Art & Photography Books

Book SynopsisHow did women begin wearing pants? Prior to the 1920s it was a rarity to see women in pants in the Western world, but as the silk pajama trouser suit moved from the boudoir to the beach in the early 1920s it cemented the image of the trousered woman.Worn by Jean Harlow and Marlene Dietrich, painted by Raoul Dufy and immortalized in F. Scott Fitzgerald's Tender is the Night, between the two world wars pajamas came to symbolize much more than sleepwear. This book explores how the pajama phenomenon was not only critical to the careers of designers such as Chanel, Patou, Poiret, and Schiaparelli, but how the versatile garment was also bound to the independence of women and influenced culture more broadly.Through meticulous research and never-before-seen images, the authors position pajama fashion in the context of the Golden Age of Travel, the rise of Hollywood, and the changing political climate of the early 20th century, to reveal how the rising trend in sleepweTrade ReviewD’Agati and Schiff’s insightful and detailed analysis elevates pajamas, at last, to their rightful position in the history of modern fashion. Enriched by a superb collection of illustrations, this book represents bedtime reading at its most sophisticated. * Alison L Goodrum, Norwich University of the Arts, UK *Drawing from a wealth of original material, D’Agati and Schiff provide a long overdue investigation into a transformative garment that embodied modernity in the early twentieth century. The connections between beach pajamas and orientalism, casual dress, and women’s rights are skillfully explored and contextualized in this beautifully illustrated book – an enriching contribution to fashion history. * Sonya Abrego, Parsons School of Design, The New School, USA *Table of ContentsList of Figures Acknowledgments Introduction 1. Beach Pajama Origins Eastern Pajamas and the Western Imagination Sleeping Pajamas and Lounging Pajamas The Ballets Russes Paul Poiret and the jupe-culotte Early Gym Wear and Swimwear 2. Beach Pajamas: 1919-1927 The Advent of Beach Pajamas: “No More Sunburned Knees” The Rise of Resort Culture The Lido: “Pajamaland” Pajamas on American Beaches Early Beach Pajama Styles Controversy: “She Shocked Palm Beach!” Mary Nowitzky 3. Beach Pajamas: 1927-1939 The French Riviera: “The Chic World Turns Proletarian” Sporting and the Rise of Athleticism Nautical Style Sun Worship The Great Depression: Ready-to-wear, Tubfast, and Homesewn Workwear Influences 4. Beach Pajamas’ Influence Pajamas and Modernity Collegiate Fashions Evening and Formal Pajamas Hollywood: “Over the Footlights to the Public” The Beginnings of American Sportswear Conclusion Bibliography Index

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Book SynopsisOrdinary clothes have extraordinary stories. In contrast to academic and curatorial focus on the spectacular and the luxurious, Everyday Fashion makes the case that your grandmother's wardrobe is an archive as interesting and important as any museum store. From the moment we wake and get dressed in the morning until we get undressed again in the evening, fashion is a central medium through which we experience the world and negotiate our place within it. Because of this, the ways that supposedly ordinary' and everyday' fashion objects have been designed, manufactured, worn, cared for, and remembered matters deeply to our historical understanding.Beginning at 1550 the start of an era during which the word fashion' came to mean stylistic change rather than the act of making each chapter explores the definition of everyday fashion and how this has changed over time, demonstrating innovative methodologies for researching the everyday. The variety and significance of everyday fashioTrade ReviewDrawing on a wonderfully rich collection of fashion stories, this thought-provoking and timely volume explores the multifarious ways we experience and understand the everyday, challenging limited and narrow notions and prompting us to adopt new perspectives on ‘history from below’. * Rachel Worth, Arts University Bournemouth, UK *This generous – and generative – volume sets a new standard for studies of everyday fashion. Bringing together intriguing insights on specific clothing artefacts with new analytical approaches to fashion history, this book encourages readers to dig through their own closets, or the rails of a local thrift shop, to reveal the many histories that clothing holds. * Marina Moskowitz, University of Wisconsin-Madison, USA *Table of ContentsList of Figures List of Tables List of Contributors Acknowledgments 1. Introduction: Negotiating the Everyday Bethan Bide, Jade Halbert and Liz Tregenza 2. Counterfeit Fashion: An Eighteenth-Century Printed Silk Handkerchief John Styles Part I: Approaches to the Study of Everyday Fashion 3. Whalebone and Fashion in Seventeenth Century England: Changing Consumer Culture, Trade and Innovation Sarah Bendall 4. Sophie Rabin’s Blouse Lucie Whitmore 5. ‘In Want of a Capable Woman’: Rediscovering Blouse Designers in the Wholesale, Ready-Made Trade in Britain Through Material Culture (1909–1920) Suzanne Rowland 6. Wartime Swimwear Ciara Phipps 7. Fading From View: Using Postcard Photographs to Reveal the Market for Female Workwear During the First World War Jenny Richardson 8. Rosetta Rowley’s Wedding Suit, 1952 Natalie Raw 9. Making Clothes for the Older Woman: Post-War Pattern Cutting and Dressmaking Home Instruction in Britain Hannah Wroe 10. A Printed Summer Dress, c.1930–32 Pauline Rushton 11. Oral History and Everyday Fashion Jade Halbert 12. Bryan’s Shoes Beatrice Behlen 13. A Pocket History: Interpreting Wearer Biography in the Francis Golding Collection Cyana Madsen 14. Aprons Lou Taylor 15. Learning Through Wear: Experiencing the Everyday Vintage Wardrobe Liz Tregenza Part II: Everyday Fashion in Practice 16. The Fabled Chintz: Global Entanglement and South Asian Agency in Everyday British Fashion, 1600–1800 Aditi Khare 17. Henry Wardell’s Flannel Waistcoat Hilary Davidson 18. The Everyday in Eighteenth-Century Women’s Sartorial Life-Writing Serena Dyer 19. An Open Robe Gown Vanessa Jones 20. Accidental Remainders: Working Men’s Fashion c.1730–1880 in National Museums Scotland Emily Taylor 21. A Victorian Best-Day Wedding Dress Rebecca Quinton 22. ‘Fustian Jackets, Unshorn Chins, Blistered Hands’: Fabric and Political Feeling in the Chartist Movement, 1837–1848 Vic Clarke 23. Dr Fairweather’s ‘Apterna’ Progressive Shoes Ruth Battersby Tooke 24. ‘They go around the country making in the homes of the people’: Travelling Tailors and Shoemakers and the Production of Everyday Clothing in Rural Ireland, c.1850–1914 Eliza McKee 25. Tailor’s Drawing Book, 1915 Elen Phillips 26. I Am an Ordinary Man: Getting and Wearing Suits in Britain 1945–1980 Danielle Sprecher 27. Two-Piece Skirt Suit; Alexon Youngset by Alannah Tandy c.1970–1973 Shelley Tobin 28. À la Mode in Maesteg: The Fashion Cultures of South Wales Garment Factories, 1945–1965 Bethan Bide 29. WVS Uniform Dress Valerie Wilson 30. Wholesaling and Everyday Fashion in the Black Country Jenny Gilbert 31. An Old Pair of Jeans Rebecca Unsworth 32. To Dance in my Shoes: Music and the Psychological Influences of Style Choices in the London Caribbean Diaspora, from Lovers’ Rock to Grime Rianna Norbert-David 33. A Tootal Paisley Scarf Christopher Breward 34. Conclusion: Common Threads Bethan Bide, Jade Halbert and Liz Tregenza Index

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Book SynopsisMarsha Morton is Professor of Art History at Pratt Institute, USA. A specialist in German and Austrian cultural history with a focus on interdisciplinary topics of art, anthropology, science, and music, her books include Max Klinger and Wilhelmine Culture (2014) and the co-edited anthology The Arts Entwined (2000). She is also a co-editor and contributing author to Visual Culture and Pandemic Disease Since 1750: Capturing Contagion (2023).Barbara Larson is Professor of Modern European Art History in the Art and Design Department of the University of West Florida, USA. She is author of The Dark Side of Nature: Science, Society and the Fantastic in the Work of Odilon Redon (2005) and lead editor of The Art of Evolution: Darwin, Darwinisms, and Visual Culture (2009) and Darwin and Theories of Aesthetics and Cultural History (2013).Trade Review[T]he narrow focus of each chapter essay builds both a satisfyingly comprehensive and very specific picture of the social and cultural histories of countries at the Continental margins. * Visual Culture *[T]his edited volume offers a number of very rich case studies from different geographies within Europe. The chapters merge primary and secondary sources and open up possibilities for a critical interpretation of visual materials through the history of ethnography and anthropology. As such, the edited volume should be of interest to an interdisciplinary readership interested in the construction of the other through visual depictions. * German Studies Review *The uniqueness of the book and its fascinating contents lies [...] in the skilful juxtaposition of textual and visual sources in [the editors'] analyses. * Mosse Program Blog *Focusing our attention on the often contested and frequently porous "borders of Europe", this essential collection of essays complicates our understanding of how race, ethnicity, and national identity have been constructed and operationalized through art, design, and visual culture. * Allison Morehead, Associate Professor of Art History, Queen’s University, Canada *A compelling and timely collection of essays based on immaculate research that will alter the reader’s critical understanding of the complex cultural-political engagement with subordinate ethnic groups in parts of Europe that have too long been marginalised by postcolonial discourse. * Sabine Wieber, Lecturer in History of Art, University of Glasgow, UK *Table of ContentsList of Plates List of Figures List of Contributors Introduction, Marsha Morton (Pratt Institute, USA) 1. From Folk to a Folk Race: Carl Arbo and National Romantic Anthropology in Norway, Patricia G. Berman (Wellesley College, USA) 2. From “Northern Dweller” to “Distinguished Among His Race”: The Transformation of the Nordic Colonial Subject, 1900-1935, Bart Pushaw (University of Maryland, USA) 3. Decolonizing the Archive: Pia Arke and Stories from Scoresbysund, Alison Chang (Independent Curator, USA) 4. Brigands and Virtuous Musicians: Representations of Roma (“Gypsies”) as Oriental Other in the Eastern Part of the Habsburg Monarchy during the Eighteenth and Nineteenth Centuries, Robert Born (University of Leipzig, Germany) and Dirk Suckow (University of Leipzig, Germany) 5. Leopold Carl Müller’s Scenes from Egyptian Life: Ethnography, Race, and Orientalism in Habsburg Vienna, Marsha Morton (Pratt Institute, USA) 6. A Hungarian Treasure Chest: The Art Colony at Gödöllo in Critical Perspective, Rebecca Houze (Northern Illinois University, USA) 7. The Journey West: Gauguin, Philology, And the Celts of Brittany, Barbara Larson (The University of West Florida, USA) 8. In the Beginning was the Image: Russian Ethnography and Colonial Photography in Turkestan, 1860s–1870s, Margaret Dikovitskaya (Independent Scholar, USA) 9. “Children of the Narod: Early Soviet Children’s Books’ Racialization of Childhood”, Marie Gasper-Hulvat (Kent State University, USA) 10. From Sideshow to Portrait: The Ethnographic Vision of Christian Schad, Kristin Schroeder (University of Virginia, USA) 11. Anthropological Histories and Techniques in Philip Scheffner’s Films, Priyanka Basu (University of Minnesota, USA) Index

