Conservation and resto Books

Book SynopsisThe Routledge Handbook of Heritage Destruction presents a comprehensive view on the destruction of cultural heritage and offers insights into this multifaceted, interdisciplinary phenomenon; the methods scholars have used to study it; and the results these various methods have produced.By juxtaposing theoretical and legal frameworks and conceptual contexts alongside a wide distribution of geographical and temporal case studies, this book throws light upon the risks, and the realizations, of art and heritage destruction. Exploring the variety of forces that drive the destruction of heritage, the volume also contains contributions that consider what forms heritage destruction takes and in which contexts and circumstances it manifests. Contributors, including local scholars, also consider how these drivers and contexts change, and what effect this has on heritage destruction, and how we conceptualise it. Overall, the book establishes the importance of the need to study Table of Contents1. A path well worn? Approaches for the old problem of heritage destruction; Part 1 Understanding Destruction -- 2. Heritage Destruction in Conflict; 3. Talking about Heritage Destruction in Market Countries; 4. Destruction of Cultural Heritage in Peacetime and International Law; 5. Development of the Law of Armed Conflict as Applied to Cultural Heritage; 6. Heritage Destruction and Human Rights; 7. Heritage Destruction and Genocide: Legal Resistance, Conceptual Resiliency; 8. Methods, Motivations, and Actors: A Risk-based Approach to Heritage Destruction and Protection; Part 2 Interpretations of Destruction – 9. Heritage Destruction, Natural Disasters, and the Environment: Geological Disasters; 10. Heritage Destruction, Natural Disasters, and the Environment: Atmospheric Disasters; 11. Flooded Heritage: The Impact of Dams on Archaeological Sites; 12. On Destruction in Art and Film; 13. Between Heritage and the Readymade—the Imminent Aesthetic of Ai Weiwei; 14. Heritage Predation and the Pursuit of Politics; 15. Post-conflict Recovery Challenges: Affect and Heritage in Post-conflict Cyprus and Italy; 16. Media Narratives, Heritage Destruction, and Universal Heritage: A Case Study of Palmyra; 17. Collateral Damage: The Negative Side Effects of Protecting Cultural Heritage in Conflict Related Situations; 18. Turning Destruction into an Opportunity: Understanding the Construction of Timbuktu’s ‘success story’ by UNESCO; 19. Heritage Destruction from a Humanitarian Perspective; Part 3 Expressions of Destruction -- 20. Cultural Property Destruction and Damage in Two World Wars; 21. Heritage Destruction and its Impact in Scandinavia and the Baltic Region during the Second World War; 22. Case Study: The Wars of Yugoslav Succession; 23. Cambodia: Gods Threatened by the Art Market and Warfare; 24. Destruction of Cultural Heritage in Times of Conflict: The Case of Syria; 25. Iraq: Creative Destruction and Cultural Heritage in the Warscape; 26. Iraqi and Syrian Responses to Heritage Destruction under the Islamic State: Genocide, Displacement, Reconstruction, and Return; 27. Heritage Destruction in the Caucasus with a Specific Focus on the Armenia-Azerbaijan Conflict; 28. Weaponised Heritage: Urbicide by Construction and Destruction in Nablus, Palestine; 29. What is Happening to Egyptian Heritage? The Case of Privately-owned Buildings; 30. Destruction, Development, and Heritage in Melbourne: SX Towers, Southern Cross Hotel, Eastern Market; 31. Case Study: The destruction of Australian Aboriginal Heritage and its Implications for Indigenous Peoples Globally; 32. Destruction of Heritage in Latin America; Part 4 Transformations – 33. Reconsidering Heritage Destruction and Sustainable Development in a Long-Term Perspective.

