Art & Photography Books

Book SynopsisExam Board: SQA Level: Higher Subject: Art & Design First Teaching: August 2018 First Exam: May 2019Get your best grade with comprehensive course notes and advice from Scotland's top experts, fully updated for the latest changes to SQA Higher assessment. How to Pass Higher Art & Design Second Edition contains all the advice and support you need to revise successfully for your Higher exam. It combines an overview of the course syllabus with advice from top experts on how to improve exam performance, so you have the best chance of success.- Revise confidently with up-to-date guidance tailored to the latest SQA assessment changes - Refresh your knowledge with comprehensive, tailored subject notes- Prepare for the exam with top tips and hints on revision techniques- Get your best grade with advice on how to gain those vital extra marks

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Book SynopsisAn intimate and moving graphic memoir by cartoonist Nate Fakes, dedicated to his stepdad Ron, a larger-than-life personality who gradually becomes affected by a rare form of dementia.Editor's Picks, Honorable Mention at Publishers Weekly's US Book Show"A Fade of Light is a rare story that is both deeply heartbreaking and heartwarming. Nate Fakes is an observant writer and artist, with a good memory and an eye for small, revealing details. In his clear cartooning style, Fakes shows he and his family navigating a rare disease imperfectly but as well as they can. He captures the confusion and frustration of knowing something's wrong but not what, of desperately wanting to fix something that can't be fixed."—Brian Fies, Eisner Award–winning author of Mom's Cancer"A Fade of Light is a graphic memoir centered on [Nate] Fakes’s stepdad, Ron, who came into Nate’s life in the 1990s and brought light into their family—until progressive dementia caused Ron’s own light to begin to fade."—Publishers Weekly, Fall 2022 Announcements: Comics & Graphic NovelsThe first time Nate met his future stepdad in the summer of 1994, he thought Ron was nice, goofy, and kind, the type of guy who wasn't afraid to be himself. Ron liked to honk at other Jeeps while driving his own, bang on the drums without abandon, and order practically the whole menu at drive-thrus. It was alternatively embarrassing, annoying, and funny, though one thing was for sure: life with Ron was never dull.But as years passed, Nate noticed Ron's behavior becoming erratic and strange. He forgot obvious things and seemed more stubborn and irritable than before. Finally Ron received a diagnosis: he has frontotemporal dementia, a progressive disorder that affects about 10 percent of all dementia cases. There is no cure.Stylized in black-and-white drawings, A Fade of Light is a graphic memoir capturing the fullness of a life well lived—the ups and downs, the laughter and tears, the joys and heartaches, and the treasured moments that will always be cherished, if not remembered.

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Book SynopsisA book that will delight every cat lover, full of wise and unforgettable life lessons, each paired with the perfect photo. Cats are the ultimate savants, possessing intelligence, poise, and sass in equal measure. They know when to play it cool, and when to pounce; when to fly solo, and when to cuddle up. Entertaining, unpredictable, and just a bit wild, cats encourage us to explore, take chances, and live on the edge—just as if we too had nine lives. Cynthia L. Copeland, author of the bestselling Really Important Stuff My Dog Has Taught Me and Really Important Stuff My Kids Have Taught Me, now turns her attention to our mysterious feline friends. Every page of this full-color gift book is a joyful reminder of what’s important in life. Like Confidence: “Insist on a seat at the table.” Curiosity: “Have more questions than answers.” Adventure: “Sometimes you have to leap before you look.” Individuality: “You’ll be remembered for what sets you apart.” Kindness: “Recognize the power of your purr.” And Solitude: “Find your own square of sunshine.”

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Book SynopsisThis topical and innovative study is the first book on Algerian cinema to be published in English since the 1970s. At a time when North African and Islamic cultures are of increasing political significance, Algerian National Cinema presents a dynamic, detailed and up to date analysis of how film has represented this often misunderstood nation. Algerian National Cinema explores key films from The Battle of Algiers (1966) to Mascarades (2007). Introductions to Algerian history and to the national film industry are followed by chapters on the essential genres and themes of filmmaking in Algeria, including films of anti-colonial struggle, representations of gender, Berber cinema, and filming the ‘black decade’ of the 1990s. This thoughtful and timely book will appeal to all interested in world cinemas, in North African and Islamic cultures, and in the role of cinema as a vehicle for the expression of contested identities. By the author of the critically-acclaimed Contemporary French Cinema.Table of Contents1. An introduction to modern Algerian history and politics2. A brief history of Algerian cinema 3. The war of liberation on screen: trauma, history, myth4. Representing gender: tradition and taboo5. Berber cinema, historical and ahistorical6. After 'Black October': mourning and melancholia7. Screening the 'invisible war'8. Memory and identity: from lost sites to reclaimed images9.Conclusion: Algerian national cinemasFilmographyIndex

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Book SynopsisThis book addresses a topic of increasing importance to artists, art historians and scholars of cultural studies, migration studies and international relations: migration as a profoundly transforming force that has remodelled artistic and art institutional practices across the world. It explores contemporary art’s critical engagement with migration and globalisation as a key source for improving our understanding of how these processes transform identities, cultures, institutions and geopolitics. The author explores three interwoven issues of enduring interest: identity and belonging, institutional visibility and recognition of migrant artists, and the interrelations between aesthetics and politics, including the balancing of aesthetics, politics and ethics in representations of forced migration.Trade Review‘[…] an interesting view on the phenomenon of migration, which is not examined primarily through the prism of its current economic, social, political or security implications, but with regards to contemporary art. Despite this, the issue is embedded in a broader historical and theoretical framework – Petersen points out the so-called “mobility turn”, for instance. In the clarification of the concept of migration, she primarily refers to the book by T. J. Demos – The Migrant Image: The Art and Politics of Documentary During Global Crisis (2013), containing the definitions of the main types of migration (diaspora, refugees, nomadism), which she further specifies (circular migration). Regarding the analysis of specific works, she deals with the concept of “migratory aesthetics”, referring to Mieke Bal and Griselda Pollock and, to the correlations of aesthetics, politics and ethics.’Jana Geržová, Profile / Contemporary Art Magazine, No. 4 (2018) -- .Table of ContentsIntroduction1 Globalisation-from-above and globalisation-from-below2 The politics of identity and recognition in the 'global art world'3 The artist as migrant worker4 Mining the museum in an age of migration5 Identification, disidentification and the imaginative reconfiguration of identity6 Migrant geographies and European politics of irregular migrationConclusionIndex

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Book SynopsisRanging from early twentieth century modernist appropriations of non-western art through to the ways in which Mexican muralists in the 1930s negotiated European avant-gardist strategies, and then up to contemporary installation and lens-based practices during the current period of globalisation, this book seeks to understand selected moments in the art of the last one hundred years through the prism of postcolonialism.Table of ContentsIntroduction – Warren Carter1 Modernism and its margins – Paul Wood 2 Mexican muralism reconsidered – Warren Carter3 Artists, institutions and the ‘global contemporary’ – Gill Perry4 Art, movement and migration since 1970 – Amy CharlesworthConclusion – Warren CarterIndex

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Book SynopsisSurrealist women’s writing: A critical exploration is the first sustained critical inquiry into the writing of women associated with surrealism. Featuring original essays by leading scholars of surrealism, the volume demonstrates the extent and the historical, linguistic, and culturally contextual breadth of this writing. It also highlights how the specifically surrealist poetics and politics of these writers’ work intersect with and contribute to contemporary debates on, for example, gender, sexuality, subjectivity, otherness, anthropocentrism, and the environment.Drawing on a variety of innovative theoretical approaches, the essays in the volume focus on the writing of numerous women surrealists, many of whom have hitherto mainly been known for their visual rather than their literary production. These include Claude Cahun, Leonora Carrington, Kay Sage, Colette Peignot, Suzanne Césaire, Unica Zürn, Ithell Colquhoun, Leonor Fini, Dorothea Tanning, and Rikki Ducornet.Trade Review'This book does not attempt to impose a harmonious, all-encompassing feminist perspective that would gloss over the complexities of being a ‘woman writer’ within the grand scheme of surrealism, but looks, rather, to highlight differences and ambivalences, enriching the discourse surrounding this literature. An enthralling and intensely intellectual investigation into surrealist women’s writing, this study is of critical importance for literary scholars and admirers of surrealism as it offers a profound reconsideration of these ten authors.'French Studies'The 11 essays in the collection look at the work of Claude Cahun, Lenora Carrington, Ithell Colquhoun, Colette Peignot, Kay Sage, and Unica Zürn, among others. Beyond examining the women’s literary work, the essays show how these writers’ work informs contemporary discussion of gender, sexuality, ecocriticism, the Other, and the Anthropocene. Wetz’s excellent introduction frames the questions and concerns surrealist women writers explored in their work.'CHOICE(Reprinted with permission from Choice Reviews. All rights reserved. Copyright by the American Library Association.) -- .Table of ContentsIntroductionAnna Watz1 ‘The dung beetle’s snowball’: the philosophic narcissism of Claude Cahun’s essay-poetryFelicity Gee2 Identity convulsed: Leonora Carrington’s The House of Fear and The Oval LadyAnna Watz3 Recasting the human: Leonora Carrington’s dark exilic imaginationJeannette Baxter4 Colette Peignot: the purity of revoltMichael Richardson5 Suzanne Césaire’s surrealism: tightrope of hope Kara M. Rabbitt6 Kay Sage alive in the worldKatharine Conley7 Outside-in: translating Unica ZürnPatricia Allmer8 Ithell Colquhoun’s experimental poetry: surrealism, occultism, and postwar poetryMark S. Morrisson9 Leonor Fini’s abhuman familyJonathan P. Eburne10 ‘Open sesame’: Dorothea Tanning’s critical writingCatriona McAra11 Magic language, esoteric nature: Rikki Ducornet’s surrealist ecologyKristoffer NohedenBibliographyIndex