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Book SynopsisHow might we develop products made with and by disabled users rather than for them? Could we change living and working spaces to make them accessible rather than designing products that fix disabilities? How can we grow our capabilities to make designs more bespoke to each individual? After Universal Design brings together scholars, practitioners, and disabled users and makers to consider these questions and to argue for the necessity of a new user-centered design. As many YouTube videos demonstrate, disabled designers are not only fulfilling the grand promises of DIY design but are also questioning what constitutes meaningful design itself. By forcing a rethink of the top-down professionalized practice of Universal Design, which has dominated thinking and practice around design for disability for decades, this book models what inclusive design and social justice can look like as activism, academic research, and everyday life practices today. With chaptersTable of ContentsList of Figures Acknowledgments Glossary of Terms Introduction: A Universal Conundrum, Elizabeth Guffey (SUNY, Purchase College, USA) Section One: Agency Section Introduction Key Points 1. Four Commitments of Crip Technoscience, Kelly Fritsch (Carleton University, Canada) and Aimi Hamraie (Vanderbilt University, USA) 2. Fixing Meets Expressing: Design by Designers with Disability Experience, Natalia Pérez Liebergesell, Peter-Willem Vermeersch, and Ann Heylighen (KU Leuven, Belgium) 3. Case Study: Brett's Leather Case, Jaipreet Virdi (University of Delaware, USA) 4. Case Study: Zebreda Makes It Work! and the "Key" to Innovation, Elizabeth Guffey (SUNY, Purchase College, USA) 5. Case Study: Privileging Agency: A Conversation with Design and Disability Advocate Jessica Ryan-Ndegwa, Alison Kurdock Adams (SUNY, Purchase College, USA) 6. Case Study: Rehabilitation Technology at the Self-Help Shop Then and Now, Bess Williamson (SAIC, USA) 7. Case Study: Beyond the Bespoke: Agency and The Hands of X, Andrew Cook and Graham Pullin (University of Dundee, UK) 8. Case Study: Re-imagining Access and Its Pedagogies, Maggie Hendrie, Joshua Halstead, Robert Dirig, Elise Co, and Todd Masilko (ArtCenter College of Design, USA) Section Two: Equity Section Introduction Key Points 9. Equations for Reducing Disability Stigma through Design Equity, Josh Halstead (ArtCenter College of Design, USA) 10. Making Equity: How the Disability Community Met the Maker Movement, Émeline Brulé (University of Sussex, UK) 11. Case Study: Shaping Inclusive and Equitable Makerspaces, Katherine M. Steele (University of Washington, USA) 12. Case Study: A Study of Skilled Craftwork among Blind Fiber Artists, Maitraye Das and Katya Borgos-Rodriguez (Northwestern University, USA), and Anne Marie Piper (University of California, USA) 13. Case Study: Towards Sensory Equity: A More Inclusive Museum Space Designed from Disability Experience, Peter-Willem Vermeersch and Ann Heylighen (KU Leuven, Belgium) 14. Case Study: The Politics of Friction: Designing a Sex Toy for Every Body, David Serlin (UC San Diego, USA) 15. Case Study: The Face-Based Pain Scale: A Tool for Whom? Gabi Schaffzin (York University, Canada) 16. Case Study: Next Practice: Towards Equalities Design, Natasha Trotman (RCA, UK) Section Three: Speculation Section Introduction Key Points 17. Speculative Making, Sara Hendren (Olin College of Engineering, USA) 18. Speculating on Upstanding Norms, Ashley Shew (Virginia Tech, USA) 19. Case Study: M Eifler’s Prosthetic Memory as Speculative Archive, Lindsey D. Felt (Stanford University, USA) 20. Case Study: The Way Ahead, Caroline Cardus (Independent Artist, UK) 21. Case Study: Customizing Reading: Harvey Lauer’s “Reading Machine of the Future”, Mara Mills (New York University, USA) 22. Case Study: “Captioning on Captioning” with Shannon Finnegan, Louise Hickman (University of Cambridge, UK) 23. Case Study: A Squishy House, Emily Watlington (Art in America, USA) 24. Case Study: Black Disabled Joy as an Act of Resistance, Jen White-Johnson (Bowie State University, USA) List of Contributors Index

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Book SynopsisAmmar Azzouz is a British-Syrian architect and architectural critic. He is a Research Fellow at the University of Oxford, UK. A researcher and writer on issues of architecture and war, reconstruction, and resilience, his research on Syria has been published with the New York Times, LSE Middle East Blog, the Independent, the New Statesman, the Global Construction Review, CITY and the City Metric.

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Book SynopsisChallenging the stereotypes of Scandinavian design, these essays explore design in Denmark, Norway and Sweden and assess the different roles that Finland and the wider Nordic region had in forming an image of Scandinavian design throughout the world. By examining the legacy of Nordic design and its global impact, editors Astrid Skjerven and Rachel Gotlieb shed light on the development of national and regional design identities and their historical associations. Authors investigate the transnational circulation of ideas throughout the later 20th century and consider the influences on design practices, production and consumerism. They look at how different countries negotiated and promoted Nordic branding and ideology, and offer new perspectives on design in relation to sustainability, changing economies and indigenous traditions. A range of leading international scholars evaluate the popularity of Nordic style in Soviet material culture, the influence on jewellery

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Book SynopsisWhen we encounter typography, how do we know what it means? How is the tone of type influenced by the way it is set, when it is made, and where it exists? Considering the social, spatial, and temporal contexts of visual language, this text informs and inspires students, educators, and professionals looking to engage more deeply with the letterforms they use and see. Featuring diverse typographic works, closer looks, and interviews with practicing artists and designers, Giving Type Meaning serves to inform how and why we understand what type communicates. The book includes: - The importance and impact of cultural and social context across the expanded field of art and design- How to use visual, physical, and gestural space to inform meaning- The ways time impacts type, such as historical references, recontextualizations, and the use of time as medium - A range of global examples, including Lushootseed language letterforms (Lushootseed Sulad by Juliet Shen)Table of ContentsIntroduction: Chapter 1: Social Context 1.1 Context and meaning 1.a. Visual Inflection 1.b. Social Meaning & Typography 1.c. Visual Metaphors and Analogies 1.d. Cultural Context 1.e Power Structures 1.f Recontextualization Chapter 2: Spatial Context 2.1. Visual Space (section) 2.1a Kinetic and Expressive Type 2.1b. Sound, Shape, and Speech 2.2. Concrete and Visual Poetry 2.2a. Physical Space 2.2b. Material Meaning 2.2c. A Known Social Context 2.2d. History and Material Meanings 2.2e. Material Metaphors and Analogies 2.3 Architectural Materials 2.3a. Public Space 2.3b. Place-Based Meaning 2.4b. Public Type & Community Participations 2.5 Private Space 2.5a Challenging Private Space 2.6 Personal Space 2.6a Apparel and Affiliation 2.6b Proximity and Politics 2.7 Virtual Space 2.7a Digital Methods 2.7b Augmented Reality, Mixed Reality, and Virtual Reality 2.8 Gestural Space 2.8a The Human Hand 2.8b Gesture in and of Letterforms 2.8c Gesture of Mark 2.8d Gesture and Expression 2.8e Corporeality and Performance Chapter 3: Temporal Context 3.1. Time and history 3.1a Temporal Influence: Technology and Society 3.1b Temporal Influence: Current Events 3.2 Typographic Trends 3.2a. Historical Type in Contemporary Use 3.2b. Revivals and References 3.2c. Temporal Recontextualisations 3.2d. History-Inspired Type 3.3 Voices in Design 3.3a Type and Identity 3.4 Time as Medium 3.5 Into the Future 3.6 Language, Form and Meaning 3.7 Speculative Typography 3.8 What's Next? Resources for Educators and Students Bibliography Index Acknowledgements

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Book SynopsisThe world is in crisis, bringing activists and protesters onto the streets and into the public eye. More than ever, activism relies on spectacle and visibility in order to be noticed in the era of globalized capitalism and networked media. At the same time, a growing number of artists employ creative strategies to critique the establishment, act in resistance, and demand change. Visual activism of this kind is not new, but it is rapidly evolving.This anthology presents 16 case-studies of visual activism from across the globe, providing an up-to-date picture of the impact of contemporary visual and art activism, and combining a scholarly interrogation of visual activism with an examination of how it works in practice. The case studies address a wide range of issues including human rights abuses; state violence; gender and sexuality; racism; migration; and climate breakdown. They examine a range of approaches from playful carnivalesque parades to extreme practices such as li

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Book SynopsisThis accessible book explains the significance of relationships between the body and the mark, visual imitation, drawing and writing and visual storytelling, providing a simple guide to these key ideas. For millennia drawing has been conceived as an exploratory activity, mediating between the vision of the drafter and what they are drawing. Drawing reveals hidden relationships, directs attention, scrutinises the material world and provides plans for further action. The book unpacks the key ideas that have shaped the rich, complex and foundational activity of drawing. It presents an unexpected, engaging and authoritative range of illustrated examples of drawings made by culturally and historically diverse people for different purposes, with different media, in widely different times and situations. Educator, author and artist Simon Grennan builds together concepts to create a complete guide to ideas about drawing.Trade ReviewThis is an important summation about a lot of foundational ideas in drawing. Having a functional text, written by a practitioner, is what the field needs. -- Simon Downs, Lecturer in Graphic Communication, Loughborough University, UKThinking About Drawing is a book that explores a broad range of approaches to drawing. This book situates drawing as an enduring form of visual communication in a globally connected world. A fascinating range of illustrations bring the subject to life and are presented in relation to clearly defined technical terms. For anyone wanting to give voice to their interest in drawing, this book is the go-to guide. -- Kelly Chorpening, Programme Director of Fine Art, Camberwell College of Arts, University of London, UKA refreshing take on the subject, Thinking About Drawing is well-suited to introducing the wonderful field of drawing to students in Fine Arts, Illustration, Communication Design, Architecture and related areas. The discussion is well-framed with intriguing themes and topics such as ‘Imitation, Mark and Trace’. The thought provoking text is richly-illustrated with an exciting and refreshing range of images (from early maps and Japanese woodblocks to graphic novels and emojis). A very engaging read that serves well as a broad ‘drawing survey’ with enough depth for experienced artists and designers. -- Charles Parker, Associate Professor, Pratt Institute, USAThinking About Drawing considers the act of drawing as an expansive, ever-evolving set of practices and legacies that often defy simple summary. Grennan thoughtfully examines foundational, contemporary drawing principles with equal attention to analog and digital processes, and presents a global perspective on how the methods and meanings of ‘drawing’ have developed in cultural isolation and conversation throughout history. -- Ryan Hartley Smith, Associate Professor of Illustration, Queens College, City University of New York, USASimon Grennan’s book presents a probing journey through the meaning and uses of drawing. An engaging compliment to support and extend the understanding of the role and nature of drawing for the student and practitioner alike. The examples demonstrate the pervasiveness of drawing across fields and to different ends. It would be a great accompaniment to practice-based art or design education, demonstrating the way drawing can be simultaneously reductive and expansive in its use. The reader finishes the book with an understanding of how drawing can be viewed as both a necessary practical tool and theoretical exercise. -- Sarah McLean Knapp, Assistant Professor, Queen’s University, CanadaTable of ContentsList of Illustrations Introduction: what is drawing? 1. Imitation The threshold of visualisation and the problem of media Depiction and visualisation Imitating vision and imitating drawing Digital imitation Analogue imitation Imitating experience 2. Mark Tone Line Planning Mapping Drawing systems representing three dimensions Typification Writing Mark making across media Introducing the body 3. Trace The surface The surface of the drawing as the skin of a body The surface as a visualisation of an idea The limits of the drawing The significance of drawing media Trace, media and body Trace and style Trace as evidence Movement, mind and absence Choreographing traces Trace and depiction 4. Story Story and point of view The story of the drawing Story and style Drawing style and character 5. Drawing Today Feeling Technology old and new Systematic drawings Identity and power Textiles and the line Conjecture and hypothesis Collaborative drawing Performing drawing Moving drawings Contemporary drawing and public cultural institutions Selective glossary References Further reading Index

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Book Synopsis''That is the story of our beginning. And this is the story ofthe end' Lovesong is the story of one couple, told from two different points in their lives as young lovers in their 20s and as worldly companions looking back on their relationship. Their past and present selves collide in this haunting and beautiful tale of togetherness. All relationships have their ups and downs; the optimism of youth becomes the wisdom of experience. Love is a leap of faith.

