Imperial College London

Dr Michael Paraskos FHEA, FRSA

Central FacultyCentre for Languages, Culture and Communication

Evening Class Manager
 
 
 
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Contact

 

+44 (0)20 7594 8764m.paraskos Website

 
 
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Location

 

Sherfield BuildingSouth Kensington Campus

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Summary

 

Publications

Publication Type
Year
to

30 results found

Paraskos M, 2020, Review of bauhaus goes west: modern art and design in britain and america, by alan powers, History of Education, Vol: 49, Pages: 425-426, ISSN: 0046-760X

Journal article

Paraskos M, 2019, Herbert Read: The Eye of the Storm, Insiders/Outsiders Refugees from Nazi Europe and Their Contribution to British Visual Culture, Editors: Bohm-Duchen, Publisher: Lund Humphries, Pages: 181-186, ISBN: 9781848223462

At a time when the issue of immigration is much debated, the book serves as a reminder of the importance of cultural cross-fertilization and of the deep, long-lasting, and wide-ranging contribution that refugees make to British life.

Book chapter

Bohm-Duchen M, 2019, Insiders/Outsiders Refugees from Nazi Europe and Their Contribution to British Visual Culture, ISBN: 9781848223462

At a time when the issue of immigration is much debated, the book serves as a reminder of the importance of cultural cross-fertilization and of the deep, long-lasting, and wide-ranging contribution that refugees make to British life.

Book

Paraskos M, 2017, Stass Paraskos A Celebration: at Pafos 2017 European Capital of Culture, ISBN: 9780995713017

Catalogue with essay to accompany the exhibition Stass Paraskos: A Celebration, held at the Pafos Municipal Art Gallery, March 2017

Book

Paraskos M, 2017, Rabbitman, ISBN: 9780995713000

President Rabbitman's rise to become the most powerful bunny in the world, as leader of Freedonia, was an inexplicable phenomenon.

Book

Paraskos M, 2016, In Search of Sixpence, ISBN: 9780992924782

Overwhelmed by feelings of anger, guilt and loss, Michael finds himself descending into a kind of madness in which the boundaries between fact and fiction break down.

Book

Paraskos M, 2015, Brides for Sale, WOMENS STUDIES-AN INTERDISCIPLINARY JOURNAL, Vol: 44, Pages: 1200-1203, ISSN: 0049-7878

Journal article

Paraskos M, 2015, Four Essays on Art and Anarchism, ISBN: 9780992924799

But, as Michael Paraskos suggests in the course of these essays, there is an argument to be made that anarchist ideas are at the heart of all acts of artistic creation.

Book

Paraskos M, 2015, A Voice in the Wilderness: Stass Paraskos and the Cyprus College of Art, Cyprus Dossier, ISSN: 1986-3179

Journal article

Paraskos M, 2015, The art schools of Kent: a complete history, HISTORY OF EDUCATION, Vol: 44, Pages: 128-130, ISSN: 0046-760X

Journal article

Paraskos M, 2015, Mirror in the Bathroom: New Paintings by Clive Head, Publisher: Orage Press, ISBN: 9780992924751

Clive Head is the leading figurative painter of his generation working in Britain today. In this introduction to his recent work Michael Paraskos discusses the various influences on Head as a painter, ranging from Titian to Matisse. He argues that Head's ambition to create paintings that exist as an alternative reality to our own plunges the viewer into a parallel universe every bit as strange and exciting as that dreamed up by Lewis Carroll. In doing so, Paraskos suggests, Head has enabled painting to follow the other arts in finally grasping the full implications of the concept of mise en abyme, theorised by the influential French critic Roland Barthes, while still producing images that are deeply compelling.

Book

Paraskos M, 2014, Bringing into being: vivifying sculpture through touch, Sculpture and Touch, Editors: Dent, Publisher: Ashgate Publishing, Ltd., ISBN: 9781409412311

This book introduces a new impetus to the discussion of the relationship between touch and sculpture by setting up a dialogue between art historians and individuals who are working in disciplines beyond art history.

