Art & Photography Books

Book SynopsisChildren Draw is a concise, richly illustrated book, aimed at parents, teachers, and caretakers, that explores why children draw and the meaning and value of drawing for youngsters--from toddlers aged two to pre-adolescents aged twelve. Informed by psychology and practical teaching with children, it guides readers through the progressive stages and characteristics of drawing development as children grow and change mentally, physically, socially, emotionally, and creatively. It offers parents tips about encouraging children to express their ideas visually, age-appropriate art materials, workspaces, and different media, as well as suggestions for making an art museum visit more meaningful--not to mention more fun--for both parents and kids. Packed with many delightful examples of children's art, Children Draw is an essential book for parents interested in their child's art activities.Trade Review"Goodman is an art and museum education specialist who . . . pays loving attention to children's artistic progression from those first scribbles, when primitive motor skills make holding the crayon a challenging task in itself, to the more elegant lines that appear to mimic ancient script. . . . The heart of the book lies in its 134 illustrations, many in vivid color. The heavily whiskered cat, the reclining dog, the family group seen from multiple perspectives, and the 'thought bubbles' emerging from those tadpole heads remind us why artists such as Paul Klee and Jackson Pollock were inspired by feelings, intellect, and creativity apparent in children's drawing."-- "Times Literary Supplement" "Goodman's delightfully illustrated and highly accessible text celebrates our imagination. In sharing her valuable insights, she reminds us that taking pencil to paper remains an essential human action. This book will help adults nurture a child's personal development and expressive skills that will last their lifetime."--Erika Sanger, Executive Director, Museum Association of New York "Bookseller" "Goodman's love and respect for children is evident throughout this brilliant investigation of how and why children draw. As a working artist, an uncle, and a grown-up version of a boy who loved to make pictures, I wholeheartedly recommend this book to any adult with a child in their life as well as anyone interested in drawing and the many ways it functions for children during the various stages of their development."--Alexander Stadler, author and illustrator of the Beverly Billingsly series, the Julian Rodriguez books, and several other books for children "Bookseller" "Having enjoyed watching my children draw over the years, I found this book fascinating. Goodman looks at each of the five stages in children's drawing development, explaining what is going on at each stage, such as how scribbling is primarily a physical enjoyment while making large muscle movements; when children discover they can transform a line into an enclosed shape; and why many preadolescent children feel more comfortable drawing anime characters."-- "JUNO Magazine" "Informed both by psychology and teaching, and aimed at parents and carers, this richly illustrated book is a fascinating exploration both of why children draw, and the meaning and value of drawing for young people. Some of the art examples are truly wonderful."-- "Bookseller" "This beautifully illustrated book by Goodman, jam-packed with real examples of children's drawings, takes readers through the different stages of drawing from scribbling and basic human forms through to visual schema and realism. Each one illustrates the well-researched text exploring how drawing processes help children express themselves and make meaning in the world, with super insights into what's going on, such as when children's drawings are disturbing. The book is full of excellent ideas and guidance on how to enable the best drawing possible, including which tools, resources, environments, attitudes will either help or hinder your child's drawing, and how your emotional or value judgements have an impact on the way children draw. Aimed at parents and teachers alike, this is an essential MUST-HAVE in your creative armory."-- "Early Arts Magazine" "With a passion for the magic and importance of early childhood drawing and painting, Goodman successfully demystifies this complex activity, essential to children's development. Goodman's wisdom and knowledge offers a concise and refreshing look into the history and meaning of children's art making, tracking important age-appropriate developments through abundant illustrations and insightful observations. Children Draw is an essential guide for parents and caregivers seeking to support this vital component in their child's creative learning."--Philip Matsikas, fine arts teacher, University of Chicago Laboratory Schools "Bookseller"

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Book SynopsisThe Venetian painter known as Giorgione or "big George" died at a young age in the dreadful plague of 1510, possibly having painted fewer than twenty-five works. But many of these are among the most mysterious and alluring in the history of art. Paintings such as The Three Philosophers and The Tempest remain compellingly elusive, seeming to deny the viewer the possibility of interpreting their meaning. Tom Nichols argues that this visual elusiveness was essential to Giorgione's sensual approach and that ambiguity is the defining quality of his art. Through detailed discussions of all Giorgione's works, Nichols shows that by abandoning the more intellectual tendencies of much Renaissance art, Giorgione made the world and its meanings appear always more inscrutable.Trade Review"Nichols's book serves as an excellent, cerebral, and insightful essay on one of the most influential and enigmatic of Renaissance painters. Like one of Giorgione's own pictures, Nichols's analysis is lyrical, and thought-provoking; constantly drawn to the profound implications of its subject, yet never less than concise and accessible. The book is particularly welcome and timely. . . . Nichols is able to reserve his considerable intellectual energy for a revitalising and superbly informed discussion of the essence of Giorgione--both in terms of the elusive, enfolded meanings of his art, and in providing the reader with a navigable, clear-headed guide to a corpus of key works."--Philip Cottrell, assistant professor in art history, University College Dublin

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Book SynopsisWhether in a court room or a dressing room, wigs come in many forms and represent many things: from power, to sexuality, to parody, to health, to self-identity, to disguise. Wigs are present at parties and in chemotherapy rooms, in pop music and contemporary art. In this witty and eloquent book, Luigi Amara reflects on the curious history of the wig and along the way takes a sideways look at Western civilization. Amara illuminates how the wig has starred throughout history, from ancient Egypt to the court of Louis XIV, and from British courtrooms to drag shows today. Containing many striking and unusual images, The Wig will appeal to all those interested in the history of fashion--as well as philosophy, art, culture, and aesthetics.Trade Review"A witty and encyclopedic work. . . . Should be part of the collection of any enthusiast of the essay genre." -- Ignacio M. Sanchez Prado * Los Angeles Review of Books * "[Explores] the wig's silly, sexy, and serious strains in a collection of fanciful short essays. . . . It's clear that for Amara, the wig is an excuse to ponder, wander, and lose himself to flights of fancy." -- Lauren Moya Ford * Hyperallergic * "The reader may find that all objects, when inspected in this way, display a wider cultural resonance. The real question, then, is whether that resonance is as important as the writer believes. Amara makes some ambitious claims... An interesting and enjoyable study." * Times Literary Supplement * "With the precision of a Renaissance collector, Amara has written a book as wonderful and impressive as the old cabinets of curiosities. From Andy Warhol to Andre Agassi, the collection exposed in The Wig makes us smile and laugh with amazement, while we reflect on how shaky identity is." -- Carlos Fonseca, Trinity College, Cambridge, author of "Natural History" "A clever and illuminating take on the world of wigs. A book every hairdresser should have in their collection." -- Isaac Davidson, hairstylist, wig designer, founder of Wigbar "In this smart and humorous account of the history of the wig, Amara proves he's not afraid of frivolity, using it to dig deep into the history of our ideas and costumes." -- Juan Pablo Villalobos, author of "I Don't Expect Anyone to Believe Me" and "Down the Rabbit Hole"

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Book SynopsisPeter Paul Rubens was the most inventive and prolific northern European artist of his age. This book discusses his life and work in relation to three interrelated themes: spirit, ingenuity and genius. It argues that Rubens and his reception were pivotal in the transformation of early modern ingenuity into Romantic genius. Ranging across the artist’s entire career, it explores Rubens’s engagement with these themes in his art and biography. The book looks at Rubens’s forays into altarpiece painting in Italy as well as his collaborations with fellow artists in his hometown of Antwerp, and his complex relationship with the spirit of pleasure. It concludes with his late landscapes in connection to genius loci, the spirit of the place.Trade Review"Rubens’s Spirit is a beautifully written, subtle analysis of the prodigious creativity that informed and permeated the work of this most versatile artist, from the large altarpieces and mythologies to the portraits, genre scenes, and, finally, the late landscapes. Marr’s exploration of the multiple expressions of Rubens’s spirited art sheds new light on the notion of ingenuity, a key term of the period that would finally, in its modified form as genius, dominate aesthetic theory up to the modern day." -- Christine Göttler, Professor Emerita of Art History, University of Bern"‘Genius,’ ‘ingenuity,’ ‘spirit’—these are broad terms to apply to any artist, but with great wit and erudition Marr shows how their specific seventeenth-century use enlarges our view of Rubens and his art. . . . Few introductory texts to Rubens have presented so much original research, and none move with such ease from subjects like seventeenth-century dietetics and optical theory to the implications of Rubens’s representations of male and female figures for issues of gender. A moving and beautifully written account of the astonishingly diverse aspects of Rubens’s art and life." -- David Freedberg, Pierre Matisse Professor of the History of Art, Columbia University

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Book SynopsisThe Suit unpicks the story of this most familiar garment, from its emergence in western Europe at the end of the seventeenth century to today. Suit-wearing figures such as the Savile Row gentleman and the Wall Street businessman have long embodied ideas of tradition, masculinity, power and respectability, but the suit has also been used to disrupt concepts of gender and conformity. Adopted and subverted by women, artists, musicians and social revolutionaries through the decades – from dandies and Sapeurs to the Zoot Suit and Le Smoking – the suit is also a device for challenging the status quo. For all those interested in the history of menswear, this beautifully illustrated book offers new perspectives on this most mundane, and poetic, product of modern culture.Trade Review'Christopher Breward’s intelligent consideration of the suit is an antidote to all the bombastic how to guides written by fashion journalists and bloggers whose idea of cultural context is to speed read a Wikipedia page . . . a rich, deep and satisfying study.'-World of Interiors 'The Suit has its own spare, modernist elegance. It presents a decisively uncluttered history of menswear, cutting a clean line through eighteenth-century French military uniforms to dandies, Pasolini films and twentieth-century Italian tailoring, all the while insisting on the suit’s all-pervasive influence in modern and contemporary cultures . . . Breward takes unmistakable pleasure in his subject.'-Financial Times 'Expertly shows how the adoption of the suit was a manifestation of societal change as the great European wars of the 17th and 18th centuries morphed into the Industrial Revolution and thereon into the modern democratic world. Indeed, it would be hard to name another facet of our modern culture that has so effortlessly and variously expressed the cross-purposes of, say, Baudelaire, Le Corbusier, and Mao Zedong. The suit is the perfect signifier, and as Mr. Breward shows, it carries all the noble, artistic, economic, and perverse impulses of our culture.'-Wall Street Journal 'Christopher Breward offers a compendious account of the evolution of the suit from the gaudily decorated outfits of the Elizabethen court, through the luxury textile trade, to the genesis of something like the modern idea of well-dressed manhood (essentially, expensive understatement) in the nineteenth-century Parisian cult of the dandy . . . when Breward ventures beyond just telling his story to speculate a little on the cultural resonances behind it, he does so with a sharp, laconic intelligence.'-TLS 'Breward has an eye for detail and is to be congratulated for nosing out such truffles of tailoring lore that might have escape others. He is knowledgeable about his subject, insightful in his analysis and imaginative in the connections that he makes. The result is a thoughtful and at times lively riffle throught the male wardrobe from Restoration England onwards.'-Nicholas Foulkes, Literary Review 'Christopher Brewards book on the history and culture of the gentlemans suit is a handsome, hardback volume with a generous number of large-format illustrations . . . his is not a straightforward object-oriented interpretation what makes the book such a clever and rewarding read lies in how Breward assumes the position of a tailor in tackling a cultural history of the suit, as if fashioning a garment in material form. This is a book crafted by the measuring, marking, aligning, fitting and shaping of evidence. Just as the seam allowances of a bespoke suit allow its proportions to be altered to fit a body modified by the regimes and excesses of life, so Breward appreciates that cultural and material histories are also malleable, with margins that can be redrawn and reassembled.'-Journal of Design History 'A scholarly history of sartorial style, a dialectic between peacock fashions and their renunciation.'-Metropolis Magazine 'Christopher Breward climbs into every armhole and measures every inside leg. He stops at nothing to decode the enigmas of mens tailoring.'-Simon Doonan, Creative Ambassador for Barneys New York and author of The Asylum: True Tales of Madness from a Life in Fashion 'Spirited and well researched, The Suit: Form, Function and Style is a thoroughly informed examination of the ubiquitous garment that is a staple in every mans life. Combining both substance and style, it provides a journey into the evolution of the suit and its cultural influence through the ages.', Ed Burstell, Managing Director, Liberty 'In its long history the suit has been both a symbol of adherence to mainstream authority as well as a weapon of rebellion. In this book Christopher Breward masterfully traces the suit's influence in modern and contemporary cultures with thorough scholarship and vivid writing. The Suit is a magical tour of the corporeal terrain of the garment that continues to intrigue us as it reflects the ever-changing economic and cultural contexts in which it is found. A triumph of scholarship and a joy to read.'-G. Bruce Boyer, author of True Style: The History and Principles of Classic Menswear, Rebel Style, and Gary Cooper: Enduring Style 'An attractively illustrated history unpicking the story of the gentlemans tailored suit from its emergence in Western Europe at the end of the 17th century to its fate in the 21st century.'-The BooksellerTable of ContentsIntroduction: The Tailor’s Art 1. Well Suited 2. Suiting Nations 3. Sharp Suits 4. Seeing the Suit 5. Epilogue: Future Suits References Select Bibliography Acknowledgements Photo Acknowledgements Index

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Book SynopsisOne of the most brilliant and original authors and architects of the entire Renaissance, Leon Battista Alberti's output encompassed engineering, surveying, cryptography, poetry, humour, political commentary and more. He employed irony, satire and playful allusion in his written works, and developed a sophisticated approach to architecture that combined the ancient and modern. Born into the Florentine elite, Alberti was nonetheless disadvantaged due to exile and illegitimacy. As a result, he became an acute analyst of the social institutions of his time, as well as a profoundly existential writer who was intensely preoccupied with the human condition. This new account explores Alberti's life and works, examining how his personal and intellectual preoccupations continually pushed him to engage with an ever-broader spectrum of Renaissance culture.