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Book SynopsisLeonora Carrington (1917-2011) was an English surrealist artist and writer who emigrated to Mexico after the Second World War. This volume approaches Carrington as a major international figure in modern and contemporary art, literature and thought. It offers an interdisciplinary exploration of the intellectual, literary and artistic currents that animate her contribution to experimental art movements throughout the Western Hemisphere, including surrealism and magical realism.The book contains nine chapters from scholars of modern literature and art, each focusing on a major feature in Carrington's career. It also features a visual essay drawn from the 2015 Tate Liverpool exhibition Leonora Carrington: Transgressing Discipline, and two experimental essays by the novelist Chloe Aridjis and the scholar Gabriel Weisz, Carrington's son. This collection offers a resource for students, researchers and readers interested in Carrington's works.Trade Review‘Feminist readings duly predominate in Leonora Carrington and the International Avant-Garde, edited by Jonathan P. Eburne and Catriona McAra. In this collection a dozen authors set out to reinsert Carrington – against her willed marginality – into the intellectual currents of her many epochs, as an active collaborator […] these resourceful studies draw Carrington's co-ordinates in cultural space. Eburne's inspired reading of the wraithy cloud at the centre of Grandmother Moorhead's Aromatic Kitchen (1975) connects it by winding paths to Carrington's lovely phrase in “Jezzamathatics”: “an incalculable gesture of suspended astonishment.”’Lorna Scott Fox, TLS, May 2017‘This brimming cauldron of essays affirms the continuing value of Carrington’s work, with contributions from established and more recent scholars, as well as from contemporary artists including Lucy Skaer, Lynn Lu and Samantha Sweeting. The contents are imaginatively expanded to include a contribution in the form of an affectionate alphabet of memories from the Mexican novelist Chloe Aridjis, and a gallery of images interspersed with quotations from Carrington that reveals something of her range of media, which Aridjis and her fellow curators provided for the Tate Liverpool exhibition Leonora Carrington in 2015.’Robert Radford, The Burlington Magazine, November 2017‘The editors of Leonora Carrington and the International Avant-Garde are right to argue that she ought to be seen as ‘a major artist and writer in her own right’ […] many of the contributions here offer overdue research into her wider work and interests, such as her pieces for the Mexican journal S.NOB, her writing and illustrations for children and her interest in Mexican history and Tibetan Buddhism.’Edmund Gordon, London Review of Books, November 2017‘In a series of essays that reframe and problematize readings of the artist’s paintings, graphic arts, and writings, Leonora Carrington and the international avant-garde offers a welcome take on its subject. A particular strength of the volume is its emphasis on the artist’s literary works, including novels and short stories […] Leonora Carrington and the international avant-garde provides challenging new readings and fecund analysis of Carrington’s little-studied written texts, juxtaposed with consideration of her painting and graphic work.’Caroline I. Harris, Woman’s Art Journal (Spring/Summer 2019) -- .Table of ContentsIntroduction: Leonora Carrington and the international avant-garde - Jonathan P. Eburne and Catriona McAra1 An A-Z of Leonora Carrington memories, mostly in quotes, gathered over years of visits to her home - Chloe Aridjis2 'An allergy to collaboration': the early formation of Leonora Carrington's artistic vision - Susan L. Aberth3 'Genealogical gestation': Leonora Carrington between modernism and art history - Ara H. Merjian 4 Experience and knowledge in Down Below - Natalya Lusty5 Dissecting The Holy Oily Body: Remedios Varo, Leonora Carrington and El Santo Cuerpo Grasoso - Tara Plunkett6 'A language buried at the back of time': The Stone Door and poststructuralist feminism - Anna Watz7 Losing one's head in the 'Children's Corner': Carrington's contributions to S.NOB in 1962 - Abigail Susik8 Shadow children: Leonora as storyteller - Gabriel Weisz9 Poetic wisdom: Leonora Carrington and the esoteric avant-garde - Jonathan P. Eburne10 Carrington's sensorium - Janet Lyon11 A nonagenarian virago: quoting 'Carrington' in contemporary practice - Catriona McAra12 Leonora Carrington: transgressing discipline - Chloe Aridjis, Francesco Manacorda and Lauren BarnesIndex

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Book SynopsisMarie Duval: maverick Victorian cartoonist offers the first critical appraisal of the work of Marie Duval (Isabelle Émilie de Tessier, 1847–1890), one of the most unusual, pioneering and visionary cartoonists of the later nineteenth century.It discusses key themes and practices of Duval’s vision and production, relative to the wider historic social, cultural and economic environments in which her work was made, distributed and read, identifing Duval as an exemplary radical practitioner.The book interrogates the relationships between the practices and the forms of print, story-telling, drawing and stage performance.It focuses on the creation of new types of cultural work by women and highlights the style of Duval’s drawings relative to both the visual conventions of theatre production and the significance of the visualisation of amateurism and vulgarity.Marie Duval: maverick Victorian cartoonist establishes Duval as a unique but exemplary figure in a transformational period of the nineteenth century.Trade Review'The multiple authors work together to recover and document Duval’s complex creative life... Together they bring more to their subject than the traditional English literature, art history, and history disciplines that inform most scholarly work on periodicals.'Victorian Periodicals Review -- .Table of ContentsIntroduction - Simon Grennan, Roger Sabin, Julian WaitePart I: Work1 Finding a voice at Judy - Roger Sabin2 Marie Duval and the woman employee - Simon Grennan3 Marie Duval’s theatre career and its impact on her drawings - Julian Waite4 The children’s book author: Queens & Kings and Other Things - Roger Sabin5 Marie Duval and the technologies of periodical publishing - Simon GrennanPart II: Depicting and performing6 The significance of Marie Duval’s drawing style - Simon Grennan7 The relationship between performance and drawing: suggestive synaesthesia in Marie Duval’s work - Julian Waite8 The role of spectacle in Marie Duval’s work - Julian Waite9 A women’s cartoonist? - Roger SabinAppendix 1 Questions of attribution Simon Grennan, Roger Sabin, Julian WaiteAppendix 2 Questions of terminology and historicisation Simon Grennan, Roger Sabin, Julian WaiteBibliographyIndex

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Book SynopsisThis book explores contemporary urban experiences and how they are connected to practices of sharing and collaboration. There is a growing discussion on the cultural meaning and politics of urban commons, and Stavrides uses examples from Europe and Latin America to support the view that a world of mutual support and urban solidarity emerges today in, against and beyond existing societies of inequality. The concept of space commoning is discussed and considered in terms of its potential to promote emancipation. This is an exciting book, which explores the cultural meaning and politics of common spaces in conjunction with ideas connected with neighbourhood and community, justice and resistance, in order to trace elements of a different emancipating future.Trade Review'With intense commitment and creative scholarship, Stavrides provides us with concrete experiences of how urban solidarity exists and can constitute the basis of emancipatory societies. In engagements with popular movements in Brazil, Mexico, Argentina, and Spain, and through the potentialities inherent in composing spaces of residence and work, commoning is demonstrated to be an incisive practice of reaching out to the larger world and creating a more dynamic and just public realm.'AbdouMaliq Simone, Senior Professorial Fellow at the Urban Institute at the University of Sheffield, Research Associate at the Max Planck Institute for the Study of Religious and Ethnic Diversity and Visiting Professor of Sociology at Goldsmiths College, University of London'Exciting stuff. Forget the state, think cities, think shared spaces of living and interacting, potential and present emancipation. Spaces that challenge enclosure, spaces that cross thresholds, open out. Think space as potential and follow it into self-organised neighbourhoods, into architecture, into Zapatista communities, into urban and rural territories in resistance. Stimulating, full of detailed studies, great.'John Holloway, Professor of Sociology at the Instituto de Ciencias Sociales y humanidades in the Benemérita Universidad Autónoma de Puebla, Mexico -- .Table of ContentsIntroduction and acknowledgements1 Space as potential2 Commoning architectures 3 Territorialities of emancipation4 Reclaiming public space as commons: the squares movement and its legacyInterview with Zeyno Perkunlu5 Commoning neighborhoods: resisting urban renewal in Barcelona’s peripheryInterview with Stefano Portelli6 Commoning neighborhoods: the mutual help practices of Brazilian homeless movementsInterview with Pedro Arantes7 Commoning neighborhoods: building autonomy in Mexico City8 Objects in common: objects for commoning9 Emancipating commoning?Index