Book chapter

Paraskos M, 2014, Herbert Read Art and Idealism, ISBN: 9780992924720

In this highly readable text Dr Michael Paraskos explains how Read understood idealist theories and how he hybridised them with his anarchist political beliefs to create a uniquely Readian form of anarchist cultural theory.

Book

Paraskos M, 2013, Scarborough Realists Now, Publisher: Orage Press, ISBN: 9780956580245

In 2008 four artists and an art critic gathered together in the northern English seaside town of Scarborough to stage an exhibition that would challenge the dominant mainstream British art world. Entitled 'scarborough realists now' (note the lower case) the exhibition was a deliberate attack on the mainstream metropolitan art world, dominated at the time by neo-conceptual artists and critics who were actively hostile to painting. Against this they succeeded in staging a seminal exhibition of radical contemporary realist painting. As the critic Michael Paraskos argues in a new essay, written to accompany this reissue of the original catalogue, the Scarborough exhibition was intended to celebrate realist painting: but the artists were also looking beyond the realist agenda, foreseeing a time when realist painting itself, and particularly Photorealist painting, would also seem dull, mainstream and in need of revitalisation. Drawing on anarchist art theory, Paraskos explains that whilst each of the artists was producing realist art at the time of the show as a necessary act of resistance against conceptualism, realism and Photorealism were never seen as the ultimate goal. Already these artists were developing individual agendas for their work that would take them beyond realism.

Book

Paraskos M, Head C, 2013, Aphorisms of Irsee, Publisher: Orage Press, ISBN: 9780956580238

Book

Orage A, 2013, Friedrich Nietzsche: The Dionysian Spirit of the Agc, Publisher: Orage Press, ISBN: 9780956580252

Alfred Orage was one of the most significant figures in the modernist art and literary world of early twentieth century Britain. As co-founder of the Leeds Arts Club in 1903 he helped to introduce European modernism to Britain, and this continued as he became the editor of the most widely read art and literary journal of the time, The New Age. Friedrich Nietzsche was central to Orage's thinking, and in this little book he sought to introduce the German philosopher to a sometimes skeptical British public. Yet in doing so he placed his own spin on Nietzsche's work, forming a view of Nietzsche that was to influence a generation of art and literary figures, including Herbert Read and Clement Greenberg.

Book

Paraskos M, 2012, What would an anarchist Rembrandt look like?, Sanat Dünyamız, ISSN: 1300-2740

Journal article

Paraskos M, 2010, Regeneration, ISBN: 9780956580207

In Regeneration Paraskos puts forward an argument for an aesthetic framework for art which does not look back to the academic aesthetics of previous centuries, but is rooted in the physical and material nature of how artists actually make ...

Book

Paraskos M, 2010, Exactitude: hyperrealist art today by john Russell Taylor and Maggie Bollaert, The Art Book, Vol: 17, Pages: 48-50, ISSN: 1368-6267

Journal article

Paraskos M, 2010, Clive Head, Publisher: Lund Humphries Pub Limited, ISBN: 9781848220621

This is the first full-length monograph on his work and sets out to introduce it to a wider audience.

Book

Paraskos M, 2009, Is Your Artwork Really Necessary? Collected Art Criticism, ISBN: 9780954452360

"Collection of essays, articles, and reviews, written for newspapers and magazines including Review and the Epoch Times"-- P. 4 of cover.

Book

Paraskos M, Read B, Antliff A, Getsy D, Steele Tet al., 2008, Rereading Read: New Views on Herbert Read, Publisher: Freedom Press, ISBN: 9781904491088

From poverty and a Yorkshire orphanage, Herbert Read went on to become the most significant cultural critic to come out of England in the twentieth century.Between 1940 and 1960 he was the most well-respected writer on modernist art in the English language, effectively defining the movement during that period. He was a major art theorist and writer on literature, and a key figure in anarchist politics.He was a leading figure in many Eureopan art movements, including Constructivism and Surrealism, and was one of the first English writers to embrace the Existentialist theories of Jean-Paul Sartre. Remarkably Read was once accused by the leading English modernist, Percy Wyndham Lewis, of being too radical in his artistic tastes.Read was also a notable poet of the First World War, and in later years helped to found numerous art organisations, including the Institute of Contemporary Arts (ICA) in London. And yet, after his death in 1968, he became an almost forgotten figure in art and cultural studies, eclipsed by later figures such as Clement Greenberg and Raymond Williams.In this book sixteen of the world's leading writers on modernist cultural history look at Read's work again, focusing on his anarchist political beliefs, his work on art and literature, and his own creative writings. They place him in the context of twentieth century cultural life, and offer startling explanations for his neglect by later writers on modernism.The book is very well illustrated in full colour, with images of works by many of the artists Read championed.