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Book SynopsisChildren of Mercury is a bold new account of the lives of pre-modern painters, viewed through the lens of The Seven Ages of Man, a widespread belief made famous in the ‘All the world’s a stage’ speech in Shakespeare’s As You Like It. Spike Bucklow follows artists’ lives from infancy, through childhood, adolescence and adulthood, to maturity, old age and death. He tracks how lives unfolded for both male and female painters, from the famous, like Michelangelo, through Artemisia Gentileschi and Mary Beale to those who are now forgotten, like Jehan Gillemer. The book draws on historic biographies, artists’ own writings and, uniquely, the physical evidence offered by their paintings.Trade Review'Bucklow offers a deeply humane poetics of the life-cycle and artistic creativity that is enchanting and original. This beautifully written book is an enormously rewarding read for anyone interested in art history.' – Ulinka Rublack, FBA, Professor of Early Modern European History, University of Cambridge 'While there have been studies of prodigies and of aging artists, Spike Bucklow's book is distinctive in looking systematically at the periods in between. It also stands out within this literature for devoting real attention to women as well as men.' – Michael Cole, Howard McP. Davis Professor and Chair of the Department of Art History and Archaeology, Columbia University

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Book SynopsisPierrot, Little Bo Peep, cowboy: these characters and many more form part of this colourful story of dressing up, from the accession of Queen Victoria to the coronation of Queen Elizabeth II. Fancy dress became a regular part of people’s social lives over this period, and the craze for it spread across Britain and the Empire, reaching every level of society. Spectacular and witty costumes appeared at street carnivals, victory celebrations, fire festivals and extravagant balls. From the Victorian middle classes performing ‘living statues’ to squads of Shetland men donning traditional fancy dress and setting fire to a Viking ship at the annual Up Helly Aa celebration, this lavishly illustrated book provides a unique view into the quirky, wonderful world of fancy dress.

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Book SynopsisIncomparable Realms offers a vision of Spanish culture and society during the Golden Age, the period from 1500 to 1700 when Spain unexpectedly rose to become the dominant European power. But in what ways was this a ‘Golden Age’, and for whom? The relationship between the Habsburg monarchy and the Church shaped the period, with both constructing narratives to bind Spanish society together. Incomparable Realms unpicks the impact of these on thought and culture, and examines the people and perspectives such powerful projections sought to eradicate. The book shows that the tension between the heavenly and earthly realms, and in particular the struggle between the spiritual and the corporeal, defines Golden Age culture. In art and literature, mystical theology and moral polemic, ideology, doctrine and everyday life, the problematic pull of the body and of the material world is the unacknowledged force behind early modern Spain. Life is a dream, as the title of Calderón’s famous play of the period proclaimed, but there is always a body dreaming it.

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Book SynopsisIn Counter-Texts, Kim Dhillon provides a much-needed critical reassessment of written language in contemporary art. Considering the politics, aesthetics and ethics of language, Dhillon explores artworks that use inscribed language, with a particular focus on works that challenge dominant narratives or which reveal, in visual form, the varied systems of oppression contained within words. Featuring many artists from diverse backgrounds, ranging from artists such as Serena Lee, Abbas Akhavan and Joi T. Arcand to Glenn Ligon, Brian Jungen and Susan Hiller, Dhillon rewrites the understanding of text in contemporary visual art. Counter-Texts explores how and why visual artists use written language, and interrogates the power held in words.

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Book SynopsisPainter, poet and actor Salvator Rosa was one of the most engaging and charismatic personalities of seventeenth-century Italy. Although a gifted landscape painter, he longed to be seen as the pre-eminent philosopher-painter of his age. This new account traces Rosa's strategies of self-promotion, and his creation of a new kind of audience for his art. The book describes the startling novelty of his subject matter - witchcraft and divination, as well as prophecies, natural magic and dark violence - and his early exploration of a nascent aesthetic of the sublime. Salvator Rosa shows how the artist, in a series of remarkable works, responded to new movements in thought and feeling, creating images that spoke to the deepest concerns of his age.

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Book SynopsisThe first monograph in a generation, and the first study in English in over eighty years, this book presents a new understanding of the Renaissance master-artist Filippino Lippi. Celebrated as 'ingenious' by Vasariin 1550, Filippino was highly praised and influential, then fell out of favour and was forgotten for centuries. He was rediscovered by the poet Swinburne, who in 1868 celebrated the painter's 'inventive enjoyment and indefatigable fancy'. In a similar spirit, this volume explores Filippino's creativity in solving artistic problems. If a Roman cardinal requested a classically inspired work, or a Florentine humanist wanted to dazzle observers with his antiquarian interests, Filippino had the sensitivity to understand these diverse needs and express them with highly original solutions.

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Book SynopsisFor Romans, genius loci was literally 'the genius of the place', the presiding divinity who inhabited a site and gave it meaning; while we are less attuned to divinity today, we still sense that a place has significance. In this book, eminent garden historian John Dixon Hunt explores genius loci in many settings, including contemporary land art, the paintings of Paul and John Nash, the work of the travel writers such as Henry James, Paul Theroux and Lawrence Durrell on Provence, Mexico and Cyprus, and landscape architects who invent new meanings for a site. This is a nuanced, thoughtful exploration of how places become more significant to us through the myriad ways we see, talk about and remember them.

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Book SynopsisThe Private Lives of Pictures offers a new history of British art, seen from the perspective of the home. Focusing on the nineteenth- and early twentieth-century, the book takes the reader on a tour of an imaginary Victorian or Edwardian house, stopping in each room to look at the pictures on the walls. The book opens up the intimate history of art in everyday life, and examines many issues including how pictures were chosen for each room, how they were displayed, and what role they played in interior design. Superbly illustrated, The Private Lives of Pictures appeals to readers interested in both art and social history, and the history of interiors.

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Book SynopsisMerchants of Style explores the accelerating convergence of art and fashion, looking at the interplay of artists and designers - and the role of institutions, both public and commercial - that has brought about this marriage of aesthetic industries. Natasha Degen argues that one figure more than any other anticipated this moment: Andy Warhol. Beginning with an overview of art and fashion's deeply entwined histories before picking up where Warhol left off, Merchants of Style tells the story of art's emboldened forays into commerce and fashion's growing embrace of art. As the two industries draw closer together than ever before, this book addresses urgent questions about what the future holds.Trade Review'Merchants of Style is an astute exploration of the merging of culture and commerce. Natasha Degen brilliantly explains how a new generation of artists and fashion designers have expanded the conceptual parameters of art.' - Jeffrey Deitch, art dealer and curator, director Jeffrey Deitch Gallery; 'Degen's book dives deep into the intertwining of art and fashion; from artist-designed handbags to luxury goods corporations appropriating the symbolic aura of art. A fascinating account of two apparently dissimilar, but in fact highly symbiotic, worlds.' - Georgina Adam, editor-at-large The Art Newspaper and Financial Times contributor, and author of The Rise and Rise of the Private Art Museum; 'Wonderfully researched, written and documented. Highly recommended for anyone interested in a well-researched history of fashion, art, or both.' - Don Thompson, Nabisco Brands Professor of Marketing, Schulich School of Business, York University, Toronto and author of The $12 Million Stuffed Shark, and The Curious Economics of Luxury Fashion.

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Book SynopsisThis book is the first modern history of medieval European anatomical images. Richly illustrated, it explores the many ways in which medieval surgeons, doctors, monks and artists understood and depicted human anatomy. Taylor McCall refutes the common misconception that Renaissance artists and anatomists such as Leonardo da Vinci and Andreas Vesalius were the ‘fathers’ of anatomy, and the first to perform scientific human dissection; on the contrary, she proves these Renaissance figures drew upon centuries of visual and written tradition in their works. This interdisciplinary book will appeal to general audiences interested in the history of the body and medical professionals curious about the history of their discipline, as well as historians of art, medicine and medieval culture.

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Book SynopsisThe spider spinning its web in a dark corner; wasps building a nest under a roof: there is hardly any part of the built environment that can’t be inhabited by nonhumans, and yet we are extremely selective as to which animals we allow in or keep out. This book considers many different animals, opening up new ways of thinking about architecture and the more-than-human. Looking closely at how animals produce spaces for themselves, Paul Dobraszczyk asks what we might require in order to design with animals and become more attuned to the other lifeforms that already use our structures. Animal Architecture is a provocative exploration of building in a world where humans and other animals are already entangled, whether we acknowledge it or not.Trade Review'This book upends our thinking about architecture. From Ninja Turtles through beaver dams and designer doghouses to the design of zoos, Dobraszczyk asks us to consider architecture from the perspectives of species other than ourselves, and, in doing so, to develop spaces more entangled with this thing we call nature. This could be a roadmap to escape our age of mass extinction and climate emergency.' – Tom Dyckhoff, historian, writer and broadcaster

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Book SynopsisShells have captivated humans from the dawn of time: the earliest known artwork was made on a shell. As well as containers for food, shells have been used as tools, jewellery and decorations for dwellings, and to bring good luck or to ward off spirits. Many indigenous peoples have used shells as currency, and in a few places they still do. This beautifully illustrated book looks at the scientific and cultural history of shells, showing how their diverse colourful forms take shape. It examines pearls, the only gems of animal origin, as well as how shells have inspired artists throughout history. The book looks at shells used in architecture and ritual, but also how shells are indicators of changing environmental conditions.Table of ContentsCHAPTER ONE THE SHELL MAKERS CHAPTER TWO TRIBAL SHELL USE CHAPTER THREE SHELLS AND RELIGION CHAPTER FOUR PICKING UP MONEY ON THE BEACH CHAPTER FIVE HOW THE COWRIE GOT ITS SPOTS CHAPTER SIX IRIDESCENT BEAUTY CHAPTER SEVEN SHELLS IN THE ARTS CHAPTER EIGHT MOLLUSCS AND MEDICINE CHAPTER NINE SHELLS IN A CHANGING WORLD REFERENCES SELECT BLBLIOGRAPHY ASSOCIATIONS AND WEBSITES LARGE COLLECTIONS OF SHELLS PHOTO ACKOWLEDGEMENTS INDEX

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Book SynopsisCountry houses have come to be regarded as quintessentially English, not only in terms of their architectural style but because they appear to embody national values of continuity and insularity. The histories of country houses and England, however, have featured episodes of violence and disruption, so how did country houses come to represent one version of English history, when in reality they reflect its full range of contradictions and complexities? This book explores the evolution of the country house, beginning with the violent impact of the Reformation and Civil War and showing how the political events of the eighteenth century, which culminated in the reaction against the French Revolution, led to country houses being recast as symbols of England’s political stability.Table of ContentsIntroduction: Englishness and the Country House 1 Violence and the Country House, I: The Reformation 2 Violence and the Country House, II: The Civil War 3 Reflections on the Non-Revolution in England 4 No Such Thing as a British Country House 5 The Empire Does Not Strike Back 6 Fog in Channel Conclusion Appendices References Further Reading Acknowledgements Photo Acknowledgements Index