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Book SynopsisThis book argues that Ford Madox Brown’s murals in the Great Hall of Manchester Town Hall (1878–93) were the most important public art works of their day. Brown’s twelve designs on the history of Manchester, remarkable exercises in the making of historical vision, were semi-forgotten by academics until the 1980s, partly because of Brown’s unusually muscular conception of what history painting should set out to achieve. This ground-breaking book explains the thinking behind the programme and indicates how each mural contributes to a radical vision of social and cultural life. It shows the important link between Brown and Thomas Carlyle, the most iconoclastic of Victorian intellectuals, and reveals how Brown set about questioning the verities of British liberalism.Trade Review'Ford Madox Brown: The Manchester Murals and the Matter of History offers readers a meticulous analysis of Brown’s final artistic project … The detailed visual analyses in these chapters are a major strength and contribution of Trodd’s book .. Trodd has taken the time to consider each image as part of a larger conceptual whole. His attentive readings reveal the coherent structure of the series and lend credence to his overarching argument that the murals have been largely misunderstood… , Trodd has done an exemplary job of articulating the stakes of his assertion in relation to larger concerns about British painting, Pre-Raphaelite conceptions of history, and the fraught relationship between Victorian art and dominant conceptions of modernism… Trodd’s reading has the dual benefit of enriching our understanding of Brown’s artistic motives and expanding our conception of how late-Victorian painting contributed to the history of British art… Without a doubt, Trodd’s interpretation of the murals is the most sustained and detailed to date.'Carolyn Porter Phinizy, Journal of Pre-Raphaelite Studies (Summer 2023)Ford Madox Brown and the Manchester Murals has been nominated for the William MB Berger Prize. -- .Table of ContentsIntroductionPART I: A WORKING LIFE1 Ford Madox Brown and the historical imagination2 The makingof Ford Madox BrownPART II: HISTORY EMBODIED3 Manchester, mythos, murals4 The endless periphery5 Manchester made modernAfterword: the last of Ford Madox Brown Index

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Book SynopsisWhat is Manchester? Moving far from the glitzy shopping districts and architectural showpieces, away from cool city-centre living and modish cultural centres, this book shows us the unheralded, under-appreciated and overlooked parts of Greater Manchester in which the majority of Mancunians live, work and play. It tells the story of the city thematically, using concepts such a ‘material’, ‘atmosphere’, ‘waste’, ‘movement’ and ‘underworld’ to challenge our understanding of the quintessential post-industrial metropolis. Bringing together contributions from twenty-five poets, academics, writers, novelists, historians, architects and artists from across the region alongside a range of captivating photographs, this book explores the history of Manchester through its chimneys, cobblestones, ginnels and graves. This wide-ranging and inclusive approach reveals a host of idiosyncrasies, hidden spaces and stories that have until now been neglected.Trade Review'Dobraszczyk and Butler have gathered together a set of excavations and forgagings which piece together very different visions of the towns and developments and rivers and canals and in-between spaces that make up the disjointed, uneven, ever-changing city of Manchester. Here, in the book’s exploration of undervalued urban spaces, readers will find the traces of other futures, snickets and ginnels, a rumour of salmon, slow-worms appearing in old brickworks, the amazing story of the city’s hibakujumoko trees, and myriad other transplantations and spaces that twenty-first-century time has passed by.'John McAuliffe, poet and Reader of Creative Writing and Modern Literature, University of Manchester'Manchester: Something rich and strange epitomises everything that is wonderful about this great city. The book tells the story of Manchester’s past and present in a unique and engaging way, bringing together a variety of contributors from a variety of different backgrounds.'Michala Hulme, author of A grim almanac of Manchester and Bloody British history: Manchester' 'It is a book like the city; bold, brash, and gobby, moving from morbid self-pity to delirious triumph in mere moments. A guided tour where they pull up the floorboards and let you see what lies beneath.'Manchester Review of Books 'There’s strong material in this ragbag of themed think-pieces - Rose recalling the attack which prompted her to reclaim the streets from her nightmares; Kalu conjuring the realities of Manchester’s sewer system with unnerving brio; Tim Edensor on the sources of municipal cobble stone; Hanson on the ubiquity of facades in post-modern, post-Factory Records Manchester - plus Simon Buckley’s celebrated ‘iPhone Lowry’ on the cover and a good helping of Dobraszczyk’s magnificently crisp photography.'Manchester Confidential -- .Table of ContentsIntroduction – Manchester: seeing like a cityAtmospheresSpirit – Morag RoseFeel – Sean R. MillsCorridor – Sarah ButlerChimney – Jonathan SilverNight – Nick DunnMoors – Cassie BritlandMonumentsStatue – Natalie BradburyMuseum – Jonathan SilverShopping centre – Martin DodgeStained glass – Clare HartwellSculpture – Natalie BradburyMovementExchange – Steve HansonStone – Tim EdensorRing road – Nick DunnLoop – Natalie BradburyBus stop – Peter KaluWalk – Morag RoseWorkCotton – Martin DodgeBrick – James ThorpCo–op – Natalie BradburyNewspaper – Natalie BradburyCar wash – Peter KaluRelicsMedieval – Clare HartwellRailway – Brian RosaStadium – Tim EdensorHair – Jenna C. AshtonBaths – Matthew SteeleUnderworldsSewer – Peter KaluArches – Brian RosaGrave – Cassie BritlandViolence – Andrew McMillanPrison – Cassie BritlandDregsDye – James ThorpArsenic – Becky Alexis-MartinShadows – Nick DunnRhythm – Joanne HudsonRuins – Tim EdensorRedundant – Matthew SteeleSecretsFacade – Steve HansonCloister – Clare ArchibaldThread – Jenna C. AshtonRadium – Becky Alexis-MartinPassage – Paul DobraszczykCobble – Tim EdensorNatureWildscape – Joanne HudsonEdges – Nick DunnGinkgo – Becky Alexis-MartinCanal – Morag RoseGardens – Matthew Steele DestructionFlower – Sarah SayeedBee – Paul DobraszczykRiot – Sarah ButlerAtom – Steve HansonTudor – Paul DobraszczykHomeHomeless – Steve HansonB&B – Sarah ButlerSynagogue – Jonathan SilverMosque – Qaisra ShahrazImmigrant – Qaisra ShahrazLaundrette – Peter KaluNotes on contributorsPhoto acknowledgementsIndex

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Book SynopsisThe traumatic surreal is the first major study to examine the ground-breaking role played by Germanophone women artists working in surrealist traditions in responding to the traumatic events and legacies of the Second World War. Analysing works in a variety of media by leading artists and writers, the book redefines the post-war trajectories of surrealism and recalibrates critical understandings of the movement’s relations to historical trauma. Chapters address artworks, writings and compositions by the Swiss Meret Oppenheim, the German Unica Zürn, the Austrian Birgit Jürgenssen, the Luxembourg-Austrian Bady Minck and the Austrian Olga Neuwirth and her collaboration with fellow Austrian Nobel-prize winning novelist Elfriede Jelinek. Locating each artist in their historical context, the book traces the development of the traumatic surreal through the wartime and post-war period.Trade Review‘…a welcome addition to recent scholarship on both the women of, and inspired by, Surrealism, and the role of trauma in contemporary art.’ The Burlington Magazine'...a groundbreaking book that offers new perspectives on female positions and lineages in the history of surrealism.' Woman's Art Journal -- .Table of ContentsIntroduction1 Meret Oppenheim’s hauntologies2 Unica Zürn’s pathographies3 Birgit Jürgenssen’s abjections4 Bady Minck’s tourist imaginaries5 Olga Neuwirth / Elfriede Jelinek: temporality and traumaIndex

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Book SynopsisA detailed study of the creative ambitions, social and technological constraints behind the evolution of punk and post-punk graphic styles. -- .

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Book SynopsisBecoming couture explains how post-war Italian fashion reinvented itself through the persuasive strategies of intermediaries in Italy and the United States, beyond the myth of Giovanni Battista Giorgini and the Sala Bianca. -- .

