Haunted Art

Spooky art surrounds readers as they learn about paintings and statues that frighten more than delight. Each piece of art has a haunted history full of mysteries that will keep kids interested. QR Codes in the book give readers access to book-specific resources to further their learning. Aligned to Common Core Standards and correlated to state standards. DiscoverRoo is an imprint of Pop!, a division of ABDO.

Spiritualism emerged in western New York in 1848 and soon achieved a wide following due to its claim that the living could commune with the dead. In Haunted Visions: Spiritualism and American Art, Charles Colbert focuses on the ways Spiritualism imbued the making and viewing of art with religious meaning and, in doing so, draws fascinating connections between art and faith in the Victorian age. Examining the work of such well-known American artists as James Abbott McNeill Whistler, William Sydney Mount, and Robert Henri, Colbert demonstrates that Spiritualism played a critical role in the evolution of modern attitudes toward creativity. He argues that Spiritualism made a singular contribution to the sanctification of art that occurred in the latter half of the nineteenth century. The faith maintained that spiritual energies could reside in objects, and thus works of art could be appreciated not only for what they illustrated but also as vessels of the psychic vibrations their creators impressed into them. Such beliefs sanctified both the making and collecting of art in an era when Darwinism and Positivism were increasingly disenchanting the world and the efforts to represent it. In this context, Spiritualism endowed the artist's profession with the prestige of a religious calling; in doing so, it sought not to replace religion with art, but to make art a site where religion happened.

With whimsical, rhyming stanzas, She Wanted to be Haunted offers a delightful, lyrical twist on the ever-important question of how to be your very best self. Clarissa the cottage is adorable . . . bright pink, with windows that wink, and flowers growing all around. But Clarissa doesn't want to be adorable--being cute is boring. Couldn't she be like her father, a creepy castle home to vampires and crypts? Or like her mother, a witch's hut full of spells and smells? If only she were haunted! Then she'd be less ordinary . . . What will it take for Clarissa to go from adorable to horrible?

“When I was between the ages of five and eight, my sister and I slept in a large attic bedroom. At nightfall the room was filled with gypsies who glided around in clusters. They wore colorful thin flowing dresses and rummaged greedily through my drawers and books as if they would steal everything. I lay in bed as stiff as a board, trying to will myself invisible, praying they would not notice me looking . . . Daylight obliterated the gypsies, rendering them as thoroughly insubstantial as they had been real in the dark. I had a vague understanding that my vision was private, so I never told my family what I saw.” So began Corinne May Botz’s fascination with the invisible, a phenomenon that has profoundly influenced her approach to photography in style and subject matter. For more than ten years, she searched for ghost stories in buildings across the United States. She ventured into these haunted places with both camera and tape recorder in hand; her photographs, accompanied by first-person narratives, reveal a rare glimpse into American interiors, both physical and psychological. This book includes more than eighty haunted buildings, from the legendary to the ordinary, including Edgar Allan Poe’s house in Baltimore, a New Jersey tavern, and a Massachusetts farmhouse, a log cabin in Kentucky, and a number of private residences. The text includes ghost stories told to the author by those who lived through the moving rugs, creaking floors, apparitions, disappearing—and reappearing—objects, cries in the night, mysteriously burning candles, and other unexplained occurrences.

Ghosts make great friends for life (and beyond)! If you're lucky enough to have a ghost find you, you'll need to know how to treat it right. Open up this "how-to" guide to discover how to be the best friend a ghost could ever ask for! What do you do when you meet a ghost? One: Provide the ghost with some of its favorite snacks, like mud tarts and earwax truffles. Two: Tell your ghost bedtime stories (ghosts love to be read to). Three: Make sure no one mistakes your ghost for whipped cream or a marshmallow when you aren't looking! If you follow these few simple steps and the rest of the essential tips in How to Make Friends with a Ghost, you'll see how a ghost friend will lovingly grow up and grow old with you. A whimsical story about ghost care, Rebecca Green's debut picture book is a perfect combination of offbeat humor, quirky and sweet illustrations, and the timeless theme of friendship.

