Art & Photography Books

Book SynopsisThe building of the Victoria and Albert Museum, begun in 1857, is the most elaborately designed and decorated museum in Britain. This book is the first to consider the V&A as a work of art in itself, presenting drawings, watercolours and historic photographs relating to the Museum's 19th-century interiors. Much of this visual material is previously unpublished and is outside the canon of Victorian art and design. The V&A's first Director, Henry Cole, conceived the Museum's building as a showcase for leading Victorian artists to design and decorate. This book reveals for the first time the ways in which Cole's expressed policy to 'assemble a splendid collection of objects representing the application of Fine Arts to manufacture' was applied to the fabric of the building, as he engaged leading painters such as Frederic Leighton , G.F. Watts and Edward Burne-Jones, as well as specialists in decoration such as Owen Jones and Morris and Company, to decorate and design for a building raised by engineers using innovatory materials and techniques.It represents a fascinating, untold chapter in the history of British 19th-century art, design, architecture and museums, and an essential backdrop to understanding the evolution of the Museum's early collections and identity.Table of ContentsContents: Part One: Introduction: 1 Building the Museum; 2 The Museum as a Work of Art; 3 A Summary Timeline; Part Two: Designs and Decoration: A Parkland Setting; The South Kensington Museum (garden facades); The Refreshment Rooms; The Ceramic Stairs and Galleries; The Lecture Theatre; The Paintings Galleries and the North Staircase; The North Court; The South Courts; The 'Kensington Valhalla'; The Oriental Courts; The Prince Consort's Gallery; The National Competition Gallery; Frederic Leighton's Frescoes; The East Staircase; The National Art Library; The Cast Courts; The Grand Entrance and the Long Gallery; The Pantheon of British Art; The Henry Cole Wing; Exhibition Road; Further Reading; Endnotes; Acknowledgements; Index

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Book SynopsisThose involved in the creation of public spaces think a great deal about the users of those spaces. Users think little, if at all, about those who create them. There are many: planners, developers, investors, contractors, special-interest groups, governments from local to national, and above all in this book, designers. The complex sets of relationships in which the designer is enmeshed remain largely unknown, as does the effect of those relationships on the public spaces they design. In ‘super-diverse’ cities like London, a successful public realm, where people can be together in trust and tolerance, is essential. A city’s commitment to design quality indicates a commitment to civic health. In the interests of such commitment, the book asks: What should public space ‘design intentions’ be today?; Who is ‘the public’ of public spaces?; What can/should designers do to protect the ‘publicness’ of public spaces?; Was state financed public space mid-20th century of any higher quality than privately financed public space today?; How significant is the shift from commissioning architects to design public spaces mid-20th century to commissioning landscape architects and public realm architects today?; Does emptiness in public spaces have a value?; Does retail in public spaces narrow the range of people visiting them?Trade Review'Hagan's work is cleanly presented and a recommended book both for studying and browsing.' – Darryl Chen, The London SocietyTable of ContentsPart 1: The 'Public' of Public Space; Chapter 1: The partiality of participation; Chapter 2: Public space is always conditional; Part 2: The 'Space' of Public Space; Chapter 3: British architects and their ideas of the urban; Part 3: Public Spaces; Chapter 4: Four Modernist public spaces; Chapter 5: Four Contemporary public spaces; Conclusion

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Book SynopsisEtel Adnan (1925-2021) was a Lebanese-American poet, essayist and visual artist. This is the first book to present a full account of Adnan’s fascinating life and work, using the drama of her biography, the complexity of her identity, and the cosmopolitan nature of her experience to illuminate the many layers and dimensions of her paintings and their progress over several crucial decades.Adnan came relatively late to painting - her first images were created in the late-1950s in response to the Californian landscape. Her vocabulary of lines, shapes and colours changed little over time, and yet there are huge variations in mood, texture, composition and material. Similarly, there is a balance between understanding her paintings as pure abstractions, emulating the shape of thought, and seeing them for the actual landscapes of the many places Adnan loved, embraced and responded to.Tackling the complexities of her subject with skill and insight, Kaelen Wilson-Goldie unpacks Adnan's multi-layered career to capture the full scope of her artistic endeavours and impressive achievements. Trade Review'Reading this account, our experience of both Adnan’s painting and poetry can only be enriched.' – Isaac Nugent, Burlington Contemporary'In a new survey of the artist’s work, Etel Adnan, critic Kaelen Wilson-Goldie nimbly thinks across and between Adnan’s fraternal endeavors [poetry and painting]. Her descriptions of individual works are melodic, vivid set pieces in themselves, keeping steady rhythm with the nearly one hundred reproductions woven throughout the text.' – Corrine Fitzpatrick, Bookforum'Author Kaelen Wilson-Goldie reveals the radical power of abstract painter Etel Adnan’s life and work in a new book.' – Shirine Saad, HyperallergicTable of ContentsIntroduction; Chapter 1; Chapter 2; Chapter 3; Chapter 4; Chapter 5; Conclusion; Bibliography; Chronology; Solo and Group Exhibitions; Index

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Book SynopsisWhile much has been written about how photography serves architecture, this book looks at how fine-art photographers frame constructed space – from cities to single anonymous rooms. It analyses various techniques used and reveals resonances and rhythms found in the photographs as they occur at different scales, times and settings. Photographs become vehicles for thinking about the co-existence between individuals and social groups and their surroundings spaces and settings in the city and the landscape. By considering questions of technique and practice on the one hand, and the formal and aesthetic qualities of photographs on the other, the book opens up new ways of looking at and thinking about architecture and how we relate to our environment. Table of ContentsIntroduction; Section I: Documenting Building; Chapter 1. The Façade and the Frame; Chapter 2. The Art-Facts and Life-Facts of Building; Chapter 3. How the Mind Meets Architecture: What Photography Reveals; Chapter 4. Construction Performance: How the camera Records Progress on Site; Section II: Life in the City; Chapter 5. Unconscious Choreography; Chapter 6. Urban Fragments, Urban Tumult; Chapter 7. The City Stilled and Surveyed; Chapter 8. The Self and the City; Section III: Landscape and Territory; Chapter 9. Exploring Terrains New Topographics; Chapter 10. New Territories; Conclusion

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Book SynopsisNeighbourhood Planning (NP), introduced by the Localism Act of 2011, is the right for communities to decide the future of the places where they live and work. This book examines the experience of neighbourhood planners, analysing what communities have achieved, how they have done so and what went well or badly. Comparing NP with other forms of community planning and highlighting the main lessons learned so far, it acts as a navigation tool for people already involved in neighbourhood planning, as well as those contemplating participation.Trade Review'This book is essential reading for the 'citizen planner' because it reflects on the experiences of others to demonstrate how Neighbourhood Planning can meaningfully harness the social capital of communities, while also highlighting the challenges involved.' - Chris Bowden, Navigus PlanningTable of ContentsForeword; Preface and Acknowledgements; Chapter 1: Introduction; Chapter 2: What is Neighbourhood Planning?; Chapter 3: Communities and the Planning System; Chapter 4: Relationships in Neighbourhood Planning; Chapter 5: Stages of Neighbourhood Planning; Chapter 6: Challenges in Neighbourhood Planning; Chapter 7: Opportunities and Ideas for Neighbourhood Planning; Chapter 8: Reflecting on Neighbourhood Planning; Chapter 9: References, Resources and Further Information; Glossary; Index

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Book SynopsisThis comprehensive monograph offers a detailed examination of the paintings of the acclaimed German painter Neo Rauch (b.1960). Rauch's paintings deftly blend the iconography of Socialist Realism from his upbringing and art-school training in GDR-era Leipzig with the stylistic mannerisms of the Baroque and Romantic past, conjuring heavily populated sites of great commotion and complexity, remarkably without recourse to preliminary drawing. His compositions and their enigmatic figures are rich with reference and allusion, but the stories they tell are indistinct and somehow out of time. They have an ancient modernity - or the freshness of renewed antiquity. Michael Glover discloses Rauch's working methods, revealing how the artist approaches the making of his work, how his images come into being, and the importance of words and their etymology to the creation or disruption of an artwork. These are works that interrogate the very meaning of the artistic impulse; ruminations in the guise of history painting that in fact question what a painter could and should be creating at this particular historical moment.Trade Review"This monograph provides a thorough examination of the paintings of an artist whose work has been informed by many and varied influences and whose artworks can be found across major museums across the globe." - Scene Point BlankTable of ContentsForeword, Barry Schwabsky; 1 In the Studio; 2 Emerging from the GDR; 3 Towards a Fabricated Credibility; 4 Back to the Future; Notes; Bibliography; Biography; Exhibitions; Selected Public Collections; Acknowledgements; Image Credits; Index