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Book SynopsisThe wood engravers’ self-portrait tells the story of the image-making firm Dalziel Brothers, investigating and interpreting a unique archive from the British Museum. The study takes a creative-critical approach to illustration, alongside detailed investigation of print techniques and history. Five siblings ran the wood engraving firm Dalziel Brothers: George, Edward, Margaret, John and Thomas Dalziel. Prospering through five decades of work, Dalziel became the major capitalist image makers of Victorian Britain. This book, based on AHRC-funded research, outlines the achievements of these remarkable siblings and uncovers the histories of some of the 36 unknown artisan employees that worked alongside them. Dalziel Brothers made works of global importance: illustrations to Lewis Carroll’s Alice books, novels by Charles Dickens, and landmark Pre-Raphaelite prints, as well as other, brilliant works that are published here for the first time since their initial creation.Table of ContentsIntroduction Approaching engravings: medium and the parasite1 A wordless memoir: the illustrator as archivistPart I The Dalziel family and their ‘woodpecker’ employees, 1839-18932 ‘The print of [her] feet’ (Wordsworth): the wood engravers’ self portrait3 Ruskin’s sinisterity: disjointed hands and brains, and the division of art labour4 Barnaby Rudge and ‘the atmosphere of letters’ (Craik): apprenticeship, education and employment5 Ghostwriting the line of the other: Wilkie Collins’s After Dark, and Dalziel’s freelance engravers6 ‘This midnight forger’ (Trollope): signatures, authorship, and relations between engravers and draughtspeoplePart II Medium and technique at Dalziel Brothers7 ‘Off with her head!’ (Carroll): execution, technical violence, and the discipline of visual culture8 ‘These many ingenious adaptations of photography’ (Dalziel): photography and wood engraving, from Eadweard Muybridge to Julia Margaret Cameron9 ‘A peculiar brilliancy of black’ (DeVinne): the colour of monochrome, and Thomas Dalziel’s The May Queen10 Speed, print, newsConclusion11 Greedy rats

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Book SynopsisThe ABC of the projectariat contributes new thinking on and practical responses to the widespread problem of precarious labour in the field of contemporary art. It works as both a critical analysis and a practical handbook, speaking to and about the vast cohort of artistic freelancers worldwide.In an accessible ABC format, the book strikes a unique balance between the practical and the theoretical: the analysis is backed up by lived experience, the arguments are rooted in concrete examples and there are suggestions for constructive action. Roughly half of the entries expose the structural underpinnings of projects and circulation, isolating traits such as opportunism, neoliberalism, inequality, fear and cynicism at the root of the condition of the projectariat. This discussion is paired with a practical account of different modes of action, such as art strikes, productive withdrawals, political struggles and better social time machines. Just as proletarians had nothing to lose but their chains, the projectarians have nothing to miss but their deadlines.Trade Review‘The ABC of the projectariat delivers an essential contribution for examining artistic work in relation to political-theoretically, sociologically and art-theoretically informed perspectives, in order to expose the internal contradictions that have shaped the art world.’Christoph Chwatal, Springerin'The ABC of the projectariat lays out starkly the labor that sustains cultural production, and the daily conundrums, mundane and existential, inherent to navigating the many intersecting art worlds ... The book offers a historicized trajectory of care for labor in all its forms, but also allows projectarians a bit of insurgent optimism, in proposing new ways to reconceive our privileged precarity.'iLiana Fokianaki, Art Agenda'The text feels like a chat with a trusted friend who understands what actually happens rather than what the P.R. wants you to believe. It gives you the real deal, revealing what theory obscures through its need to make pure architectures.'Marc Herbst, transversal texts'Kuba Szreder’s ABC of the projectariat asks searching questions of an international art world that promised to change dramatically at the beginning of the COVID-19 pandemic... [It] shows the possibility of a different art culture, in a way that’s practical and pragmatic, and far more concrete than certain institutions’ empty rhetoric around (say) COVID-19 or Black Lives Matter.'Juliet Jacques, Tribune'Will we ever go back to “normal” again? Should we, even? Hell no, says Kuba Szreder! But during the current interim period in which Gramsci's monsters dwell old certainties shrivel and evaporate. Old power structures suddenly look brittle while new ones are created and vanish as if in a crazy political particle accelerator. In this kind of mayhem Szreder goes back to the A and O of any philosophical thinking – an alphabetical list – trusting that the mess will sort itself out once articulated aloud. From A for "antifascism" to Y for "you are not alone", this is an essential compendium to recalibrate orientations amid the meteoric impacts of current history.'Hito Steyerl, author of Duty Free Art: Art in the Age of Planetary Civil War‘A radical dictionary of key terms, Kuba Szreder’s The ABC of the projectariat critically diagnoses what it means to live and work in the precarious art world. Organised alphabetically into incisive, readable elaborations, the book unpacks timely concepts of domination – neoliberalism, NGOisation, co-optation, entrepreneurs of the self, precarity – and with other vital selections – art strike, interdependence, productive withdrawal and instituting the commons – offers a crucial vocabulary for anti-capitalist transformation. For a more egalitarian, democratic and inclusive world, it’s urgent that we learn this language together.’T. J. Demos, author of Beyond the World’s End: Arts of Living at the Crossing‘Kuba Szreda’s book is a bracing exposé of the lives and concerns of people who do projects for a living. Yes, it is based on the artist projectariat, but this book will speak to all workers across the world who “run on the fumes” of the recognised economy. This ABC offers critical insight into matters of individual survival, but more importantly it is a primer on strategies for recognising interdependence and living and working otherwise.’ J. K. Gibson-Graham, authors of Take Back the Economy: An Ethical Guide for Transforming our Communities'The ABC is more than a glossary; it examines the political economies of the global art world, centring on the structural conditions of the projecteriat, its entanglements and interminable uncertainty. Szreder connects the theoretical corpus developed over the last two decades to material reality and lived experience. Looking at everything from the fatigue of hustling to the banality of speed-working and the extractionist practices it leads to, he provides an overview of "the field of contemporary art in the process of its decomposition".'Vasif Kortun, curator and author‘A long-awaited alphabet, spelling out the real conditions of artistic and creative labour in the age of networks and circulation, but also borders, The ABC of the projectariat is a must-read for anyone studying, and possibly living in, the contemporary art field. A curator and critic known for his imaginative and daring propositions, Kuba Szreder has managed to write the most structurally innovative and (perversely) enjoyable book on the formidable subject of the production of the art field as such. The book’s sixty-six entries are sharp, lucid and full of remarkable insights about the life and work of art projectarians – that is, those who create through the ubiquitous project-form. The entries are also incredibly informative, honest and attentive to geopolitics. They combine hands-on experience, theoretical rigour and political situatedness. Insofar as it is almost impossible to think of anyone not working from project to project, and therefore living out as personal burden the social consequences of the global project hegemony (with precarity chief among them), this study is about a way of life as much as about what governs work – our life and our work. Committed to practices of social transformation towards an end of the socio-economic injustice that rules our life and work, The ABC of the projectariat is a unique encounter that will move you – forward.’Angela Dimitrakaki, author of ECONOMY: Art, Production and the Subject in the Twenty-First Century'Kuba Szreder's projectarians are a vanguard part of the precariat. We need a new subversive vocabulary for a new progressive politics, and this book provides much of what is needed.'Guy Standing, author of The Precariat: The New Dangerous Class'This is an urgent and accessible anatomy of the conditions of art-making today. It vividly conveys the crushing impacts of "the cruel economy of contemporary art" on the material and creative lives of artists while mapping a network of imaginative paths out of it.'Josh Cohen, author of Not Working: Why We Have to Stop'From his innovative research with the Free/Slow University of Warsaw to his breakthrough concept of the artistic projectariat, Szreder tenaciously levels our collective attention towards the paradoxes of a cultural economy in crisis, without abandoning hopes for its radical transformation.'Gregory Sholette, author of Dark Matter and The Artist as Activist'This book is a weapon for anyone who wants to resist the dominant economy of art. Its voice is situated in the semi-periphery of Europe and resonates with the projectariat from all over the world.'Zdenka Badovinac, curator and author -- .Table of ContentsA is for aftermath (COVID-19 as a forced suspension)A is for Anti-fascist Year A is for applicationA is for ArtyzolA is for assemblage or apparatusA is for art strikes (lessons to be taken)A is for art workersB is for belt-tighteningB is for (no) bordersB is for burn-outs (and other pathologies of responsibility)C is for capital (economic, social, and symbolic)C is for captureC is for circulationC is for controlC is for co-opetitionC is for co-optationC is for curatorial mode of production / revolutionC is for cynicism and cliquesD is for dark matterD is for deadlineD is for demonstration of paintingsE is for enthusiasmE is for entrepreneurs of the selfE is for exclusionE is for exodusE is for expanded field (of art)F is for fear F is for Free/Slow (University of Warsaw)F is for footprint (or carbon miles)G is for generosity G is for grant art (NGO-isation)H is for herding catsH is for home (office)I is for independenceI is for instituting the commonsI is for interdependenceK is for (no) kidsL is for labour of loveM is for mutualising (risks and economies)N is for neoliberalismN is for networkerN is for numbers and measuresO is for one percentO is for opportunismP is for patainstitutionsP is for pollinationP is for poor (artists)P is for precarityP is for productive withdrawalsP is for projectP is for projectariatR is for radical pragmatismR is for repurposingS is for seeing everything twice, or the catch 22 of the projectariatS is for semi-peripheriesS is for sprintS is for squabblesS is for strugglesT is for time machinesT is for trawlingT is for turns, or on the vicious cycleT is for twilight or support structures against exclusionV is for visibilityW is for wages (for artwork)W is for winner takes it allY is for you are not alone