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Book SynopsisQueering Architecture explores what it means to queer architecture, challenging the methods and methodologies of architectural discourse and subverting disciplinary power structures.Architecture as a discipline, a profession and an applied practice, is always subordinate to its own conceptual framework of orderliness. How, then, can we look at queering architectural discourse when the very term queer' celebrated for its elusive, slippery nature resists and attacks such order?The essays in this book explore this paradox from a diverse range of perspectives from the questions of mapping queer theory in architecture; to the issues of queer architectural archives, or lack thereof; to the non-Western linguistic challenges to the very term queer alongside decolonial approaches to architecture via indigeneity and landscape. Queering Architecture not only provides a bold challenge to the normative methods employed in architectural discourse but addre

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Book SynopsisJuniper is looking for love, Robert is trying to avoid it, Ollie doesn't know what it is and Meg has resigned herself to never having it. As these four people move through a July day in London, they orbit each other, unaware that they are hurtling towards one moment that could devastate them all.Many Moons opened at groundbreaking Theatre 503 in summer 2011.

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Book SynopsisThis book offers an ideal first step for designers looking to disrupt contemporary design practice by challenging gender inequality. Drawing on feminist and queer theory, it outlines key concepts and applies them to a broad spectrum of design activity. By developing feminist design approaches and methods, it provides a practical resource for designers wanting to make a change. Designing Gender covers essential topics including definitions of sex, gender and sexuality, histories of women in design, parity in professional design practice, diversity of users, non-binary design approaches, and sustainable and equitable futures. Filled with examples from around the world, the book recognises the culturally specific nature of gendered experience. Interviews with designers working in a diverse range of fields including user experience design, visual communication, interaction design and critical design, highlight the challenges and opportunities involved in designingTable of ContentsAcknowledgements Preface 1. Gender, Feminism and Things Introduction: The Complexities of Sex and Gender Defining Gender Feminism and Systems of Oppression Gendered Things/Gendered Processes Designing Intersectional Gender Justice Case Study: Gender Swapping, Karin Ehrnberger, Stockholm Interview: Lindsey Brinkworth, Senior Researcher, Magic+Might, Chicago Activity 1: Gender Journal Activity 2: Norm Discussion Cards 2. Women, Craft, and Technology Introduction: Questioning Design (His)stories Craft as Feminist Resistance Feminist Redesigns and DIY Aesthetics Cyberfeminism and Gender Hacking Case Study: Buen Vivir-Centric Design, Diana Albarrán González, Mexico/Aotearoa Interview: Cornelia Sollfrank, Artist and Researcher, Berlin Activity 1: Pick a Theme/Make a Zine Activity 2: Hack It Game 3. Women and Design as Profession Introduction: Gender in the Design Industries Women and the Professionalisation of Design Design Knowledge and the Making of the Professional Masculinities at Work in Design Cultures Addressing Inequality in the Workplace Challenging Gender Norms in Professional Design Practice Case Study: Designers Speak (Up) Catherine Griffith, Aotearoa New Zealand Interview: In-ah Shin, Graphic Designer, Feminist Designer Social Club. Seoul Activity 1: Situational Knowledge Map Activity 2: Listening Positionality Exercise 4. Making Gender Inequality Visible Introduction: Gender Justice as a Global Issue Data, Power and Invisibility Design and the Gender Data Gap Feminist Counter-data and Queering AI Visualising Inequality Case Study: Visualizing Gender-based Violence, Nepal Interview: Brindaalakshmi K, Thematic Lead, Point of View, Chennai Activity 1: Queering Algorithms Activity 2: Gendered Life Data Drawing 5. Feminist Design Futures Introduction: Design and the Future Speculative Futures and Design Fictions Speculative Design and Inequality Feminist Visions of the Future Futuring Tools and Approaches to Time Speculative Design and Gender Case Study: Freak Science, Mary Maggic, Vienna Interview: Luiza Prado de O. Martins, Artist and Researcher, Brazil/Germany Activity 1: Participatory Futures Tool Activity 2: Speculating with the Past 6. Non-Binary Design and Sustainable Practice Introduction: Feminism and Ecological Crisis Towards Non-Binary Design More-Than-Human Entanglement, Post-nature and Queer Ecology Indigenous Worldviews, Design and Becoming-With Unmaking Design Practice Case Study: Lehuauakea, New Mexico, US and Papa’ikou, Hawaii Interview: Sixto-Juan Zavala, Designer and Illustrator, Texas/London Activity 1: Mapping Entanglements Activity 2: Feral Experiments

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Book SynopsisTheatre was at the very heart of culture in Graeco-Roman civilizations and its influence permeated across social and class boundaries. The theatrical genres of tragedy, comedy, satyr play, mime and pantomime operate in Antiquity alongside the conception of theatre as both an entertainment for the masses and a vehicle for intellectual, political and artistic expression. Drawing together contributions from scholars in classics and theatre studies, this volume uniquely examines the Greek and Roman cultural spheres in conjunction with one another rather than in isolation.Each chapter takes a different theme as its focus: institutional frameworks; social functions; sexuality and gender; the environment of theatre; circulation; interpretations; communities of production; repertoire and genres; technologies of performance; and knowledge transmission.Trade ReviewThis book surely makes a significant contribution to the study of the theatrical experience of ancient Greeks and Romans … Scholars from classics, theatre history, or performance studies can find fresh and compelling interventions in this collection. * Bryn Mawr Classical Review *Table of ContentsList of Illustrations Notes on Contributors Series Preface Introduction: Cultural History and the Theatres of Antiquity Martin Revermann, University of Toronto, Canada 1 Institutional Frameworks: Enabling the Theatrical Event Martin Revermann, University of Toronto, Canada 2 Social functions? Making the Case for a Functionless Theatre Sean Gurd, University of Missouri, USA 3 Sexuality and Gender: Off-Stage and Centre-Stage Ian Ruffell, University of Glasgow, UK 4 The Environment of Theatre: Experiencing Place in the Ancient World David Wiles, University of Exeter, UK 5 Circulation: Theatre as Mobile Political, Economic and Cultural Capital Patrick Hadley, University of Utah, USA 6 Interpretations: the Stage and its Interpretive Communities Martin Revermann, University of Toronto, Canada 7 Communities of Production: Pied Pipers and How to Pay Them; or, the Variegated Finance of Ancient Theatre Jane Lightfoot, University of Oxford, UK 8 Genres: Drama and Its Many Unhappy Returns Donald Sells, University of Michigan, USA 9 Technologies of Performance: Machines, Props, Dramaturgy Peter von Möllendorff, Justus-Liebig University Giessen, Germany (translated from German by Martin Revermann) 10 Knowledge Transmission: Ancient Archives and Repertoires Johanna Hanink, Brown University, USA Notes Bibliography Index

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Book SynopsisOne of the most captivating and provocative artists of the Sensation generation, Richard Billingham (b. 1970) came to prominence in the late 1990s with his visceral photobook Ray's a Laugh, a slice of everyday life in a high-rise sink estate in the British West Midlands. This book is the first comprehensive discussion of Billingham's art practice. Articulating the socio-historical, aesthetic, geographical as well as anthropological aspects of Billingham's art, the book situates his work within the British neorealist tradition in visual art, cinema and televisual culture.Beginning with the first photographic studies of his father in the early 1990s, Cashell argues that these sympathetic, haunting images prefigure the later development of his thematic concerns. Significant consideration is also given to Billingham's cinematic oeuvre, including his recent feature-length autobiographical film, Ray & Liz, which substantially clarifies the complex continuity of his dTrade ReviewKieran Cashell is a gifted writer and academic. He expertly draws from a wide palette of writers and theorists including Beckett and Freud to present us with a brilliant and original analysis of the complex and intriguing work of Richard Billingham. * Eoin Devereux, University of Limerick, Ireland and University of Jyvasklya, Finland *Cashell stresses the iconographic and thematic correspondences that recur throughout Billingham’s work, whose camerawork constantly questions the conditions of a photographic realism that is neither sentimental nor sensationalist. * Critique d’art *Table of ContentsList of Abbreviations Introduction: Still Pursuing the Real 1. A Sociologist’s Paradise: Early Studies 1990-1994 2. Prole Art Threat: Ray’s a Laugh (1996) 3. They Fuck You Up: Sensation / Fishtank (1997-1998) 4. Outside: Black Country (1997-2003) / Landscapes (2001-2003) 5. Enclosure: Zoo (2004-2006) 6. Home: Recent Cinematic Work (2015-2018) Conclusion: Locating Billingham in the Context of British Neorealism Notes Index

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Book SynopsisWinner of the Heldt Prize for Best Book in Slavic, East European, and Eurasian Women''s and Gender Studies 2021There was a discontent among Russian men in the nineteenth century that sometimes did not stem from poverty, loss, or the threat of war, but instead arose from trying to negotiate the paradoxical prescriptions for masculinity which characterized the era. Picturing Russia's Men takes a vital new approach to this topic within masculinity and art historical studies by investigating the dissatisfaction that developed from the breakdown in prevailing conceptions of manhood outside of the usual Western European and American contexts. By exploring how Russian painters depicted gender norms as they were evolving over the course of the century, each chapter shows how artworks provide unique insight into not only those qualities that were supposed to predominate, but actually did in lived practice.Drawing on a wide variety of source material, including previously untranslaTrade ReviewEngaging with a remarkable spectrum of behaviors, expectations, violations, and stereotypes, this book generates new understanding of masculinity and modernity by considering paintings as revelatory, questioning, and even constitutive of what it meant to be a man during a turbulent half-century of imperial rule. * Rosalind P. Blakesley, Professor of Russian and European Art, University of Cambridge, UK *By exploring the myths and pressures of masculinity that shaped male experience in Imperial Russia after Napoleon, Allison Leigh offers compelling new perspectives on five of Russia’s best-known nineteenth century painters. Beautifully illustrated, full of incisive new readings of familiar paintings, Picturing Russia’s Men excavates the innumerable ways in which the institutions of academy, army, and family shaped the male artist’s identity and output. With its blend of close reading, theoretical sophistication, and wide-ranging research, this fine study brilliantly dispels the common misperception that there is little more to be said about Russian painting of the nineteenth century. * Wendy Salmond, Professor of Art History, Chapman University, USA *An important and eye-opening contribution to the Slavic field and our studies of modernism in Russia. Through an examination of male portraiture, it traces the breakdown, between 1825 and 1881, of various myths surrounding masculinity—from the solid heroic code of virtuous, courageous manhood to the ambiguities of doubt-ridden individualism. * Elizabeth K. Valkenier, Resident Scholar, Harriman Institute, Columbia University, USA *Table of ContentsList of Illustrations Acknowledgments Note on Translations Introduction Part 1: Autocratic Masculinity 1. Karl Briullov: Fathers, Brothers, Husbands, and Sons 2. Pavel Fedotov: Comrade—Captain—Artist Part 2: Homosociality and Homoeroticism 3. Alexander Ivanov: Desire and the Male Nude 4. The Artel of Artists: Envisioning the Bonds of Men Part 3: Modern Women and their Wounded Men 5. Ivan Kramskoi: Painting Women—Known and Unknown 6. Ilia Repin: On Masculine Vulnerability Conclusion Selected Bibliography Index