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Book SynopsisBy examining the studios and studio-houses used by British artists between 1900 and 1940, this book reveals the ways in which artists used architecture – occupying and adapting Victorian studios and commissioning new ones. In doing so, it shows them coming to terms with the past, and inventing different modes of being modern, collaborating with architects and shaping their work. In its scrutiny of the physical surroundings of artistic life during this period, the book sheds insight into how the studio environment articulated personal values, artistic affinities and professional aspirations. Not only does it consider the studio in terms of architectural design, but also in the light of the artist’s work and life in the studio, and the market for contemporary art. By showing how artists navigated the volatile market for contemporary art during a troubled time, the book provides a new perspective on British art.Trade Review'The illustrations, so often in a book of this kind an assemblage of what-we-can-get, have been carefully chosen and offer a pithy counterpoint to the themes of the narrative. All-in-all, it’s a worthwhile and informative read.' – Henry Malt, The Artist'The illustrations, and the author’s passion for the topic, bring the period and its artistic environment to life.' – Karyn Hinkle, Visual and Performing Arts Librarian, Lucille C. Little Fine Arts Library, University of Kentucky, ARLISTable of ContentsSection I: Legacies; Chapter 1; Chapter 2; Section II: The Studio as Home; Chapter 3; Chapter 4; Chapter 5; Section III: After the Victorians; Chapter 6; Chapter 7; Chapter 8; Chapter 9; Chapter 10; Chapter 11; Chapter 12; Envoi/Conclusion

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Book SynopsisThis comprehensive overview provides the first detailed account of the phenomenon of the Arts & Crafts church, examining 150 of the finest examples, mostly built between 1884 and 1918 in England, Scotland, and Wales. Arts & Crafts studies tend to focus on houses and furniture; churches were no longer central to architects' practice. A handful of well-known churches have been written about extensively, but these famous examples obscure the existence of scores of churches that express Arts & Crafts ideas every bit as vividly. They also are rarely set alongside each other, nor seen within the wider context of not only how they were built, but why. These churches are visually arresting, with often quaint, far-fetched, or capricious exteriors. Internally, they often contain beautiful elements, including reredoses, pulpits, stained glass, and altars. They also tell a fascinating story about religion as Britain entered the age of modernity. While the architects were often religiously skeptical, they were still committed to making beauty. Author Alec Hamilton sets out the social and political context in which these churches were designed and constructed in the introductory section. The book is then divided into regional sections. Each section is headed by a short essay highlighting key architects and descriptions of notable churches within each region.Trade Review'So pleasantly written, and so comprehensively and beautifully illustrated, that it will surely attract many new enthusiasts.' – The Victorian Web'A beautifully written and designed gazetteer, illustrated in colour throughout with the author’s own excellent photographs, it provides detailed information, lively anecdotes and firm opinions in equal measure.' - Spectator, 'Books of the Year''This book is a truly major contribution to the study of Victorian and Edwardian church architecture and a wonderful travelling companion.' - Ken Powell, The Victorian magazine'beautifully illustrated' - Ayla Lepine, Church Times'an excellent introduction' – Pre-Raphaelite ReviewTable of ContentsWhat is an Arts & Crafts church? Architecture as Art. Religion in an age of irreligion. The cultural context. Regional Sections: The West Country; The South; The South East; London (and Middlesex); Home Counties; The Marches; The West Midlands; The East Midlands; The East of England; The North West; Yorkshire; North of England; Wales; Scotland. Key figures include J.D. and E.H. Sedding, Norman Shaw, E.S. Prior, W.R. Lethaby, Robert Weir Schultz, Sidney Barnsley, Henry Wilson, W.D. Caroee, Robert Lorimer. Local Heroes: Edgar Wood, Charles Ponting, Percy Currey, W.J. Hale, Herbert Luck North, W.G. Rowan, John Douglas, Richard Bassnett Preston. Artistic innovators: Heywood Sumner, Phoebe Anna Traquair, Sarah Losh, Mary Seton Watts, the Pinwills, the Ropes, the Bromsgrove Guild. Also sections on: Birmingham and Byzantium; Arts & Crafts Oxford; the Quakers; Unitarians on Merseyside; the self-built, the hand-made and local grown. Appendices

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Book SynopsisKurt Jackson’s Botanical Landscape is a new collection of poems, paintings, drawings, sculptures and printmaking by the artist and staunch environmentalist: responses to his engagement with and rich experience within the natural world of flora. From day-to-day plants – weeds, the flowers in the hedge, familiar trees and the vegetable garden – to the more unusual, twisted forms and strange fruit of the undergrowth, Jackson’s works celebrate the staggering diversity of the plant kingdom. For the art enthusiast, the naturalist, the gardener and the armchair horticulturist, Kurt Jackson’s Botanical Landscape maps a particularly expressive communion with nature and offers a unique and beguiling interpretation of the natural world.Trade Review"Kurt Jackson's botanical art is urgently wondrous." - Rob MacfarlaneTable of ContentsForeword by Tim Smit; Introduction by Robert Macfarlane; Author Preface; FOXGLOVE; WEEDS; GORSE; FIGS; FUNGI; OAK; APPLE; VEGETABLES; THORN; BRAMBLE; Kurt Jackson Biography; Selected solo exhibitions; Selected group exhibitions; Awards and residencies; Broadcasts; Public collections; Select bibliography; Acknowledgements and Credits; Index

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Book SynopsisThe Museum Curator’s Guide is a practical reference book for emerging arts and heritage professionals working with a wide range of objects (including fine art, decorative arts, social history, ethnographic and archaeological collections), and explores the core work of the curator within a gallery or museum setting.Nicola Pickering provides a clear introduction to current material culture and museum studies theories, and shows the practical application of these theories to museum collections. She considers the role of the curator, their duties and interaction with objects, and also examines the care or preservation of objects and the ways they can be catalogued, displayed, moved, arranged, stored, interpreted and explained in museums today.The Museum Curator’s Guide represents an essential and lasting resource for all those working with the collection, preservation and presentation of objects, including students of collections management and curatorship; current gallery and museum professionals; and private collectors.Table of ContentsPreface; Acknowledgements; Introduction; Part One: Museums and Collecting - Chapter 1: What are museums?; Chapter 2: Collecting policies, composition and implementation; Part Two: Managing Collections - Chapter 3: Researching and accessioning objects; Chapter 4: Classifying, recording and cataloguing objects; Chapter 5: Handling, storing and preserving objects; Part Three: Displaying and Interpreting Collections - Chapter 6: Displaying objects; Chapter 7: Interpreting objects; Chapter 8: Museum audiences; Part Four: The Museum Curator - Chapter 9: The curator today and conclusions; Notes; Bibliography; Index

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Book SynopsisThis is the sixth volume in Lund Humphries’ series of monographs on British sculptor Anthony Caro and the first publication to focus on his use of stainless steel as a distinct body of work.Caro employed stainless steel extensively, from intimately scaled Table Sculptures to extremely large works, over many decades, and in his mature works, Caro's exploration and interrogation of this material became increasingly important. Karen Wilkin analyses Caro’s use of stainless steel in the context of the development of modernist constructed sculpture, pioneered in the UK by Caro and in the US by David Smith, a friend and admired predecessor, from whom Caro inherited most of the stainless steel he first employed, following Smith's untimely death in 1965. Karen Wilkin's text represents a much-needed overview of Caro's late career and a vital expansion of our understanding of 20th-century and early 21st-century modernist sculpture.Trade Review'Karen Wilkin brilliantly discusses an essential aspect of the work of a key modern artist while illuminating important aspects of post- 1945 sculpture. A must read for anyone interested in modern art.' - William C. Agee, Professor Emeritus, Hunter CollegeTable of ContentsAnthony Caro: Changing Habits; Catalogue of Stainless Steel Works; Chronology; Bibliography; Acknowledgments; Index