Living on a damaged planet challenges who we are and where we live. This timely anthology calls on twenty eminent humanists and scientists to revitalize curiosity, observation, and transdisciplinary conversation about life on earth. As human-induced environmental change threatens multispecies livability, Arts of Living on a Damaged Planet puts forward a bold proposal: entangled histories, situated narratives, and thick descriptions offer urgent “arts of living.” Included are essays by scholars in anthropology, ecology, science studies, art, literature, and bioinformatics who posit critical and creative tools for collaborative survival in a more-than-human Anthropocene. The essays are organized around two key figures that also serve as the publication’s two openings: Ghosts, or landscapes haunted by the violences of modernity; and Monsters, or interspecies and intraspecies sociality. Ghosts and Monsters are tentacular, windy, and arboreal arts that invite readers to encounter ants, lichen, rocks, electrons, flying foxes, salmon, chestnut trees, mud volcanoes, border zones, graves, radioactive waste—in short, the wonders and terrors of an unintended epoch. Contributors: Karen Barad, U of California, Santa Cruz; Kate Brown, U of Maryland, Baltimore; Carla Freccero, U of California, Santa Cruz; Peter Funch, Aarhus U; Scott F. Gilbert, Swarthmore College; Deborah M. Gordon, Stanford U; Donna J. Haraway, U of California, Santa Cruz; Andreas Hejnol, U of Bergen, Norway; Ursula K. Le Guin; Marianne Elisabeth Lien, U of Oslo; Andrew Mathews, U of California, Santa Cruz; Margaret McFall-Ngai, U of Hawaii, Manoa; Ingrid M. Parker, U of California, Santa Cruz; Mary Louise Pratt, NYU; Anne Pringle, U of Wisconsin, Madison; Deborah Bird Rose, U of New South Wales, Sydney; Dorion Sagan; Lesley Stern, U of California, San Diego; Jens-Christian Svenning, Aarhus U.

An investigation of the irrational and the unconventional currents swirling behind the Bauhaus's signature sleek surfaces and austere structures. The Bauhaus (1919–1933) is widely regarded as the twentieth century's most influential art, architecture, and design school, celebrated as the archetypal movement of rational modernism and famous for bringing functional and elegant design to the masses. In Haunted Bauhaus, art historian Elizabeth Otto liberates Bauhaus history, uncovering a movement that is vastly more diverse and paradoxical than previously assumed. Otto traces the surprising trajectories of the school's engagement with occult spirituality, gender fluidity, queer identities, and radical politics. The Bauhaus, she shows us, is haunted by these untold stories. The Bauhaus is most often associated with a handful of famous artists, architects, and designers—notably Paul Klee, Walter Gropius, László Moholy-Nagy, and Marcel Breuer. Otto enlarges this narrow focus by reclaiming the historically marginalized lives and accomplishments of many of the more than 1,200 Bauhaus teachers and students (the so-called Bauhäusler), arguing that they are central to our understanding of this movement. Otto reveals Bauhaus members' spiritual experimentation, expressed in double-exposed “spirit photographs” and enacted in breathing exercises and nude gymnastics; their explorations of the dark sides of masculinity and emerging female identities; the “queer hauntology” of certain Bauhaus works; and the role of radical politics on both the left and the right—during the school's Communist period, when some of the Bauhäusler put their skills to work for the revolution, and, later, into the service of the Nazis. With Haunted Bauhaus, Otto not only expands our knowledge of a foundational movement of modern art, architecture, and design, she also provides the first sustained investigation of the irrational and the unconventional currents swirling behind the Bauhaus's signature sleek surfaces and austere structures. This is a fresh, wild ride through the Bauhaus you thought you knew.

To know not what to expect is freedom. The reviews speak and offer insight " Visions shoots for a pithy insightfulness but unfortunately, most of it ends up on the seat and the floor " -moans Ronald Dribbler of The Golden Advisor " a raccoon with Down's Syndrome would be able to create a more insightful and coherent piece of work while clawing randomly at a computer keyboard " -raves Rob Durden of the Sarasota Insider " Lasting Visions rivals his last wasted effort in futility " -Anonymous

This book reveals a thread of unsettling takes on the British landscape stretching from paintings, prints and photographs made by Paul Nash in the aftermath of the First World War to contemporary artists exploring themes of memory, belonging, hauntology, dislocation and human impact on nature. In his introductory essay Robert Macfarlane explains that the eerie, involves that form of fear which is felt first as unease then as dread, and it tends to be incited by glimpses and tremors rather than outright attack. Horror specialises in confrontation and aggression; the eerie in intimation and intimidation.? Macfarlane suggests that eerie art has often flourished at times of crisis, as seen in the work of Neo-Romantic artists around the time of the Second World War. The works featured in the exhibition are grouped around four overlapping themes: Ancient Landscapes? features that are inexplicable and mysterious, connecting us to the unknown distant past; Unquiet Nature ? landscapes and natural forms used to unsettling effect, such as trees, lonely expanses of heath and the borderlands where different worlds meet; Absence/Presence, how the inclusion (and absence) of figures and objects can generate feelings of the eerie through mystery, suggestion and isolation; Atmospheric Effect ? the influence of weather, season, light and the time of day on responses to landscape. Exhibition: St Barbe Museum and Art Gallery, New St, Lymington, UK (11.09.2021-08.01.2022).