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Book SynopsisBy the turn of the 20th century, Paris was the capital of the art world. While this is usually understood to mean that Paris was the center of art production and trading, this book examines a phenomenon that has received little attention thus far: Paris-based dealers relied on an ever-expanding international network of peers. Many of the city''s galleries capitalized on foreign collectors'' interest by expanding globally and proactively cultivating transnational alliances. If the French capital drew artists from around the worldfrom Cassatt to Picassothe contemporary-art market was international in scope. Art dealers deliberately tapped into a growing pool of discerning collectors in northern and eastern Europe, the UK, and the USA. International trade was rendered not just desirable but necessary by the devastating effects of wars, revolutions, currency devaluation, and market crashes which stalled collecting in Europe.Pioneers of the Global Art Market assembles original scholaTrade ReviewWithout losing touch with the intimate, collaborative relationship of artist and dealer, Pioneers of the Global Art Market dissects the market for modern art to reveal the complex transactional networks that spanned the globe from the middle of the nineteenth century to the middle of the twentieth. In a series of authoritative studies, authors address central players in the market for contemporary European art, such as Paul Durand-Ruel and Daniel-Henry Kahnweiler, as well as less well-known figures like Paul Guillaume, whose cultivation of ties with French colonial officials opened markets for African art in Europe and America. * Michael FitzGerald, Professor of Fine Arts, Trinity College, USA *Through its emphasis on dealers’ strategies, working in cooperation across national borders, this wide-ranging collection of essays makes an original and significant contribution to our knowledge of the processes through which art from France came to dominate the international canon of modern art. * Malcolm Gee, Visiting Fellow, Department of Arts, Northumbria University, UK *Drawing together an international team of scholars working across an impressive range of archival materials, this volume offers fresh and compelling analyses of the role of the art dealer in fostering the market for contemporary art produced in Paris c. 1850-1950, as well as the arts of Africa prized by modernists, revealing how dealers wove a transnational web of relations to create and sustain demand and value for this new art. For anyone interested in the fate of modernist art or strategies that have powered the global art market, this book is a must read. * Anne Helmreich, Associate Director, Getty Foundation, USA *The art market is not only driven by visionary dealers, it also relies on highly active networks that evolved in the course of an increasingly international exchange. Contrary to widespread assumptions, such networks are not a recent phenomenon: Pioneers of the Global Art Market unites a superb selection of engrossing case studies on how, between 1850 and 1950, dealers and other players in the art world forged and strengthened increasingly far-reaching personal and business connections. The volume’s intelligent focus on Paris—then the pre-eminent hub for the trade in avant-garde art—leads to particularly revealing insights into the market’s complex nervous system. As such, this highly stimulating book provides an excellent point of departure for a deeper understanding of the history of globalization. * Johannes Nathan, Chair, The International Art Market Studies Association (TIAMSA) *Dealer-centered, [this book] places diminished emphasis on overarching historical, national, social and critical structures that frame and inform the context of modern art. * Giovanna L. Costantini, Leonardo Reviews *[Pioneers of the Global Art Market] places a fresh emphasis on pragmatic, tactical, sometimes ad hoc cooperation between dealers, in particular across national borders. * Marie Tavinor, Review, The Society for the History of Collecting *Table of ContentsList of Plates List of Figures Series Editor’s Introduction Acknowledgements 1. Introduction: Pioneers of the Global Art Market: Paris-Based Dealer Networks, 1850-1950, Christel H. Force (The Metropolitan Museum of Art, USA) 2. Parisian Dealers and the American Market, 1860–1920, Paolo Serafini (Sapienza Universita di Roma, Italy), translated by Angelica Modabber 3. Old and New Worlds: Durand-Ruel and the International Market for Impressionism, Jennifer A. Thompson (Philadelphia Museum of Art, USA) 4. Moving Mountains: Paris-Based Dealers and the Economics of Translocation, David M. Challis (Melbourne University, Australia) 5. Daniel-Henry Kahnweiler’s International Partnerships, 1907-1937, Vérane Tasseau (Independent Scholar, France), translated by Celia Abele 6. Promoting Modernism in the 1920s: The Art Journals of Paul Guillaume, Léonce Rosenberg, and Alfred Flechtheim, Ambre Gauthier (Marc Chagall Foundation, Paris, France) 7. Paul Guillaume, Marius de Zayas and African Arts: A Transatlantic Partnership, 1914–1923, Yaëlle Biro (The Metropolitan Museum of Art, USA) 8. The Thannhauser Galleries: Forming International Alliances in an Era of Change, Valerie Nikola Ender (University of Cologne, Germany) 9. “A Viking sailing over the savage sea, far, far to the north”: Walther Halvorsen, Christel H. Force (The Metropolitan Museum of Art, USA) 10. When French Dealers “Turned their Eyes Towards Scandinavia”: The Svensk-Franska Konstgalleriet in Stockholm, Christina Brandberg (University of Loughborough, UK) 11. The Galerie Paul Rosenberg and the American Market in the Interwar Era, MaryKate Cleary (New York University, USA) 12. International Dealer Networks and the Market for Impressionism in London and Glasgow: Etienne Bignou, A.J. McNeill Reid, and Ernest Lefèvre, Frances Fowle (University of Edinburgh, UK) 13. Etienne Bignou: The Gallery as Antechamber of the Museum, Christel H. Force (The Metropolitan Museum of Art, USA) 14. Capricious Cohorts: René Gimpel’s Associates, Rivals, and Patrons Diana J. Kostyrko (Australian National University, Australia) 15. Valentine Dudensing and the Valentine Gallery: Selling the US on the School of Paris, Julia May Boddewyn (Independent Scholar, USA) 16. Conclusion, Veronique Chagnon-Burke (Christie’s Education, New York, USA) Author Biographies Index

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Book SynopsisEdith Snook is Professor of English at the University of New Brunswick, Fredericton, Canada.Trade ReviewA thick, tangled and deliciously idiosyncratic history of hair ... There is plenty to inform and intrigue. * Times Literary Supplement *Individually, Edith Snook’s international team of historians and literary scholars brings fresh new perspectives to nine key themes in renaissance hair. Collectively, the volume powerfully explores the extent to which, from 1450 to 1650, when sumptuary laws policing European fashion were at their most influential, social distinctions overruled personal preference to dictate – and reflect – how people styled and cared for their hair. -- M A Katritzky, Open University, UKA fascinating collection of essays written from a wealth of disciplinary perspectives … This wonderful volume looks at hair as a cultural artifact whose colour, cut or arrangement, modest covering or disheveled disarray communicated a wealth of information about an individual. This is a valuable contribution to Renaissance and early modern history of the body and material history. -- Sara F. Matthews-Grieco, Syracuse University, ItalyTable of ContentsSeries Preface Introduction 1. Religion and Ritualized Belief, Gary K. White 2. Self and Society, Anu Korhonen 3. Fashion and Adornment, Carole Collier Frick 4. Production and Practice, Annemarie Kinzelbach 5. Health and Hygiene, Edith Snook 6. Gender and Sexuality, Mark Albert Johnston 7. Race and Ethnicity, Nicholas Jones 8. Class and Social Status, Jana Mathews 9. Cultural Representations, Lyn Bennett Notes Bibliography Notes on Contributors Index

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Book SynopsisGeraldine Biddle-Perry is Associate Lecturer in Cultural Studies at Central Saint Martins, London, UK, and co-author of Hair: Styling, Culture and Fashion.Trade ReviewA thick, tangled and deliciously idiosyncratic history of hair ... There is plenty to inform and intrigue, partly because the study of hair demands an exhilarating disciplinary range: from the art of cuts and colours, the history of scissors, razors and combs and the sociology of barbershops, to the semiotics of hair pulling and lock tugging, the ethnography of “Afros”, and the sexual politics of boyish bobs. * Times Literary Supplement *[I]n carefully argued, insightful case studies that deploy sophisticated analytical tools, this volume’s contributors document the complex shifts in hair dressing and grooming which have located hair as central to contemporary individualistic self-fashioning and as a key signifier of sexuality and lifestyle politics. Innovative and persuasive, this collection provides an invaluable history of hair for those who want to truly understand its modern significance and powerful cultural status. -- Andrew Stephenson, University of East London, UKTable of ContentsList of Illustrations General Editor’s Preface Introduction: Modern Hair in a Modern Age, Geraldine Biddle-Perry 1. Religion and Ritualized Belief, Yudit Kornberg Greenberg and Hanna Cody 2. Self and Society, Elisha P. Renne (Part 1) and Royce Mahawatte (Part 2) 3. Fashion and Adornment, Alice Beard 4. Production and Practice, Kim Smith 5. Health and Hygiene, Paul R. Deslandes 6. Gender and Sexuality, Chelsea Johnson and Kristen Barber 7. Race and Ethnicity, Shirley Anne Tate 8. Class and Social Status, Geraldine Biddle-Perry 9. Cultural Representations, Nathalie Khan Notes Bibliography Notes on Contributors Index

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Book SynopsisHighlighting intersections of gender, race, and class and their explosive encounters with Pop Art during the Long Sixties, this book offers a new critical reading of Pop for the 21st century. ''a brilliant and important corrective to much writing on Pop art'' - Jo Applin, The Courtauld Institute of Art, LondonFeaturing an array of rigorous chapters that examine the work of over 20 artists from 5 continents, Pop Art and Beyond transcends the borders of individual and national contexts, and suspends hierarchies to create a space for the work of artists like Andy Warhol and the women of the Black Arts Movement to converse. Casting an inclusive look at the intersectional complexities of difference in Pop at a moment that gave rise to a plethora of radical social movements and identity politics, it contributes bold new perspectives on Pop's heterogeneity.While this book introduces revelatory non-canonical artists into the Pop context orTrade ReviewPop Art and Beyond: Gender Race and Class in the Global Sixties is the perfect response to today’s urgent calling for ever more credible art histories that center recognition of artists and practices that have tended to be erased or downplayed within the dominant canon. The range of texts in the volume will prove indispensable in further building on scholarship that unsettles and challenges stale, hegemonic readings of Pop Art. As such, this book makes an invaluable contribution to art history and decisively signals the direction of progressive academic study. The global reach of this volume, together with the erudition of its contributors, ensure that scholars now have access to new, rigorous, and persuasive research into important aspects of modern art. * Eddie Chambers, David Bruton, Jr. Centennial Professor in Art History, University of Texas at Austin *This book is a brilliant and important corrective to much writing on Pop art. It offers an urgent analysis and expansion of the material, geographic, and political framing of Pop art. Each of the fifteen original and exhaustively researched chapters shed important new and critical light on the raced, gendered, and classed aspects of Pop art and its artists. * Jo Applin, The Courtauld Institute of Art, London *The authors in this ground-breaking collection make vital, incisive and deeply energising interventions into debates on Pop art, together achieving a major intersectional re-examination of Pop which attends to gender, race, class and sexuality, while illuminating and complicating formulations of ‘global’ Pop. Required reading for scholars, curators and students alike. * Catherine Spencer, University of St Andrews, UK *Hadler rethinks the very idea of the “revolutionary icon” within Pop Art history in writing about the interconnections between groundbreaking stand-up comedians like Richard Pryor, Jackie “Moms” Mabley, and Lenny Bruce, and the feminist, anti-racist Pop Art of the era. * Maria Elena Buszek, Woman’s Art Journal *Table of ContentsAcknowledgments List of Illustrations Notes on Contributors Introduction by Mona Hadler and Kalliopi Minioudaki 1. Cults or Subcultures? Reckoning with Collective Creation in the English Pop World by Thomas Crow 2. The 1960s in Bamako: Malick Sidibé and James Brown by Manthia Diawara 3. Yugoslav Pop, Female Artists, and the Emergence of Feminist Agency by Lina Džuverovic 4. “Everything for Money”: Warhol, Kant, and Class by Anthony E. Grudin 5. Pop Art’s Comic Turn and the Stand-Up Revolution by Mona Hadler 6. Tom Max’s “Okinawan Inferno”: Reversion and After by Hiroko Ikegami 7. Following the Traces of Yemanjá: Pop Art, Cultura Popular, and Printmaking in Brazil by Giulia Lamoni 8. Facing the Maid: Gendered Shades of Labor in American Pop by Kalliopi Minioudaki 9. The Commonwealth of British Pop: Race, Labor, and Postcolonial Politics in Frank Bowling’s Mother’s House Series by Maryam Ohadi-Hamadani 10. Market Wares and Trade Marks: Painting Pop in Indian Country, 1964 by Kristine K. Ronan 11. Entangled Mythologies: Race and Class in Hervé Télémaque’s Pop (1963-5) by Marine Schütz 12. Snap! Crackle! Pow!: Robert Colescott and Pop Art by Lowery Stokes Sims 13. Against the Heroes: Revolution, Repression, and Raúl Martínez’s Cuban Pop Art by Mercedes Trelles Hernández 14. Myriam Bat-Yosef: World Citizen, Artist of the Pop Era by Sarah Wilson 15. Free Your Mind and Your Ass Will Follow: Feminism and the (Pop) “Image” in Chicago’s Black Arts Movement by Rebecca Zorach Index