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Book SynopsisThe pioneering British modernist architect Richard Seifert was one of the most successful and influential architects of his generation. During the 1960s and '70s he changed the face and fabric of London with a powerful series of highly visible and uncompromising brutalist buildings, including - most famously - Centre Point, the Nat West Tower and King's Reach Tower. Seifert is often described as a modernist version of Christopher Wren in terms of his impact upon the capital, building hundreds of towers, office buildings and hotels in London but also working in other parts of the UK and internationally. An enigmatic and determined figure, Seifert achieved much in his lifetime yet has remained a controversial and divisive figure due to his unwavering commitment to modernism. Both Seifert and his buildings have been attacked, with his work described as 'notorious' for its brutalist aesthetic and an arguable lack of contextuality. Yet in recent years there has been a noticeable upsurge of interest in brutalist architecture in general along with the beginnings of a re-evaluation of Seifert's extraordinary contribution to mid-century architecture and design: a number of buildings by Seifert and his associates have been listed in recognition of their architectural importance. Beautifully illustrated, this book records, analyses and celebrates a considered selection of Seifert's buildings, including Centre Point, the Nat West and King's Reach Towers, Space House, the Euston Station Buildings, the Park Lane Tower Hotel, Drapers Gardens, the International Press Centre, all in London, Wembley Conference Centre and Sussex Heights in Brighton, within the most extensive survey of his work to date.Trade Review'Dominic Bradbury’s new architecture book is the first major treatment of the life and work of an architect who still leaves a major legacy.' - Wallpaper*'the book shows a keen awareness of recent conservation battles over Seifert buildings. It will also no doubt help solidify Seifert’s reputation' - C20 magazine'Seifert's greatest works were sculptural, if controversial, additions to the London skyline. Centre Point... never quite rose to the icon status grated to works by Wren, Eric Bedford or Norman Foster. Yet it is a building that has dated well, standing proud amid the sunken abscess of development at Tottenham Court Road, the drooping fishnet of its façade clean and creamy thanks to the use of Portland stone in the concrete mix.' - Apollo magazineTable of ContentsIntroduction; Biography; Practice; Skyscrapers; Legacy; Case Studies: Centre Point, London; Space House, London; Sussex Heights, Brighton; NLA Tower, London; Drapers Gardens, London; International Press Centre, London; Park Lane Tower, London; Alpha Tower, Birmingham; King's Reach Tower, London; Wembley Conference Centre; Euston Station Buildings, London; Nat West Tower, London; Chronology and Full Project List; Bibliography

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Book SynopsisWilliam Butterfield was the most daring, rigorous, and brilliant architect of his age, whose 60-year practice spanned the entire Victorian era, and whose major works are found from the Firth of Clyde and shores of Belfast to the hills of Dublin and the cliffs of Cardiff and Devon. This book addresses the emergence of a modern society, its expansive institutions, and its changing moral code, exploring how Butterfield responded to and advanced that transformation in the national life. It reflects the changing emphasis of Butterfield?s work: first, the revival, rebuilding, and reform of the country parish; then the place of the church and the agents of social health in the burgeoning town and city; third, the quiet revolution in secondary education and college life; and finally, sites of refuge, sanctuary, repose, and remembrance. Drawing extensively on the literature and discourse of the time, each chapter discusses a societal shift and surveys Butterfield?s most important architectural contributions. The chapters are followed by portfolios of photographs and extraordinary sets of coloured contract drawings of projects selected to show the originality, conviction, and variety of Butterfield?s designs. Woven through the book are characterisations of the often colourful men and women who were Butterfield?s patrons and associates, including Gladstone, Pusey, Nightingale, and such lesser known but equally crucial figures as Frederick Temple, ?Mother? Matilda Blanche Gibbs, the writer Charlotte Yonge, and a score of reforming vicars, from the pious William Butler to the radical eccentric Edward Monro.

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Book SynopsisArchitecture through Drawing examines how drawing – as both action and object – encapsulates complex ideas relating to culture, technology, space and the built environment. Bringing together an array of beautiful and rarely seen drawings dating from the sixteenth century to the present day, all representing different geographical locations, techniques, methodologies and purposes, the book defines a new field for the subject of the drawing in architecture. It reveals the motives for architectural drawing beyond the requirement to document the processes that underpin the realisation of the architectural object. This book asks, fundamentally, whether drawings can illuminate new interpretations of architectural experimentation. Examples range from initial sketches by architects to analytical and construction drawings, perspectives and schematics, collage and more complex presentations and paintings often carried out in association with others. Dialogues include Fabrizio Ballabio on Filippo Juvarra’s Ottoboni Theatre; Desley Luscombe on Ludwig Mies van der Rohe; Mark Dorrian on Michael Webb; Nicholas Olsberg on Victorian architects William Butterfield, Norman Shaw and GE Street; Charles Rice on James Gowan; Laurent Stalder on perspective in postwar housing; Helen Thomas on the covers of San Rocco; John Macarthur on clouds; Markus Lähteenmaäki on Superstudio; and Erik Wegerhoff on the Viennese Auto-Expander. The volume is rounded off with an epilogue, ‘The Limits of Drawing’, by Adrian Forty and Sophie Read.Table of ContentsIntroduction/Prologue: Drawing as Protagonist; Part 1. Origins of Architectural Ideas; Part 2. Transformational Drawing; Part 3. Spatial representation; Part 4. Technology and Conversation; Part 5. Presentation, Technique, Affect; Postscript/Epilogue: The Limits of Drawing

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Book SynopsisPerformance in the Museum charts the main stages of the inclusion of performance in the museum from the 1970s to the present day. While performance emerged in the late 1960s as an anti-institutional form of art, it has recently gained an extraordinary visibility in contemporary art museums. This book focuses on three specific areas affecting museums: how to display performance art; conservation of performance art; and acquisition. What emerges from this study is that the museum, although rarely anticipating the specific issues raised by performance, has assumed a unique position in devising curatorial strategies adapted to this medium. Through close analysis of a selection of exhibitions and curatorial practices from many different parts of the world, and from specific periods from the past fifty years, this book identifies key moments of the integration of performance in the museum, thus filling a crucial gap both in the history of performance and curatorial studies. Despite the recent surge of exhibitions on performance and the part played by museums in this phenomenon, the history of the display, the conservation and the acquisition of live performance remains largely uncharted. This book offers a thought-provoking and highly readable assessment of some fundamental questions in contemporary curatorial practice.Table of ContentsIntroduction; Display: Against the Norm; Conservation: Re-enactment Problematised; Acquisition: Buying Objects and Ideas; Conclusion; Index; List of Exhibitions

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Book SynopsisDuring the 1970s, London-based photographers joined together to form collectives which engaged with local and international political protest in cities across the UK. This book is a survey of the radical community photography that these collectives produced. The photographers derived inspiration from counterculture while finding new ways to produce, publish and exhibit their work. They wanted to do things in their own way, to create their own magazines and exhibition networks, and to take their politicised photographic and textual commentary on the re-imagination of British cities in the post-war period into community centres, laundrettes, Working Men's Clubs, polytechnics, nurseries - anywhere that would have them. The laminated panel exhibitions were sufficiently robust, when packed into a laundry box, to withstand circulation round the country on British Rail's Red Star parcel network. Through archival research, interviews and newly discovered photographic and ephemeral material, this tells the story of the Hackney Flashers Collective, Exit Photography Group, Half Moon Photography Workshop, producers of Camerawork magazine, and the community darkrooms, North Paddington Community Darkroom and Blackfriars Photography Project. It reveals how they created a 'history from below', positioning themselves outside of established mainstream media, and aiming to make the invisible visible by bringing the disenfranchised and marginalised into the political debate.Trade Review'It offers a detailed look at some important yet rather undervalued figures in the history of 20th-century British photography who deserve to be brought back into focus.' - Art Quarterly magazine'Stacey's book includes copious illustrations of placards, posters, scrapbooks & more...For those interested in the social and intellectual history of the community photography movement, this is a satisfying & illuminating volume.' - Tom Allbeson, Source magazine‘Stacey’s research is outstanding… she has marshalled this information into an intriguing account of an exciting, idealistic, and sometimes fractious period.' – Diane Smyth, Photomonitor'Essential Art Books of 2020' - Elephant magazine‘Stacey has written a rare and important book which integrates word, image, artistry and activism in the real lives of working people and those who documented their lives and struggles, and although it records events and initiatives nearly half a century ago, its relevance to now-times is total.’ – Chris Searle, Race and Class Journal'it is both an enlightening history of this period and a critical reference book for the present. Indeed, although the advent of social media has reshaped the visual landscape, the strategies employed by the collectives still resonate on a theoretical and practical level today.' – British Journal of Photography'The archival research and oral histories compiled by Stacey will remain a lasting contribution of this text. Stacey has a remarkable ability to let the tensions, contradictions and difficulties encountered by her protagonists remain a central part of the history, underscoring the rich complexity of community photography…. Among the well-trodden political debates surrounding documentary, photojournalism and the mass media, ‘community photography’ has remained an overlooked and under-theorised subject. Stacey corrects this oversight with an intervention that is sure to be an indispensable resource for scholars in this area.’ – History of Photography JournalTable of ContentsChapter 1. Photography, Collectives and the 1970s; Chapter 2. From the Half Moon Gallery to Camerawork; Chapter 3. Photography, Protest an Urban Crisis: On 'Problem in the City' and Exit Photography Group; Chapter 4. The Hackney Flashers Collective: 'The Personal is Political'; Chapter 5. North Paddington Community Darkroom and Blackfriars Photography Project: Bringing Community into the Darkroom; Chapter 6. Camerawork, Schism and Legacy