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Book SynopsisWhile much has been achieved in understanding and managing weather effects and erosion phenomena affecting ancient imagery within the relatively protected environments of caves and rock-shelters, the same cannot be said of rock-art panels situated in the open-air. Despite the fact that the number of known sites has risen dramatically in recent decades there are few examples in which the weathering and erosion dynamics are under investigation with a view to developing proposals to mitigate the impact of natural and cultural processes. Most of the work being done in different parts of the world appears to be ad-hoc, with minimal communication on such matters between teams and with the wider archaeological community. This richly illustrated book evaluates rock-art conservation in an holistic way, bringing together researchers from across the world to share experiences of work in progress or recently completed. The chapters focus on a series of key themes: documentation prTable of Contents1. Introduction Timothy Darvill and António Pedro Batarda Fernandes 2. Approaches to the Conservation and Management of Open-Air Rock-Art Panels in England, United Kingdom Timothy Darvill 3. The Preservation and Care of Rock-Art in Changing Environments: A View from Northeastern England, United Kingdom Myra J. Giesen, Aron D. Mazel, David W. Graham, and Patricia B. Warke 4. Pride and Prejudice: The Challenges of Conserving and Managing Rock Art in the Landscape of Northern England, United Kingdom, Through Public Participation Kate E. Sharpe 5. Irish Open-Air Rock-Art: Issues of Erosion and Management Elizabeth Shee Twohig and Ken Williams 6. The Open-Air Rock-Art Site at Leirfall, Central Norway, Within the Context of Northern Scandinavian Rock-Art Conservation and Management Practices Over the Past 50 Years Elizabeth E. Peacock, Eva Lindgaard, Kalle Sognnes, Roar Sæterhaug, and Gordon Turner-Walker 7. Experiences Documenting Petroglyphs at Lake Onega, Russia, 1998–2012 Nadezhda V. Lobanova 8. ‘Preservation by Record’: The Case from Eastern Scandinavia Liliana Janik 9. Aspect and Rock-Art Conservation: Preliminary Meteorological Data Regarding the Côa Valley, Portugal, Open-Air Rock-Art Complex António Pedro Batarda Fernandes 10. Lonely Stones: Preservation of Megalithic Art in the Iberian Peninsula Fernando Carrera Ramírez 11. The Conservation of Spanish Levantine Rock-Art in Aragón, Spain, Using 3-D Laser Scanning Manuel Bea and Jorge Angás 12. Conservation Programs in Chaco Cultural National Historical Park, USA: Outgrowths and Consequences of Recording Projects Jane Kolber and Donna Yoder 13. Managing Chaos: Vandalism Rock-Art at the Okotoks Erratic, Alberta, Canada Jack W. Brink 14. The Conservation Diagnostic Processes in Columbian Rock-Art Research Guillermo Muñoz and Judith Trujillo 15. Conservation of Rock-Art Sites in Northeast Brazil Maria Conceição Soa