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Book SynopsisJan van Eyck was one of the most inventive and influential artists in the entire European tradition. The phenomenal realism of his paintings, now six centuries old, still astounds observers in a world accustomed to high-resolution images. But other dimensions of his work are just as original and absorbing. Unlike any earlier artist, Van Eyck infused his paintings with himself. In addition to portraying, reflecting and implying his own presence in a variety of works, he also introduced his voice, hand and mind in an array of inscriptions, signatures and even a personal motto. Incorporating a wealth of new research and recent discoveries within a fresh exploration of the paintings themselves, this book reveals how profoundly Jan van Eyck transformed the very idea of what an artist could be.Trade Review'By way of clever observations and pictorial analysis, this eloquently written monograph is highly commendable. It offers a concise introduction to the work of one of the most influential Renaissance artists of his time and addresses in eight chapters the career and clusters of Van Eyck's paintings. Alfred Acres presents impressively erudite perspectives and refreshingly balanced views on even some of the most persistent problems in art history like the authorship of the Ghent Altarpiece. It will be welcomed by the general reader and will inspire specialists to think anew.' – Till-Holger Borchert, Director of Suermondt-Ludwig-Museum, Aachen; 'A wonderful new contribution to the literature on this most extraordinary and engaging of artists. Throughout the pages of this beautifully written book we are offered an excellent synthesis of the long historiography on Van Eyck and a detailed and up-to-date engagement with the most recent research and publications on his work. Alfred Acres invites us to see what this supremely inventive artist was seeking to do with his arresting depictions, and aims to give meaning to the many astounding and delightful details of Van Eyck’s work. This is a study not only of Van Eyck as an individual, but of Van Eyck’s interests, talents, inventiveness and commitment to communication and signification, by looking not just at, but within the art of Van Eyck.' – Beth Williamson, Professor of Medieval Culture and Chair in the History of Art, University of BristolTable of ContentsIntroduction: As I Can 1 A Career 2 The Painter at Work 3 Hubert, Jan and the Ghent Altarpiece 4 Annunciations and Other Encounters 5 In the Company of the Virgin and Child 6 Situating Saints 7 Portraiture and Presence Epilogue: Another Mirror CHRONOLOGY REFERENCES BIBLIOGRAPHY ACKNOWLEDGEMENTS PHOTO ACKNOWLEDGEMENTS INDEX

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Book SynopsisThe Italian Renaissance is conventionally thought of as the historical period that bore witness to the rise of the individual. Yet no other artist of the time begins to compare with Albrecht Dürer in terms of the almost obsessive interest he displayed in depicting his life, his dreams and his surroundings in his art. Exploring Dürer’s life and times, the natural world in his work, and his studies, travel and influences, David Ekserdjian closely examines Dürer’s paintings, as well as his drawings and prints, which are often comparatively overlooked. Revealing Dürer’s remarkable, unique status, both in his own time and across the centuries, this book is essential reading for anyone interested in Renaissance or northern European art.Trade Review'Ekserdjian’s lively account of the great Renaissance artist from Nuremberg, Albrecht Dürer, shows how his art and autobiography continue to resound across the centuries. Dürer’s fascination with the world around him, whether an elaborate costume study, the brilliant blue of a bird’s wing or the distorted angle of a man’s face, is transferred into narrative prints that have inspired artists from Velázquez to Lucian Freud and remain mesmerizing today.' – Giulia Bartrum, Former Curator of German Prints and Drawings at the British Museum; 'David Ekserdjian’s book on the life and work of Albrecht Dürer portrays the artist vividly and sets him in his historical, artistic and intellectual context. Ekserdjian builds on the fundaments of sources in a comprehensive sense: Dürer's works in prints, drawings and paintings and, equally, his autobiographical and art-theoretical writings. Elegantly written, this book is pure pleasure to read.' – Christof Metzger, Chief Curator at the Albertina Museum, ViennaTable of ContentsIntroduction: Life and Times 1 Man and the Natural World 2 Study, Travel and Influence 3 Paintings 4 Drawings 5 Prints Conclusion References Bibliography Acknowledgements Photo acknowledgements Index

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Book SynopsisIn his lifetime Hieronymus Bosch was already famous for his fantastic, unearthly creations. Today his name has become synonymous with the eerie, infernal and macabre. Bosch's enigmatic paintings have resulted in numerous interpretations; some tried to understand his visual worlds through esoteric means, while others attempted to decode them through psychology and psychoanalysis. Now in paperback, Hieronymus Bosch: Visions and Nightmares traces the career of a painter who worked for the highest aristocratic and courtly circles, and explains Bosch's paintings against the background of contemporary culture and society.Trade Review'An attractive little hardbound book with good color illustrations providing an inviting, judicious overview of Bosch in his historical environment.', New York Review of Books; 'Bu ttner has written a handy, nearly ideal volume on the much-admired but little-understood Bosch. The author builds the historical context in which to view Boschs work without drowning readers in superfluous detail. In addition, he offers guidance in understanding how Bosch thought visually without telling readers what to think or frustrating them to the point of throwing up their hands . . . Bosch emerges as an early moral satirist rather than as a secretive, strange quasi heretic, which is to say as more normal and arguably more artistically important than he has previously been portrayed . . . a nicely illustrated quarto that neatly finds that sweet spot between casual and serious students of art . . . this book is an excellent start to the Renaissance Lives series' - Choice; 'The reader will appreciate Bu ttner's detailed analysis of Bosch's painting style and process (rarely discussed by other scholars), as well as his forensic approach to Bosch's highly problematic oeuvre . . . As an exercise in methodology, Bu ttner's text is a relevant addition to any Bosch bibliography. While favoring primary sources, Bu ttner effectively models a multi-pronged approach, also applying provenance and connoisseurship, together with technical (infrared reflectographic and dendrochronological) findings' - Comitatus; 'The art historian Nils Buttner offers a gateway to understanding Bosch's art in his brief but thoughtful biography Hieronymus Bosch: Visions and Nightmares.' - The New Criterion; 'This well-researched sketch is most welcome . . . [Nils Buttner's] insights are often original rather than conventional wisdom . . . Its terse, clear prose provides the bare bones of Bosch biography, insofar as it is known, as well as documented early collecting of these works . . . Buttner emphasizes the unique vision, not the family workshop, of this distinctive painter. He does not see Bosch as emerging out of Flemish precedents, but instead lays out how his unique imagery could capture the imagination of his contemporaries as well as his numerous (often anonymous) copyists and followers.' - Renaissance and ReformationTable of Contents1 Visions and Nightmares 2 A Painter in Den Bosch 3 Pious Donations 4 From Christmas to Easter 5 Devout Examples 6 The Art of Invention and the Invention of Art 7 The Seven Deadly Sins and the Last Judgement 8 The Haywain and The Garden of Earlthy Delights 9 The Folly of the World 10 Interpretations References Bibliography Photo Acknowledgements Index

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Book Synopsis"This book is an original, cogent account of the singular Florentine painter Piero di Cosimo (1462-1522), providing a concise survey of his life within his social, cultural and literary backdrop. Delving into the artist’s deliberately idiosyncratic life, the book shows how Piero chose to live in squalor, and eat nothing but boiled eggs, which (according to Vasari’s famous Lives of the Artists) he cooked fifty at a time in his painting glue. This book shows how the artist became the favourite of sophisticated patrons, who were eager to decorate their residences with pagan Greco-Roman mythological subjects. Piero’s vividly imagined portrayals led to his cornering the market on these commissions. At the same time his more orthodox, but never ordinary, religious altarpieces and private devotional paintings also won the admiration of leading Florentine families."

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Book SynopsisIn Women Artists in Midcentury America, readers embark on a journey spanning two decades, delving into the evolving social and artistic landscapes through the lens of all-women exhibitions. These groundbreaking projects courageously confronted issues of sexual and racial discrimination, igniting profound discussions about women's roles within modernism and democracy. Looking closely at the inception and reception of these exhibitions by curators, artists, critics and the public, the book sheds light on the remarkable contributions of numerous artists, from Ruth Asawa to Marguerite Zorach. By foregrounding the accomplishments of women artists during a conservative period overshadowed by the feminist movement of the 1970s, Belasco provides a fresh perspective on the complex history of women’s art in America and its significance in the broader art world.

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Book SynopsisA collection of highlights from Mary Ann Caws's long, highly distinguished career writing about literature, art, and modernism. Throughout her long, highly distinguished career writing about literature and art, Mary Ann Caws has excavated, illuminated, and examined in depth the most intriguing works and personalities of Symbolism, Dada, Surrealism, and beyond. In these concise, but always colourful and insightful articles, Caws brings us fresh portraits of the most famous figures and introduces us to the writers and artists who merit more attention than they've received, with a special focus on female writers and artists. The author's sensitivity to the intersections of eccentric literature and eccentric life infuses each critical essay with the human passions that these essential modernists lived. From Dickinson and Mallarme to Duchamp and Mina Loy, Caws applies the art of close looking to shrewdly framed slices of the modernist experience. 'I cannot overstate the gift and importanc

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Book SynopsisA highly original, beautifully illustrated study of master Renaissance artist Caravaggio.

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Book SynopsisA vivid account of the life and work of Renaissance artist Sandro Botticelli.

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Book SynopsisShows how post-war pioneers reimagined what playgrounds could be.

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Book SynopsisSince early discoveries of so-called Celtic Art during the 19th century, archaeologists have mused on the origins of this major art tradition, which emerged in Europe around 500 BC. Classical influence has often been cited as the main impetus for this new and distinctive way of decorating, but although Classical and Celtic Art share certain motifs, many of the design principles behind the two styles differ fundamentally. Instead, the idea that Celtic Art shares its essential forms and themes of transformation and animism with Iron Age art from across northern Eurasia has recently gained currency, partly thanks to a move away from the study of motifs in prehistoric art and towards considerations of the contexts in which they appear. This volume explores Iron Age art at different scales and specifically considers the long-distance connections, mutual influences and shared ‘ways of seeing’ that link Celtic Art to other art traditions across northern Eurasia. It brings together 13 papers on varied subjects such as animal and human imagery, technologies of production and the design theory behind Iron Age art, balancing pan-Eurasian scale commentary with regional and site scale studies and detailed analyses of individual objects, as well as introductory and summary papers. This multi-scalar approach allows connections to be made across wide geographical areas, whilst maintaining the detail required to carry out sensitive studies of objects.Trade ReviewAs to be expected from an Oxbow publication, the quality of presentation is high: with a generous array of tables, figures and eyecatching photographs to support each contribution. * Later Prehistoric Finds Group *Table of ContentsList of figures and tables List of contributors Introduction: Context, connections and scale Chris Gosden, Helen Chittock, Peter Hommel and Courtney Nimura 1. Art, ambiguity and transformation Chris Gosden 2. Collecting Iron Age art Courtney Nimura, Peter Hommel, Helen Chittock and Chris Gosden 3. Eurasian Iron Age interactions: A perspective on the sources and purposes of La Tène Style (‘Celtic’) art Peter Wells 4. Fantastic beasts and where to find them: Composite animals in the context of Eurasian Early Iron Age art Rebecca O’Sullivan and Peter Hommel 5. Bodies and objects in Iron Age Europe and beyond: An integrated approach to anthropomorphic imagery Helen Chittock 6. How Celts perceived the world: Early Celtic art and analogical thought Laurent Olivier 7. How can Celtic art styles and motifs act? A case study from Later Iron Age Norfolk Jody Joy 8. Visual memory and perceptions in ancient Celtic art Nathalie Ginoux 9. Celtic art before the Early Style: Some new data from south-west Germany and the Heuneburg Dirk Krausse 10. Sign o’the times: The re-use of pre-Roman Iron Age British and European symbols on Late Iron Age Irish equestrian equipment Rena Maguire 11. ‘Damn clever metal bashers’: The thoughts and insights of 21st century goldsmiths, silversmiths and jewellers regarding Iron Age gold torus torcs Tess Machling and Roland Williamson 12. Refugees, networks, politics and east–west connections in Early Celtic art: Paul Jacobsthal’s ‘History of a Monster’ in context Sally Crawford and Katharina Ulmschneider 13. The history of a monster Paul Jacobsthal Discussion: Dialogues with Jacobsthal Tim Champion

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Book SynopsisThis lavishly illustrated volume presents a comprehensive architectural study of 87 individual temples and sanctuaries built in the Roman East between the end of the 1st century BCE and the end of the 3rd century CE, within a broad region encompassing the modern states of Syria, Lebanon, Israel and Jordan. Religious architecture gave faithful expression to the complexity of the Roman East and to its multiplicity of traditions pertaining to ethnic and religious aspects as well as to the powerful influence of Imperial Rome. The source of this power lay in the uniformity of the architectural language, the inventory of forms, the choice of styles and the spatial layout of the buildings. Thus, while temples have an eclectic character, there is an underlying unity of form comprising the podium, the stairway between the terminating walls (antae) and the columns along the entrance front - in other words, the axiality, frontality and symmetry of the temple as viewed from outside.The temples and sanctuaries studied in this volume demonstrate individual nuances of plan, spatial design, location in the sanctuary and interrelations with the immediate vicinity but can be divided into two main categories: Vitruvian temples (derived from Hellenistic-Roman architecture) and Non-Vitruvian temples (those with plans and spatial designs that cannot be analysed according to architectural criteria such as those defined by Vitruvius). The individual descriptions presented focus solely upon the analysis of the external and internal space of the temples of all types and do not involve any cultural or ethnic discussion.Table of ContentsIntroduction Part I Chapter 1: Temples in the Roman East: Typological Analysis Vitruvian Temples Non-Vitruvian Temples Nabataean Temples Chapter 2: Sanctuaries in the Roman East: Typological Analysis Urban Sanctuaries Extra-Urban Sanctuaries Part II Corpus of Temples and Sanctuaries Part III Selected Terms in Architecture Notes Bibliography