Book

Paraskos M, 2008, Steve Whitehead, Publisher: Orage Press, ISBN: 9780992924744

First published in 2008, Dr Michael Paraskos's book on the British painter Steven Whitehead is one of the classic texts on post-photorealist painting. Here Paraskos establishes the principles of post-photorealist painting as taking the American photorealist tradition as a starting point and then enhancing that tradition through use of influences from the wider history and theory of art. In doing so Paraskos shows that although photography might be the starting point for post-photorealist art, the simple emulation of photography in paint is never enough for true painting. Whitehead is the ideal exemplar for this. His work is certainly rooted in the history of photorealist art, but he hybridises a deep understanding of the American photorealist tradition with other realist and non-realist art forms, including nineteenth-century Biedermeier painting and romanticism, and twentieth-century Surrealism and magic realism to produce poetic images that move well away from the historic definition of ordinary photorealism. As Paraskos shows, because of this, Whitehead's paintings depict worlds that are simultaneously familiar and uncanny, but always poetic and strangely beautiful.

Book

, 2007, Reviews, Sculpture Journal, Vol: 16, Pages: 108-117, ISSN: 1366-2724

Journal article

Paraskos M, 2007, Herbert Read's Dilemma: Some Fatherly Advice from Ford Madox Ford, Ford Madox Ford's Literary Contacts, Publisher: Rodopi, ISBN: 9789042022485

Ford has been described as 'a writer's writer'. This volume reveals how true that has been, and in how many ways, as it sheds new light on his relationships with other writers, both familiar and surprising.

Book chapter

Paraskos M, 2006, What good are the Arts?, The Art Book, Vol: 13, Pages: 47-48, ISSN: 1368-6267

Journal article

, 2005, Key Writers on Art: The Twentieth Century, Publisher: Routledge

Book

Paraskos M, 2000, What has Devolution to do with Art History?, The Art Book, Vol: 7, Pages: 18-19, ISSN: 1368-6267

Journal article

Paraskos M, 1993, Herbert Read and Leeds, Herbert Read A British Vision of World Art, Editors: Read, Thistlewood, Publisher: Lund Humphries Publishers, ISBN: 9780853316435

This publication, which accompanied a major centenary exhibition at Leeds City Art Gallery, is the first to look at the pioneering work of Sir Herbert Read through the works of art with which he was associated.

Book chapter

Paraskos M, Geometry of Fear, Routledge Encyclopedia of Modernism, Publisher: Routledge

<jats:p>The phrase ‘geometry of fear’ is used to describe the work of a group of British sculptors who came to prominence in the 1950s. Their work often resembles insect or bat-like forms combined with the human figure. Typically they have rough surfaces resembling hammered and wrought ironwork. There has been controversy over the term ‘geometry of fear’ as it was not a name chosen by the artists themselves. It first appeared in an essay written by Herbert Read to accompany a display of sculptures at the Venice Biennale in 1952. Although Read did not intend to label the artists as a coherent group, the ‘geometry of fear’ quickly became a shorthand description for most of those involved in the Venice show. The characteristics Read identified in the work of these sculptors relate to his wider theory of art. He used the term ‘geometry of fear’ to evoke the angular and spindly sculptural forms that he equated to the fears in society at that time. This was in the context of the recent end of the Second World War, the discovery of the Nazi death camps, and the growing fear of nuclear war between the USA and the Soviet Union. However, Read did not claim the sculptors were consciously illustrating these fears through reference to insects, bats, or other forms that might be read as frightening. Instead, the images emerged from the artists’ unconscious minds without prompting.</jats:p>

Book chapter

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