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Book SynopsisA call for western museums to wash their hands of colonial bloodTrade Review'A real game-changer' -- The Economist'If you care about museums and the world, read this book' -- New York Times 'Best Art Books' 2020'Hicks’s urgent, lucid, and brilliantly enraged book feels like a long-awaited treatise on justice' -- Coco Fusco, New York Review of Books'Unsparing ... especially timely ... his book invites readers to help break the impasse by joining the movement for restitution.' -- CNN'The book is a vital call to action: part historical investigation, part manifesto, demanding the reader do away with the existing “brutish museums” of the title and find a new way for them to exist' -- Charlotte Lydia Riley, Guardian'A startling act of conscience. An important book which could overturn what people have felt about British history, empire, civilisation, Africa, and African art. It is with books like this that cultures are saved, by beginning truthfully to face the suppressed and brutal past. It has fired a powerful shot into the debate about cultural restitution. You will never see many European museums in the same way again. Books like this give one hope that a new future is possible.' -- Ben Okri, poet and writer'An epiphanic book for many generations to come' -- Victor Ehikhamenor, visual artist and writer'Unflinching, elegantly written and passionately argued, this is a call to action' -- Bénédicte Savoy, Professor of Art History at Technische University'In his passionate, personal, and, yes, political account, Dan Hicks transforms our understanding of the looting of Benin. This book shows why being against violence now more than ever means repatriating stolen royal and sacred objects and restoring stolen memories' -- Nicholas Mirzoeff, Professor in the Department of Media, Culture and Communication at New York University'Destined to become an essential text' -- Bryan Appleyard, Sunday Times'Dan, your words brought tears to my eyes. I salute you' -- MC Hammer'A masterful condemnation and inspiring call to action' -- Los Angeles Review of Books'Timely' -- Nature'The Brutish Museums shows that colonial violence is unfinished, and as it persists in the present, it cannot be relativized.' -- Ana Lucia Araujo, Public Books'The Brutish Museums leaves no stone unturned' -- Financial Times'The Brutish Museums argues, persuasively, that the corporate-militaristic pillage behind Europe’s encyclopedic collections is not a simple matter of possession, but a systematic extension of warfare across time' -- The Baffler'A bombshell book' -- Los Angeles Times‘After this book, there can be no more false justifications for holding Benin Bronzes in museums outside of Africa’ -- Africa is a Country‘Presents a powerful case for restitution of looted objects, and hostile responses to it highlight enduring attachments to imperialism' -- ‘Counterfire’Table of ContentsPreface 1. The Gun That Shoots Twice 2. A Theory of Taking 3. Necrography 4. Projection 5. World War Zero 6. Corporate-Militarist Colonialism 7. War on Terror 8. The Benin-Niger-Soudan Expedition 9. The Sacking of Benin City 10. Democide 11. Iconoclasm 12. Looting 13. Necrography 14. 'The Museum of Weapons, etc 15. Chronopolitics 16. A Declaration of War 17. A Negative Moment 18. Ten Thousand Unfinished Events Afterword: A Decade of Returns Appendix One: Provisional List of the Worldwide Locations Of Benin Plaques Looted in 1897 Appendix Two: Sources of Benin Objects in the Pitt Rivers Museum, Oxford (the 'first collection' Appendix Three: Sources of Benin Objects in the former Pitt-Rivers Museum, Farnham ('the second collection') Appendix Four: Current Location of Benin Objects previously in the Pitt-Rivers Museum at Farnham (the 'Second Collection') Appendix Five: A Provisional List of Museums, Galleries and Collections that May Currently Hold Objects Looted from Benin City in 1897. References

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Materials in Conservation is the definitive introduction to the properties of materials used in conservation. The continual struggle of conservators to ameliorate the deterioration of objects has led to increasing use of synthetic polymers. These materials are part of the sophisticated technology that has been developed to augment and often replace traditional materials and methods. Conservators therefore have a wider range of techniques available. However, they must be able to appreciate the potentials and pitfalls of any proposed technique. The first section explains physical and chemical properties which are important in the conservation process, i.e. application, ageing, reversal. The topics covered include molecular weight, glass transition temperature, solubility and solvents, polymerisation and degradation reactions. The second section provides a detailed consideration of the individual materials, current and obsolete, used in conservation, drawing out the fac