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Book SynopsisThis book brings together an international team of scholars to re-evaluate Roman-period architecture outside Rome and the Italian Peninsula, looking at the regions that formed part of the Roman Empire over a broad time frame: from the 2nd century BCE to the 3rd century CE. Moving beyond traditional views of ‘Roman provincial architecture’, they highlight the multi-faceted features of these architectures, their function, impact and significance within the local cultures, and the dynamic discourse between periphery and centre.Architecture is intended in the broad sense of the term, encompassing the buildings’ technological components as well as their ornamental and epigraphic apparatuses. The geographic framework under examination is a broad one: along with well-documented areas of the ancient Mediterranean, attention is also paid to the territories of north-west Europe. The discussion throughout the volume focuses on three interrelated themes – models, agency, and reception. The broader scope of these essays gives a reinvigorated impetus to the scholarly debate on the role and influence of ancient architectures beyond the centre of Empire. The book has a strong interdisciplinary character, reflecting the authors’ diverse expertise in the fields of archaeology, architecture, ancient history, art and architectural history.Table of ContentsAcknowledgements List of figures List of abbreviations 1. Architectures of the Roman World: An introduction Niccolò Mugnai 2. …incorrupti imbribus, ventis, ignibus omnique caemento firmiores? Earthen building materials in the Roman West Ben Russell, Christopher Beckett, Tanja Romankiewicz, J. Riley Snyder and Rose Ferraby 3. Unusual terracotta tiles for the vaulting of Roman baths: An investigation into the exchange and diffusion of technical knowledge in the western Roman Empire Lynne C. Lancaster 4. From dry to mortared construction: Building at Nikopolis and Olympia between the first century BCE and the first century CE Paolo Vitti 5. Green shoots: Architectural transfer and sustainability in the architecture of the Roman provinces Edmund Thomas 6. Building cities on the Rhine and on the Danube: The socio-ecological diversity of Roman construction Dominik Maschek 7. Provincial-sized monumentality: The construction site of the Roman theatre of Augusta Raurica (Switzerland) Thomas Hufschmid 8. Building public baths outside Rome: The case study of Nora, Sardinia Caterina Previato 9. What have the Romans ever done for us? Early Roman Jerusalem as an urban centre between local tradition and Roman rule Orit Peleg-Barkat 10. Building and reshaping public spaces in North Africa in the early imperial period: The examples of Thugga, Lepcis Magna, and Cyrene Niccolò Mugnai 11.Responding to ‘Classical’ architecture in Roman-era Athens Christopher Siwicki 12. A matter of perspective: The reception of early imperial composite column capitals in Asia Minor Phil Stinson 13. Where do we live? Local stonescapes and globalized architecture in Cyrenaica and Cyprus Eleonora Gasparini 14. Architectures of the Roman World: Some conclusions Janet DeLaine

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Book SynopsisExperience the interdisciplinary performance scene of the 1980s and beyond through the eyes of one of its most compelling witnesses. Jacki Apple’s Performance / Media / Art / Culture traces performance art, multimedia theatre, audio arts and dance in the United States from 1983 to the present. Showcasing 35 years of Apple’s critical essays and reviews, the collection explores the rise and diversification of intermedia performance; how new technologies (or rehashed old technologies) influence American culture and contemporary life; the interdependence of pop and performance culture; and the politics of art and the performance of politics. Apple writes with a journalist’s attention to the immediacy of account and a historian’s attention to structural aesthetic and personal networks, resulting in a volume brimming with big ideas but grounded in concentrated reviews of individual performances. Many of the pieces featured in this collection originally appeared in small press journals and magazines that have now gone out of print. Preserved and republished here for current and future readers, they offer a rich portrait of performance at the end of the millennium.Trade Review'This book is a stunning piece of scholarship, authorship, curation, and artistry. A potent historical record of performance art, it would serve well as a primer for any scholar, artist, or upper-level/graduate course interested in learning this history from a primary source. At the same time, the essays combine to become an inspiring call-to-action for experimental art-making. I frequently found myself wanting to know Apple and LaPalma’s current thoughts on the questions they raise, but the book’s true gift is the space they allow for the essays to question each other. Through their tremendous restraint in not adding additional comment, they invite readers to explore their own curiosity about performance, performance art, or whatever term comes next.' -- Daniel Bird Tobin, Ecumenica: Performance and Religion'[Apple] seems to have done more thinking and writing about this unstable and hard-to-contain genre than anyone else on the West Coast. [...] As a chronicle of 35-plus years of avant-garde ‘barricadesmanship’ in Los Angeles, Performance / Media / Art / Culture preserves an atmosphere of politico-aesthetic urgency, which can give the reader the off-kilter feeling that art ‘spaces’ surely are the place where ‘the world’ gets changed. [...] It’s a valuable history of some very untamed goings-on over time, and a detailed chronicle of what can happen when art turns into agitprop ruled by committee. One has the feeling that Jacki Apple’s influence extends to many an arts professor and art performer working today; this book ensures that and also shows why. It will have a long shelf life in academic and art libraries.' -- Anthony Mostrom, Los Angeles Review of Books'Only a handful of writers have the intellectual chops, creative intuition and vision of art history to speak holistically about performance art, but Jacki Apple consistently proves herself essential to the field and how we understand it. She digs into both the formal and the ineffable dimensions of performance with unmatched power and clarity without sacrificing honesty about the art and artists she clearly loves. Jacki stands in the evolving vortex of performance art so we can see its future.' -- Eric Gutierrez, Writer/former Executive Editor, High Performance'In the late 1980s and early '90s, Jacki Apple's pioneering essays on radio art as an emerging practice in the U.S. stood tall. Hardly any other writers publishing texts on radio, came from an arts background let alone an interdisciplinary one. Apple did, and her voice spoke with unprecedented insight, intellectual rigour, clarity and passionate conviction on the subject. She discussed and critiqued the most innovative and inspiring art works for broadcast in the context of the politics of the industry and of contemporary American culture. This wonderful edition encompasses the full range of her critical writings.' -- Regine Beyer, writer/radio producer and editor, Germany-USA'For several decades now, Jacki Apple's astute observations of the arts, performance and culture in Los Angeles have added profound insight to this still burgeoning landscape populated by the movers and shakers who flock here. Her history as an artist in her own right expands the depth and comprehension of her analysis. She has been an influencer in the truest sense, advancing the cultural discussion with erudition and compassion. Among the annals of tomes dedicated to understanding why LA is so significant, so centripetal, this is a long- awaited addition.' -- Tony Abatemarco, Playwright, Performer, Co-Artistic Director - Skylight Theatre Company'Writing with deep historical knowledge, compassion and generosity, Jacki Apple is an artists’ critic, always seeking first to reveal and then to celebrate the heart of a performance, no matter what the medium. Her fearless radicalism, tempered by a refreshing sense of humour, uncovers buried roots while also posing the most essential cultural question: how does this art help us understand who we are? I am particularly enthralled by the final section, Concerning Nature, essential reading during a time when ecocidal capitalism has surely reached the breaking point.' -- Gregory Whitehead, Artist/writer'Jacki Apple’s writing about the temporal arts stuns the reader with its capacity to contextualise projects historically. She weaves together diverse cultural interventions with an urgency about their meaning for this crucial moment in the world.' -- Beverly Naidus, artist, author, activist and Professor of Interdisciplinary Arts, University of Washington, Tacoma'Jacki Apple has always made works that come at you from every possible angle. As composer, performer, writer and cultural detective, she is fearless at pushing the boundaries of her own work, while simultaneously providing platforms for other artists to push their own possibilities. This book has been brewing for over 35 years. It is the story of what where when why and how we are in this culture now, told by a vital participant and invaluable witness.' -- Terry Allen, Artist 2019'Jacki Apple is a tireless advocate for the aesthetic, the generative, for art that intervenes and illuminates. She is the rare artist who is generous and revelatory, bringing enormous skill and knowledge to the work of fellow artists crossing many disciplines, as do her own intricate and multifaceted creations.' -- Jeff McMahon, Performer and writer. Associate Professor, Arizona State University'Jacki Apple has always been a fair and thoughtful advocate of the arts. There are so few writers with her depth and knowledge around. Expansive and generous, Jacki writes with an open, inclusive heart.' -- Ping Chong, Artistic director, Ping Chong and Company'Jacki Apple’s heightened artistic perception has opened my eyes to the meaning of my early visceral raw performances from the 1980’s to the present more theatrically polished ones. Her insightful critical writing not only changed the way I understood my own work and its role in pushing boundaries and breaking taboos, but also the performance work of my peers in times of political pressure. For anyone who wants to understand this history, this book is eye-opening.' -- John Fleck, Performance artist'Jacki Apple’s accurate, intimate, gracious, erudite and insightful writing provides a front row seat to an expanding cultural big-bang. This book is a gift to those of us determined to understand the who, the where, the when, the how and the why of the tectonic shifts that brought social interaction into the scope and insight of art makers. Her enthusiasm for the subject coupled with a commitment to her readers makes for learning more than history. She makes the history feel contemporary.' -- Conrad Gleber PhD, Media artistTable of ContentsForeword by Marina LaPalma PART I - THE TV GENERATION: MEDIA CULTURE AND PERFORMANCE PART II - SPECTACLE, FILM, COLLABORATION PART III - CROSSING CULTURES: SOUND, SPACE, GESTURE PART IV - HISTORY RESTAGED PART V - PROPHESIES PAST TENSE PART VI - POLITICS OF CULTURE PART VII - CONCERNING NATURE Afterword: A Retrospective View

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Book SynopsisThe ‘other’ is a topic of great interest within and across contemporary photographic practice and theory, yet it remains neglected outside the now well-established field of postcolonial studies. This volume brings together photography and written essays that relate to aspects of otherness and visual work. Presented together, the images and critical writings work in concert to construct a new social perspective on questions of otherness and alterity and to highlight photography as a form of critical practice. In a departure from existing conceptions of otherness in postcolonial discourse, Photography as Critical Practice places emphasis on the human condition not as a liberal concept, but as something formed and framed by a broader dimension of social, sexual and cultural otherness. Including contributions by Elina Ruka, Katrin Kivimaa, Parveen Adams and Liz Wells, the book provides a fascinating new vista on the otherness of photography.Table of ContentsIntroduction Critical Practice PART 1: SPATIAL STORIES Perfect Harmony Discovery (1998) Photography as Colonial Vision Train up a Child European Letters Strangers Baroque Space and Boredom Politics of Friendship (1998) The Digital Age Zero Culture (2000) Interview: Elīna Ruka - Art Without Coincidences PART 2: OTHER SPACES Places of Memories, Places to Change, Katrin Kivimaa Zone The Other Side of Seeing Syntax of a Photowork Beauty of the Horrid Notes on Beauty and Landscape De-Realization (2005) Space of the Other (2006) Parveen Adams - The Broken Image Bungled Memories AFTERWORD The Uncanny Observed, Liz Wells