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Book SynopsisWhat did it mean for painter Lee Krasner to be an artist and a woman if, in the culture of 1950s New York, to be an artist was to be Jackson Pollock and to be a woman was to be Marilyn Monroe? With this question, Griselda Pollock begins a transdisciplinary journey across the gendered aesthetics and the politics of difference in New York abstract, gestural painting. Revisiting recent exhibitions of Abstract Expressionism that either marginalised the artist-women in the movement or focused solely on the excluded women, as well as exhibitions of women in abstraction, Pollock reveals how theories of embodiment, the gesture, hysteria and subjectivity can deepen our understanding of this moment in the history of painting co-created by women and men. Providing close readings of key paintings by Lee Krasner and re-thinking her own historic examination of images of Jackson Pollock and Helen Frankenthaler at work, Pollock builds a cultural bridge between the New York artist-women and their other, Marilyn Monroe, a creative actor whose physically anguished but sexually appropriated star body is presented as pathos formula of life energy.Monroe emerges as a haunting presence within this moment of New York modernism, eroding the policed boundaries between high and popular culture and explaining what we gain by re-thinking art with the richness of feminist thought.Trade Review‘With theoretic acuity, Griselda Pollock revisits New York Abstract Expressionism to propose a feminist reading of the Jewish-American artist Lee Krasner that is as astonishing as it is compelling. Seeking to discover inscriptions of feminine sexual difference, these psychoanalytically inspired essays revolve around a conceptual triangulation, in which Krasner’s position as a painter-woman in abstract art is conceived as a third position, interrogating and reworking two competing components of her creative energy – with Jackson Pollock as an iconisation of her identity as an artist and Marilyn Monroe as an iconisation of her identity as a woman. The triptych that emerges is utterly riveting.’ Elisabeth Bronfen, Professor of English and American Studies, University of Zurich‘Killing Men & Dying Women represents an exciting new development for Griselda Pollock’s work. She deconstructs the misogyny of 1950s America as well as an art establishment that critically ignored and institutionally marginalised the women artists of Abstract Expressionism. Making an unflinching use of feminist psychoanalytic theory, she argues for a more significant maternal relation in the human psyche’s development than traditional psychoanalysis allows. This perspective brings into visibility occluded modes of feeling and understanding that women’s art, fragilely, preserves. The image and the story of Marilyn Monroe is woven into the texture of the argument, upsetting the decade’s transcendent image of “woman” and revealing the patriarchal insecurities it represented.’Laura Mulvey, Professor of Film Studies, Birkbeck, University of London‘A book that reveals art history as a concerted and difficult and passionate business – a contest, a battle, in short, a lived experience.’Alexander Nemerov, Carl and Marilynn Thoma Provostial Professor in the Arts and Humanities, Stanford University -- .Table of ContentsIntroduction1 Prophecy, 19562 Five essays on sexuality (and art)3 What did Greenberg not say, or dare to think?4 Is the gesture male?5 Is the artist hysterical?6 Massacred women do not make me laugh, nor do the agonies of Marilyn Monroe’s body7 Dancing space: Prophecy to Sun Woman I8 Three memories: Rosenberg and MonroeAppendix: Sexual differenceIndex

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Book SynopsisThis study examines how nineteenth-century industrial Lancashire became a leading national and international art centre. By the end of the century almost every major town possessed an art gallery, while Lancashire art schools and artists were recognised at home and abroad. The book documents the remarkable rise of visual art across the county, along with the rise of the commercial and professional classes who supported it. It examines how Lancashire looked to great civilisations of the past for inspiration while also embracing new industrial technologies and distinctively modern art movements. This volume will be essential reading for all those with an interest in the new industrial society of the nineteenth century, from art lovers and collectors to urban and social historians.Table of Contents1. Introduction: art in the first industrial society 2. Lorenzo in Liverpool: William Roscoe, civic myths and the institutionalisation of urban culture 3. An ‘ornament to the town’? The Royal Manchester Institution and early public art patronage in Manchester4. From private to civic: the diverse origins of the municipal art gallery movement5. A ‘solid foundation’? Art schools and art education6. The art of philanthropy? The formation and development of the Walker Art Gallery7. A problem of scale and leadership? Manchester’s municipal ambitions and the ‘failure’ of public spirit8. Challenging ‘the ocean of mediocrity and pretence’? The alternative visions of the Whitworth and Harris Galleries9. The rise and fall of the municipal art gallery movement? The public and private dimensions of local civic artBibliographyIndex

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Book SynopsisPhilosopher and art historian Georges Didi-Huberman is one of the most innovative and influential critical thinkers writing today. This book is the first English-language study of his writing on images. An image is a form of representation, but what are the philosophical frameworks supporting it? The book considers how Didi-Huberman takes up this question repeatedly over the course of his career. Placing his project in relation to major historical and intellectual contexts, it shows not only how he modifies dominant disciplinary traditions, but also how the study of images is central to a new way of thinking about poststructuralist-inspired art history.Trade Review'Larsson’s book is a wonderful entrée into the complexities of [Didi-Huberman's] discourse, and its legibility is a testament to the author, who has ordered and presented Didi-Huberman’s often dazzling agenda for art history today.'Giles Fielke, Australian and New Zealand Journal of Art 'Given the fact that Didi-Huberman has written over fifty books in a career spanning four decades and that he is one of the most well-known French theorists of images, such a study is long overdue... scholars studying his work now have a well-researched and very helpful monograph to help them find their way through the labyrinthine oeuvre of Didi-Huberman.'Stijn De Cauwer, CAA Reviews -- .Table of ContentsIntroduction1 The archaeological art historian2 The materiality of images3 Timely anachronisms4 The empreinte5 Making monsters6 Thinking imagesConclusionBibliographyIndex

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Book SynopsisMonumental cares rethinks monument debates, site specificity and art activism in light of problems that strike us as monumental or overwhelming, such as war, migration and the climate crisis. The book shows how artists address these issues, from Chicago and Berlin to Oslo, Bucharest and Hong Kong, in media ranging from marble and glass to postcards, graffiti and re-enactment. A multidirectional theory of site does justice to specific places but also to how far-away audiences see them. What emerges is a new ethics of care in public art, combined with a passionate engagement with reality harking back to the realist aesthetics of the nineteenth century. Familiar questions can be answered anew: what to do with monuments, particularly when they are the products of terror and require removal, modification or recontextualisation? And can art address the monumental concerns of our present?Trade Review'The book is a provocative volume that is academically rigorous, and it will enrich the public debate on commemoration with its sophisticated reflections on notions of temporality and authenticity of historical markers, siting, and public participation, at a moment when monuments have been at the forefront of political activism.'Tijana Vujosevic, Art Margins‘Against the notion that monuments are things of the past, Widrich shows them to be generative of a contemporary art movement that is reclaiming historic places as laboratories for new artistic experiments centred around an ethic of care. She illuminates how artists are expanding what it means to care for monuments beyond the conservation of historic materials, to include looking after their capacity to conjure the collective imagination and direct it towards possible futures. At a time when collective action seems thwarted by the intractable forces of climate change and political injustice, Widrich reveals the capacity of art to jolt the collective nerve into more ambitious forms of care. A tour de force.’Jorge Otero-Pailos, Professor and Director of Historic Preservation, Columbia University‘Monumental cares is a well-crafted intellectual accomplishment, inviting readers to think with care and nuance about monuments as instructions about what the public sphere is or could be. Mechtild Widrich turns to the ethics of care to open up the fundamental question of what monuments in shared public space are about. There are very few books that so compellingly make the argument that monuments are not of the past, but about how we collectively care for changing the present and the future.’Elke Krasny, Professor for Art and Education at the Academy of Fine Arts Vienna, co-editor of Critical Care: Architecture and Urbanism for a Broken Planet'Mechtild Widrich brings to the fore key questions of contemporary approaches to monumentality, and shakes these further. Moving with agility across a wide range of detailed case studies, this book makes a compelling case for a layered perspective that sees the monumental in its complex and interrelational potential: as history materialised through art in multidirectional interactions with time, space and their mediation. It is a book that refuses simplistic solutions, reminding us of the vital role of the public sphere in confronting and commemorating our shared histories and of the importance of an ethics of care in doing so.'Jacek Ludwig Scarso, Reader in Art and Performance, London Metropolitan University'Monumental Cares: Sites of History and Contemporary Art presents a significant intervention in the art history of public art that makes site-specificity its key term. The book is also a bold contribution to contemporary debates about monument activism.Throughout Monumental Cares, Widrich confronts the difficulties posed by public art that grapples with political violence, touching on polarizing contemporary concerns about migration, climate change, and state sanctioned as well as ongoing everyday violence against people across the globe. Ultimately, the book is a plaidoyer for the careful maintenance of public space through monuments and markers that help audiences—past, present, and future—to navigate the multiplicity of sites that articulate shared and multidirectional histories. Monumental Cares also makes the case for the importance of multidirectional art history, opening the field, it is to be hoped, for more to follow.'CAA Reviews, Caroline Schopp'The book addresses those debates but its project is also broader, looking at the power of images and artworks to address violence. The book is also centrally concerned with the kinds of public sphere to which the reception of images and artworks give rise, especially in combination with myriad forms of digital mediation.'21 Inquiries, Adair Rounthwaite -- .Table of ContentsWho cares? An introduction1 The sites of history2 Cold War in stone – and plastic3 Materializing art geographies4 Reversing monumentality5 Reflections6 Drawing pain: political art in circulation Caring about monuments: a conclusionIndex

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Book SynopsisThis book is the first historical study of colour in modern British hospitals, examining the use of colour to understand the layered meanings of modernity in twentieth-century Britain. -- .