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Book SynopsisIllustrated with contemporary case studies, Curating Design provides a history of and introduction to design curatorial practice both within and outside the museum. Donna Loveday begins by tracing the history of the collecting and display of designed objects in museums and exhibitions from the 19th century ''cabinet of curiosities'' to the present day design museum. She then explores the changing role of the curator since the 1980s, with curators becoming much more than just keepers' of a collection, with a remit to create narrative and experiential exhibitions as well as develop the museum's role as a space of learning for its visitors.Curating as a practice now describes the production of a number of cultural and creative outputs, ranging from exhibitions to art festivals; shopping environments to health centres; conferences to film programming as well as museums and galleries. Loveday explores how design has come to the fore in curatorial practice, with new design museums opeTrade ReviewLike the gifted curator she is, Donna Loveday gives this comprehensive survey of the fast emerging field of design curating a context of history and theory, while effectively highlighting individual stories. As both a practitioner and teacher, nobody is better placed than Loveday to unpick the intricate relationships between designers, curators and museums. -- Deyan Sudjic, Director Emeritus of the Design Museum, UK and Professor of Architecture and Design Studies at Lancaster University, UKAs many museums and galleries expand their remit to include designed objects, new questions have arisen for the practitioners involved. When did the practice begin? What are the main issues that it brings with it? Who are the leaders in the field? Curating Design, the first book to address this exciting new field, sets out to interrogate many of the questions that arise and to provide design curation with both an intellectual and a practical framework. -- Penny Sparke, Professor of Design History, Kingston University, UKThis is a timely volume. It provides a thorough account of the development of design curation in the context of the histories of modernity and it presents critically rich commentaries from leading contemporary global practitioners about the making of design exhibitions. In acknowledging the distinct demands that mark and attend curating what is defined as 'design', this volume represents a valuable contribution to what is a growing field of practice and scholarly inquiry. -- Michael J. Prokopow, Associate Dean, OCAD University, CanadaThis is an essential document contextualizing the vital role the design curator plays in demystifying design and creating new audiences for contemporary design exhibitions. By covering the birth and development of curating as a profession, from the original private collections of strange and wonderful objects to contemporary seminal design shows, from the old cabinet of curiosities of the wealthy to current debates on artefact appropriation, it authoritatively sets the landscape for informed discussion. As the design profession expands to almost every sphere so does the curation of design. This book investigates the new frontiers of design and by doing so it validates design in each new frontier. Curating Design isn’t only valuable to design curation educators and practitioners but to anyone keen to understand and cater for the new appetite of contemporary audiences for exhibitions exploring the ever-expanding borders of design approaches to complex current topics. -- Fabiane Lee-Perrella, Founder of Flour Studio, UKTable of ContentsList of Illustrations List of Contributors Acknowledgements Introduction Part One: Displaying Designed Objects in Museum and Exhibition Contexts, 1800s-2000 1.1 Cabinets of Curiosities and the Formation of the Public Museum 1.2 International Exhibitions 1.3 The Decorative Arts Museum and the Modern Art Museum 1.4 The Emergence of the Design Museum 1.5 A Rising Public Interest in Design 1.6 The Growing Popularity of Design Exhibitions 1.7 New Programmes to Train Curators Part Two: The Curatorial Turn, 1980-2020 2.1 A Changing Political Landscape for Museums 2.2 The Educational Turn: The Museum as an Ideal Learning Environment 2.3 Producing New Curatorial Formats: The Public Programme Curator 2.4 The Experiential Turn in Museums 2.5 Designing Exhibitions as Narrative Space 2.6 Curating Narrative and Experiential Exhibitions Part Three: Interviews with Eight International Design Curators 3.1 The Reflective Practitioner 3.2 The Interviews Corina Gardner (Victoria and Albert Museum, UK) Andrea Lipps (Cooper Hewitt, Smithsonian Design Museum, USA) Riya Patel (The Aram Gallery, UK) Sumitra Upham (Crafts Council, UK) Renata Becerril (Abierto Mexicano de Diseño, Mexico) Fleur Watson (Centre for Architecture Victoria, Australia) Wilhelm Finger and Melita Skamnaki (Double Decker, UK) 3.10 Curating the Design Programme Closing Comments Bibliography Index

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Book SynopsisAlmost every museum in the world is confronted with plastics in their collections. Research initiatives and knowledge concerning the conservation of heritage objects made of plastics have proliferated over the last twenty-five years, necessitating this up-to-date, comprehensive resource. Intended as a highly practical guide for the conservation community, this authoritative book offers information essential to understanding plastics, polymers, and rubber/elastomers and their behaviors in the cultural heritage context. Numerous graphs, diagrams, and illustrations allow readers to compare the mechanical, physical, thermal, and optical properties of these substances during conservation. Aimed at the hands-on museum practitioner, this book will assist professionals in choosing the appropriate materials for cleaning, adhering, and consolidating plastic objects-with the result that collections will benefit from a longer lifespan. Complementing the main chapters, fifty-six illustrated "fact sheets" summarize, at a glance, the properties of those plastics most commonly found in museum collections. Six informative case studies present real-world examples of current conservation approaches to works of art and design made of plastics and rubber/elastomers. Under the expert authorship of Thea B. van Oosten, conservation scientist, educator, and internationally regarded authority on the behavior and properties of plastics, this instructive volume is destined to become an invaluable resource for the field.Trade Review"The conservation of plastic objects is a new challenge for cultural heritage. This book, written by a recognized expert in the field, provides conservation students and conservators with the solid and comprehensive foundation needed to best care for our modern and contemporary heritage-a must-read text- and reference book!"-Bertrand Lavedrine, coordinator of the POPART project, Centre de Recherche sur la conservation, Paris; "A must-read for conservators, but also interesting for conservation scientists and curators confronted with plastic material, especially in modern art, textiles, and furniture. The book is very well structured, very informative, and beautifully illustrated. The book provides a base for understanding the chemistry of plastic, explained in a highly understandable fashion with several case studies focused on a wide range of conservation issues. In addition, fifty-six fact sheets present the most relevant plastics in an outstanding manner. A joy to read."--Maarten R. van Bommel, Professor of Conservation Science, University of Amsterdam; "A must-have introduction for conservation students, as well as an everyday handbook for conservators who care for the preservation of collections with objects made of plastic. This publication is an important step in raising awareness of the conservation of plastic objects."--Friederike Waentig, Technische Hochschule Koeln