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Book SynopsisSince the global financial crash of 2008, artists have become increasingly engaged in a wide range of cultural activism targeted against capitalism, political authoritarianism, colonial legacies, gentrification, but also in opposition to their own exploitation. They have also absorbed and reflected forms of protest within their art practice itself. The Art of Activism and the Activism of Art maps, critiques, celebrates and historicises activist art, exploring its current urgency alongside the processes which have given rise to activism by artists, and activist forms of art. Author Gregory Sholette approaches his subject from the unusual dual perspective of commentator (as scholar and writer) and insider (as activist artist). He describes a new wave of activist art taking place not only within community-based protest groups, as it has for decades, but also amongst professionally trained, MFA-bearing art practitioners, many of whom, by choice or by circumstance, refuse to respect the conventional borders separating painting from protest, or art from utility. The book explores the subtle distinction between activist forms of art and protest by artists, and proposes that contemporary activist art and art activism constitute a broader paradigm shift that reflects the crisis of contemporary capitalism. Trade Review'Sholette's book is a tour de force.' – We Make Money Not Art'Sholette manages to provide a well-crafted, comprehensive, and well-thought-out trajectory of western activist art that is not only deeply engaging, but maintains a critical insight and unique perspective throughout.' – Alex Nicholls, Field: A Journal of Socially-Engaged Art Criticism Selected as one of The Art Newspaper's Top Art Books of 2022: 'As a key member of the activist group Gulf Labor Coalition, Gregory Sholette has a unique perspective [...] This informed analysis spans more than 60 years of art activism' - Gareth Harris, The Art Newspaper'Sholette's latest book continues to expand our understanding of the vital, inspiring, and too often dismissed relationship between art and activism. It is an infinitely valuable historical source, but most significantly it is packed with models for future resistances.' - Lucy R. Lippard, author of Get the Message? A Decade of Art for Social ChangeTable of Contents1. Introduction: The Contemporary Artist as Activist: Not Just a Test; 2. 1960-1968: The Situationists' Total Critique, and Total Cure; 3. Grupo de Plasticos Argentinos de Vanguardia; 4. Escaping the Long Greenbergian Shadow; 5. 1968 and After: The Phantom Archive of Social Movement Culture; 6. 1970s: The Activist Turn in Art; 7. 1980s: Artists Respond to the Neoliberal Turn; 8. 1990s: Repurposing Situationism as Tactical Media; 9. Back to the Streets: From Tactical Media to Occupy Wall Street; 10. Institutional Critique or Cultural Abolition? 11. 2016 and After: Winter is Coming / Winter is Here; 12. Black Lives Matter: Fugitivity in Plain Sight; 13. The Contemporary Artist as Activist: Conjectures, Hauntologies, Inconclusions; Notes; Acknowledgements; Further Reading; Index

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Book SynopsisLondoners Making London tells the story of nine projects that have transformed urban neighbourhoods. Countering the expectation that the development of cities is exclusively controlled by architects, planners and developers, this book demonstrates that transformational change is increasingly driven by communities. In areas such as Wandsworth, Shoreditch and Wood Green, young and old can be seen working together with determination, conviction and often against all odds to create better places to live, learn and play. Colourful street parties, co-housing, new libraries, urban food gardens and local enterprise spaces all illustrate what can be done when people work together. In-depth interviews with instigators, community activists, campaigners and self-builders illuminate the projects. Their stories candidly reveal challenges, share moments of triumph and provide insight into how we might scale up the impact of grass-roots urbanism. For anyone seeking to change their community for the

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Book SynopsisThe exclusive global art market is one which few aspiring artists manage to penetrate. How, then, can a creative person with virtually no arts engagement or formal training, perhaps with mental or other significant health issues, disability, or experiencing difficult social circumstances, find a way in? Witnessing the treatment of people in a day centre took author Marc Steene on a journey which led to the establishment of Outside In, a charity championing and promoting the work by artists encountering significant barriers and with the aim of creating a fairer art world. The book shares some of the most inspiring artwork produced outside of the mainstream. It includes work by respected ‘outsider’ artists and other, mostly contemporary, artists that the author has discovered during his work – art rescued from European asylums, the works of Madge Gill, channelled from her spirit guide Myrninerest, Rakibul Chowdhury whose work draws on his fascination with popular culture, and Drew Fox, whose otherworldly creations result from a series of near-death experiences. Exploring the necessity to create by people on the periphery, the unconventional techniques often utilised and the settings in which this work may be produced, Steene provides a compelling case for inclusivity and change.Table of ContentsAcknowledgements; Foreword; Preface; Introduction; Chapter One - Intuition; Capter Two - Introspection; Chapter three - Insight; Interview with Grayson Perry; Endnote; Outside In Artists; NOtes; Endnote; Outside In - Selected Exhibitions; Further Reading; Image Credits, Index

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Book SynopsisMemorials have long been an important part of our built environments. In recent decades, there have been enormous changes in who and what we commemorate, and how. This increasing need for unique and sensitive memorials opens up new creative horizons for architects tasked with translating complex subjects and feelings into emotive spatial experiences that are as memorable as they are commemorative. This book showcases 45 contemporary memorials dating from since the beginning of the 21st century. Hauntingly eloquent, or starkly confrontational, each example highlights the effectiveness of such structures in focusing society’s consciousness on important and diverse issues. From Argentina to New Zealand, Comoros to South Korea, the memorials represent a wide geographical spread, and each interacts in original and surprising ways with its context. Interspersed with the memorials are interviews with leading international architects, including Carmody Groarke, MASS Design Group, Michael Arad, Moshe Safdie, Philippe Prost and others. Their words offer insights into how architects have given form to such abstract concepts as loss, love, permanence, peace, justice, hope and memory itself.Table of ContentsPreface. Foreword. Introductory essay. Case studies. Interviews with Andy Groarke/Carmody Groarke; Philippe Prost/Philippe Prost; Claudio Vekstein / Opera Publica; Michael Arad/Handel Architects; MASS Design Group; Sook Hee Chun/WISE Architecture; Moshe Safdie/Safdie Architects. Endnotes. Index

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Book SynopsisDante Alighieri (1265-1321) is one of the greatest European writers, whose untrammelled imaginative capacity was matched by a remarkable knowledge of the science of his era. His poems also paint compelling visual images. In Visions of Heaven, renowned scholar Martin Kemp investigates Dante's characterisation of divine light and its implications for the visual artists who were the inheritors of Dante's vision. The whole book may be regarded as a new paragone (comparison), the debate that began in the Renaissance about which of the arts is superior. Dante’s ravishing accounts of divine light set painters the severest challenge, which it took them centuries to meet. A major theme running through Dante's Divine Comedy, particularly in its third book, the Paradiso, centres on Dante’s acts of seeing. On earth his visual perceptions are conducted according to optical rules, while in heaven the poet's human senses are overwhelmed by light of divine origin, which does not obey his rules of mathematical optics. The repeated blinding of Dante by excessive light sets the tone for artists’ striving to portray unseeable brightness. Raphael shows himself to be the greatest master of spiritual radiance, while Correggio works his radiant magic in his dome illusions in Parma Cathedral. When Gaulli evokes the glories of the name of Jesus in the huge vault of the Jesuit Church in Rome he does so with an ineffable light that explodes though encircling clusters of glowing angels, whose pink bodies are bleached by the extreme luminosity of the light source. Published to coincide with the 700th anniversary of Dante’s death, this hugely original book combines a close reading of Dante’s poetry with analysis of early optics and the art of the Renaissance and Baroque to create a fascinating, wide-ranging and visually exciting study.Trade Review'Dante's descriptions are vividly visual, with a rare ability to evoke transcendence and spirituality. In considering Dante’s influence on Renaissance and baroque artists, Kemp eloquently interrogates poetry and an analysis of mediaeval optics...Visions of Heaven is an inspiring read. The quality of reproduction in this context enables the experience of the reader to include the breathtaking power of a work such as, Christ and the saints in Heaven, (detail) of Fra Angelico, The Last Judgment.' – Studio International'Martin Kemp’s Visions of Heaven is doubly worth celebrating, for it offers a wonderfully original and stimulating account of Italian Renaissance art by approaching it from a new perspective' – Literary ReviewTable of ContentsAcknowledgements; List of Illustrations; Introduction: A New Paragone; 1 Divine Light, Christian and Islamic: The Optical Dimensions; 2 Dante’s Dazzle; 3 Illuminated and Illustrated; 4 Dantesque Dramas, from Giotto to Titian; 5 Dantesque Dramas, from Correggio to Rubens; 6 Paradise Performed, from the Renaissance to the Baroque; 7 Limits of the Knowable; Notes; Bibliography; Index