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Book SynopsisThis ground-breaking book presents a critical study of pictorial narrative in nineteenth-century European painting. Covering works from France, Germany, Britain, Italy and elsewhere, it traces the ways in which immensely popular artists like Jean-Léon Gérôme, Karl von Piloty and William Quiller Orchardson used unique visual strategies to tell thrilling and engaging stories. Regardless of genre, content or national context, these paintings share a fundamental modern narrative mode. Unlike traditional art, they do not rely on textual sources; nor do they tell stories through the human body alone. Instead, they experiment with objects, spaces, cause-and-effect relations and open-ended ambiguity, prompting viewers and reviewers to read for clues in order to weave their own elaborate tales.Trade Review'Narrative Painting in Nineteenth-Century Europe provides a new lens through which to appreciatively view works that might not have previously seemed worthy of close analysis. It reveals the impressive ingenuity with which artists and critics of the second half of the nineteenth century sought to bring pleasure to viewers and readers hungering for engaging stories. Given that pleasure is not prominent in the earnest academic discourse of the early twenty-first century, it is refreshing to see its pursuit treated as a legitimate topic of research. This is one more reason to be grateful for Nina Lübbren’s well-crafted book.'Nineteenth-Century Art Worldwide, Volume 22, Issue 2 | Autumn 2023, Jonathan P. Ribner -- .Table of Contents1 The terms of narrative2 Eloquent objects3 Patterns of reception4 Stories in paint5 Epilogue: Into the twentieth centuryIndex

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Book SynopsisWinner of the Barbara Jelavich Book Prize 2023“I am Jugoslovenka” argues that queer-feminist artistic and political resistance were paradoxically enabled by socialist Yugoslavia’s unique history of patriarchy and women’s emancipation. Spanning performance and conceptual art, video works, film and pop music, lesbian activism and press photos of female snipers in the Yugoslav wars, the book analyses feminist resistance in a range of performative actions that manifest the radical embodiment of Yugoslavia’s anti-fascist, transnational and feminist legacies. It covers celebrated and lesser-known artists from the 1970s to today, including Marina Abramovic, Sanja Ivekovic, Vlasta Delimar, Tanja Ostojic, Selma Selman and Helena Janecic, along with music legends Lepa Brena and Esma Redžepova. “I am Jugoslovenka” tells a unique story of women’s resistance through the intersection of feminism, socialism and nationalism in East European visual culture."Trade Review'Examining both well-known and heretofore neglected artists, this book provides a nuanced discussion of gender, feminism and identity politics in the region. It also serves to widen the discussion about feminist performance practices and strategies beyond the canonical west.'Amy Bryzgel, Professor of Film and Visual Culture, University of Aberdeen'"I am Jugoslovenka!" is an essential, nuanced feminist intervention into Yugoslav studies. In discussing Yugoslav feminist performance politics, the book places artists and performers as divergent as Marina Abramovic, Lepa Brena and Esma Redžepova side by side. Tumbas effectively dismantles elitist hierarchies about "high" and "low" cultural production and feminist praxis during and after Yugoslavia.'Dijana Jelaca, Brooklyn College'Jasmina Tumbas’s book surveys the cultural landscape of late socialist Yugoslavia to reveal the figure of “Jugoslovenka” as an innovative theoretical construct that captures the simultaneity of emancipatory opportunities and entrenched patriarchy. Imaginative and original, it provides a much-needed extension of the ongoing feminist reassessment of state socialism to the field of art history.'Vladimir Kulic, Associate Professor of Architectural History, Iowa State University'Tumbas's sensitive awareness of historical context is made in the deft interweaving of visual cultural analysis with the author's story as a refugee from Vojvodina in Germany in the early 1990s...'Art Monthly'I am Jugoslovenka!" presents a supremely compact overview of performance politics during and after Yugoslav socialism, providing elaborated examples and visual analysis of numerous performances, events or figures that were seen as agents of female emancipation and empowerment. As Jasmina Tumbas not only expertly chooses and compiles the existing research material, but also engages in producing novel approaches and theoretical concepts that will, hopefully, initiate future interest and interpretations.' Dr. Jana Dolecki'An enormously fascinating read through all five chapters, this book presents a captivating and hitherto unique overview of feminist performance politics in Yugoslavia. The range of figures alone (photos, artworks, paintings, posters, video stills) illustrates the dimensions of the vast territory Tumbas has mapped, showcasing feminist works spanning several decades. In demonstrating how much we can learn about Yugoslavia and Yugoslav feminism from visual history, the book shifts Western notions about the region significantly. Tumbas guides the Balkan imaginary away from grim warlords in camouflage suits facing trial in The Hague to a much brighter image: (post-)Yugoslavia’s female artists.'Dr. Miranda Jakiša, Comparative Southeast European Studies 'Tumbas also provides the reader the context of her own family background with a working-class Yugoslav mother and grandmother, neither of whom identified with feminism but taught her “more about emancipatory resistance than much of [her] higher education, or many of the feminist text[s]” she has read since then. It is this combination of the archival and the personal, which cannot be overlooked when discussing feminist art practices, that makes Tumbas’s such a rich study ... Tumbas’s book provides the type of diverse and expansive examination the field of art history has recently come to expect, one that includes a discussion of a range of individuals from diverse backgrounds, including the contributions not just of women artists but also Roma and queer women.'Art Journal 'It is not too often an art historical monograph achieves a comprehensive and engaging marriage of social, political, and cultural contexts. Jasmina Tumbas’s book “I am Jugoslovenka!”, achieves not only this, but also successfully incorporates the intersections of gender and the LGBTQ community....“I am Jugoslovenka!” is a cohesive and original work which accomplishes a championing of Jugoslovenka feminist legacy, a legacy and a history of work which has at times been overlooked and erased. Tumbas’s work is well-written and accessible to readers, chronicling the rise and fall of nationalism and its socialist impacts and ideologies in Yugoslavia'Erin Walter, University of Glasgow'It is this recognition and working within the messy contradictions of history that makes Tumbas’s text and its methodology a unique and truly paradigm-shifting contribution...Tumbas’s mapping of the histories of socialism, activism, feminist politics, art, and popular culture in, and after Yugoslavia, illuminates not just the otherwise highly understudied and unacknowledged contributions of Yugoslav artists and cultural producers within the history of art but poses a productively disruptive challenge to the discipline’s organizational logics. The interdependent developments of socialism, patriarchy, nationalism, feminist resistance, and avant-gardism that are articulated in the text put into practice a queer anticolonial methodology, the structure of which compliments the politics of the performances described therein.'CAA reviews".... a daring, well-researched, theoretically grounded, and beautifully written book....boldly refreshing. The content analysis of discrete cultural happenings—such as performances, exhibitions, specific artwork, or the praxis of arts collectives—brings to life the unique and dynamic arts and performance culture in Yugoslavia from the 1970s to the 1990s. At the same time, strongly grounded in theory, Tumbas’ analysis helps deconstruct monolithic understandings of feminism by analyzing its diverse political and cultural manifestations. The book not only offers a new interpretation of the Yugoslav cultural scene but also calls for scholars to reconceptualize categories of feminism and ideas of socialist emancipation."2023 Barbara Jelavich Book Prize Committee -- .Table of ContentsIntroduction: Jugoslovenka: the unique position of Yugoslav women during and after socialism1 Jugoslovenka’s body under patriarchal socialism: art and feminist performance politics in Yugoslavia2 Marina Abramovic, Lepa Brena and Esma Redžepova: socialist nation, Orientalism, and Yugoslav legacy3 Queer Jugoslovenka4 Jugoslovenka in a sea of avant-garde machismo: a feminist reading of NSK5 The last generation of Jugoslovenkas: diverse forms of emancipatory resistance and performance strategiesConclusion: Jugoslovenka: a wide-ranging model for feminist performance politics in art and culture Index