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Book SynopsisSet to generate and influence discussions in the field for years to come, this is an encyclopaedic work on the ever-evolving genre of poetry film. It will set the benchmark for all subsequent works on the subject, being the first book of its kind. Poetry films are a genre of short film, usually combining the three main elements: the poem as verbal message; the moving film image and diegetic sounds; and additional non-diegetic sounds or music, which create a soundscape. This book examines the formal characteristics of the poetic in poetry film, film poetry and video poetry, particularly in relation to lyric voice and time. Provides an introduction to the emergence and history of poetry film in a global context, defining and debating terms both philosophically and materially. Examines the formal characteristics of the poetic in poetry film, particularly in relation to lyric voice and time. Includes interviews, analysis and a rigorous and thorough investigation of the poetry film from its origins to the present. This is a very important, groundbreaking work on film poetry. The ideas discussed here are of great importance, and the diversity and breadth of the volume is especially impressive and very useful. This book brings together in one place crucial ideas and information for practitioners, students and academics, and is clearly and accessibly written. Including over 40 contributors and showcasing the work of an international array of practitioners, this will be an industry bible for anyone interested in poetry, digital media, filmmaking, art and creative writing, as well as poetry filmmakers. It explores working practices, processes of collaboration and the mechanisms which make these possible. It also reveals the network of festivals disseminating and theorizing poetry film and presents a compelling bibliography. This is the most incisive and complete analysis of filmic poetry to date. It is poised to become a major text in the field. Essential reading for academics teaching poetry filmmaking, moving image, film, media and media poetry, writing and art. Undergraduate and postgraduate students in those fields. Great potential for textbook adoption. Also relevant to poets, filmmakers, visual artists, graphic artists and theorists, filmmakers, screenwriters, art historians, philosophers, cultural commentators, arts journalists.Trade Review'Sarah Tremlett’s The Poetics of Poetry Film is a unique and extraordinary contribution to this vibrant field of expression. Her landmark volume elegantly articulates the conceptual foundations, language, grammar, and vocabulary of poetry film and its cognate forms; delivers a concise and incisive history of the genre, and introduces students, practitioners and scholars to the field’s contemporary pioneers, methods of making, and varied narrative forms. Laden with rich and provocative illustration and example, The Poetics of Poetry Film functions as Bible, Guide to the Perplexed, and indispensable reference, fluidly integrating interviews with and notes by forty contributors into a coherent and beautifully structured progression. This book—a wonder in its variety, complexity, and ambition—is a superb read.' -- Marc Zegans, poet, poetry film and immersive theatre artist'The sentence on the cover says it all for me. Hard to believe it’s been more than 50 years since Sympathies of War, my first videopoem. I’m thankful that a book like this, the first of its kind, of its sheer scope, finally exists and humbled that I had a part to play in the flowering of a new genre of poetry. No one better than the indefatigable doyenne of videopoems, my good friend Sarah Tremlett to make it come true.' -- Tom Konyves, videopoet and theorist'This is an encyclopaedic, groundbreaking manuscript on an area of film production that definitely needs more attention, and stands to be the book to surpass for quite some time; the author knows her territory intimately ... It is the most incisive and complete analysis of filmic poetry to date; it’s very diverse, includes women, minorities and transgender filmmakers, and Tremlett's descriptions of the films, and the intent of the filmmaker poets, and is both accessible and clearly written. This is a sharp, up to the minute manuscript on the bleeding edge of film criticism. ... A book exploding with dazzling, evocative images and trenchant analysis.' -- Gwendolyn Audrey Foster, Willa Cather Professor of English & Film Studies, University of Nebraska–Lincoln'This is a gem of a book. It brings together in one place crucial ideas and information for practitioner and academic. I wish very much that it had been available when I found my way into videopoetry ... Considering the scope of the subject matter, what has been achieved here in terms of clarifying and anatomizing is remarkable.' -- Dr Meriel Lland, writer, photographer and film-artist‘I loved reading this book. The Poetics of Poetry Film is an amazing resource for scholars and everyone interested in contemporary poetry.’ -- Dr Rebecca Kosick, Senior Lecturer in Translation and co-director of the Bristol Poetry Institute in the School of Modern Languages, University of Bristol'An exhaustive study of Video Poetry by the remarkable Sarah Tremlett and over 40 contributors! I was fortunate enough to have read with Sarah at the Bury Text Festival and found her work to be amazing. She also appears in an issue of Ekleksographia edited by Judith Skillman. I recognize some names among the pioneers of the movement, including the Polypoet Enzo Minarelli. Congrats on this fantastic book! This is really wonderful!' -- Jesse Glass, American poet, artist, folklorist and Professor of American Literature at Meikai University, Japan.'Sarah Tremlett’s The Poetics of Poetry Film: Film Poetry, Videopoetry, Lyric Voice, Reflection offers a breathtaking range of glimpses at the historical flashpoints, formal anatomy, and major and minor contemporary makers and trends in what Tremlett alternately calls film poems and poetry film (and their sister, video poetry). [...] The book is impressively comprehensive in its representation and acknowledgment of the wide diversity of formal experiments and elements that constitute the history and present of “poetry film,”. [...] The Poetics of Poetry Film should serve as an important resource for scholars and filmmakers interested in contemporary aesthetic trends in this interdisciplinary field. It also offers an important archive of festivals and conferences on poetry film through its inclusion of interviews with festival organizers and writings by contemporary filmmakers working at the intersection of poetry and film.' -- Rebecca A. Sheehan, Projections: The Journal for Movies and MindTable of ContentsIllustrations Foreword Valerie LeBlanc Preface xix Introduction: Poetry, Song, Philosophy – The Combined Lyric Aesthetic PART ONE: FORM AND STRUCTURE 1. Terminology across Time 2. Realization and Structure 3. Voice and Narrative 4. Time and Mind 5. Constructing Dynamic Spatio- Temporality 6. Tonality, Light and Colour 7. Sound Design 8. Poet on Screen: Persona and Subjectivity PART TWO: ARTISTS’ VOICES 9. Contemporary Pioneers George Aguilar Enzo Minarelli Enzo Minarelli Tom Konyves Javier Robledo Peter Todd Valerie LeBlanc and Daniel H. Dugas Stuart Pound and Rosemary Norman Rosemary Norman Stuart Pound Heather Haley Thomas Zandegiacomo del Bel Zata Banks Gabrielė Labanauskaitė Dave Bonta Alastair Cook Marc Neys 10. Making Chaucer Cameron Marie Craven Lucy English Ian Gibbins Jane Glennie Suzie Hanna Kate Jessop Adeena Karasick Martha McCollough Matt Mullins Adele Myers Charles Olsen Caleb Parkin and Helmie Stil Helmie Stil Caleb Parkin Maciej Piatek Dave Richardson Othniel Smith Howard Vause Susanne Wiegner 11. Poetry Film and Videopoetry in Portugal and Spain: Alive and Thriving Charles Olsen Alexandre Braga Manuel Vilarinho Eduardo Yagüe Tarha Erena Alejandro Céspedes Celia Parra Jordan T. Caylor Belén Gache Santiago Parres Lola López- Cózar Agustín Fernández Mallo David Argüelles Redondo Ángel Guinda and Sándor M. Salas 12. Experimental Poetry in Argentina from the 1960s to the 1990s: Political Voice and Prefiguring the Turn to Digital Literature and Video Poetry Marisol Bellusci 13. Liberated Words: Developing a Poetry Film Festival and Workshops Butterflies Haven Workshop Helen Moore Howard Vause PART THREE: SELECTED NARRATIVE FORMS 14. Collections John D. Scott 15. Text- on- Screen 16. Video Haiku and Video Haiga Katia Viscogliosi and Francis Magnenot Judy Kendall 17. A Documentary Approach to Poetry Film 18. Dance and Movement Helen Mort 19. The Ecopoetry Film Meriel Lland Janet Lees Janet Lees Helen Moore and Howard Vause Helen Moore Overview Examples of Leading Poetry Film Festivals References Artists and Authors Index

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Book SynopsisThis edited collection explores a subject of great potential for both art historians and museologists – that of the nature of the specimen and how it might be reinterpreted. Through its cross-disciplinary contributions, written by a team of art historians, artists, poets, anthropologists, critics and curators, this book looks at how artistic encounters in museums, ranging from anatomy museums to contemporary cabinets of curiosity, can provoke new modes of thinking about art, science and curating. Museological literature in the past focused on artefacts or objects; this is an original contribution to the field and offers new readings of old issues, inspiring new understandings of the relationships between art, science and curating. Brings together international expertise from art practitioners, historians, creative writers and theorists in France, the United States, United Kingdom and New Zealand. Contributions from creative practitioners draw upon their own experience of producing artworks in response to specific scientific collections while historians, anthropologists, critics and writers examine how museums stimulate, incite and otherwise inspire artistic awareness of science and its specimens. One of the most important contributions this book will make is drawing together several threads of research and practice to encourage interdisciplinary discussion. It provides new ways of thinking about the relationships between art, science, museums and their objects. It concentrates on the ways in which scientific collections kindle novel aesthetic strategies and inspire new scholarly interpretations of art, science, curating and epistemology. In so doing it will make a considerable contribution to the fields of art writing, creative practice, art theory, the history of science and curating. This book will appeal to academics, researchers, undergraduates and postgraduates studying fine art, curating, museology, art history, the history of science, creative writing; visual artists, curators, and other creative practitioners. Also of interest to museum audiences. Reading list potential.Table of ContentsIntroduction Edward Juler and Alistair Robinson 1: Narratives of the ‘Fetish’ John Mack 2: Curating Interobjectively in Museums Alistair Robinson 3: ‘A Readiness to Find What Surrounds Us Strange and Odd’: Objects in the Relational Curiosity Museum Marion Endt-Jones 4: Art, Science and the Mutant Object Rahma Khazam 5: Models of Subjectivity: Surrealism, Physics and Psychoanalysis Gavin Parkinson 6: Glimpsed Phantoms of Sensation: Or, a Psychogeographical Investigation of Various Anatomical Specimens with Reference to Christine Borland’s Cet être-là, c’est à toi de le créer! Edward Juler 7 … as far back as I will remember Nadia Lichtig 8: Poetry and the Pathology Museum: A Model of Difference Christy Ducker 9: The Scientist and the Magician Irene Brown 10: Choosing, Unpicking and Connecting: On Drawing Museum Objects Richard Talbot 11: Post-Specimens and Present Ancestors: Passing Fables and Comparative Readings at the Wildgoose Memorial Library Jane Wildgoose 12: Moving beyond the Specimen (From Drawing Objects to Drawing Processes) Gemma Anderson 13: Desiccation, Suspension, Extraction: The Inhuman Art of Christine Borland Andrew Patrizio Afterword: What’s at Stake? Ludmilla Jordanova

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Book SynopsisShiny Things combines an interest in visual art with a broad attention to popular culture – the wideness of its range is striking. It is more than just an expansion of subject matter, which many of today’s innovative books also have – it considers how a specific physical property manifests itself in both art and culture at large, and contributes to an analysis of and polemics about the world. It is accessibly written but with a careful application of contemporary theory. Interesting, informative, and entertaining, this will appeal to progressive thinkers looking for new ways of presenting ideas. This is scholarship that challenges stale thought and interacts with philosophical ideas in real time, with a versatility that can often be lacking in traditional academic scholarship. Using art, especially contemporary art, as its recurrent point of reference, the authors argue that shininess has moved from a time when rarity gave shiny things a direct meaning of power and transcendence. Shininess today is pervasive; its attraction is a foundation of consumer culture with its attendant effects on our architecture, our conceptions of the body, and our production of spectacle. Power and the sacred as readings of the shiny have given way to readings of superficiality, irony and anxiety, while somehow shininess has maintained its qualities of fascination, newness and cleanliness. Examines the meanings and functions of shininess in art and in culture more generally: its contradictions of both preciousness and superficiality, and its complexities of representation; the way shininess itself is physically and metaphorically present in the construction of major conceptual categories such as hygiene, utopias, the sublime and camp; and the way the affects of shininess, rooted in its inherent disorienting excess, produce irony, anxiety, pleasure, kitsch, and fetishism. All of these large ideas are embodied in the instantly noticeable, sometimes precious and sometimes cheap physical presence of shiny things, those things that catch our eye and divert our attention. Shininess, then, is a compelling subject that instantly attracts and fascinates people. The book engages primarily with visual art, although it makes frequent use of material culture, as well as advertising, film, literature, and other areas of popular and political culture. The art world, however, is a place where many of the affects of shininess come into clearest focus, where the polemical semiotics of shine are most evident and consciously explored. Artists as diverse as Anish Kapoor (whose popular Cloud Gate sculpture in Chicago is a repeating example in the book), Olafur Eliasson, Jeff Koons, Carolee Schneemann, Audrey Flack, Fra Angelico and Gerard ter Borch centre the book in an art discourse that opens up to automobiles, Richard Nixon and Liberace. Will be relevant to academics, scholars and students with an interest in contemporary theory and material and popular cultures. Potential interest across the humanities: philosophy, gender studies, perhaps public relations, advertising and marketing. It will also appeal to more general readers with an interest in popular and material cultures, art and aesthetics. It is written in a genuinely accessible style, and its ideas and theory are embodied through examples and narratives. Will be of interest to readers of Oliver Sacks, James Gleick, George Lakoff, James Elkins or Rebecca Solnit. Trade Review"Shiny Things is a smart, accessible, and often humorous, examination of the various meanings of shininess across multiple facets of culture, with a particular emphasis on the visual arts. It stands as an exemplary investigation of the meaning of an overlooked, but pervasive facet of material culture.” -- David Klamen, Dean of the School of the Arts at Indiana University Northwest