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Book SynopsisIn the late 1960s, IBM was one of the world’s pre-eminent corporations, employing over 250,000 people in 100 countries and producing some of the most advanced products on earth. IBM President Thomas J. Watson Jnr. sought to elevate the company’s image by hiring world-renowned design consultants, including Eliot Noyes and Paul Rand. As well as developing the iconic IBM logo and a corporate design guide, Rand also brought together a remarkable team of internal staff designers. One of the designers he hand-picked was Ken White, who, along with John Anderson and Tom Bluhm, headed up the design team at the IBM Design Center in Boulder, Colorado. Together, they initiated a poster program as a platform for elevating internal communications and initiatives within the company. These posters were displayed in hallways, conferences rooms and cafeterias throughout IBM campuses, with subject matter including everything from encouraging equal opportunity policies to reminders on best security practices to promoting a family fun day. Designers often incorporated figurative typography, dry humor, visual puns, and photography to craft memorable and compelling messages. Many of the posters won Type Directors Club awards and a large number were ‘re-appropriated’ from walls by enthusiastic IBM employees. While Paul Rand’s creative genius has been well documented, the work of the IBM staff designers who executed his intent outlined in the IBM Design Guide has often gone unnoticed. The poster designs by White, Anderson, and Bluhm included in this book represent some of the most creative examples of mid-century corporate graphic design, while offering a unique commentary into corporate employee communications of the period. They also embody the full extent to which Thomas J. Watson Jr.’s mantra, “Good Design is Good Business” permeated every facet of the IBM organization, and created a lasting influence on curated corporate design in America. Table of ContentsBig Blue: International Business Machines; Ken, John, & Tom: The Wild Ducks; Poster Gallery: Selections from the IBM Poster Program; In Conversation with Tom Bluhm & Rodger Ewy; Poster Index by Designer; Acknowledgements & Selected Bibliography

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Book SynopsisCurating Art Now is a timely reflection on the practice of curating and the role of the art curator during a period of rapid change. Curating has a pivotal position in the art world: it is embedded in the identity and expertise of the museum and plays an ever-increasing role in the commercial art sector too. Current curatorial practice encompasses a wide range of activities, from the care of collections in museums to the presentation of large-scale contemporary biennials, and from collaboration with artists to presentations of work on digital platforms. Curating has grown substantially in the last decades, and in the early 2020s is undergoing a significant period of transition as it grapples with some fundamental questions. How diverse and inclusive is curating as a profession, and how does that inform the art and artists who come to prominence? How possible is it to conduct exploratory and inclusive curatorial work in the challenging economic climate of the early 2020s? What is the extent of a curator’s autonomy within the various institutions and structures in which they work, and what power dynamics are at work between artists and curators? Finally, how might digital art and exhibition-making give way to hybrid forms of practice, and even challenge the face of traditional curating? Lilian Cameron’s lively review addresses all of these issues, and considers the future landscape of curating in an uncertain world.Trade Review'Curating Art Now is a bold and engaging attempt to examine the fundamental contradictions and pressures faced by the field of curating in an increasingly fractured post-truth world. It is a balanced and nuanced take on the current curatorial landscape, with equal parts pragmatism and idealism.' - Sebastian Goldspink, Artist Profile, February 2023Table of ContentsForeword; Acknowledgements; Prologue: Interesting Times; Chapter 1: Knowledge and Access; Chapter 2: Changing Worlds; Chapter 3: Back Home to the Museum; Chapter 4: Artists' Takeover; Chapter 5: Digital (R)evolutions; Epilogue: Opportunity; Notes; Select Bibliography

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Book SynopsisThere is almost nothing new left to say about the urgent need to reduce our devastating impact on the biosphere that supports us. In architectural terms, we have been told since the 1960s that mainstream architecture is not engaged enough with the environmental consequences of what it produces and how it produces it. The usual approach is to propose new ways of designing and building to persuade the reader of the centrality of environmental concerns. But too many readers have remained resolutely unpersuaded over decades. In four sharp, interlocking essays, this book asks why the majority of the architectural profession and its clients still only pay lip service to the importance of the environmental. The first - Overthrowing - examines the Modern Movement’s astonishing success in establishing itself, and its legacy in contemporary architectural culture; the second - Converting - explores the inability of the environmental movement to ignite and transform architecture in the same way; the third - Making - discusses the importance of shifting architecture back to a materially-based view of itself to increase its effectiveness, and finally - Educating - looks at the need for architectural education to urgently reconsider how and what it teaches in the volatile 21st century. This in no way diminishes the extraordinary contribution that a minority in architectural practice and education have made to the development of environmental design and environmental thinking over the past fifty years. In each essay, therefore, are examples of innovative and determined people pursuing other ways of practicing architecture and other ways of training architects for this critical century, who are pulling the model of a nature-centric practice out of the margins and into the centre.Table of ContentsIntroduction. 1. Overthrowing. 2. Converting. 3. Making. 4. Educating. Revolution.

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Book SynopsisSofonisba Anguissola (c.15321625), an Italian Renaissance painter born in Cremona to a noble family, was one of the first women artists of Europe to establish an international reputation during her lifetime. This book explores the evolution of Sofonisba Anguissola's art from her training in Cremona, through her service at the court of Philip II in Madrid, to her later years as a married woman in Sicily and Genoa. It was at the Spanish court that Sofonisba Anguissola secured her reputation as a painter of international renown. Therefore, the volume places special emphasis on the social, political and cultural preconditions surrounding her role and status at the Spanish court, where she became a lady-in-waiting and painting instructor to Queen Elizabeth of Valois. In order to interrogate the circumstances of her service and her painting practice in Spain, and thus to better explain her later artistic career in Italy, the book focuses on her education, her noble status, her family ties

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Book SynopsisAlbrecht Dürer (1471-1528) enjoyed European-wide fame during his lifetime. Dürer was not only a brilliant painter, but also a pioneering printmaker, experimental draughtsman, book publisher, first German art theoretician and amateur poet. His art was avidly collected, repeatedly copied in diverse media, and often forged. Then, with his death, the posthumous Dürers were born. This book addresses his afterlife or, more correctly, afterlives. Beginning with the heartfelt eulogies of his friends and the creation of contemporary portraits of the Nuremberg master, Dürer's person, his likenesses, and his art have been celebrated for over five hundred years. Our contemporary Dürer is the subject of intense scholarly discussions on the one hand and of social and commercial popularization on the other hand.

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Book SynopsisThis book presents a rich and rewarding history of houses in England through the stories of nine houses, dating from the 1600s to the 1980s, which have been inhabited by the author, an architect and academic. Chronologically ordered, the book covers rural vernacular houses from the 17th Century, Georgian and Victorian townhouses, villas and converted industrial buildings, Edwardian semis and 20th-century council housing and mixed tenure new developments. Firstly reflecting on the author’s own experience of the house, each chapter then examines its historical context, before making a detailed analysis of the buildings design and layout, usefully illustrated with architectural drawings. Each chapter concludes with a useful discussion of lessons learnt from each house/historic period and compares them with contemporary houses which use similar materials, construction techniques or ideas. It not only details the evolution of the design and construction of houses through the centuries, but also includes concise but highly informative sections on the history of various types of construction and materiality, such as brickmaking and timber and steel frame; sections on conversion and adaptive reuse and what works and what doesn't; the evolution of styles; housing density; ownership; and the three broad waves of council/social housing etc. On reflecting on her own experiences, the author provides useful insights into how we relate to our homes, how they shape and affect us and the value and meaning of the home.Table of Contents1. Yearnor Cottage (1651): rural vernacular tradition; 2. Priestpopple (~1700): a small-town brewery continuously reinvented for its time; 3. Gower Street (1789): the growth of Georgian London; 4. Orchard Place (1824): a Regency villa that fell on hard times; 5. Wharf Place (~1902): warehouse loft-living and yuppies; 6. Bradwell Road (1902): an Edwardian semi-detached house absorbed into a New Town; 7. Haberdasher Street (1912): model dwellings for workers; 8. The Gloucester Grove (1977) and North Peckham Estates: a London ‘sink estate’; 9. Elm Village (1984): the first mixed tenure estate.

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Book SynopsisOur relationship with our homes changed in 2020 when the pandemic known as Covid-19 led to enforced periods of self-isolation, called 'lockdown'. We got to know our living spaces intimately and learned the greatest risk of infection was indoors through the breath we shared in poorly ventilated spaces, where microbial atmospheres could work their way inside, through every door, window and with every visitor. Our fear of such invisible threats will persist long after the pandemic ends and reflects a growing divide between the human and the microbial realm. This book examines the notion of the home in the context of the pandemic and lockdown, as they relate to environmental concerns and how we live with viruses and bacteria. It argues that, in order to decrease our vulnerability to infective agents, we need to acknowledge the link between people, space, daily routines and microbes and explore how the predominantly benign microbial world might be harnessed to combat and boost our immunity to future pathogens. Suggesting more than environmental home improvements, it explores new innovations and new materials which incorporate microbes for more ecological designs, such as ceramic tiles, concrete bio-receptive surfaces, building skins, fabrics, waste management and alternative energy supplies. A series of drawings which reveal the evolution of microbial technologies, infrastructures, spaces, dwellings, and architectures sets out a prototype for an ecological home for post pandemic times. Identifying the lessons that COVID-19 has brought us, the book highlights the need for humans to consider and take microbes into account in future built environments.Table of Contents1. Introduction; 2. Our Microbial World; 3. More than Human Home; 4. Architectural Challenge; 5. Future Proofing the Pandemic; 6. Microbial Futures; 7. Discussion.