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Book SynopsisA volume considering questions of conservation that arise with new artistic mediums and practices. Much of the artwork that rose to prominence in the second half of the twentieth century took on novel forms—such as installation, performance, event, video, film, earthwork, and intermedia works with interactive and networked components—that pose a new set of questions about what art actually is, both physically and conceptually. For conservators, this raises an existential challenge when considering what elements of these artworks can and should be preserved. This provocative volume revisits the traditional notions of conservation and museum collecting that developed over the centuries to suit a conception of art as static, fixed, and permanent objects. Conservators and museums increasingly struggle with issues of conservation for works created from the mid-twentieth to the twenty-first century that are unstable over time. The contributors ask what it means to conserve artworks that fundamentally address and embody the notion of change and, through this questioning, guide us to reevaluate the meaning of art, of objects, and of materiality itself. Object—Event—Performance considers a selection of post-1960s artworks that have all been chosen for their instability, changeability, performance elements, and processes that pose questions about their relationship to conservation practices. This volume will be a welcome resource on contemporary conservation for art historians, scholars of dance and theater studies, curators, and conservators. Trade Review“Object—Event—Performance lays out several tantalizing observations on the ways that art since the 1960s increasingly challenged the traditional values found in art and conservation. . . . The volume is ambitious and informative, and the approach particularly germane to the artistic practices that are predicated upon live performance, variously conceived, with elements captured in ways difficult to preserve or transfer. It is a valuable contribution to conversations that continue to be explored within the field of conservation.” -- Joyce Tsai, University of Iowa“This collection is promising for its conception of conservation as a ‘participative practice’ that alters as much as conserves an object or a work and for its emphasis on the dynamic changeability of art’s materialities. It is also promising for the ways that it attempts to speak across audiences who are often segregated into either practitioners, scholars, curators, or conservators.” -- Rebecca Schneider, Brown UniversityTable of ContentsSenior Editor’s PrefaceAcknowledgementsIntroduction: Object—Event—PerformanceHanna B. Hölling1. Introducing Fluxus with ToolsHanna B. Higgins2. Exhausting Conservation: Object, Event, Performance in Franz Erhard Walther’s WerkstückeHanna B. Hölling3. Video Art’s Past and Present “Future Tense:” The Case of Nam June Paik’s Satellite WorksGregory Zinman4. Resurrecting Hannah Wilke’s Homage to a Large Red LipstickAndrea Gyorody5. Mutable and Durable: The Performance Score after 1960Alison D’Amato6. Sometimes An Onion: Simone Forti and the Choreographic Logic of Objects and InstitutionsMegan Metcalf7. Views of Nature: Preserving Land (Art) with Collective IntentRebecca Uchill8. Enlivened Pieces: Richard Tuttle at the Whitney Museum of American Art 1975Susanne Neubauer9. The Cheapness of Writing Paper, and Code: Materiality, Exhibiting and Audiences after New Media ArtBeryl Graham10. The Propensity toward Openness: Bloch as Object, Event, and PerformanceJohannes M. Hedinger and Hanna B. HöllingList of ContributorsIndex

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Book SynopsisTibetan culture revives in hidden Himalayan kingdom. Photographers Luigi Fieni and Kenneth Parker document the cultural revival of Tibetan Mustang “the hidden kingdom” of the Himalayas. A restoration project of its sacred temple murals directed by Luigi Fieni over more than 20 years has reawakened Buddhist traditions. Included is Mustang’s extraordinary landscape as well as the Lobas’ spiritual and secular way of life. The kingdom of Mustang, where Tibetan Buddhist tradition continues, is emerging as a beacon of community-directed art conservation and resurgent culture. Sacred temples dominate the medieval capital Lo Monthang. Following centuries of deterioration a mural restoration project has taken place over more then 20 years, directed by conservator/photographer Luigi Fieni. This included training the unskilled Lobas in Western conservation methods. This extraordinary initiative led to a vibrant cultural renaissance in the kingdom.

