner lives of women through an exploration of the range of stories and symbols to which they allude. Metamorphosis features vividly in the imagery, stories and media of the art that Warner has chosen to write about: in connection with animals in the work of Louise Bourgeois, for instance; with the Catholicism of Damien Hirst; and with performance as a medium of memory and resistance in the installations of Joan Jonas. Rather than drawing on connoisseurship, the authors approach grows principally out of anthropology and mythology. She argues that art and aesthetics increasingly fulfil a magical social function a principle that runs through these writings to give the collection a quality that is polemical as well as coherent. With an introductory essay and illustrations throughout, Marina Warner investigates how artists noted for their treatment of disturbing, uncanny material have reached beyond the visible, to express interior states. Truly inspiring, her writing unites the imagination of artist, writer and reader, creating a reading experience parallel to the intrinsic pleasure of looking at art.

An illustrated exploration of Helen Chadwick’s erotic, playful, and fierce 1986 installation. In 1986 the Institute of Contemporary Arts in London showed a new commission by the artist Helen Chadwick (1954–1996). What Chadwick conceived for the ICA exhibition explored her characteristic themes—the female body (her own), the aesthetics of pleasure, the material variety and wonder of phenomena—but took them in a new, flamboyant direction. In this illustrated volume, Marina Warner examines one part of Chadwick’s installation, The Oval Court. This work was erotic, playful, and fierce; it showed imaginative ambition on an exceptional scale and a unique, piquant sensibility, both raunchy and delicate. Despite the work’s recognition as a feminist monument of rare intensity, it has rarely been shown or discussed since the author’s catalogue essay for the original exhibition. Warner here reconsiders Chadwick’s influence as an artist who helped to shift conventional aesthetics and transvalue despised, even abominated forms. Exploring the work’s richly layered composition in light of intervening years, Warner shows how Chadwick’s imagination has shaped many artists’ ideas and ethics, and emboldened their adventures with materials.

Artists featured include Tacita Dean, Katie Paterson, Nina Canell, Pablo Bronstein, Charles Le Brun, Gerard Byrne, Phillip Henry Gosse, John Dee, Adam Broomberg and Oliver Chanarin, Corinne May Botz, Gunda Forster, Matt Mullican, Toril Johannessen, Anna Atkins, Nina Katchadourian, Laurent Grasso, Salvatore Arancio, Aurelien Froment, Leopold and Rudolph Blaschka, and the taxidermy of Thomas Grunfeld.

ufeffWhat does it mean to ''kiss and part''? This collection of previously unpublished short stories from a stellar list of contemporary women novelists is a literary celebration of the spirit of place. Each contributor shares one thing in common - they have all stayed at a small cottage in the village of Clifford Chambers near Stratford-upon-Avon, courtesy of a trust set up to provide women writers with ‘a room of one’s own’, as Virginia Woolf put it. Clifford Chambers was the home of the Jacobean poet Michael Drayton, who incorporated the phrase ‘Kiss and part’ into a sonnet. Each of the ten short stories in this collection takes this as its theme and the result is wonderfully eclectic mix of storytelling of the highest quality. All royalties go the Hosking Houses Trust to further encourage women’s writing. Contents List Preface ‘Kiss and Part’ by Michael Drayton Introduction by Margaret Drabble Buck Moon Marina Warner ‘A Merrie Meeting’ Salley Vickers The Incumbent Elizabeth Speller ‘Colossal Wreck’ Maria McCann The Visitation Maggie Gee And the River Flows On Joan Bakewell The Creature Jill Dawson The Turn Catherine Fox The Fabric of Things Jo Baker ‘Place of Dreams’ Lucy Durneen The Writers Afterword by Sarah Hosking Acknowledgements of Photographs

Light and shadow, reflection, colour and motion - these are the primary elements of visual art. Shadow play, tricks of perspective, anamorphoses and magic lanterns have fascinated artists and craftsmen throughout the centuries and continue to inspire and stimulate the imagination to this day. The Art of Illusion explores this world of perceptual paradox through the astonishing collection of the German experimental filmmaker Werner Nekes, and the work of contemporary artists including Christian Boltanski, Carsten Holler, Tony Oursler and Markus Raetz.The Art of Illusion illustrates a vast range of intriguing optical media and artworks from the sixteenth to the twenty-first centuries - manuscripts, prints and books, optical devices and experiments, early cameras, games and toys. This handsome volume incorporates optical tricks, puzzles and illusions, which are sure to make it a collector''s item.

"Gothic Nightmares explores the taste for weird, supernatural and fantastic themes in British art between 1770 and 1830. Presenting the wildly original and extravagant images of Henry Fuseli and his contemporaries in the context of the ''Gothic'', it shows how art, taste and ideas of the self were transformed in an era of revolutionary change, helping lay the foundations of modern culture."--BOOK JACKET.

A guidebook to this multi-faceted artist and her allusive work.