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Book SynopsisBaroquemania explores the intersections of art, architecture and criticism to show how reimagining the Baroque helped craft a distinctively Italian approach to modern art. Offering a bold reassessment of post-unification visual culture, the book examines a wide variety of media and ideologically charged discourses on the Baroque, both inside and outside the academy. Key episodes in the modern afterlife of the Baroque are addressed, notably the Decadentist interpretation of Gianlorenzo Bernini, the 1911 universal fairs in Turin and Rome, Roberto Longhi’s historically grounded view of Futurism, architectural projects in Fascist Rome and the interwar reception of Adolfo Wildt and Lucio Fontana’s sculpture. Featuring a wealth of visual materials, Baroquemania offers a fresh look at a central aspect of Italy's modern art.Trade Review'This is a very well-written and extremely well-researched book on a fascinating topic. It is certainly essential reading for anyone interested in contemporary Italian art.'Francesca Billiani, Professor of Italian at the University of Manchester. -- .Table of ContentsIntroduction1 Decadent Seicento: the emergence of the Baroque in the Italian fin de siècle2 The Baroque’s revenge: the 1911 jubilee exhibitions and the search for an Italian style3 Baroque Futurism: Roberto Longhi, seventeenth-century art and the Italian avant-garde 4 Classical Baroque: the Seicento and the return-to-order5 Baroque memories in the architecture of interwar Rome6 Form and formlessness: the reimagination of Baroque sculpture during FascismConclusionsIndex

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Book SynopsisThe first major study of Britain's pioneering graphic satirist, Sir Francis Carruthers Gould (18441925), the first staff political cartoonist on a daily newspaper in Britain, and the first of his kind to be knighted. -- .

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Book SynopsisThis volume features new research by an international group of scholars on Russia's historic relationship with Asia and the ways in which it was mediated and represented in the fine, decorative, and performing arts and architecture from the mid-eighteenth century to the first two decades of Soviet rule. -- .

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

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Book SynopsisThis book assesses Stuart Brisley's seminal influence on British art through his lifelong engagement with the histories and imaginaries of revolution. It links together revolutionary history with the author's critical dialogue with Brisley, developed over many years, to explore how revolutionary art, politics and history relate today. -- .

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Book SynopsisThis book offers a whistle-stop guide to the history of spinning and weaving. The story begins in prehistory when people first wove yarns to create clothing and blankets. The book explores the ways in which spinning and weaving has continued to be important throughout human history (or should that be herstory), in artistic, economic and functional terms. The second part of the book brings us up to date, via interviews with modern day spinning and weaving artisans. These textiles artists generously allowed the author a window into their studios and discussed the way they use and adapt traditional methods, techniques and tools for the twenty first century. Photos of their work, and their working environment offers a unique view into the world of this ancient craft. Finally, if you are inspired to try your hand at this fascinating and most ancient of crafts, the book also has a resources section. It includes a valuable list of suppliers of fibre, dyes, tools and yarn, as well as information about training courses, useful websites and more - everything you need to get started.

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Book SynopsisThis book offers a journey through the history of the ancient craft of felting from the earliest times, when people first discovered that animal fibre, moisture and friction created a durable, warm fabric. Felt has been used for everything from apparel to housing; it has been used for practical, decorative and even religious applications. This book looks at the rise and fall of felting through history and into the industrial era, including its importance to the hat-making industry. The second part of the book brings us to the modern - and some might say, golden - era of artisanal felting with interviews from felters and textile artists generously sharing their creative process. Finally, if you are inspired to try this fascinating craft, there are step by step instructions for both wet and needle felting, and a useful list of resources to get you started on your own felt-making journey.

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Book SynopsisThrough historic photos, this volume traces the development, production and deployment of this iconic piece of military equipment from the drawing boards to the Cold War battlefields of Europe.

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Book SynopsisFrom Henri Fabre's first successful take off from water and landing near Marseilles, to the introduction of a hull rather than floats by American Glenn Curtiss, to the world-wide development of huge, ocean-crossing flying boats on both sides of the Atlantic - the passenger flying boat era continues to fascinate aviation enthusiasts and historians alike. Wartime necessity for paved runways to support long-range, high flying land-planes and the faster movement of airmail, overcame in peacetime the unique ability enjoyed by such craft to economically utilise the natural waterways of the world, thus depriving passengers of the ability to enjoy the panorama unfolding below in luxurious accommodation and ease. A sadly missed epoch of flight: though related in clear and vivid detail by Leslie Dawson in his account of a pre-war Imperial Airways flight from Southampton to South Africa. This extended pictorial edition of the author's previous book Fabulous Flying Boats, A History Of The World's Passenger Flying Boats provides a fast-moving journey from the first pioneers to the very last use of such craft in regions still reliant on waterborne communication with the outside world. From the Americas and the United Kingdom, to France, Germany and Italy, and on to Australia and New Zealand. Supported by world-wide private, public and corporate images, the work boasts a comprehensive and well-researched Appendix.

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Book SynopsisWith the American-supported South Vietnamese government verging on collapse in early 1965, American President Lyndon Johnson decided to commit American conventional ground forces in the form of a United States Marine Corps (USMC) brigade of approximately 3,000 men on March 8, 1965. So began a massive and costly 10-year commitment. At its height in 1968, the USMC had 86,000 men in South Vietnam. Almost 500,000 Marines would eventually rotate in out of South Vietnam during their typical one-year tours of duty. In the end, the fighting during such well-known battles at Con Tien, Chu Lai, Hue, Khe Sanh and Dong Ha and thousands of now forgotten smaller-scale engagements would cost the USMC 13,070 killed in action and 88,630 wounded, more casualties than they suffered during the Second World War. In this book, well-known military historian Michael Green using hundreds of dramatic images tells the dramatic and gallant story of the Marines' contribution to an unwinnable war; the battles, their equipment, from rifles to helicopters and jets, and the strategy adopted by the Corps.

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Book SynopsisBarely a decade passed from the Wright Brothers' first powered flight to aircraft becoming lethal instruments of war. The Royal Flying Corps and Royal Naval Air Service took off in the very early days of The Great War and captured the public's imagination and admiration. Sydney and Richard Carline happened to be both pilots and artists as was Frenchman Henri Farre. Their works inspired celebrated painters like Sir John Lavery who took to the skies in an airship in the First World War. Feeding on the demand for works depicting this new dimension of warfighting, a new genre of art was born which has remained popular ever since. During the Second World War, the paintings of Paul Nash stood out as did Eric Ravilions who, ironically, died in an air crash. War artist Albert Richards dropped with British paratroopers on D-Day. Post-war, paintings by leading British and international artists graphically illustrate conflicts such as the Falklands, Bosnia and the Gulf War. John Fairley has brought together a dazzling collection of art works covering over 100 years of air warfare, enhanced by lively and informative text. The result is a book that is visually and historically satisfying.

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Since 1978 Jim Davis' sarcastic, orange tabby cat has entertained millions of people appearing in Newspapers, books, cartoons and even his own films. Why has a lazy, coffee drinking, lasagna loving feline become a worldwide sensation loved by millions of people? From his small-town beginnings in Muncie, Indiana, The History of Garfield explores our relationship with Garfield, Jon and Odie and how Davis' characters have become such an integral part of American pop culture over the decades.

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Book SynopsisMaking is good for you. Exploring crafts can be relaxing and therapeutic : the projects in this book are accessible to anyone who is inspired to recycle old clothes and textiles into unique, decorative, useful projects. Our forbears improvised tools to recycle their worn clothes - mostly dark suiting or mill waste if they lived near a mill. Usually they made mats for their cold floors or as draft excluders across doors. Nowadays you can choose from so many more colours and textures - painting with rags! Try one project or more. You will be able to use the techniques to design and make your own one-off items for your home or as hand-made gifts. The techniques here are traditional and simple - you will be surprised at how drab fabrics become transformed. Simple designs work best and you can even improvise as you work. If a fabric runs out, then use another - I call that organic design! Hooking is the best technique for pictorial detail and different techniques could be combined for original wall art. Historically, rugs were made by several people sitting round a horizontal frame with the children cutting the pieces of rag which were prodded into the hessian (burlap) backing to make a shaggy mat. There is a prodded project (for purists) but you can also achieve the same effect without a frame by progging, which can be done on table or thigh (carefully). Warning - this craft can be addictive!