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Book SynopsisI adored this book and can't recommend it highly enough Cathy HorynBeautifully executed Norma KamaliA visual feast Giles DeaconEntertaining, thought-provoking, and serious. Read it and learn. Colin McDowellClothes from our past shape who we are, and who we will be. Why do we hold on to certain garments and what do they tell us and others about our lives?Mark C. O'Flaherty asks 14 individuals who work with or use clothes in a unique way: how has fashion created something significant in your life? Through fascinating conversations, and photoshoots of their private collections, in New York, London and Milan, he constructs a portrait of each person through their intimate relationships with fashion, featuring The Idiosyncratic Fashionistas, Charlie Casely-Hayford, John Matheson (McQueen Vault), Sandy Powell, Stephen Jones, Carla Sozzani, Winn Austin, Carmen Haid, Susanne Bartsch, Karlo Steel, Karim Rashid, Steven Philip, and Desmond is Amazing.How have these people used faTrade ReviewA beautifully executed book. Rarely does such a high level of talent for photography and writing exist in one person. It exists in Mark C. O'Flaherty. * Norma Kamali *A wondrous insight into some of the most important and singular collections in the world. A visual feast, packed with insightful psychological interpretations. The developing plot of each chapter, studying the relationship between the subject, their chosen pieces, and the human condition is truly fascinating. * Giles Deacon *This isn’t simply a book about fashion collectors, though it is. This is a book about the daring creators of fashion during a magical period in the history of dress. O’Flaherty deftly weaves together the various narratives for an original account. I adored this book and can’t recommend it highly enough. * Cathy Horyn, ‘The Cut’, New York Magazine, USA *This is a very important book for anyone who cares about the strength and creativity of fashion. The “conversations” featured are entertaining, thought-provoking… And serious. Read it and learn. * Colin McDowell *A remarkable and heart-warming book: Mark C. O’Flaherty’s intimate portraits of diverse fashion collectors explores the relationship we have with fashion, expression, memory, and identity. The compendium surfaces big ideas about the cult of the brand, self-creation, and the psychology of collecting. * Harriet Quick *Mark C. O'Flaherty's book weaves us, in a tender way, through the emotional reasoning for holding on to garments from our past as we head into the future. * Suzy Menkes, podcaster and leading fashion authority *Narrative Thread provides unparalleled access to some of the world’s most extraordinary privately-owned collections, revealing the untold stories and hidden meanings behind fashion’s most significant garments. Alongside beautiful imagery, insightful conversations with the collectors offer thought-provoking perspectives on the significance of fashion and its impact on all our lives. * Andrew Groves, Westminster Menswear Archive, UK *Astounding. Reading this inspired me to rethink the story my clothes tell. * Amanda Harlech, from the Foreword *

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Book SynopsisSmall Spaces recasts the history of the British empire by focusing on the small spaces that made the empire possible. It takes as its subject a series of small architectural spaces, objects, and landscapes and uses them to narrate the untold stories of the marginalized peoplethe servants, women, children, subalterns, and racialized minoritieswho held up the infrastructure of empire. In so doing it opens up an important new approach to architectural history: an invitation to shift our attention from the large to the small scale. Taking the British empire in India as its primary focus, this book presents eighteen short, readable chapters to explore an array of overlooked places and spaces. From cook rooms and slave quarters to outhouses, go-downs, and medicine cupboards, each chapter reveals how and why these kinds of minor spaces are so important to understanding colonialism. With the focus of history so often on the large scale - global trade networks, vast regions, and archiTrade ReviewThis brilliantly provocative study provides an alternative, micro-scalar history of colonial and middle-class domiciles, along with an extraordinary archaeology of objects and bodies that mediated the intimacy of the rulers and the ruled—taking us on an exhilarating journey from the cellars, kitchens, dining rooms and verandahs of the imperial mansions of Calcutta to the streets, bazars and bungalows of the Bengal and north-Indian countryside. * Sudipta Sen, University of California, Davis, USA *In this erudite yet eminently accessible volume, Chattopadhyay imaginatively stitches together the overlooked worlds of fragmented and seemingly minor spaces underpinning the workings of everyday life and better regarded practices, inspiring readers, by example, to recognize their indispensability and resilience. * Zeynep Kezer, Newcastle University, UK *An original examination of empire from marginal spaces in the built environment. This book unites subalterns with the spatial medium of their agency during colonial rule. It brilliantly reveals the hidden infrastructure of empire through an architectural and social history of service, separation, and subordination. * K. Sivaramakrishnan, Yale University, USA *Table of ContentsPreface and Acknowledgments Part I. Small Spaces 1. Of Small Spaces 2. Empire of Small Spaces Part II: Trade and Labor 3. Dependency 4. Locating the Bottlekhana 5. Potable Empire 6. Europe Goods 7. Strange Tongues 8. Making Invisible Part III: Land Imagination 9. Vantage 10. Connective Spaces 11. Anomalous Spaces 12. An Aesthetic Episode 13. Roofscape Part IV: A Geography of Small Spaces 14. Collections and Containment 15. Portable Geographies 16. A Good Shelf 17. A Box of Medicine 18. Epilogue Appendix A Index

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Book SynopsisSoviet Architectural Avant-Gardes challenges conventional readings of the history of Soviet art and architecture, in which utopian modernism was practically prohibited by 1932 under Stalin's totalitarianism. Radically redefining the historiography of the period, it reveals how the relationship between the Party and practicing architects was much more complex than previously believed, and shows, in contrast to the conventional narratives, how the architectural avant-garde was able to persist at a time when it was widely considered to have been driven underground. In doing so, this book provides an essential new perspective on how to analyze, evaluate, and reimagine the global history of modernist expression, and offers a new understanding of the ways in which 20th-century social revolutions and their totalitarian sequels inflected the discourse of both modernity and modernism. Exploring iconic Soviet architecture including the Palace of Soviets and the Soviet Pavilion at the ParTrade ReviewClearly written and is difficult to put down . . . Soviet Architectural Avant-Gardes makes a significant contribution to the English-language scholarship on the history and theory of architecture during Stalinism and beyond. * H-Net reviews, June 2021 *After years of research, Danilo Udovicki-Selb has masterfully mapped one of the major episodes in the history of 20th-century architecture: the backlash against modernism in Stalin's USSR. Considered with subtlety, biographies, discourse and designs are intertwined in a path-breaking, fascinating chronicle. * Jean-Louis Cohen, Sheldon H. Solow Professor in the History of Architecture, New York University, USA *Danilo Udovicki-Selb’s new book makes an important contribution to the history of Soviet architecture. It brings attention to the dramatic story of VOPRA, the All-Union Society of Proletarian Architects, long neglected by historians as a political rather than creative movement. Working in the Russian archives, Udovicki-Selb discovered the real story of the movement, created by Lazar Kaganovich. The book convincingly shows, that once-popular idea “Stalin ordered architects to return to classical architecture,” is a gross oversimplification. “The 23 April 1932 Central Committee decree,” Udovicki-Selb writes, “did not impose any stylistic direction,” and the party even “favored architectural plurality.” This is well illustrated by juxtaposing Malevich’s Arkhitekton with Boris Iofan’s version of the Palace of the Soviets, clearly influenced by Malevich as well as by the Rockefeller Center in New York (which may have been influenced by Malevich as well). * Vladimir Paperny, Adjunct Professor, Slavic Languages & Literatures Department, UCLA *An important contribution to the narrative initiated by Clement Greenberg, Reyner Banham, and Manfredo Tafurri, this book offers a trove of previously unknown documents and discusses a number of projects that until now have escaped the scrutiny of architectural historians. It adds many new nuances to the story of the clash between the revolutionary architecture of the Russian Avant-garde and the Stalinist cultural revolution “from above.” This nuanced approach does not make Danilo Udovicki-Selb’s account of Kaganovich’s intervention that eventually ended the vibrant experiments of the 1920s any less tragic. And yet, his analysis escapes the trap of a melodrama with clear heroes and villains; Udovicki-Selb’s most important accomplishment is of highlighting the talent of survivors such as Boris Iofan, Aleksej Dushkin, and the Moisej Ginzburg of the 1930s. Their attempts to preserve the legacy of the avant-garde—even if delivered in a form, acceptable to the soviet dictator—produced several truly remarkable pieces of modernist architecture. * Alexander Ortenburg, Professor, Architecture, California State Polytechnic University, USA *Soviet Architectural Avant-Gardes is an important, engaging book . One of the most original contribution in this specific field of History of architecture and the XX century History of Architecture at large, which marks a significant step forward. Danilo Udovicki-Selb deserves a lot of credit for the essential contribution given to the questioning of what has long been undisputed. The author has succeded in breaking down long-standing historiographical narratives, revealing the complexity and ambiguity of the relationships between the Verkhushka, the Stalinist political power and the multifaceted sphere of professional culture, and how the architectural avant-garde has been in able to persist and develop in in original, sometimes unexpected, and geographically articulated forms, within the unstable and nuanced rhetoric frame of the “Socialist Realism”. * Alessandro De Magistris, Professor, Department of Architecture and Urban Studies, Politecnico di Milano, Italy *Table of ContentsDedication Comparative Chronology Acknowledgments Introduction 1. A Call for the Party to Defend Modern Architecture:Stalin’s “Cultural Revolution” and the Aporia Of “Proletarian Architecture" 2. Continuity and Resistance: Designed Before 1932, Completed Down the Decade 3. Building Modern Architecture: “An Atmosphere Of Genuine Creativity,” 1933-1939 4. The Shaping of Architecture Ideology within the Stalinist Project: Unreachable “Proletarian” Architecture Yields to Unattainable “Socialist” 5. The Improbable March to the Congress: “Soviet Architecture Eaten by a Gangrene” Conclusion Bibliography and Sources Index