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Book SynopsisThis is the first book to address the long art history of dynastic marriage exchange between Denmark and Britain between 1600 and 1900. It explores an intersection of three themes trending in early modern studies: portraiture, gender and the court as a centre of cultural exchange. This work re-evaluates the construction and staging of gender in Northern consort portraiture over a span of three hundred years, examining the development of the scientific and social paradigms inflecting consort portraiture and representation, with a view to excavating portrait images' agency at the early modern moment of their conception and making. The consort's liminal position between royal houses, territories, languages and sometimes religion, has often been equated with political weakness, but this new work argues that this position endowed the consort with a unique space for innovation in the representation of elite identity. As such, consort imagery drew upon gender as a generative resource of motifs and ideas. Each chapter is informed by new archival research and introduces the reader to little known, yet astonishing works of art. Collectively, they seek to trace a shift in practices of identity formation over time; the transition from an emphasis on rank to an increasingly binary emphasis on gender.Table of ContentsAcknowledgements; Figure List; Introduction; 1 Anna of Denmark (1574—1619); 2 Prince George of Denmark (1653—1708); 3 Louisa of Great Britain (1724—1751); 4 Caroline Matilda of Great Britain (1751—1775); 5 Alexandra of Denmark (1844—1925); Bibliography; Endnotes

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Book SynopsisThis is an accessibly written, illustrated biography of Venetian painter Rosalba Carriera (1673-1757), one of the most famous women artists in 18th-century Europe. It presents an overview of her life and work, considering Carriera's miniatures alongside her better-known, larger-scale works.Focusing on interpretation of her paintings in the historical context of her life as a single woman in Venice, the book offers an easy guide through Carriera´s life, the people she met, her clients and her artistic approach. The author's new iconographic analysis of some of Carriera's works reveals that she was an erudite painter, drawing on antiquity as well as the work of Renaissance virtuosos such as Leonardo da Vinci and Paolo Veronese. Table of ContentsAcknowledgements; Chapter 1: Venice at the Dawn of the Eighteenth Century and the Beginning of Carriera's Artistic Career; Chapter 2: An Independent Single Female Painter; Chapter 3: Carriera, the First Female Trendsetter in Technique and Style; Chapter 4: Invitations Abroad and Carriera's International Network; Chapter 5: Pastel Painting: Carriera's Greatest Success; Chapter 6: An Exceptional Life Comes to an End; Notes; Bibliography; Index

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Book SynopsisThis richly diverse study examines the evolving image and contested status of the artist in late nineteenth-century France through the lens of the artist's studio, which became a central theme in art and literature, stretching from Balzac to Proust and from Corot to Picasso. The studio was a hybrid space that blurred the distinctions between public and private, professional and domestic, artistic production and display. Besides a material space for art making, the studio was a social and commercial nexus and an extension of the artist's persona. Drawing on paintings, prints, photographs, and primary sources ranging from memoirs to popular journals, this book sheds new light on the modern studio's heightened significance as a laboratory of creative struggle and a platform for self-expression and the staging of artistic identity. It elucidates how the concept of the studio as a creative space emblematic of artistic identity, first theorized in the Renaissance, was reinvented and populari

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Book SynopsisA contemporary of Soane, Nash and Pugin, Decimus Burton (1800–1881) was one of the most prolific architects of his day and is best known for his work in London’s Royal Parks, including: the Wellington Arch and the Serpentine pavilion in Hyde Park; villas and terraces in Regent’s Park and the London Zoo; the Temperate house at the Royal Botanic Gardens, Kew; and the layout and architecture of the seaside towns of Fleetwood and St Leonards-on-Sea, and the spa town of Tunbridge Wells. Other projects include the Atheneum Club, Pall Mall, Adelaide Crescent in Brighton, and Phoenix Park in Dublin. Despite his success, little is known about Burton and this book is the first to fully examine his work, from his early years and his father’s influence, through his apprenticeship with John Nash, his works in private practice and his growing reputation, to his exploits in town planning and glass houses. This is set within a fascinating social and political context, with stories of conflict and heated dispute amongst the key players which paint a vivid portrait of the architectural profession and construction industry during this period. It reappraises Burton’s legacy and summarises his significant achievements and reveals how he contributed to the birth of the picturesque style that was to develop into the Arts and Crafts movement. Trade Review'Burton was a prolific designer of significant structures, both public and private. He certainly deserved to have a monograph, and Rabbitts’s is thorough and well illustrated.' – The Art Newspaper'Rabbitts has done a service in painstakingly chronicling the achievement of one of the leaders of the Victorian architectural profession, and for this he deserves congratulation.' – The VictorianTable of ContentsIntroduction; 1. Early Years; 2. The Nash Years; 3. A Growing Reputation; 4. Domestic Works and Phoenix Park, Dublin; 5. Town Planning and Estates; 6. Great Glasshouses: From Chatsworth to Kew; 7. Latter Days and Legacy. A Gazetteer of Burton’s Work. Notes. Bibliography

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Book SynopsisRana Begum RA (b.1977) is an artist known for her wide ranging works, from the intimate to the monumental. Using a variety of materials and exploring the use of light, she blurs the boundaries between sculpture, architecture, design and painting to create works that are both playful and ambiguous. This comprehensive monograph expands on previous writings to investigate the ideas behind the artist's varied use of materials, including wood, metal, ready-made industrial components and MDF. With a focus on her processes, the ways in which Begum's work intersects with architecture and design are drawn out, while key sources of inspiration - from the environments in which the artist works, to Islamic art and minimalism - are discussed.Combining contextual essays and an extensive interview with the artist, the development of Begum's work — from painting and furniture design to installations and light sculptures — is traced to present an in-depth overview of the multifaceted, complex work of this fascinating artist. Trade Review'Rana Begum's new and expansive monograph is a true collector's item.' – AD India'The first monograph on the contemporary artist Rana Begum explores how her nimble, arms-wide-open approach to her multifaceted work defies any simple categorisation.' – The Art NewspaperTable of ContentsForeword, Anne Barlow; The Visual Adventures of Rana Begum, Maria Lind; A Conversation with Lisa Le Feuvre; Waves of Light, Sarah Victoria Turner; Occupations of Space, Sam Jacob; Infinity, Information, Noise: Rana Begum's Abstraction, Adnan Madani; Notes; Select Bibliography; Biography; Exhibitions; Public Collections; Public Commissions; Acknowledgements; Image Credits; Index

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Book SynopsisGodefridus Schalcken: A Late 17th-century Dutch Painter in Pursuit of Fame and Fortune is the first book in English dedicated to the entire artistic output of seventeenth-century Dutch artist Godefridus Schalcken (1643–1706). It examines the artist’s paintings and career trajectory against the background of his ceaseless pursuit of fame and fortune. Combining a comprehensive analysis of Schalcken's artistic development and style with our increasing biographical knowledge, it provides an authoritative overview of Schalcken’s ample production as an artist. It also integrates his art into the circumstances of his life in relation to his ambitious career aspirations, exploring how economic conditions, a concomitantly oversaturated art market, talent and ambition, demographics, and even sheer luck all played a role in Schalcken’s great professional success. Since Schalcken’s art, like that of all Dutch painters, provides a plethora of information about seventeenth-century culture—its predilections, its prejudices, indeed, its very mind-set—the book inevitably links his work to the broader socio-cultural contexts in which it was created.Table of Contents1. Beginnings; 1643-73; 2. Crafting a Reputation: The 1670s; 3. An Internationally Famous Master: 1680-1692; 4. Schalcken in London: 1692-6; 5. The Final Years: 1696-1706; Conclusion; Notes; Bibliography; Acknowledgements; Index