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Book SynopsisCivilization is a race between education and catastrophe. H.G. Wells This is an unsparing dissection of the current education system by someone who has managed to wade through it, comparatively unscathed. Unbroken and unshaken by a system that believesargely in the status-quo, writer Sid Sanghviays bare the truths aboutearning and the paradoxes in the system'' of education. He challenges age-old notions about how information is imparted, and argues thatearning without any understanding of how toearn, is the root of the problem. The book takes a dispassionateook at the rights and wrongs perpetuated by the education system, both knowingly and unknowingly. There was a time when teachers kept a record of all the educating they had done: 911,527 blows with a rod, 124,010 blows with a cane, 20,989 taps with a ruler, 136,715 blows with the hand, 10,235 blows to the mouth, 7,905 boxes on the ear, and 1,118,800 blows on the head,'' wrote one teacher in his personal diary. Cut to the present, with the inefficiencies of the current education system exposed by the emergence of Covid-19, there could not be a better time for the incumbents to get a much needed reality check. But fear not, in tandem with attempting toay bare the flaws of primary and secondary education, this book offers a roadmap for how one may successfully navigate the current system to maximize their probability of success. This is a simple guide to our education system: its past, its present and a roadmap for its future.

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Book SynopsisBarbara Furlotti presents a dynamic interpretation of the early modern market for antiquities, relying on the innovative notion of archaeological finds as mobile items. She reconstructs the journey of ancient objects from digging sites to venues where they were sold, such as Roman marketplaces and antiquarians' storage spaces; to sculptors' workshops, where they were restored; and to Italian and other European collections, where they arrived after complicated and costly travel over land and sea. She shifts the attention away from collectors to the elusive peasants with shovels, dealers and middlemen, and restorers who unearthed, cleaned up and repaired or remade objects, recuperating the role these actors played in Rome's socioeconomic structure. Furlotti also examines the changes in economic value, meaning, and appearance that antiquities underwent as they moved from person to person during their journey and as they reached the locations in which they were displayed. Drawing on vast unpublished archival material, she offers answers to novel questions: How were antiquities excavated? How and where did peasants, merchants, and agents trade them? How was a price agreed upon between sellers and buyers? How were laws about the ownership of ancient finds made, followed, and evaded?

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Book SynopsisEggshells, flowers, onion peels, sponge cake, dried bread, breast milk-these are just a few of the biological materials that some contemporary artists have used to make art. But how can works made from such perishable ingredients be preserved? And what ethical and conceptual dilemmas might be posed by doing so? Because they are prone to rapid decay, even complete disappearance, biological materials used in art pose a range of unique conservation challenges. This groundbreaking book probes the moral and practical challenges associated with displaying, collecting, and preserving these unique works of art. Theoretical considerations are complemented by a range of specific case studies, thereby affording a comprehensive and richly detailed overview of current thinking and practices on this topic. With contributions by conservators, scholars, curators, and artists, Living Matter is the first publication to address broadly these provocative issues, exploring the role of biological materials in the creative process and presenting a wide variety of possible approaches to their preservation. The free online edition of this publication is available at getty.edu /publications/living matter/ and includes videos and zoomable illustrations. Also available are free PDF, EPUB, and Kindle/MOBI downloads of the book.Trade Review“The world of conservation is finally considering the vitality of artworks that can act as quasi agents of their own. The proceedings of this important symposium on the conservation of biological materials in art illuminates, through a wide range of case studies, how traditional approaches both to art and to conservation fail to adequately address the new materiality of post-anthropocentrism.”-- Marina Pugliese, Professor, Art History and Visual Culture Department, California College of the Arts (CCA)