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Book SynopsisA brand-new collection of original audition pieces written by and for actors of colour, commissioned by Tamasha Theatre Company and edited by Titilola Dawudu, with a foreword by Noma Dumezweni. Hear Me Now is a unique collection of over eighty original audition monologues, expressly created by a range of award-winning writers brought together by producer Titilola Dawudu and Tamasha Theatre Company. They're ideal for actors of colour searching for speeches for auditions or training, writers, teachers, and theatre-makers who are passionate about improving diversity.The book provides varied, nuanced stories that expand beyond the range of existing material available from a cross-dressing Imam, to the first Black Prime Minister, the British Indian girl with dreams of becoming a country music star, or the young Black boy who loves baking as much as football Hear Me Now is an essential tool for actors of colour to showcase their range, and seeks to inspire, empower, and

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Book SynopsisShortlisted for the Association of Dress Historians Book of the Year Award, 2021Beautifully written, entirely accessible, poignant and profound Amy de la HayeIn a culture preoccupied with newness and a fashion system largely predicated upon it, what is the significance of worn clothes and why do they have the power to affect us so deeply? How are relationships to clothing produced and maintained through the embodied practices of wearing, maintenance and repair? Through a focus upon a single garment, the shoe, this book calls on readers to reconsider the value of the marks of wear at a time when fast fashion reigns supreme and interest in damaged, or worn, garments quietly increases. Bringing together anthropological and psychoanalytic theory with practices of handmaking, wearing, and photography, this book asks what is the embodied experience of wearing and the affect of the worn?Beautifully illustrated in full color throughout, Worn is Trade ReviewIn a culture and fashion system that continues to be preoccupied with newness, the publication of Dr Ellen Sampson’s book Worn could not be more poignant ... this research succeeds beautifully in its aim of returning the body and everyday practices of wear to the center of our relationships with clothing. * Fashion Theory *An innovative work on the physical and psychological traces left by shoes on the human body. * Revue Critique (Bloomsbury Translation) *Perhaps more than any other media, worn dress can offer insights into lives lived and shoes, which over time alter to echo the contours of our feet, can be particularly redolent with meaning. Ellen Sampson’s exploration is beautifully written, entirely accessible, poignant and profound. It will resonate with us all. * Amy de la Haye, London College of Fashion, University of the Arts London, UK *Ellen Sampson‘s evocative and thoughtful book eloquently explores the transformative relationships between ourselves and what we wear. Using shoes as an entry point into this larger discussion, Sampson’s investigation of this entanglement is a joy to read. * Elizabeth Semmelhack, The Bata Shoe Museum, Canada *Sampson’s outstanding book explores the entanglements of object, subject, thing and theory with confident yet insightful deftness. This perceptive and timely exploration of the embodied, worn experiences around garments offers important methodological thinking that will help transform future fashion research. * Hilary Davidson, dress and textiles historian and curator, Honorary Associate, University of Sydney, Australia *Ellen Sampson’s book takes us on a powerful journey, helping us think through our physical and psychic entanglements with the worn, used clothing that forms the bulk of our own wardrobes. Using a practice-based approach, Sampson helps us creatively understand how objects “touch” us, challenging traditional views of fashion as commodity culture. * Alison Matthews David, Ryerson University, Canada *Table of ContentsList of Illustrations Acknowledgments Preface Introduction Wearing Diary 1 Chapter 1: New Shoes: Objects of fantasy, Objects of desire Wearing Diary 2 Chapter 2: Wearing and being worn Wearing Diary 3 Chapter 3: The dressed body in motion Wearing Diary 4 Chapter 4: The Cleaved Garment: the maker, the wearer, and the 'me and not me' of fashion practice Wearing Diary 5 Chapter 5: The Empty Shoe: Imprint, memory, and the marks of experience Wearing Diary 6 Chapter 6: Encounters and affects: garments, and the memory nexus Wearing Diary 7 Chapter 7: Worn: Imprint, attachment, and the affective encounter Afterword References Notes Index

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Book SynopsisWhile often seen as unplanned or spontaneous, informal settlement is better understood as a mode of production: a co-evolution of architecture, urban design and planning that embodies informal rules and shapes urban development. The Atlas of Informal Settlement is a comparative study of the spatial logic of informal settlement based on mapping and analysing the evolution of urban form (morphogenesis) in 51 contemporary settlements across the planet the first of its kind and a fundamental change in thinking for urban studies and built environment professionals. Each of the 51 case studies uses maps and aerial photographs to examine key stages of development, showing how informal settlement adapts to different contexts of political economy, topography, culture, climate and land tenure; revealing a complex range of actors from settlers and states to land mafias and pirate developers. It demonstrates the range of design processes and formal outcomes; how the infoTrade ReviewThe Atlas demonstrates the indispensable value that is generated by investigating the spatial logic of informal settlement, as this exposes factors often overlooked in broad-brush statistics and geospatial analysis based on artificial intelligence. Focusing on fifty-one sites, the Atlas offers a nuanced spatial analysis at different scale levels and reveals the processes and outcomes of self-organized urban design. In doing so, it offers learnings for context-sensitive policies for affordable housing and neighbourhood infrastructure in rapidly growing cities. * Raf Tuts, Director, Global Solutions Division, UN-Habitat *We know very little about most of the informal settlements that house over a billion urban dwellers. This book advances and deepens our understanding of these settlements‘ development and expansion over time in all their diversity and complexity. * David Satterthwaite, International Institute for Environment and Development *This is a vital empirical consolidation of the heterogeneous ways urban settlements are being composed and governed. The "informal" is always extending itself across new terrain and vernaculars; something always being worked and worked on in incessant processes of becoming unsettled and resettled. * AbdouMaliq Simone, Urban Institute, University of Sheffield *Table of ContentsList of figures List of authors Acknowledgements Part A INTRODUCTION: Informal Settlement as a Verb Part B METHOD: Mapping Informal Assemblages Part C SETTLEMENT Part D MORPHOGENESIS: The Spatial Logic of Self-Organized Urban Design Part E REFERENCES Glossary Index

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Book SynopsisHow can we study and teach design in a way that is participatory and socially engaged? In this timely book, Danah Abdulla challenges us to imagine a design education and design culture that moves beyond Eurocentric and neoliberal frameworks. Drawing on learnings from work with design students, educators and designers in the Arab region, with a particular focus on Jordan and featuring examples from Lebanon, Egypt, Qatar and the United Arab Emirates, Abdulla creates a dialogue with who have most at stake in education to imagine how we can develop a collaborative, contextually-based, and socially-relevant design education. By first contextualising higher education and design education in the region and examining the issues and challenges that are pertinent to the development of curricula and pedagogy, such as power, bureaucracy, language, and access, Danah Abdulla considers the purpose and relevance of design education in contemporary post-colonial societies. She explores regional iden

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Book SynopsisIllustration and Heritage explores the re-materialisation of absent, lost, and invisible stories through illustrative practice and examines the potential role of contemporary illustration in cultural heritage. Heritage is a process' that is active and takes place in the present. In the heritage industry, there are opposing discourses and positions, and illustrators are a critical voice within the field.Grounding discussions in concepts fundamental to the illustrator, the book examines how the historical voice might be found' or reconstructed. Rachel Emily Taylor uses her own work and other illustrators' projects as case studies to explore how the making of creative work through the exploration of archival material and experimental fieldwork is an important investigative process and engagement strategy when working with heritage. What are the similar functions of heritage and illustration? How can an illustrator give voice' to a historical person? How can an Trade ReviewThis insightful book shines a light on one of the important roles of illustration. It illuminates key ideas on how the illustrator's voice can make our past more human and heritage as a deep source of inspiration for illustration. * Nanette Hoogslag, Anglia Ruskin University, UK *Table of ContentsIntroduction 1. Illustration and Heritage 2. Illustration and Historical Voices 3. Illustration and Historical Collections 4. Illustration and Historical Landscapes Conclusion

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Book SynopsisConstricting styles and limited clothing choices can restrict a person with a disability from fully participating in social communities, employment and gatherings that have an unspoken dress code. Design has the power to change this.Fashion, Disability, and Co-design shows how collaborative, inclusive design techniques can produce garments and accessories that increase social inclusion. Grace Jun outlines practical techniques to help designers create their own inclusive collections, with detailed examples from interviews with professionals. 14 illustrated case studies show how engagement with disability communities to co-design clothing and accessories can lead to functional, wearablesolutions for people of all abilities without compromising style.Interviews:- Inclusive Representation in Fashion Narrative & Design Process Christina Mallon- Understanding the Use of Materials Angela Domsitz Jabara- Human Factors and Occupational

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Book SynopsisBringing together a fascinatingly diverse yet closely related group of subjects, Where Words and Images Meet asks us to rethink what we know about words and images and how they interact. From 19th-century frontispieces to Soviet photo albums, from the relationships between portraits and biographies to museum labels, the book''s richly illustrated chapters open up historically specific connections between word and image to collective examination and fruitful analysis. Written by both established and emerging scholars in a range of interrelated fields, the chapters deliberately foreground previously overlooked topics as well as unfamiliar disciplinary approaches, to offer a stimulating and carefully developed framework for looking at these ubiquitous phenomena afresh.Where Words and Images Meet opens up for analysis and reflection the forms of attention, practices, skills and assumptions that underlie visual interpretation and meaning-making in the

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Book SynopsisInside the Westminster Menswear Archive is a unique guide to the role of garment archives as an industry resource for designers to research and examine both historical garments and the work of their peers.With exclusive access to over 120 key garments from the Westminster Menswear Archive, spanning the last 275 years, each piece is brilliantly photographed in close-up detail and annotated with curator commentary, to inspire new generations of designers.Highlights include garments from: A-COLD-WALL*, Ahluwalia, Aitor Throup Studio, Alexander McQueen, Belstaff, Bernhard Willhelm, Burberry, Casely-Hayford, C.P. Company, Carol Christian Poell, Comme des Garçons, Craig Green, Dior Men, Fred Perry, Helmut Lang, Hussein Chalayan, Jean Paul Gaultier, Junya Watanabe, Louis Vuitton, Martine Rose, Meadham Kirchhoff, Nigel Cabourn, Paul Smith, Prada, Stone Island, Umbro, Undercover, Vexed Generation, and Vollebak.

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Book SynopsisPolitical Illustration introduces students of illustration, visual communication, art, and political science to how political illustration works, when it's used and why. Through a variety of examples from the coins of Julius Caesar to contemporary art challenging Indigenous American stereotypes the book covers propaganda, the impact of media, censorship, and taboo, and the role of contentious politics and dissent art. A wide range of contemporary illustration mediums are included, including street art, the graphic novel, and mixed assemblage illustration, in order to examine the role of media and technique in political messaging. The book features breakout interviews and case studies on prominent global political illustrators (like Edel Rodriguez, Anita Kunz and Fabian Williams) and full color examples. The authors include an introduction to semiotics, visual grammar, and visual communication theory, and how these approaches contribute to the decoding of political messa

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisJo-Anne Bichard is Professor of Accessible Design in the Helen Hamlyn Centre for Design at the Royal College of Art, UK. She is a design anthropologist and has undertaken two of the UK's largest empirical studies on inclusive design and public toilets, focusing on design's success and/or failure to meet users' needs for physical access as well as safety and dignity.Gail Ramster is Senior Research Associate in the Helen Hamlyn Centre for Design at the Royal College of Art, UK. She is a design researcher focused on people-centered and co-design approaches addressing social challenges. Her research has encompassed service and urban design, digital applications and public toilet design.