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Book SynopsisDevising Theatre and Performance is a hands-on guide for artists, students and teachers of performance at any stage of their practice. It offers a wide range of creative prompts and pathways enriched with critical thinking tools and questions, a hybrid approach Hill and Paris call ‘Curious Methods’. This is a welcome addition to the field, created and curated by two experienced artists who have operated at the international interface of academia and professional practice for over three decades. The collection is packed with fun, creative, thoughtful exercises distilled from over twenty years of running interdisciplinary artist workshops and teaching both devising and performance making. As well providing numerous exercises and suggestions for devising, composing and editing original works, this book offers tools for giving and receiving feedback, critical reflection and framing artistic work within academic research contexts. Readers can choose to dip in and out, to follow the book as a course or to work section by section, focusing on organizing principles such as working from the body, working with site, working with objects or performance activism. The book includes a detailed production workbook and a practice-based research workbook you can tailor to your own projects. The 'Curious Methods' approach encourages users to take the time and space their practice deserves while offering tools, nourishment and encouragement and inviting them to take risks beyond their comfort zones. The exercises are carefully described so that they can easily be tested out by readers, and are well contextualized in relation to vivid examples from contemporary performance practice and relevant political contexts. This compelling approach goes beyond many other books on theatre devising, which merely provide performance recipes; they do so by repeatedly highlighting the vital cultural relevance and potential personal impact of the experiments that they invite us to undertake. The primary audience for this important new book will be academics, instructors and students in courses on devised theatre, improvisation, performance art, experimental performance and practice-based research. It will be essential for classroom use, for students of theatre and performance and live art – undergraduate, postgraduate and Ph.D., teachers and all those needing strategies for getting started. It will also appeal to readers from the broader arts, humanities and social sciences who are seeking resources for integrating creative methods into their research.Trade Review'Curious’s methods are at once tender, lyrical, soul-stirring, and politically charged. To practise their methods with them is joyous and inspiring.' -- Jen Harvie, Queen Mary University of London'For the student/teacher/creator of performance practice, this work is a gift from the gods. The original gods - the muses - where creation takes shape from within the body and the body politic (the necessary “I” and “we” of it). If you imagine you don’t need this book, you especially need this book. The very reading of this text brings the reader’s body into being and we are suddenly prompted to get up and create in response. The best advice: “Start with a question.” This, the first step, in the journey of original work that Paris and Hill invite us to return to with every new day as artists and scholars; and, they have created a compelling cartography of design to guide us along the way. I am deeply grateful for their wisdom.' -- Cherrie Moraga, University of California Santa Barbara'A deep dive into creative practice, Curious Methods makes available a generative range of excellent ideas, prompts, exercises, and inspirations for bringing forth performance as research, as experience, as finely crafted art form, as surprise. Working with this book, whether alone or with others, will help harness the power of the impulsive and open doors marked non-linear to expand the boundaries of creative possibilities in as yet unimagined directions. This is an invitation to your own artistic journey! Pack light. Hill and Paris help you find what you need all along the way.' -- Rebecca Schneider, Brown University'This is an essential resource for both artists and scholars and I can't think of anyone better placed to make this offering than Helen and Leslie and their incurably curious minds.' -- Lois Weaver, Artist, Activist, Split Britches'Curious Methods offers an invaluable resource that brings insights, at once practical and profound, into methods of performance making. The pragmatic wisdom that illumines this book is vital for anyone making creative work, from the beginner amateur to the seasoned professional. The thoughtful and meditative quality of these exercises will enrich not only your creative work, it will also attune you to glimmers of everyday redemption and enable you to cultivate a joyful ethic of practice.' -- Jisha Menon, Stanford University'This inspiring, energizing, and curiosity-inducing collection of exercises, lessons, and prompts will activate performance-based artists at all levels. Whether building a daily creative practice or making a performance, readers of Curious Methods will quickly become participants in Hill and Paris’ generous and generative project.' -- Stacy Wolf, Princeton University'One of the most compelling aspects of the book is Hill and Paris’s offer of “companionship” - encouragement to test out, to dream, to fail spectacularly, to seek out and be receptive to deeply personal discoveries with these generous, vibrant, and compassionate artists.' -- Laura Levin, York University, Toronto'This beautifully executed and crafted book is the ideal companion for anyone working in the field of contemporary performance and theatre-making. This is a very generous offering of a resourceful and inventive toolbox from one of the most prominent performance duos working in Live Art. I can very easily imagine delving into it on a regular basis to feed my practical pedagogy as well as my own creative processes.' -- Chloé Déchery, University of Paris 8, France'What a gorgeously tasty, seductive, and inventive set of invitations to create new performance fill this remarkable book. The "curious methods" of Leslie Hill and Helen Paris help us follow our noses into the myth and memory that live loud in devised work. An invaluable user's manual for being human!' -- Tim Miller, solo performer and author of A Body in the OTable of ContentsList of Illustrations Acknowledgements 1. Curious Methods 2. Pep Talk Daily Practice Outfoxing the Censor Freewriting A Time and a Place Failing Better 3. Working from the Body Arrivals and Departures Begin Again Tongue-Tied Body Map Body Memory Invisible The Sense of Smell Homesick Olfactory Portraits Fight Flight Freeze Gut Feelings Secret Duets Inheritance Tracks Family Traits and Mannerisms Persona Walk This Way Building a Persona 4. Working with Objects Tactile Memory Exquisite and Mundane Inherited Objects Box Stories ‘The Lovers’ Suitcase 5. Working with Site Give and Take Ghost Library Ghost Duets In Search of a Gesture You Are Here Map Making, Three Ways Blurring Time and Place Things ain’t what they used to be Best Foot Forward Marks and Scars Dancing Place and Space Private, Keep Out! Taking Up Residence Infinitesimal Detail Fifteen Quick Freewrites on Place Autotopographically Speaking Silent Stroll Closing Thoughts 6. Working with Pairings Failure & Text Desire & Proximity Ritual & Object 7. Activism Manifestos Impulse Manifesto Make Manifest Lending and Borrowing Signs Wear Your Heart on Your Sleeve On Location Stand Up, Speak Out Living Newspaper Ripped from the Headlines Re-Enactment Choose Your Battles Verbatim Theatre Explosive Material – a Journalistic Exercise Explosive Compounds – an Ethnographic Exercise One-Minute Plays Mix Tape Produce, Adapt or Devise? A Moment in History Cross That Line Closed Border Open Border Tactical Toolkit Make a Spectacle Reflections 8. Production Workbook Operating Instructions Kick-Starting Process Realm of Concern I’ve always wanted to be able to … Feathering the Nest Look Book Composition Space and Composition Dream Island Fleshing It Out Dancing the Dynamics Workshopping Index Card Storyboard Dear Dead Darlings Remember the Audience Dear Audience Feedback Three Adjectives Performance Response Brief Hauntings Companion Piece Invited Guests Bespoke Cartomancy Documentation Pen Pal Favourite Performance You Never Saw 9. A Practice-Based Research Workbook Performing Knowledges Back Stage Escape Velocity Glorious Manifestations Generative Research Mapping Your Practice Diagrammatic Praxis Secret Fear Abstractions on Secret Fears Defining Your Dramaturgy Signatures of Practice Art-I-Facts Love Letter Artist-Scholar Family Album Methodologies Phenomenology Doing a Phenomenology Phenomenological Journal Autoethnography Project Descriptions in 1st and 3rd Specialist Knowledge Autoethnographic Journal Keeping a Lab Notebook Designing Bespoke PBR Exercises – Two Case Studies Gut Feelings UpRoot Sowing from Seed PBR Evaluation and Critique Bespoke Evaluation Rubric Amalgamated Evaluation Rubric Bibliography and Further Reading Index

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Book SynopsisElwes takes a journey through the twin histories of landscape art and experimental moving image and discovers how they coalesce in the work of artists from the 1970s to the present day. Drawing on a wide geographical sampling, Elwes considers issues that have preoccupied film and video artists over the years, ranging from ecology, gender, race, performativity, conflict, colonialism and our relationship to the nonhuman creatures with whom we share our world. The book is informed by the belief that artists can provide an embodied, emotional response to landscape, which is an essential driver in the urgent task of combating the environmental crisis we now face. The book comprises a series of essays that explore how the moving image mediates our relationship to and understanding of landscapes. The focus is on artists’ film and video and draws on work from the 1970s to the present day. Early chapters map the theoretical terrain for both landscape and artists’ moving image creating a foundation for the chapters that follow devoted to practice. These address themes of identity politics, performativity and animals and examine examples of British ‘weather-blown films’ and work from around the world including Indigenous Australian film landscapes. The book offers an informed, personal view of the subject and threaded through the narrative is a concern with the environment and the vexed question of whether an appreciation of nature’s aesthetics undermines a commitment to ecology. The book is written in a clear, engaging style and is enlivened by Elwes's own experiences as a video artist, writer and curator, and the primary material she draws on derived from conversations with fellow practitioners across the years. As a practitioner, Elwes was a key figure in the early phases of video art in the UK as well as a curator and critic. She was professor of moving image art at the University of the Arts London; and is founding editor of the Moving Image Review & Art Journal (MIRAJ) This book will appeal to students, undergraduate and post-graduate, Ph.D. candidates, researchers, practitioners, teachers and lecturers and a general readership of interested gallery-going public.Trade Review'This is a beautifully-written, well-researched, thoughtful, generous and passionate book. It is one that seeks to make a difference not only to our knowledge of representations of landscapes by moving image artists but also to inspire new generations of eco-critically-minded artists to discover fresh ways to communicate urgent messages about the ongoing breakdown of the natural world. The book offers innovative explorations of how the moving image continues to facilitate understandings of our relationships to ‘natural’ landscapes. [...] This is an original, often inspirational work which offers a comprehensive and up-to-date view of landscape and moving image from the perspective of a highly knowledgeable artist.' -- Paul Newland, Journal of British Cinema and Television'Complex, yet highly readable. [...] The strength of Elwes’s writing is that she is not simply a film scholar discussing landscape and the moving image, but she is also an artist underpinning it with her experience of making videos, hence her interest in embodied and emotional responses to landscape. [...] Elwes takes great care to include a wide range of artists (using moving image or otherwise), sometimes returning to specific individuals, which creates a sense of continuity. Her stated focus is how artists might sensitively and ethically engage with the moving image in the landscape in the context of the environmental crisis.' -- Edwina fitzPatrick, MIRAJ: Moving Image Review & Art Journal'Drawing on her lifetime’s work as an artist, a scholar, and an arts administrator, Catherine Elwes’s new book is magnificent. The book’s global reach (from Uluru to the Arctic), the erosion of white male colonial and pectatorial privilege entailed in her expanded geographical perspectives, and her contextualization of all questions of landscape in political issues together mark a decisive and much-needed scholarly paradigm shift, one at last responsive to our present ecological disasters.' -- Professor David James, University of Southern California'[Elwes’s] writing really brings the films to life in their absence. It made me intrigued about the films but the book also stands alone and apart from them, vividly offering images that the reader puts together from the text. It adds other dimensions to the films that are enough even if one were to never see the works themselves – as a piece of writing conjuring a rich critical dimension.' -- Dr Judith Rugg, co-editor of Spatialities: The Geographies of Art & Architecture, and Issues of Curating Contemporary Art & Performance'Moving images are now everywhere in galleries and art biennials, and ecology is no longer a niche theme. Drawing on decades of making and writing about film and video, Elwes offers more than a guided tour. She offers encounters with the art, ideas and artists of the Anthropocene, and invites readers into rich conversations about and between feminism, decolonial critique and environmentalism with eloquence, passion and wit. You will never see landscape art the same way again.' -- Professor Sean Cubitt, University of MelbourneTable of ContentsAcknowledgements 1. Introduction - The semiotics of the view - Eco-critical practices - The indivisibility of the human subject and nature - The text - The parameters - Author’s note 2. The Terms of Engagement - Landscape, space and place - Inside and outside - The ethnographic eye and documentary: Negotiations of the real - The contested status of the real - Taking a step back – crossing over 3. The Invention of Landscape - Landscape, the antithesis of city life - The sublime, the spiritual and the indifference of nature - The picturesque and the pastoral - The return of the picturesque and the romantic sublime 4. The Social Construction of Landscape - National identity, society and history - Framing trauma in the landscape - Property, ownership, colonialism and class identity 5. Landscape Subjectivities - Do you see what I see? - The perceiving subject - A template for seeing, touching, hearing and feeling - Emotion, affect and sensation in nature 6. Painted Landscapes - The tools of the trade - Taking the eye for a walk – perspectives in painting - The great outdoors 7. Frames and Sequences - Photographing the view - Slide-tape: Landscape in series 8. Talking Pictures: Narrative, Time, Colour and Sound - ‘Nature caught in the act’ - Narrative film: Background and foreground - The time base - Colour and black-and-white - Sound and silence 9. Talking Pictures: Framing the View and the Spectator - Framing the view - Point of view: The restless eye - The spectator 10. Artists’ Moving Image - ‘Unmade Narratives’: Experimental film - Video: The travelling companion - Digital media: No man’s land - Photogénie and the entanglement of matter 11. Weather-Blown Film - River Yar (1971–72), William Raban and Chris Welsby - Theory: Clouds and clocks - Wind Vane (1972), Chris Welsby - Feedback: Cybernetics 12. Being-With: Rocks, Sea and Sky - La Région Centrale (1971), Michael Snow - Aspect (2004), Emily Richardson - Sea-changed film: R.V. Ramani and David Gatten - This Is My Land (2006), Ben Rivers - Dawn Burn (1975–76), Mary Lucier - Interwoven Motion (2004), Chris Meigh-Andrews - The wide blue yonder: Semiconductor, Susan Collins, James Turrell and James Benning 13. Getting the Shivers: Empathic Projection and the Elements - Jack Lauder and Lloyd Branson, Zacharias Kunuk, Oscar Muñoz, Bill Viola, Joan Jonas and William Raban 14. Anti-Terrain: Australasia and the ‘Vexed’ Question of Landscape - Preconceptions - The antipodean gaze - Refiguring landscapes - Imagining a future 15. Landscape and Identity Politics - Signatures - Slavery and the African Diaspora: The Black body in the landscape - Mother Earth - Queering the landscape - Fault lines – masculinity 16. Performing the Landscape - Acting out in Merrie England - Performing matter - Shifting the scenery 17. Animals - A pantomime of animals - Captive animals: A transaction of the gaze - ‘Companion animals’ - Cruelty to animals - Discreet courtship 18. Postscript References Index