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Book SynopsisThe Norwegian campaign, fought in 1940, early in the Second World War in Europe, is overshadowed by the campaign in Poland that preceded it and the German blitzkrieg in the Low Countries and France that followed, yet it was a close contest from the military point of view and it had a far-reaching impact on the rest of the war. Philip Jowett's photographic history is a vivid introduction to it. In a concise text and a selection of over 150 photographs he traces the entire course of the fighting in Norway on land, at sea and in the air. He describes how important it was for the Allies -the Norwegians, British and French -to defend northern Norway against the Germans, in particular to retain control of the strategic port of Narvik. The book documents in fascinating detail the troops involved, the aircraft and the large naval forces, and gives an insight into the main episodes in the conflict including the struggle for Narvik and the major clashes at sea which culminated in the loss of the Royal Navy's aircraft carrier Glorious. The photographs are especially valuable in that they show the harsh conditions in which the fighting took place and offer us a direct impression of the experience of the men who were there.

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Book SynopsisThe Wars of the Roses is one of the most dramatic and fascinating periods in medieval history. Much has been written about the leading personalities, bitter dynastic rivalries, political intrigues, and the rapid change of fortune on the battlefields of England and Wales. However, there is one aspect that has been often overlooked, the role of castles in the conflict. Dan Spencer's original study traces their use from the outbreak of civil war in the reign of Henry VI in the 1450s to the triumph of Henry VII some thirty years later. Using a wide range of narrative, architectural, financial and administrative sources, he sheds new light on the place of castles within the conflict, demonstrating their importance as strategic and logistical centres, bases for marshalling troops, and as fortresses Dan Spencer's book provides a fascinating contribution to the literature on the Wars of the Roses and to the study of siege warfare in the Middle Ages.

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Book SynopsisFrom a huge former cold storage plant located in a remote corner of Chile and a sugar refinery in rural China to a hundred-year-old belt factory in Chicago, the book profiles over 25 truly exceptional hotels and boutique boltholes around the world, all of which are situated in refurbished industrial buildings. These are destinations for design enthusiasts. Each hotel demonstrates the exciting potential of old industrial buildings for modern day accommodation and provides decorative inspiration that can be taken and applied at home. Hotel To Home is an invaluable travel companion when selecting hotels that offer truly memorable escapes, detailing the fascinating histories, the architectural quirks and amenities that establish these hotels as some of the world's most unique places to stay.Trade Review"The influence of loft living and the warehouse aesthetic can be found in architectural projects worldwide. We're sharing our tips for channelling a high-end hotel look, with a distinctive industrial twist, in any modern home." Sophie Bush

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book Synopsis An enchanting memoir by the legendary New York Times fashion photographer Bill Cunningham *A Financial Times Book of the Year 2018**The New York Times Bestseller*‘I took to New York life like a star shooting through the heavens…’ Bill Cunningham’s first love was fashion but the big city came a close second. He left for New York aged nineteen, losing his family’s support but enjoying the infinite luxury of freedom. Living on a scoop of Ovaltine a day, he would run down to Fifth Avenue to feed on the spectacular sights of the window displays – then run back to his tiny studio to work all night.Working as ‘William J’ (to spare his parents’ blushes), Bill became one of the most celebrated hat designers of the 1950s, creating elegant town hats for movie stars and playful beach hats for the summer set. Bill’s mission was to bring happiness by making beautiful things – even if it meant pawning his bike to fund fancy-dress outfits for all his friends. When women stopped wearing hats and his business was forced to close, Bill worked as a fashion journalist, touring the couture houses of Europe. But New York remained his home, and it was as a street photographer of the fashions of the city that he became well known, in a job that would last almost forty years.Fashion Climbing is the enchanting memoir he left behind, capturing the madcap times of his early career and the fashion scene of the mid-century. Written with the spark and wit of Holly Golightly, and brimming over with Bill’s infectious joy for life, it is a gift to all who seek beauty, whatever our style or status.Trade ReviewFashion Climbing has everything you’d want in a fashion memoir (industry politics, elaborate window displays, hijinks at galas), but it’s also a manifesto for living authentically. Just like Bill Cunningham’s photography, this book is anti-snobbery, pro-having-fun-at-all-costs, and awake to the pleasures of being oneself -- Tavi Gevinson, Editor in Chief, RookieThe New York Times’s beloved street-style photographer died two years ago, leaving behind a delightful memoir of his early years, which tells of his escape from restrictive middle-class Boston to a Manhattan career as a milliner. His love of beauty may not have made him rich — he chose an ascetic existence — but it sustained him for a lifetime. -- Horatia Harrod * Financial Times, *Books of the Years* *Peppered with delightful colloquialisms...the text bears the signature voice that endeared him to readers... Yet, despite an ample dose of whimsy, there’s also a backbone to this cosy memoir... Fashion Climbing celebrates one of the industry’s fiercest advocates of sartorial joie de vivre, who established himself on the fashion ladder “not with refined dignity but with an angry howl”. -- Lauren Sarazen * AnOther Magazine *Fashion Climbing is the captivating glimpse through the keyhole of this dizzying, dazzling world, and captures the buzz and bluster of a fashion life lived to the full * Red Magazine *Bill Cunningham’s enchanting memoir of his love affair with fashion and the people who created, shaped, analysed, and wore it in the combustible years after the Second World War is a delight and a revelation, proving that his pen was as astute as his lens. This lively, compelling, and invaluable social history tells us as much about the mores of the age as it does about the era’s seismic fashion revolutions and reflects the wonder that Bill saw in creation throughout his life -- Hamish Bowles, International Editor at Large, Vogue

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Book Synopsis'A charming account of a daughter, a house and a fastidious dad' Sunday TimesShelley Klein grew up in the Scottish Borders, in a house designed on a modernist open-plan grid. With colourful glass panels set against a forest of trees, it was like living in a work of art. Her father, Bernat Klein, was a textile designer whose pioneering colours and textures were a major contribution to 1960s and 70s style.Thirty years on, Shelley moves back home to care for her father, now in his eighties: the house has not changed and neither has his uncompromising vision - or his distinctive way of looking at the world. Told with great tenderness and humour, this is Shelley's account of looking after an adored yet maddening parent and a piercing portrait of the grief that followed his death. 'A sad, funny, utterly fascinating book about families, home and how to say goodbye' Mark Haddon'Original, moving and bracingly honest... often hilarious' Blake Morrison, Guardian'It is strange that grief should produce such a life-affirming book, but it has. Read it for the solace it contains, or for its captivating descriptions. Either way, it's a delight' TelegraphTrade ReviewA sad, funny, utterly fascinating book about families, home and how to say goodbye -- Mark Haddon[A] finespun, magical new grief memoir... a beautifully structured book... Klein is a witty observer, even in the case of her own sorrow, which she rifles through and puzzles over with wry candour. Desolation and humour are expertly balanced throughout... I suppose it is strange that grief should produce such a life-affirming book, but it has. Read it for the solace it contains, or for its captivating descriptions. Either way, it's a delight. -- Lucy Davies * The Telegraph *A luminous book, full of light and colour, and a remarkable reflection on childhood and untold stories -- Edmund de WaalOriginal, moving and bracingly honest... often hilarious... Each room has particular memories for Klein. And her journey through them is also a psychological quest, an attempt to understand how the house shaped her personality and whether she can ever get free of her attachment -- Blake Morrison * Guardian *Enthralling... a fascinating exploration of the influence of a domestic setting on mind and spirit, as well as of a fraught father-daughter relationship -- Christina Hardyment * The Times *

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Book SynopsisFrom 'Best of the Booker' winner Salman Rushdie, an incisive and inspiring collection of non-fiction essays, criticism and speeches that takes readers on a thrilling journey through the evolution of language and culture.'One of the greatest writers of our age' Neil GaimanAcross a wide variety of subjects, Rushdie delves into the nature of storytelling as a deeply human need and what emerges is a love letter to literature itself. Throughout, he shares his personal encounters, on the page and in person, with storytellers from Shakespeare to Toni Morrison and revels in the creative lines that can join art and life. Rushdie considers, too, the nature of truth and looks afresh at migration, multiculturalism and censorship.'Essential reading... Powerful' Financial Times'Rushdie is vital, expansive, the critic as storyteller, championing his subjects with gusto' TLSTrade ReviewSalman Rushdie is one of the greatest writers of our age; he is a giant of literature. -- Neil GaimanRushdie is vital, expansive, the critic as storyteller, championing his subjects with gusto... Rushdie is a still a writer to be reckoned with. -- Claire Lowdon * Times Literary Supplement *Powerful... Languages of Truth feels like essential reading in this time, reminding us that the stories we have told each other over millennia are universal, even if this shared heritage is often lost or forgotten in today's angry, fractured world. -- Nilanjana Roy * Financial Times *Probably the best nonfiction he [Rushdie] has written in years... Rushdie is happy to record just what he sees and feels. You sense that he has arrived somewhere new...a sign of good things to come. -- Abhrajyoti Chakraborty * Guardian *Rushdie's writing is erudite and full of sympathy, brimming with insight and wit . . . Fans will be delighted . . . [A] mesmerizing collection. * Publishers Weekly (starred review) *

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