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Book SynopsisUroš Cvoro is Associate Professor in Art Theory at UNSW Australia, Arts, Design & Architecture. His research interests include contemporary art and politics, cultural representations of nationalism, post-socialist and post-conflict art. His books include Transitional Aesthetics: Art at The Edge of Europe (2018) and Turbo-folk Music and Cultural Representations of National Identity in Former Yugoslavia (2014). With Kit Messham-Muir, he is co-author of Images of War in Contemporary Art: Terror and Conflict in the Mass Media (Bloomsbury, 2021).Kit Messham-Muir is Professor in Art in the School of Media, Creative Arts and Social Inquiry at Curtin University in Perth, Australia. His research interests include the art and visual culture of war, as well as the studio practice of contemporary artists. With Uroš Cvoro, he is co-author of Images of War in Contemporary Art: Terror and Conflict in the Mass Media (Bloomsbury, 2021) and author of Trade ReviewThis book analyses the linked world view and aesthetics of the resurgent far right, including the 'paranoid epistemology' of QAnon and the 'gamification' of its propaganda, along with provocative readings about the relation of contemporary art to a consciously performative politics--among leaders and followers alike. * Julian Stallabrass, Professor of Art History at the Courtauld Institute of Art, UK *Messham-Muir and Cvoro provide a very useful and highly original contribution to the analysis of the new fascist tendencies and the way these simultaneously contest and uphold a torn democratic public sphere. * Mikkel Bolt Rasmussen, Professor of Political Aesthetics, University of Copenhagen, Denmark *An urgent analysis of the Trump effect as a global and American phenomenon. Its unique focus on the power of contemporary aesthetics in social media to mobilise the Right makes for chilling reading in understanding how Trump’s followers almost succeeded in the Capitol Hill Riot of 6 January 2021. * Catherine Speck, Emerita Professor of Art History and Curatorship, University of Adelaide, Australia, and author of Beyond the Battlefield: Women Artists of the Two World Wars (2014) *Table of ContentsList of Illustrations Acknowledgements Introduction: The Trump Effect Chapter 1: QAnon: ‘Shall We Play a Game?’ Chapter 2: The Critical Race Theory Moral Panic: Dana Schutz’s Open Casket and the Evergreen Affair Chapter 3: #cancel #woke #universities: ‘burn them down and start it all over again!’ Chapter 4: Our Past But Not Our Past: ‘Statue Wars’ and Contemporary Art Chapter 5: Overidentifying with the Strongman: Trump and the Capitol Hill Riot Chapter 6: Delegated Insurrection Conclusion Bibliography Index

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Book SynopsisDesign Studies: A Reader is the ideal entry point for any student who wants to understand the many complex roles of design - as process, product, function, symbol, and use. Reflecting the diverse range of perspectives on design, the reader brings together over seventy key texts. The essays are presented in themed sections covering history, methods, theory, visuality, identity, consumption, labor, industrialization, new technology, sustainability, and globalization. Each section is separately introduced and each concludes with a guide to further reading. In addition, a final section of specially commissioned essays analyzes ten seminal designs of the twentieth century, from Helvetica to the cell phone. Bringing together the best classic and contemporary writing, Design Studies: A Reader will be invaluable to all students of Design as well as to students of Architecture, Art, Material Culture, and Sociology. Authors include: Theodor Adorno, Arjun Appadurai, Reyner Banham, JTrade ReviewIncredibly inclusive, this is essential reading for students and teachers of Design Studies in any context. A superlative collection of authoritative contributions from many of the most influential writers on design, past and present. * Paul Atkinson, Sheffield Hallam University, UK *A book that works for students or anyone else with the slightest interest in design. * New York Daily News *A critical snapshot of what's vital now in global comparative critical thinking on Design. The clearly structured and framed sets of key essays disclose the full reach and power of the myriad acts of designing that create our realities and, increasingly, narrow our future options. * Lisa Norton, School of the Art Institute of Chicago, USA *The Reader combines new interpretations with influential texts that have shaped Design thinking over the last thirty years. It shows how Design is becoming more complex and how the emerging discipline of Design Studies has risen to this challenge. It will be an essential resource for students. * Suzette Worden, Curtin University of Technology, Australia *The Reader will become a standard reference for the subject. It establishes the field for all those interested in Design and its impact on the contemporary world. The Reader offers an informed overview of ways of engaging with the central themes of Design such as ethics, globalization, identity and gender. * Jeremy Aynsley, Royal College of Art, UK *An extraordinarily valuable resource for students in all areas of Design. It opens up endless fields of inquiry and also affirms 'Design Studies' as the only theoretical framework which encompasses all the richness and multiplicity of Design both conceptually and globally. * Eduardo Corte-Real, IADE Design School, Portugal *A wonderful and richly engaging book that would be invaluable to any student both at undergraduate and postgraduate levels of study to draw upon as a one-stop companion and reliable point of reference. * The Design Journal *As a design educator, I've been waiting for a smart compilation of design essays for my graduate 3D design students. Until now, I've used my own mix of 'greatest hits' essays to inform our reading seminars. This year I began using this compilation with my graduate students. I like the way the book is structured by contemporary topics. The content is smart, contemporary and concise - excerpting the most relevant reading from each essay. I'd recommend this book to any student with an interest in the intellectual-big-picture of design. * Amazon.com - Scott Klinker (Cranbook Academy of Art, USA) *If you're looking to do a little self-education this fall, this just might be the book for you. * Amy Azzarito, Apartment Therapy Blog *Provides a great deal of food for thought for beginning design students from numerous subdisciplines and is also a good refresher for more advanced scholars. * Design Issues *In totality [Design Studies is] more than just a teaching or study resource. As [it] advocate[s] that the production, consumption and mediation of designed objects and images affect everyone, [it] will be of interest to both informed and general readerships... [A great strength of Design Studies is] the effective demonstration that design analysis and history is not an elitist, purely academic pursuit, but essential to consideration of society and its cultural expressions in the very broadest sense. -- Linda King, The Institute of Art, Design and Technology, Ireland * Artefact - Journal of the Irish Association of Art Historians *Table of ContentsGeneral Introduction, Hazel Clark and David Brody SECTION I: HISTORY OF DESIGN Section Introduction I.1: DESIGN HISTORIES Part Introduction 1. Nikolaus Pevsner, Pioneers of Modern Design 2. Adrian Forty, Design, Designers and the Literature of Design 3. Matthew Turner, Early Modern Design in Hong Kong 4. Lucila Fernández Uriate, Modernity and Postmodernity from Cuba I.2: DESIGN HISTORY AS A DISCIPLINE Part Introduction 5. Victor Margolin, Design History and Design Studies 6. John Walker, Defining the Object of Study 7. Judy Attfield, FORM/female FOLLOWS FUNCTION/male 8. Denise Whitehouse, The State of Design History as a Discipline Annotated Guide to Further Reading SECTION II: DESIGN THINKING Section Introduction II.1: DESIGN PHILOSOPHIES AND THEORIES Part Introduction 9. Buckminster Fuller, Speculative Prehistory of Humanity 10. John Chris Jones, What is Designing? 11. Louis Bucciarelli, Designing Engineers 12. Henry Petroski, Success and Failure in Design 13. Richard Buchanan, Wicked Problems in Design Thinking II.2: DESIGN RESEARCH Part Introduction 14. Herbert Simon, Understanding the Natural and Artificial Worlds 15. Donald Schön, Designing; Rules, Types and Worlds 16. Susan Squires, Discovery Research II: 3 DESIGN COMMUNICATIONS Part Introduction 17. Eric van Schaak, The Division of Pictorial Publicity in World War I 18. D.J Huppatz, Globalizing Corporate Identity in Hong Kong 19. Shirley Teresa Wajda, Kmartha Annotated Guide to Further Reading SECTION III: THEORIZING DESIGN AND VISUALITY Section Introduction III.1: AESTHETICS Part Introduction 20. Arthur C. Danto, Aesthetics and the Work of Art 21. Jean Baudrillard, Design and Environment 22. Reyner Banham, Taking it with You III.2: ETHICS Part Introduction 23. Zygmunt Bauman, In the Beginning was Design 24. Susan Szenasy, Ethical Design Education 25. AIGA/Rick Poyner, First Things First 2000 26. Clive Dilnot, Ethics in Design: 10 Questions III.3: POLITICS Part Introduction 27. Karl Marx, The Fetishism of Commodities and the Secret Thereof 28. Pierre Bourdieu, The Aesthetic Sense and the Sense of Distinction 29. Naomi Klein, No Logo 30. Dick Hebdige, Subculture and Style 31. John Stones, Incendiary Devices 32. Gui Bonsiepe, Design and Democracy III.4 MATERIAL CULTURE AND SOCIAL INTERACTIONS Part Introduction 33. Jules Prown , Mind in Matter 34. Daniel Miller , The Artefact as Manufactured Object 35. Michel Foucault, Panopticism 36. Michel de Certeau, Walking in the City 37. Erving Goffman, The Presentation of Self in Everyday Life Annotated Guide to Further Reading SECTION IV: IDENTITY AND CONSUMPTION Section Introduction IV.1: VIRTUAL IDENTITY AND DESIGN Part Introduction 38. Donna Haraway, A Cyborg Manifesto 39. Katie Salen and Eric Zimmerman, Introducing Cybernetic Systems 40. Justin Clark, Get a Life 41. Gavin O'Malley, American Apparel IV.2: GENDER AND DESIGN Part Introduction 42. Cheryl Buckley, Made in Patriarchy 43. Barbara Ehrenreich and Annette Fuentes, Life on the Global Assembly Line 44. Hazel Clark The Difference of Female Design IV.3: CONSUMPTION Part Introduction 45. Mary Douglas and Baron Isherwood, Technology and Consumption 46. Daniel Harris, Quaintness 47. Sarah Lichtman, Do-It-Yourself Security 48. W.F. Haug, Critique of Commodity Aesthetics 49. Heike Jenß, Fashioning Uniqueness: Mass-Customization and Commodization of Identity Annotated Guide to Further Reading SECTION V: LABOR, INDUSTRIALIZATION AND NEW TECHNOLOGY Section Introduction V.1: LABOR AND THE PRODUCTION OF DESIGN Part Introduction 50. John Styles, Manufacturing Consumption and Design 51. Paul du Gay, et al, The Sony Walkman 52. Stuart Walker, Integration of Scale V.2: INDUSTRIALIZATION AND POST INDUSTRIALIZATION Part Introduction 53. David Brett, Drawing and the Ideology of Industrialization 54. Margaret Crawford, The 'New' Company Town 55. Frederick Winslow Taylor, The Principles of Scientific Management 56. Abraham Moles, Design and Immateriality V.3: NEW DESIGN AND NEW TECHNOLOGIES Part Introduction 57. Bradley Quinn, Hussein Chalayan, Fashion and Technology 58. Donald Norman, What's Wrong with the PC? 59. Vicente Rafael, The Cell Phone and the Crowd 60. Theodor Adorno, Do Not Knock Annotated Guide to Further Reading SECTION VI: DESIGN AND GLOBAL ISSUES Section Introduction VI.1: GLOBALIZATION Part Introduction 61. Arjun Appadurai, Modernity at Large 62. Hugh Aldersey-Williams, Globalism, Nationalism, and Design 63. Guy Julier, Responses to Globalisation VI.2: EQUALITY AND SOCIAL JUSTICE Part Introduction 64. Kate Stohr, Self-Help and Sites-and Services Programs 65. John Hockenberry, The Re-Education of Michael Graves 66. Ezio Manzini, A Cosmopolitan Localism 67. Earl Tai, Design Justice VI.3: SUSTAINABILITY Part Introduction 68. William McDonough and Michael Braungart, A Question of Design 69. Victor Papanek, Designing for a Safe Future 70. Trish Lorenz, British Designers Accused of Creating Throw-Away Culture Annotated Guide to Further Reading SECTION VII: DESIGN THINGS Section Introduction 71. Wava Carpenter, The Eames Lounge: The Difference between a Design Icon and Mere Furniture 72. Dipti Bhagat, The Tube Map (The London Underground Map) 73. Susan Yelavich, Swatch 74. Catherine Walsh, Architecture and Cultural Identity: The Case of the Petronas Towers in Kuala Lumpur 75. R. Roger Remington, Helvetica: Love it or Leave it 76. Shirley Teresa Wajda, The Architect and the Teakettle 77. Greg Votolato, Bullets and Beyond (The Shinkanzen) 78. Alison Gill, Sneakers 79. Bess Williamson, The Bicycle: Considering Design in Use 80. Gerard Goggin, Cell Phone Annotated Guide to Further Reading Bibliography