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Book SynopsisFashion Education explores how the classroom can transform the fashion industry towards body inclusion and social justice. The book is a collection of 17 essays by fashion educators from Australia, Canada, the US and the UK who recount their experiences, struggles and strategies of reimagining the exclusive foundation of fashion pedagogy and redesigning fashion curricula to centre Indigenous, Black, brown, fat, disabled, trans and queer worldviews, histories and bodies. This is the first book to explore the relationships between fashion pedagogy and social justice, and to map out new pedagogical frameworks and tools to redistribute power through fashion education. It shares the teaching practices of fashion educators implementing radical pedagogies and offers practical case studies that engage with a number of intersectional positions. Fashion Education engages with current pressing concerns for educators and is a valuable teaching resource for fashion educators – both theory and practice – working in art and design schools in Europe, the US and the UK. With chapters covering fashion theory, history, business, communication and design curricula to centre Indigenous, Black, brown, fat, disabled, trans, queer worldviews, histories and peoples it will appeal directly to the many disciplines within fashion. The discussions are also relevant to educators in other art, design and creative fields also looking to centre inclusion in their courses and the strategies presented will apply to them. Contributions from Tanveer Ahmed, Kevin Almond, Avalon Acaso, Ben Barry, Mal Burkinshaw, Johnathan Clancy, Robin J. Chantree, Deborah A. Christel, Brittany Dickinson, Greg Climer, Bianca Garcia, Denise Nicole Green, Alicia Johnson, Lucy Jones, Grace Jun, Carmen Keist, Riley Kucheran, Michael Mamp, Krys Osei, Lauren Downing Peters, Alexis Quinney, Kelly L. Reddy-Best, Austin Reeves, Joshua Simon, Colleen Schindler-Lynch, Brandon Spencer and Sang ThaiTrade Review'If you have been searching for a toolkit to dismantle systems of oppression in fashion education, then look no further, you are holding the definitive guide in your hands. Read, plan, then transform.' -- Vicki Karaminas, co-author of Queer Style and Libertine Fashion, Sexual Freedom, Rebellion and Style.We don’t talk or write enough about the progressive potential of pedagogies and curricula in fashion studies. Based upon a firm foundation in social justice, Fashion Education: The Systemic Revolution corrects this problem with remarkable clarity through self-reflexive case studies. The editors’ and authors’ courageous chapters reveal the complex interplay between sartorial and academic biographies, modeling new pathways for transformation. Fashion Education gives me hope for the future! -- Susan KaiserTable of ContentsAcknowledgements Radical Fashion Educators Unite: An Introduction – Barry Ben and Deborah A. Christel 1. Blackness in Fashion Education – Krys Osei 2. Indigenizing Fashion Education: Strong Hearts to the Front of the Classroom – Riley Kucheran 3. Queering the Fashion Classroom: Intersectional Student Perspectives – Alicia Johnson, Michael Mamp, Alexis Quinney, Austin Reeves and Joshua Simon 4. Theorizing Fat Oppression: Towards a Pedagogy of Empathy, Inclusion and Intentional Action – Lauren Downing Peters 5. Reflections of a Fat Fashion Faculty Member – Carmen N. Keist 6. Pattern-Cutting without Cultural Appropriation – Kevin Almond and Greg Climer 7. Diversity in Fashion Illustration: An Oxymoron, Don’t You Think? – Colleen Schindler-Lynch 8. Fashion Pedagogy and Disability: Co-Designing Wearables with Disabled People – Grace Jun 9. Decolonizing the Mannequin – Tanveer Ahmed 10. A Starting Point for Fat Fashion Education – Deborah A. Christel 11. Black Lives Matter: Fashion Liberation and the Fight for Freedom – Brandon Spencer and Kelly Reddy-Best 12. Designing for Drag – Sang Thai 13. Curating Empowerment: Negotiating Challenges in Pedagogy, Feminism and Activism in Fashion Exhibitions – Jenny Leigh Du Puis, Rachel Getman, Denise Nicole Green, Chris Hesselbein, Victoria Pietsch and Lynda Xepoleas 14. Beauty to Be Recognized: Making the Fashion Show Accessible – Ben Barry, Avalon Acaso, Robin Chantree, Johnathan Clancy, Bianca Garcia and Anna Pollice 15. A Diversity Network: Industry and Community Collaboration for Inclusive Fashion Design Education – Mal Burkinshaw 16. Redesigning Dignity: A Collaborative Approach to the Universal Hospital Gown – Brittany Dickinson and Lucy Jones 17. Fashion Exorcism: A Journey in Community-Centred Design – JOFF Notes on Contributors Index

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Book SynopsisThis new edited collection assembles academic essays and intellectual activism equally next to visual essays and artistic interventions and proposes a different concept for fashion research that eschews the traditional logic of academic fashion studies. It features acclaimed designers, artists, curators and theorists whose work investigates the multi-faceted debates on the rise of practice-based research in fashion. The book sets out to explore current issues in fashion research with a particular focus on both methodology and expansion of the field to encompass overlooked voices and narratives. It has a particular concern with the relationships between theory and practice and with how knowledge is created and disseminated in fashion studies. It is an excellent and really valuable contribution to the field at a point both when fashion studies is expanding and when the fashion industry is at a crucial point of change. Some of the contributions were originally presented at a symposium hosted by the Austrian Center for Fashion Research ‘TALKSHOW: The politics of practice-based fashion research’ at Vienna’s Museum of Applied Arts, curated by Wally Salner. The symposium brought together a group of fashion scholars, designers, educators and practitioners to explore critical contemporary fashion (research) practices, and to investigate critical fashion knowledge between theory and practice, beyond assumed disciplinary and epistemological boundaries. Many contributions in this volume were initially presented at that symposium, while others are testimonies of international debates that were part of the research activities of the Austrian Center for Fashion Research, a research project funded by the Austrian Federal Ministry of Science Research and Economy, led by Elke Gaugele. The book is structured into three sections: Fashion Knowledge, Practice-Based Fashion Research, and Sites of Fashion and Politics. Contributions look at new forms of fashion knowledge that are forming with and along shifting fashion practices, practice-based fashion research, and sheds light on different sites and entanglements of fashion and politics in distinctive contemporary and historical moments of de/colonization, anti/racism, and anti/globalization. Elke Gaugele is cultural anthropologist and professor of fashion, styles and contextual design at the Academy of Fine Arts in Vienna, Austria. Monica Titton is a sociologist, fashion theorist and senior scientist at the fashion design department of the University of Applied Arts Vienna, Austria. Other contributions are from Elke Bippus, Astrid Engl, Jojo Gronostay, Ruby Hoette, Bianca Koczan, Priska Morger, NCCFN, Wally Salner, Andreas Spiegl, José Teunissen, Lara Torres, Carol Tulloch and Maria Ziegelböck Readers will be academics, practitioners, designers, artists, curators, museums, theoretical scholars, lecturers, practice-based researchers, students and practitioners at all levels in the fields of fashion, textile, art and design. This new book with its original focus on practice-based research will be useful for a general and academic readership alike, and to all those working within the field of fashion studies, including those with a theoretical focus, fashion practitioners and those working within innovative pockets of the fashion industry. Trade Review'Fashion Knowledge offers a variety of thought-provoking methods and practices for critical interrogations. Two of the high points of the volume address decolonization: the first thinking through historical research and the second with a distinctly contemporary bend. [...] Gaugele, Titton and their contributors demonstrate that research methods are helpful to challenge existing ways of knowing and can be used to questioning historic structures and developing more equitable practices. [...] This is a thoughtful collection and critical intervention into research methods that is much needed. Gaugele and Titton should be lauded for pulling together these diverse voices, perspectives and efforts at decolonizing and democratizing fashion research. This volume is a welcomed step forward in the growing area of fashion studies and certainly has the potential to shift contemporary critical practices.' -- Myles Ethan Lascity, Fashion, Style & Popular CultureTable of ContentsIntroduction: The Politics of Fashion Knowledge between Practice and Theory 1 Elke Gaugele and Monica Titton PART I: FASHION KNOWLEDGE 13 1. The Transformative Power of Practice-Based Fashion Research 15 José Teunissen 2. Theory as Practice: Notes on the Sociology of a Practice-Based Fashion Theory 27 Monica Titton 3. Ornamental Politics and Assembled Textures of Artistic Research: The Project kotomisi: un-inform by knowbotiq 36 Elke Bippus 4. Fashion Ontology: Researching the Possibilities for Knowing through an Expanded Fashion Practice 53 Lara Torres 5. DISCOURSE, Cruise 2020 70 Maria Ziegelböck PART II: REFLECTIONS ON FASHION AS PRACTICE 79 6. Notes on Fashion Practice as Research: Episodes of Conversation Pieces 81 Ruby Hoette 7. Work with the Existing: Be Realistic 91 NCCFN 8. The Empress’s New Clothes, or How One Makes Fashion (or Doesn’t) 96 Wally Salner (translated by Travis Lehtonen) 9. Skin Host and Heavenly Visitor 106 Priska Morger (Prof. PriskAMORger) PART III: SITES OF FASHION AND POLITICS 111 10. T-shirt Matters 113 Carol Tulloch 11. DEAD WHITE MEN’S CLOTHES 136 Jojo Gronostay with an introduction by Elke Gaugele 12. Fashion Politics: Dressing Segregation and Distinction 143 Andreas Spiegl 13. Early- Modern Fashion Knowledge and the Western Politics of Science 150 Elke Gaugele Notes on Contributors 163

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Book SynopsisThis collection seeks to explore alternative definitions of bounded identities, facilitating new approaches to spatial and architectural forms. Taking as its starting point the emergence of a new sense of ‘boundary’ emerged from the post-19th century dissolution of large, heterogeneous empires into a mosaic of nation-states in the Islamic world. This new sense of boundaries has not only determined the ways in which we imagine and construct the idea of modern citizenship, but also redefines relationships between the nation, citizenship, cities and architecture. It brings critical perspectives to our understanding of the interrelation between the accumulated flows and the evolving concepts of boundary in predominantly Muslim societies and within the global Muslim diaspora. Essays in this book seeks to investigate how architecture mediates the creation and deployment of boundaries and boundedness that have been devised to define, enable, obstruct, accumulate and/or control flows able to disrupt bounded territories or identities. More generally, the book explores how architecture might be considered as a means to understand the relationship between flows and boundaries and its implication of defining modern self. The essays in this volume collectively address how the construction of self is primarily a spatial event and operated within the crucial nexus of power-knowledge-space. Contributors investigate how architecture mediates the creation and deployment of boundaries and boundedness, how architecture might be considered as a means to understand the relationship between flows and boundaries and its implications for how we define the modern self. Part of the Critical Studies in Architecture of the Middle East series. Table of ContentsList of Figures vii Acknowledgements xiii Introduction: Confining Contingency 1 Farhan Karim Chapter 1. Housing Others: Design and Identity in a Bedouin Village 21 Noam Shoked Chapter 2. Building for the Lost Lands: Ottoman Architects in Mandatory Palestine and the Case of Hassan Bey Mosque 51 Müjde Dila Gümüs¸ Chapter 3. The First Aussie Mosques: Mediating Boundaries despite the ‘White Australia’ Policy 77 Katharine Bartsch, Md. Mizanur Rashid, and Peter Scriver Chapter 4. Architecture of Exclusion: The Savujbulagh-i Mukri Garrison, Border-Making, and the Transformation of the Ottoman-Qajar Frontier 111 Nader Sayadi Chapter 5. Staging Baghdad as a Problem of Development 139 Huma Gupta Chapter 6. Tehran’s Decentralization Project and the Emergence of Modern Socio-Spatial Boundaries 167 Elmira Jafari and Carola Hein Chapter 7. Reconstructing the Muslim Self in Diaspora: Socio-Spatial Practices in Urban European Mosques 193 Elisabeth Becker Chapter 8. The Search for the Mosque of Florence: A Space of Negotiated Identities 219 Hanan Kataw Chapter 9. The Rome Mosque and Islamic Center: A Case of Diasporic Architecture in the Globalized Mediterranean 237 Theodore Van Loan and Eva-Maria Troelenberg Chapter 10. One House of Worship with Many Rooves: Imposing Architecture to Mediate Sunni, Alevi, and Gülenist Islam in Turkey 253 Angela Andersen Chapter 11. Architectural Modes of Collective Identity: The Case of Hizbullah’s ‘Mleeta Tourist Landmark of the Resistance’ in South Lebanon 277 Heike Delitz and Stefan Maneval Chapter 12. The Bangladesh Liberation War Museum and the Inconclusivity of Architecture 309 Anooradha Iyer Siddiqi Contributor Biographies 353 Index 359