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Book SynopsisPresenting new scholarship, this publication is an innovative technical study of the Concrete art movement in Argentina, Brazil, and Uruguay from the 1940s to the 1960s.;; Purity Is a Myth presents new scholarship on Concrete art in Argentina, Brazil, and Uruguay from the 1940s to the 1960s. Originally coined by the Dutch artist Theo van Doesburg in 1930, the term concrete denotes abstract painting with no reference to external reality. Van Doesburg argued that there was nothing more real than a line, color, or plane. Artists such as Willys de Castro, Lygia Clark, Waldemar Cordeiro, Hermelindo Fiaminghi, Judith Lauand, Raúl Lozza, Tomás Maldonado, Hélio Oiticica, and Rhod Rothfuss would reinvent this concept in postwar Latin America.;; Drawing on research conducted by Getty and international partners, the essays in this volume address a variety of topics, including the general history, emergence, and reception of Concrete art; processes and color; scientific analysis of works; illustrated chronologies of the paint industry in Brazil and Argentina; and Concrete design on paper. An innovative technical study of the Concrete art movement in Latin America, this volume will be indispensable to scholars, practitioners, and students of Latin American art.Table of ContentsAcknowledgements Introduction Zanna Gilbert, Pia Gottschaller, Tom Learner, and Andrew Perchuk The Myth of Purity: New Material Histories of Concrete Art 1. New perspectives on the emergence of Concrete art from Argentina and Brazil Niko Vicario (Amherst College) Material Relations: Torres-Garcia and Concrete Art from Argentina Maria Amalia Garcia (Conicet) Rhod Rothfuss y el marco recortado. Sintesis de tradiciones de la cultura rioplatense Heloisa Espada (Instituto Moreira Salles) Waldemar Cordeiro e o Grupo Forma: a via romana da arte concreta paulista 2. Generative Processes in Concrete Art Irene Small (Princeton University) Cut, Fuse, Fissure: Planarity circa 1954 Aliza Edelman (Independent Scholar) Judith Lauand's Sketchbooks and the Visualization of Concrete Form in 1954 Pia Gottschaller (Courtauld Institute), Tom Learner (GCI) and Joy Mazurek (GCI) Hermelindo Fiaminghi's Quadrature of the Circle between 1954 and 1959: From Concrete Enamel to Giotto's Tempera 3. Concretizing Color Idurre Alonso (GRI), PG (Courtauld Institute), C. C. Marsh (GRI), Andrew Perchuk (GRI), Lynn Lee (GCI) Energy, Legibility, Purity: Color in Argentine Concrete Art Mari Carmen Ramirez and Corina E. Rogge (Museum of Fine Arts Houston) Looking to the Past to Paint the Future: Innovative Anachronisms in the work of Alfredo Volpi and Helio Oiticica Luiz Camillo Osorio (PUC-RJ) The Adventure of Color in Brazilian Art: Aluisio Carvao, Helio Oiticica and Roberto Burle-Marx 4. Concrete Art on Paper Isabel Plante (Universidad de San Martin) Printing Invention: Art-work, Project or Device Zanna Gilbert (GRI) Kissers and Biters: The Matter of Language and Design in the work of Willys de Castro and Hermelindo Fiaminghi 5. Analyzing Concrete Art: Technical Overviews Luiz Souza, Yacy-Ara Froner, Alessandra Rosadeo, Maria Alice Sanna castello Blanco, Giula Giovani (LACICOR: Universidade Federal de Minas Gerais) Experimentation & Materiality: Constructing the Brazilian Artwork, 1950s-1960s Pino Monkes (Museo de Arte Moderno de Buenos Aires) Arte Concreto Argentino - Primera Decada: Entre la tradicion material y formal y la innovacion Fernando Marte (TAREA, Universidad de San Martin) Estudios tecnicos en el Arte Concreto del Rio de La Plata 6. The Reception of Concrete Art in Museums and Academia Aleca Le Blanc (University of California, Riverside) A History of the Field 7. Chronologies Florencia Castella and Sofia Frigerio (TAREA, Universidad de San Martin) Paint Production in Argentina, 1940-1960 Joao Henrique Ribeiro Barbosa (LACICOR: Universidade Federal de Minas Gerais) Paint Production in Brazil, 1940s-1960s