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Book SynopsisSelected and introduced by Juli Carson, this book presents a collection of essential essays, interviews, and never-before published archival materials that trace the development of the teaching of major artist and thinker Mary Kelly, from 1980-2017.As an artist and a theorist, Kelly is known for her foundational contributions to Feminism and Conceptual Art; she is also revered for her innovative pedagogy, which has influenced countless artists, writers and teachers within the international art community. Her description of a feminist practice of concentric pedagogy, centred on the artwork rather the mastery of the teacher, radically changed teaching practice in art studios.Detailing Kelly's innovative pedagogical program, the essays are split into three sections: The Method, which focuses on Kelly's renowned method of ethical observation within studio critique; The Project, which explores her notion of what constitutes an artistic project; and Project and Meth

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Book SynopsisEspen Johnsen is Professor in Art History, in the Department of Philosophy, Classics, History of Art and Ideas, at the University of Oslo, Norway.

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Book SynopsisDesign, History and Time reflects on the nature of time in relation to design, in both past and contemporary contexts. In contrast to a traditional design historical approach which emphasizes schools and movements, this volume addresses time as a continuum and considers the importance of temporality for design practice and history.Contributors address how designers, design historians and design thinkers might respond to the global challenges of time, the rhythms of work, and the increasing speed of life and communication between different communities. They consider how the past informs the present and the future in terms of design, the importance of time-based design practices such as rapid prototyping and slow design, time in relation to memory and forgetting, and artefacts such as the archive for which time is key, and they also ponder the design of time itself.Showcasing the work of 15 design scholars from a range of international contexts, this book proviTrade ReviewDesign, History & Time offers a challenge to design historians. It asks them to consider how assumptions about time as a measure of social value are ‘baked in’ to our thinking about design. It also offers ways to work through these assumptions and fixed representations, by putting a critical analysis of time at the forefront of design history. * Journal of Design History *Part history, part travelogue, part meditation on the meaning of time, Design, History and Time offers challenging thoughts on the nature of time and playful reflections on popular culture. * Elizabeth Guffey, Professor of Art and Design History at the State University of New York at Purchase, USA *From the permanence of cathedrals whose very construction spanned centuries to the inherent obsolescence of digital communication devices, this fascinating collection forces reconsideration of society’s changing relationship with time over time. * Paul Atkinson, Professor of Design History at Sheffield Hallam University, UK *Table of ContentsList of Figures List of Contributors Foreword, Barry Curtis (Royal College of Art, UK) Introduction, Zoë Hendon (Museum of Domestic Design and Architecture, Middlesex University London, UK) and Anne Massey (University for the Creative Arts, UK) Section One: Millennia, Centuries 1. Designing Stone: Temporal Representation of a Timeless Material, Seher Erdogan Ford (Temple University, USA) 2. ‘The Drama of the Soul’: Time, Eternity and Evolution in the Designs of Phoebe Anna Traquair, Sally Anne Huxtable (National Museums Scotland, UK) 3. Time Aboard the Ghan: Alice Springs to Adelaide, March 2016, Anne Burke (Middlesex University, UK) Section Two: Centuries, Decades, Years 4. As Good as Apple Pie? Post-unification Germany and the Reception of Public Art from the Former German Democratic Republic, Jessica Jenkins (Falmouth University, UK) 5. The Story of a Portuguese Cock and Other Knick-knacks: Heritage, Propaganda and Design in a Far-right Dictatorship, Carlos Bártolo (Universidade Lusíada, Portugal) 6. An Experiment with Time: Modern and Classical Influences in the Planning of 'High and Over' ,Michael Findlay (Otago Polytechnic, New Zealand) 7. Making ‘Atomic’ History: Consuming Historical Narratives in the ‘Unofficial’ Digital Archive, Emily Candela (Royal College of Art, UK) 8. A Queer Feeling and its Future in/for Design History, John Potvin (Concordia University, Canada) Section Three: Days, Hours, Seconds 9. Tube Time: How the Subterranean City Got Faster by Design, David Lawrence (Kingston University and London Transport Museum, UK) 10. Dreams of The Fun Palace and Plug-In City: Architectural Modularism and Cybernetics in the 1960s, Claire McAndrew (University College London, UK) 11. Sign of the Times: Slow Design in the Age of Social Acceleration, Niels Peter Skou (University of Southern Denmark) 12. Fast and Slow: Design and the Experience of Time, Stephen Hayward (Central Saint Martins, UK) 13. Delivered in Less than Sixty Seconds: Temporal References in the Design and Discourse of Digital Reading Devices, Toke Riis Ebbesen (University of Southern Denmark) Select Bibliography Index

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Book SynopsisMoving Objects deals with emotive design: designed objects that demand to be engaged with rather than simply used. If postmodernism depended upon ironic distance, and Critical Design is all about questions, then emotive design runs hotter than this, confronting how designers are using feelings in what they make. Damon Taylor's original study considers these emotionally laden, highly authored works, often produced in limited editions and sold like art objects such as a chair made from cuddly toys, a leather sofa that resembles a cow, and a jewellery box fashioned from human hair. Tracing the phenomenon back to the Dutch inflection' that began with Droog designers like Jurgen Bey and Hella Jongerius, Taylor conducts an analysis of the development of Design Art and looks for its origins in the uncanny explorations of surrealism. Offering a critique of Speculative Design, and an examination of the work of designers such as Mathias Bengtsson, whose work involves gTrade ReviewMoving Objects offers an innovative framework for measuring value in design. Taylor touts examples that recall our humanity and heighten our awareness of everyday objects we take for granted ... If our emotions project onto our surroundings and into our work as Taylor suggests, Moving Objects provides a robust roadmap for using those emotions to shape – and view – our world more intentional. * Design and Culture *Moving Objects is a unique book. The study uses unexpected insights and connects previously separate disciplines and different types of design. Damon Taylor shows himself to be a brilliant researcher who enriches the design world with a great knowledge of design history, an original analysis of how design works and also thinks along with us about the future possibilities in design. -- Timo de Rijk, Director of the Design Museum Den Bosch, NetherlandsTable of ContentsList of Figures Acknowledgements Introduction 1. Droog: the Dry and the Moist 2. Framing Design Art 3. Viscerealities 4. Valuing Emotive Design 5. Rhetorical Devices and Lyrical Things 6. To the Ends of the Earth Notes Select Bibliography

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Book SynopsisWhat properties of light can be manipulated for aesthetic effect? What role does the perception of the audience play in how stage information is received and processed? How do changes in technology affect methods or approaches to design and practice? This book is designed to introduce key ideas about light and to generate questions and perspectives that will encourage readers to explore light in the theatre more fully in their own critical and creative practices.Examining the theories behind stage lighting practice to help students learn to analyse the aesthetic and critical impacts of light in performance, this book traces the development of lighting practice by focusing on important shifts in technology and aesthetics from the classical period to the modern era.Central to this study are ideas developed by New Stagecraft' theorists and designers Adolphe Appia, Edward Gordon Craig and Robert Edmond Jones. Case studies include semiotic approaches to Loï

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Book SynopsisDavid Preston is an Early Career Researcher and Senior Lecturer in Graphic Communication Design at University of the Arts London, UK. He lectures primarily on Brand Strategy and Visual Identity Design at Central Saint Martins, UK.

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Book SynopsisCombining architectural and social history, this open access book tells for the first time the in-depth story of Scotland's new towns. One of the most significant episodes in modern architectural, urban and social history, Scotland's postwar new towns offered new housing, new ways of life and new jobs. Begun between the late 1940s and the late 1960s, the new towns East Kilbride, Glenrothes, Cumbernauld, Livingston and Irvine were a key element of the planned Welfare State, attracting international attention and widespread publicity. These were places of architectural innovation, and economic and social change. Building Modern Scotland tells a new history of the new towns, combining architectural and social history to illustrate what was planned, what was built, and how these places were experienced by the communities who lived and worked in them. It positions the new towns at the heart of modern Scottish history, showing how they represented an ambition to make a modern, transfor

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Book SynopsisThis major volume aims to re-colour the European world of dress, c.1300-1800. New dyes created one of the most important visual experiences of the period, yet their story has been side-lined by a focus on visual experiences shaped by the high arts. Meanwhile, theatrical productions and period films still abound with broad assumptions about the growing dominance of black clothing for elites during the period, while ordinary people are imagined having worn coarse greys and bleached garments. This volume presents clear evidence that even the clothing of the middle classes could be much more expensive than paintings, and that coloured clothing and accessories were ubiquitous across society.Contributors shed new light on the economic, environmental, and cultural dimensions of colour in dress. The range of dyes expanded considerably in the sixteenth and seventeenth centuries, drawing on Asian and Mediterranean knowledge, new collections of recipes, and the greater diversity

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Book SynopsisNietzsche and Architecture explores Nietzsche's relationship to the architects, buildings, and modern architectural movements he went on to inspire, and situates his philosophy more appropriately and comprehensively within the field of architectural studies, architectural history, and theory. Divided into two parts, the book first examines Nietzsche's philosophy of architecture, exploring his notions of rhythm, ornament, style, and power. It then goes on to examine Nietzsche's ambiguous architectural legacy, scrutinising iconic architects, thinkers, designs, and cultural movements to ascertain their relationship with Nietzschean ideas, from the crystal architecture of Bruno Taut and Peter Behrens, to the new styles' of the Bauhaus and Le Corbusier, Louis H. Sullivan's desire for the heights, and the cultural propaganda of Nazi architecture'.Clearly explaining the subtleties and complexities of Nietzsche's architectural thought, Nietzsche and Architecture

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Book SynopsisBy breaking down the study of type into a systematic progression of relationshipsletter, word, sentence, paragraph, page and screenaward-winning graphic designer and professor of communication design Denise Bosler provides a unique and illuminating perspective on typography for both print and digital media and for designers of all skill levels.This new edition features:- New interviews from type designers and graphic designers, including: Tré Seals - founder of Vocal Type Co. (USA); Bouk Ra an independent graphic and type designer based in Paris (France); Mary Kate Henry who has worked with Pentagram, Made Thought and Avec (USA); Leandro Assis, aka Lebassis, known for his playful bold lettering and clients that include Netflix, Apple, Facebook and more (Brazil); Lam Ieong Kun, a designer whose typographic work is innovative and humorous and bright (China); Faride Mereb - book designer, researcher, and educator whose work is in the collections of Penguin Random House a

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