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Book SynopsisThe book addresses themes such as visual perception, perception of 3-D and stereo. With the event of the stereoscope and the theatre, dioramas and panoramas before it, vision and perception in the eighteenth and nineteenth century is seen to be marketed to a mass audience. As such the spectacle of the stereoscope and other optical devices can be seen as a precursor to mass media dissemination today. Yet artists use the stereoscope and VR to signify the spectacle, clairvoyance, vision and the mechanism of vision as well as a symbol for the act of looking, being looked at while looking and the gaze within an art new media practice. Other artists have used 3-D and virtual reality to address themes such as theories of consciousness or embodied consciousness, the human – machine relationship and the idea of mapping reality, alternative networked realities. The book includes an introduction and summary of chapters, 86 anaglyphic 3-D images and presents a survey of artists working in 3-D and virtual reality, VR art. The convergence of other fields such as new media art, video art and early virtual reality art is described through many examples within the scope of the book. Artists discussed include Mert Akbal, Zoe Beloff , Geoffrey Berliner, Lygia Clark, Dan Graham, Salvador Dali, Marcel Duchamp, Scott S. Fisher, Rebecca Hackemann, Perry Hoberman, Daniel Iglesia, Ken Jacobs, William Kentridge, Susan MacWilliam, Patrick Meagher, Rosa Menkman, Jim Naughten, Tony Ousler, Alfons Schilling, Joel Schlemowitz, Christopher Schneberger, Judith Sönniken, Ethan Turpin, Aga Ousseinov, Colleen Woolpert. 3-D glasses included with hardback book. Trade ReviewRebecca Hackemann's new book is a superb and indispensable account of the creative and critical exploration of stereoscopy, 3-D and VR by a wide range of artists since the early twentieth century. Especially now, at a moment when powerful technology corporations are massively commodifying and routinizing VR and 3-D products, Hackemann's study provides a crucial resource for sustaining oppositional and counter-practices of visuality and perceptual experience. -- Jonathan K. Crary, Meyer Schapiro Professor of Modern Art and Theory, Columbia UniversityTable of ContentsList of Artists List of Plates Introduction 1. The Double-Lensed Camera Eye: Attention and the Nature of Stereoscopy 2. The Artists and Their Ideas 3. Image Worlds: From Diorama to Virtual Reality Art Conclusion Contributor Biographies Appendix: A Brief Obligatory Note on 3-D Technique Notes Bibliography Index 3-D Plates

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Book SynopsisEducation, mental health and the arts all share a concern for human beings and for how they live their lives. Living one's life, and living it well, has always been a challenge life never simply happens. But what the particular challenges are, differs from time to time, from location to location, and even from individual to individual. In both education and mental health there is a strong pressure to think of being human as a technical problem that in some way can be fixed' by powerful, research-based interventions. Also arts are quickly turned into an instrument for fixing problems. While such fixing may be possible, and may appear to be quite successful from one perspective, it clearly runs the risk of turning students and clients into objects things to be acted upon, rather than human beings to encounter and act with. This book stages conversations between art, education, and mental health around the question of what it means to be human today. Moving beyond the suggestion tha

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Book SynopsisCritics and fans alike often mistake theatrical song and dance as evoking a sweeping sense of simplicity, heteronormativity, and traditionalism. Nothing drove home this cultural misunderstanding for Kelly Kessler as when a relative insisted she watch the Clint Eastwood-Lee Marvin cinematic transfer of Paddy Chayefsky’s Paint Your Wagon (1969) with a young niece and nephew because it was a ‘sweet movie.’ In the relative’s memory, good old-fashioned singing and dancing—matched with the power of an assumed hegemonic embrace of social norms—far outweighed the whoremongering, alcoholism, wife-selling, and what appears to be narratively sanctioned polyamory. This collection seeks to trouble such an over-idealized impression of musical theatre. Tackling Rockettes, divas, and chorus boys; hit shows such as Hamilton and Spring Awakening; and lesser-known but ground-breaking gems like Erin Markey’s A Ride on The Irish Cream and Kirsten Childs’s Bella: An American Tall Tale. Gender, Sex and Sexuality in Musical Theatre: He/She/They Could Have Danced All Night takes a broad look at musical theatre across a range of intersecting lenses such as race, nation, form, dance, casting, marketing, pedagogy, industry, platform-specificity, stardom, politics, and so on. This collection assembles an amazing group of established and emergent musical theatre scholars to wrestle with the complexities of the gendered and sexualized musical theatre form. Gender and desire have long been at the heart of the musical, whether because ‘birds and bees’ (and educated fleas’) were doing it, a farm girl simply couldn’t ‘say no,’ or one’s ‘tits and ass’ were preventing them from landing the part. An exciting and vibrant collection of articles from the archives of Studies in Musical Theatre, with contributions from Ryan Donovan, Michele Dvoskin, Sherrill Gow, Jiyoon Jung, David Haldane Lawrence, Stephanie Lim, Dustyn Martinich, Adrienne Gibbons Oehlers, Deborah Paredez, Alejandro Postigo, George Rodosthenous, Janet Werther, Stacy Wolf, Elizabeth L. Wollman, Bryan Vandevender and Kelly Kessler, brought together with a newly commissioned piece by Jordan Ealey. All set against the backdrop of Kelly Kessler’s scene-setting introduction. Excellent potential for classroom and course use on undergraduate and graduate courses in theatre studies, musical studies, women’s and gender studies.Trade Review'In addition to the articles published as part of Studies in Musical Theatre, Kessler has included five other articles in her book to include recent developments and shows: new pieces on Spanish musical theatre performance and fandom; historicity and musical stories told through black female authorship, gender-flipped; non binary; and trans narratives, and the negotiated marketing and queerness on Broadway”. [...] Kessler did a fabulous job and presented a technically well-founded book that is very readable. The "Studies in Musical Theater" [journal] itself is also highly recommended.' -- von Martin Bruny, musicals – Das Musicalmagazin [Translated via Google. Original text in German]'I particularly enjoyed the arc of essays exploring the excesses of the divas (whether stage characters like Ethel Merman’s Rose, Angela Lansbury’s Mame, and Elaine Stritch’s Joanne, or over-thetop female stage personalities like Carol Channing and Tallulah Bankhead) as commentaries on the social constraints placed on women. I appreciated Elizabeth Wollman’s analysis of the paradox that even as the adult musical of the 1960s and ’70s employed nudity and sexual frankness in the attempt to foster both Gay and Women’s Liberation, it relied so heavily on stereotypes and nudity that it devolved into mere exploitation. Likewise, the editor’s own survey of how the visibility of LGBT experience in musicals like La Cage aux Folles, Kiss of the Spider Woman, Fun Home, and The Prom was undercut by marketing campaigns that downplayed the shows’ queerness. Thus, several of this collection’s essays demonstrate just how high toward heaven the musical has allowed gays to kick. ' -- Raymond-Jean Frontain, The Gay & Lesbian Review/WorldwideTable of ContentsList of Figures Acknowledgements Introduction: Belting Away at Binaries – Kelly Kessler PART 1: EXPLORING AND EXPLODING THE GENDER BINARY ON THE MUSICAL STAGE 1. The Radio City Rockettes and the Making of a Sisterhood – Adrienne Gibbons Oehlers 2. Billy Elliot the Musical: Visual Representations of Working-Class Masculinity and the All-Singing, All-Dancing Bo[d]y – George Rodosthenous 3. Hamilton’s Women – Stacy Wolf 4. Rewriting the American West: Black Feminist (Re)Vision in Bella: An American Tall Tale – Jordan Ealey 5. A-List Drag Queens, Accidental Drag Kings and Illegible Gender Rebels: (Mis)Representations of Trans Experience in Contemporary Musicals – Janet Werther PART 2: EMBODYING AND EXPLOITING SEX AND SEXUALITY ON AND OFF BROADWAY 6. Chorus Boys: Words, Music and Queerness (c.1900–36) – David Haldane Lawrence 7. Emancipation or Exploitation? Gender Liberation and Adult Musicals in 1970s New York – Elizabeth L. Wollman 8. A Substitute for Love: The Performance of Sex in Spring Awakening – Bryan M. Vandevender 9. If You Were Gay, That’d Be Okay: Marketing LGBTQ+ Musicals from La Cage to The Prom – Ryan Donovan PART 3: DIVAS DON’T CARE ABOUT NOBODY’S RULES 10. Embracing Excess: The Queer Feminist Power of Musical Theatre Diva Roles – Michelle Dvoskin 11. Stepping Out of Line: (Re)Claiming the Diva for the Dancers of Broadway – Dustyn Martincich 12. Diva Relations in The Color Purple, the 2015 Broadway Revival – Deborah Paredez 13. How Can the Small Screen Contain Her? Television, Genre and the Twenty-First-Century Broadway Diva Onslaught – Kelly Kessler PART 4: ONSTAGE, OFFSTAGE AND ONLINE: GENDER AND SEXUALITY IN PERSONAL AND PROFESSIONAL MUSICAL PRACTICE 14. The Queerness of Copla: Musical Hope for the Spanish LGBTQ – Alejandro Postigo 15. Queering Brechtian Feminism: Breaking Down Gender Binaries in Musical Theatre Pedagogical Performance Practices – Sherrill Gow 16. For Progress or Profit: The Possibilities and Limitations of Playing with Gender in Twenty-First-Century Musical Theatre – Stephanie Lim 17. The Right to See and Not Be Seen: South Korean Musicals and Young Feminist Activism – Jiyoon Jung Notes on Contributors

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Book SynopsisReframing Berlin investigates the concept of urban memory through the transformation and/or consistency of the built environment. These architectural changes, defined as urban strategies, range from demolition (forgetting) to memorialisation (remembering) and are shown through case studies using film locations in Berlin. 64 b/w illus.

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Book SynopsisConsiders how self-study using arts-based methods can enable purposeful reflection toward understanding and envisioning professional practice. Presents a self-study model highlighting arts-based methods for examining areas of professional practice: professional identities, work cultures, change and transitions and new pathways. 26 b/w drawings.

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Book SynopsisThe depiction of New York City in song across avariety of different genres, focusing onjazz genres, as well as the work of both New Yorkborn artists like Billy Joel or Lin-Manuel Mirandaand artists living most of their life in New York Citylike Shinehead or Debbie Harry, that are intimatelyconnected with the city. The book analyzes songswritten about New York City, and engage with thedepiction of the city within them, but mainly use itas a way to deal with several musical genres thatthe city has been home to, and instrumental indeveloping. These include the musical theatrescene on Broadway and beyond, but also early20th century sheet music, hip hop, disco, punk,dancehall, jazz, swing, rock or pop music. Thecollection includes essays from authors with acultural studies, media studies, cultural history ormusicology background, making possible a far-ranging treatment of the interconnection of the cityspace and its musical history.

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Book Synopsis‘Atlas of Ceramic Fabrics 2. Italy: Southern Tyrrhenian. Neolithic – Bronze Age’ presents and interprets the petrographic composition of pre-protohistoric pottery (6th-1st millennia BCE) found in southwestern part of Italy. This is the second in a Atlas series organised according to geographical areas, chronology and types of wares. In this book 890 samples from 29 sites are discussed, encompassing results of more than 50 years of interdisciplinary archaeological, technological and archaeometric research by the authors’ team. Ninety petrographic fabrics (the potters’ ‘recipes’) are defined and presented based on their lithological character – a tool that can be used to compare different components of the ceramic pastes and to check possible provenance of non-local pots. The volume is organized in chapters focused on methodology, fabric description and distribution, followed by the archaeological implications and the database, with contribution by Andrea Di Renzoni (CNR-ISMA, Roma). Illustrations and descriptions of the fabrics and a list of samples provide a rigorous and transparent presentation of the data. The archaeological implications are discussed through cross-correlatios between origin and technology, variability, standardisation, chronology, function, social organization, circulation, style, typology and cultural identity. We hope that this work will be considered an another stepping-stone in demonstrating that technological variability is as important as stylistic distinctions.

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