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Book SynopsisEurope Views the World examines the wide diversity of images that Europeans produced to represent the wide variety of peoples and places around the globe during and after the so-called 'Age of Exploration'. Beginning with the medieval imagery of Europe’s imagined alien races, and with an emphasis on the artists of Northern Europe, Larry Silver takes the reader on a tour across continents, from the Americas to Africa and Asia. Encompassing works such as prints, paintings, maps, tapestries and sculptural objects, this book addresses the overall question of an emerging European self-definition through the evidence of visual culture, however biased, about the wider world in its component parts. Unique to this book, each chapter concludes with an 'in response', analysing representations of Europeans by indigenous peoples of each continent to give a deeper and more multi-faceted account of the impact of Europe's view of the world. Trade Review'Written in clear expository prose and argued in the lively style characteristic of Silver’s work, this new book synthesizes much recent scholarship and offers some new ideas on the ways in which Europeans depicted denizens of the rest of the world.' – Thomas DaCosta Kaufmann, Historians of Netherlandish Art ReviewsTable of ContentsPreface to an Early Modern Global Art History; Introduction: Monsters and Aliens in Medieval European Imagination; 1. Muslims — From Saracens to Turks; 2. The Americas; 3. Africa; 4. India Ink; 5. East Asia; Conclusions: The New Eighteenth Century; Acknowledgments; Suggested Further Reading and Bibliography

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Book SynopsisOriginal and idealistic, Mary Wykeham (1909-1996), to date neglected in the histories of surrealism, is brought centre stage in this first study of her remarkable pursuit of art – a creative impulse that witnessed her crossing Europe and finding success as a painter before embarking on a long struggle to reconcile her commitment to art with a religious calling. Detailing Mary Wykeham’s biography, analysing her work, and sketching the development of her political and religious thought, Silvano Levy’s meticulous research reveals a surrealist oeuvre that is both innovative and poignant. A period of interest in Taoist spirituality resulted in mesmerising and unfathomable works. In a sudden move that shocked the artist’s avant-garde circle, Mary became a nun and was forced by her superiors to give up her art. Wrestling with her creative instincts, she eventually defied the prohibitions placed on her and resumed painting until her death. Fixing a fascinating artist firmly within the story of modern art, this ground-breaking publication brings to light the work of a little-known figure who demands to be brought out of the shadows.Table of ContentsPreface; 1 Beginnings -1909 to 1935; 2 Art School - 1936; 3 Pre-War Paris - 1936 to 1939; 4 War - 1939 to 1945; 5 Post-War - 1945 to 1948; 6 Italy - 1948 to 1949; 7 Back to London - 1949; 8 A Different Paris - 1950 to 1954; 9 Paris, Oxford, India - 1954 to 1964; 10 Artist Again - 1965 to 1996; Appendix - Texts by Mary Wykeham; Exhibitions; Sources; Index

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Book SynopsisMist and fog engender fascination and mystery, enticing with their wispy veils and vapourous moods, and they are the stuff of dreams and visions. 'The mists of time' and 'in a fog' are common expressions that substantiate the long association of mist and fog with the passage of time, the vagaries of memory and feelings of uncertainty. Mist and fog obscure, conceal and when they dissipate, reveal. Vapourous atmosphere in art and life masks evil and can elicit presentiments of death. It also has been used in art to convey the splendours of the spiritual world and the terrors of the supernatural. The metaphorical meanings that have accrued to mist and fog, encouraged by their indeterminate and transitory nature, and the emotions to which they give rise, are variously evident in the work of major artists and their contemporaries. This book focusses on mist and fog from the late eighteenth to the early twentieth centuries in the places they most proliferated. Examples of literature that employ mist and fog as metaphor and in allegory from antiquity to Joseph Conrad serve to amplify many of the paintings discussed. Table of ContentsList of Illustrations; Preface and Acknowledgements; Introduction: A Brief History of Mist and Fog in British and European Painting; Mist and Gothicism in British Painting; Friedrich and Romantic Landscape; Turner: Mist, Memory, Time; Impressionism: The Atmospheric Envelope; Conclusion: Another Look at the Sublime; Bibliography

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Book SynopsisIn Housing Atlas, beautifully drawn plans, sections and elevations illustrate nearly a hundred of the most important European housing schemes of the 20th century, a period when architects addressed the multiple challenges of modern urban living and responded with an array of innovative solutions. Today, architects are revisiting these designs as they seek answers to the current housing crisis. Chronologically ordered, this is an essential survey of these key housing projects, produced by a pan-European team of leading scholars. Complete with contextual essays, the studies each include a history and analysis of the projects and the drawings are presented in a way that makes them readily comparable.Table of ContentsForeword. Forays and Crossings in the European City: The Long History of the 'Short' Century:Tools for the Design of Contemporary Housing, by Orsina Simona Pierini. Tradition and Innovation in Twentieth-Century European Housing Design, by Dick van Gameren. Liminal Spaces in Twentieth-Century Residential Architecture: A Place In Which to Learn How to be a Citizen, by Carmen Espegel. The Fall and Rise of the Street in Twentieth-Century Housing, by Mark Swenarton. 87 Case Studies. Acknowledgements.

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Book SynopsisIn this first major study of the work of the painter John Wonnacott (b.1940), Charles Saumarez Smith has surveyed a body of work produced at a tangent to the orthodoxies of modernism. Exploring the artist's formative experiences at the Slade, which connected him with artists such as Frank Auerbach and Michael Andrews and the School of London more broadly, Saumarez Smith roots Wonnacott's approach in his commitment to the discipline of drawing, his acute skills in observational analysis and the mechanics of graphic invention that makes his visual response to the world so memorable. Alongside commissioned portraits created in the grandest of architectural spaces, from naval bases to the Painted Hall at Greenwich and including John Major in 10 Downing Street and the Royal Family in Buckingham Palace, he has produced a revealing diary of self-portraits stretching back from his early teens and landscape paintings of light and sky which are celebrations of his native Essex coastline. In presenting the full range of Wonnacott's impressive oeuvre, the scope of the artist's remarkable achievement is revealed.Table of ContentsIntroduction; Chapter 1: Early Life; Chapter 2: The School of London; Chapter 3: The Family; Chapter 4: Chalkwell; Chapter 5: Teaching; Chapter 6: Dealers; Chapter 7: John Major; Chapter 8: The Landscape of Essex; Chapter 9: The Royal Family; Chapter 10: Self-portraits and Friends; Chapter 11: Late Works; Chapter 12: Critical Reflections; Acknowledgements; Index

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Book SynopsisThe Front Room: Diaspora Migrant Aesthetics in the Home, originally published in 2009, has become a beloved and much-praised source, providing fascinating revelations into the post-war British experience of immigrants, the decoration of their living spaces and their position in society in relation to decolonisation. The 'front room' (emanating from the Victorian parlour) provides an outlet to respond to the feelings of displacement, exile and alienation and the rebuilding of a home in a strange land. Primarily concerned with Caribbean homes, The Front Room also looks at Moroccan, Surinamese, Antillean and Indonesian migrant groups in Holland—encompassing, through texts, archival documents and artistic photographs, the important cultural markers that are expressed through the domestic interiors of migrants. The author examines how this intimate space within the home raises issues of class, race, migration, aspiration, religion, family, gender, identity and alienation. He also looks at the transition from the colonial post-colonial modernity by placing the book in the context of his own family’s migrant experience. While this revised edition includes updates of the original essays from leading social commentators Stuart Hall, Denise Noble, Carol Tulloch and Dave Lewis, as well as poems by Khadijah Ibrahiim and Dorothea Smartt, and paintings by Sonia Boyce, Kimathi Donkor and Njideka Akunyili Crosby. It also examines the iteration of the 'front room' in post apartheid South Africa and discusses how sound system culture emerged from the front room, as well as adding to the rich oral histories from different generations reflecting on their personal experiences of the front room and discussing the artefacts and objects found in them in terms of their cultural significance. The Front Room documents how the 'Windrush' generation's settlement in Britain contributed to the making of multicultural society, and raises questions about our lived experience and notions of the ‘home’, as many more people globally look for a roof over their heads in the 21st century. The book is richly illustrated with intriguing photographs of installations based on front rooms of the time and the contemporary living room and their associated objects.Trade ReviewSelected as one of FAD Magazine's 'Top Art Books To Read This Summer', 2023: 'This is an interesting look at how the front room of a household of first generation immigrants reflects their values, culture and the history of colonialism – a fascinating topic. It’s largely focused on Caribbean households, but the display cabinets and doilies also reminded me of my own parent’s household.' – Tabish Khan, FAD MagazineTable of ContentsGrandad's Home Brew by Khadijah Ibrahiim; Diaspora Migrant Aesthetics in the Front Room; The 'West Indian' Front Room by Stuart Hall; The Arrivants; The Pardner Hand, Green Shield Stamps and Mr Sheen; The top ten things in the Front Room; Front Room Angel by Dorothea Smartt; Children ... in the Front Room!; Dressed by Women and Used by Men - 'A Room of her own' by Denise Noble; Familial Dress Relations and the West Indian Front Room by Carol Tulloch; Saturday Night, Sunday Morning; Rebellion, Revolts and Resistence; Van Huis Uit: The Living Room of Migrants in the Netherlands; the Front Room 'Inna Joburg'; Returnees and Remittances; A Time Has Passed.