Regine malvagie e splendide principesse, gnomi bonari, elfi malefici, ombrosi giganti, e poi ancora scarpette di cristallo, mele avvelenate, chiavi d’oro e specchi magici – i personaggi e gli oggetti delle fiabe continuano da secoli a stregare lettori e spettatori, grandi e piccoli. Sin dalla notte dei tempi, queste storie fantastiche riescono a valicare ogni confine e a tramandarsi di generazione in generazione, mai uguali e sempre rinnovate dal loro passaggio di bocca in bocca. Poche altre forme letterarie hanno il medesimo potere di incantarci e di accendere la nostra immaginazione. Ma che cos’è una fiaba? Da dove proviene, e qual è il suo significato? Cos’ha da comunicarci riguardo alla morale, alla sessualità e alla società? Il raggio d’azione delle fiabe si estende all’infinito nel tempo e nello spazio; la loro storia si intreccia a quella del folklore e del mito e trae ispirazione dalle diverse concezioni della natura e del soprannaturale, dall’immaginazione e dalla fantasia, offrendo a sua volta un ricco materiale per ulteriori riflessioni e indagini, dalla psicoanalisi al pensiero femminista. Marina Warner ha dedicato tutta una vita a scrivere di fiabe con grande passione, e in questa magistrale sintesi esplora una moltitudine di storie di ogni epoca e le diverse forme che esse hanno preso via via sulla pagina, sul palcoscenico e sullo schermo. Dal loro prepotente imporsi nella letteratura di epoca vittoriana fino alle tante storie contemporanee per bambini, Warner srotola sotto i nostri occhi un luccicante campionario di esempi, dai classici, come Cenerentola e La bella addormentata nel bosco di Perrault, o Cappuccetto rosso In nove ricchi e sintetici capitoli, Marina Warner porta alla luce un forziere di fiabe nelle loro varianti fantastiche e brillanti con l’intento di definire un genere e valutare una forma di letteratura che si tramanda a cavallo delle epoche e della storia, a dimostrazione di come la fiaba sia depositaria di conoscenza e di culture. e Hänsel e Gretel dei Grimm, o la Sirenetta di Andersen, fino alle trasposizioni sullo schermo, dalla fabbrica Disney all’industria di Hollywood, passando attraverso le riscritture perturbanti di Angela Carter e le immersioni nel fantasy.

This collection brings together a selection of writings on art by the internationally acclaimed novelist, historian and critic Marina Warner. For 30 years Warner has published widely on a range of art-world subjects and objects, from contemporary installation and film works to paintings by Flemish and Italian Renaissance masters, through Victorian photography and twentieth-century political drawings and prints. Warner''s extraordinary curiosity in art and culture is conveyed in writing that is at once poetic and playful, elegant and rigorous, training our eyes on the smallest of details while painting a broad-brushstroke landscape of art past and present. Themes familiar to Warner''s readers--myth and fantasy, psychic and sexual experience, the vast and marvelous expanse of the human imagination--are treated in the lectures and articles, stories, interviews and essays contained here, some of which are published for the first time or republished from out-of-print sources. For the first of two volumes, editor Vivian Sky Rehberg has assembled themed sections titled "Playing in the Dark," "Telling Tales" and "Phantom Technologies." Texts include interviews with Tacita Dean and Paula Rego; catalogue essays on Leonora Carrington, Henry Fuseli, Zarina Bhimji, Tony Oursler and Fischli/Weiss; articles on Tracy Emin, Marlene Dumas, Louise Bourgeois; stories for artist''s books by Kiki Smith and Helen Douglas; and lectures on Francis Bacon, Hieronymous Bosch and William Kentridge. The Symbol Gives Rise to Thoughtinvites us to explore new ways of seeing and engaging with the traces of our artistic heritage. Marina Warneris a writer of fiction, criticism and history. Holder of 12 honorary degrees and two honorary fellowships, Warner is a Fellow of the British Academy and of the Royal Society of Literature. She has judged the The Jerwood Drawing Prize and the Turner Prize; she is a regular broadcaster on the BBC, and has taught and given lectures worldwide, including the National Gallery and ICA, London and the Prado in Madrid; she has delivered the Presidential Lecture at Stanford University and the Carpenter Lecture at Harvard. She has been awarded a CBE, Chevalier de l''Ordre des Arts et des Lettres, France and Commendatore dell''Ordine della Stella di Solidareità, Italy. Warner is a winner of the Aby Warburg Prize and a Getty Scholar. Vivian Sky Rehberg is an art historian and critic based in Paris and Rotterdam. A founding editor of Journal of Visual Culture, she is a contributing editor of Frieze, and has written for numerous contemporary art publications. Previously Chair of the department of Critical Studies at Parsons Paris School of Art + Design, where she taught modern and contemporary art, Rehberg is currently Course Director for the Masters in Fine Art at Piet Zwart Institute in Rotterdam..

L''Atalante is the work of French director Jean Vigo. It is a study of romantic love, told in a style influenced by surrealism, but still Vigo''s own. This text is part of the ''BFI Film Classics'' series. Each volume in the series presents a personal commentary on the film, together with a brief production history and a detailed filmography, notes and bibliography.

Brings together a magical collection of fairy tales by the great women storytellers of the 17th and 18th centuries. This title features passionate, extraordinary, and occasionally proto-feminist retellings of classic fairy stories by women who ingeniously used the fairy tale genre to comment on their own times and experiences.

The Lost Father is the narrator''s story of her search for her own and her family''s identity. Davide Pittagora, her grandfather, died from a bullet wound and his "duel" is the pivot on which this independent, modern woman turns an imaginary memoir of her mother''s family. As she is drawn into her own invention, the story becomes distorted and her family are forced to "re-invent". the absent Davide.

Com seu foco de interesse centrado na representação da figura feminina (seja ela uma personagem ou a voz de uma narradora), ''Da Fera à Loira'' reexamina a misoginia de alguns dos mais célebres contos de fadas e, a partir deles, toda a história conturbada desse gênero e de suas muitas possibilidades expressivas, ainda hoje abertas à criação. Desde suas remotas origens na Antiguidade e nos oráculos das Sibilas, passando pelos contos que celebrizaram uma imagem cruel da mulher (nas figuras da bruxa, da madrasta malvada, da fofoqueira) e também do homem (como no caso notório de Barba Azul), os leitores acompanham uma historiadora capaz de desvelar não apenas os mitos veiculados pelos contos de fadas, mas também os mitos que cercam essas narrativas e que, sorrateiramente, costumam guiar a nossa compreensão.