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Book SynopsisFrom artworks and chairs to architecture, landscaping and interior design, Michael Boyd’s devotion to the principles of modernism is comprehensive. An artist and musician, he acquired his expertise as a collector, surrounding himself with rare and beautiful finds. His immersion in the philosophy and creativity of the masters inspired him to restore a succession of classic modern houses, curate exhibitions, create a versatile range of furniture and rugs, and design sculptural gardens. Millennium Modern: Living in Design details his work across the first two decades of the new millennium and reflects his belief that the tenets of modernism – honesty and simplicity - developed more than a century ago, are equally relevant to our pluralistic age. In contrast to the pioneers who wanted to do away with the past, his creations are deeply rooted in the history of design. Essays by Boyd and architectural writer Michael Webb, along with comments from collaborators and critics, explore each facet of his residential design. This beautifully illustrated volume reveals Boyd’s holistic design practice from his discovery of design classics in flea markets, to his own furniture designs, which feature in residential interiors, hotels and museums, through to his sensitive restoration of the houses by Paul Rudolph and Oscar Niemeyer, Richard Neutra and Craig Ellwood, and the sculptural landscapes he designed to enhance these residences, as well as masterpieces by John Lautner.Trade Review‘Michael Boyd is one of those rare designers that can work creatively in various mediums and the book's essays and more than three hundred photos clearly reveal this.’ - Robin BensonTable of ContentsForeword by Roman Alonso, Principal of Commune Design; Introduction by Michael Webb; Collecting Modernism; Restoring Modernist Houses; Designing from the Ground Up; Rethinking the Chair; Designing Abstract Rugs; Collaborating with Commune; Enhancing Museums; Saving a Jean Prouvé Schoolroom; Landscaping Outdoor Rooms; Michael Boyd: Living in Design.

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Book SynopsisIn contrast to Henry Moore's well-known drawings depicting Londoners sheltering from the Blitz, little has been written about how this son of a Yorkshire coalminer tackled his second commission from the War Artists' Advisory Committee in 1941; drawing men in 'Britain's underground army', the miners of Wheldale colliery.Redressing this imbalance, Chris Owen's comprehensive account of the coalmining drawings explores every aspect of the commission - from Moore's return to his childhood home and the challenges associated with 'drawing in the dark' to the significant influence of the project on Moore's later work, including the Warrior and Helmet Head sculptures, and his little-known illustrations to W.H. Auden's poetry.With illustrations drawn from Moore's rich body of sketches and finished drawings, along with press photographs recording the commission and a range of contextual material, text and images combine to present the definitive study of this impressive body of work.Table of ContentsIntroduction; Chapter 1: WAAC and the Coalmining Commission; Chapter 2: 'Down the Pit'; Chapter 3: Developing the Drawings; Chapter 4: Contexts and Influences; Chapter 5: The Coalmining Drawings; Chapter 6: Enduring Influence; Conclusion; Select Bibliography; Endnotes; Index

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Book SynopsisBy 1862, just a decade after its launch as a study collection for art and design, the Victoria and Albert Museum had become a reference resource for collectors, scholars and art-market experts. Enriching the V&A, the final volume in a trilogy of books on the museum’s 19th-century history, describes how the young museum’s rapid growth in the following decades was driven more by collectors, agents and dealers, through loans, gifts and bequests, than by the combined expertise, acquisitions policies and buying power of its directors and curators. The V&A soon became a collection of collections, embodying a new age of collecting that benefitted from the break-up of historic institutions and ancestral collections across Europe, and imperial expeditions in Asia and Africa. The industrial revolution had created a new social class with the resources to buy from the expanding art market, especially in the decorative arts. Many were touched by a new moral imperative to collect for the home, however humble, and to share their specialist knowledge and enthusiasm by lending to the new public museums. Enriching the V&A explores the formative influence on the museum, and on pioneering fields of scholarship, of the V&A’s leading Victorian and Edwardian benefactors. It also shares uncomfortable truths about the sources of some objects from the age of empires and shows how the meanings of things can change through the transformation of private property into public museum collections.Trade Review'In his foreword, V&A director Tristram Hunt sees "collecting as a human impulse that everyone shares", and we can only imagine how future scholars will assess the collecting under way at the V&A now. Surely they will benefit from Julius Bryant’s landmark achievement.' – Peter Trippi, Journal of the History of CollectionsTable of ContentsForeword, Tristram Hunt; Part I: A Museum for Collectors?; Part II: Polymaths of the Graphic Arts; Part III: Collecting Overseas; Part IV: Collecting for New Museums; Part V: Collectors at Home; Part VI: Into the New Century; Notes; Acknowledgements; Further Reading; Index

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Book SynopsisJoe Tilson RA (b.1928) is one of the great figures in post-war British art and a pivotal artist of the British Pop Art movement during the 1960s. Still working, and still evolving, he has continued to explore many new directions and a great variety of mediums since moving away from his Pop origins. Astonishingly, no general monograph documenting all these phases of Tilson’s prolific production has ever been published. This book remedies this through a series of insightful chapters, exploring each decade of the artist’s career, written by Marco Livingstone, a respected authority on British contemporary art. Featuring a lively and visually rich design, this unique work will guide the reader through the evolution of one of the most distinctive voices in contemporary British art.Table of Contents1 Tilson Territory; 2 The 1960s :The Pop years; 3 The 1970s: A Labyrinth of Languages; 4 The 1980s: Unity And Wholeness; 5 The 1990s: Le Crete Senesi And Conjunctions; 6 Post 2000: L‘Arte A modo Tilson - The Venice Years; Chronology; Exhibitions; Public Collections; Further Reading; Text Credits; Photo Credits

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Book SynopsisThis book offers the first critical account of Studio Aalto’s religious modern architecture. Aalto’s ecclesiastical oeuvre is viewed as an evocative subgenre of the practice's portfolio, but its relationship to religion has eluded enquiry. Where previously discussed, the longstanding collaboration between Aalto and the Church has been put down to reciprocal expediency, and the buildings perceived as spatially and structurally stirring experiments, yet devoid of religious meanings or implications. The idiosyncratic plasticity of the Church of the Three Crosses (1955–58) in Imatra, Finland—the most famous and architecturally impressive of Aalto’s churches—is cited as ultimate evidence of Aalto’s exploitation of the religious brief for the creation of a 'sculptural irrationality'. This book challenges the assumed autonomy of Studio Aalto’s ecclesiastical oeuvre from religion. Analysing designs for churches, parish centres, funerary chapels and cemeteries in Finland, Denmark, Germany and Italy, the book shows that Aalto’s engagement with religion transcended artistic opportunism. The book addresses Aalto’s sacred oeuvre in its entirety, yet pays particular attention to the Church of the Three Crosses, broadly considered the apotheosis of Aalto’s sacred career. Through a detailed analysis of the religious actors and factors that shaped the design and construction of Aalto’s sacred works—from local parish building committees to bishops, and from liturgical reform movements to post-war debates on sacred art—this book shows that religious influences were neither extrinsic nor peripheral to Aalto’s modernism, but intrinsic and intimately related to it. The study of previously uncovered primary archival materials establishes that Aalto’s engagement with the Church was a consciously and productively symbiotic partnership which drew from shared interests and values, yet which also encompassed compromise and conflict. The resultant buildings neither glorify nor deny institutional religion — instead, this book argues, they challenge rigid dogmatism in religion as much as in modern architecture.Trade Review'While the book travels deep into specifically Finnish territory, the questions it raises have strongly universal dimensions for all modern architecture.' - Timothy Alouani-Roby, IndesignTable of ContentsIntroduction. 1. Building Country and Community. 2. The City and the Sacred. 3. Making a Modern Church. 4. Resisting Reform. 5. Modernist Milieux of Religion. 6. Priestly Patronage. 7. The Gift of Doubt. 8. Conclusions

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Book SynopsisArts philanthropy is at a crucial moment: many arts organisations are facing a financial crisis, the 2020-21 Covid-19 pandemic exposed the fragility of existing funding structures, and various social initiatives and causes have thrown renewed focus on how the arts are funded. Around the world, a new generation of philanthropists is emerging with different motivations and priorities. This book offers an open and wide-ranging exploration of philanthropy in the arts from the perspectives of both the donors and the recipients, seeking to improve understanding on both sides, and asks what the future holds for arts philanthropy given the rapidly changing landscape. It provides an essential guide for collectors, philanthropists and patrons, as well as art-market and museum professionals, on the peculiarities of giving and taking in the arts sector.Table of ContentsForeword; Acknowledgements; Introduction; 1 Giving; 2 Taking; 3 Barriers to Arts Philanthropy; 4 New Perspectives, New Models; Conclusion; Notes; Further Reading; Index

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