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Book SynopsisThis volume tells the singular story of an uncanny object at the cusp of art and science: a 450-year-old automaton known as “the monk.” The walking, gesticulating figure of a friar, in the collection of the Smithsonian Institution’s National Museum of American History, is among the earliest extant ancestors of the self-propelled robot. According to lore from the court of Philip II of Spain, the monk represents a portrait of Diego de Alcalá, a humble Franciscan lay brother whose holy corpse was said to be agent to the miraculous cure of Spain’s crown prince as he lay dying in 1562. In tracking the origins of the monk and its legend, the authors visited archives, libraries, and museums across the United States and Europe, probing the paradox of a mechanical object performing an apparently spiritual act. They identified seven kindred automata from the same period, which, they argue, form a paradigmatic class of walking “prime movers,” unprecedented in their combination of visual and functional realism. While most of the literature on automata focuses on the Enlightenment, this enthralling narrative journeys back to the late Renaissance, when clockwork machinery was entirely new, foretelling the evolution of artificial life to come.

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Book SynopsisCurrently rising from the ashes, Notre-Dame cathedral's restoration is shown in this beautiful book, a genuine ode to a monument rich in symbolism and secrets.

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Book SynopsisWhat a shock it must have been for the Utrecht painters Hendrick ter Brugghen, Gerard van Honthorst and Dirck van Baburen when they first encountered the breathtaking and unconventional paintings of Caravaggio in Rome. This volume shows impressively how the young artists individually explored this role model and thereby developed their own individual style. In around 1600 Rome was the centre of the world. Attracted by Caravaggio’s spectacular success, young artists from all over Europe converged on the bus tling metropolis. The up-and-coming painters studied the same works, discussed matters with each other and used Caravaggio’s style to develop their own individual pictorial language. Tracing the careers of the three most important Utrecht Caravaggists, the authors describe the atmosphere of this artistic mood of renewal. Only in a comparison with their European fellow artists does it become evident how strongly the Dutch tradition, with its love of merciless realism, influenced the creative work of the Utrecht painters.

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Book SynopsisAnyone writing about a work of art needs to establish at the outset how much it has changed since it was first made. This simple, informative and pracrical book, full of fascinating and revelatory photography, will take the reader through both the techniques and media of art and the techniques and media of its investigation and restoration.Trade ReviewThis is a book that should be on the reading list of every art-history undergraduate, graduate and many museum curators too … as an introductory text, it is difficult to imagine how it could be bettered… excellent." * The Burlington Journal *

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Book SynopsisNational Treasures explores the fate of French art and heritage during the Nazi occupation of France, revealing the roots of contemporary cultural policy in the Vichy era and exposing a hidden convergence of resistance and collaboration in French museology.Trade Review"This book makes several critical arguments, including a strongly documented case for continuity in French cultural policy from the Third Republic through Vichy and the postwar years. Karlsgodt shows that French cultural policy during the Occupation must be understood more in terms of domestic interests than as a function of collaboration with the Germans. She raises important ethical questions about museum acquisitions policies, not only in Vichy France, but also in postwar France and elsewhere." -- Bertram Gordon * Mills College *"Elizabeth Karlsgodt presents a well-researched account of the policies and practices of the Vichy regime with respect to the cultural patrimony of France. She deploys this work to develop a critique of the way in which post-war France dealt with the consequences of the occupation. In doing so, Karlsgodt makes an important contribution to our understanding of patrimony in France and to postwar interpretations of resistance." -- Donald Reid * European History Quarterly *"Campbell Karlsgodt does a fine job with the historiography of Vichy, offering concise summaries of a rich literature and providing important information in a succinct manner. She also has a knack for explicating evocative moments. . . This is a cogently argued, well-researched, and elegant book. . . Campbell Karlsgodt has made an important addition to this burgeoning literature." -- Jonathan Petropoulos * American Historical Review *"In this exceptional work, Karlsgodt shows how even before the fall of the Third Republic, French officials struggled to preserve the nation's artistic patrimony using the powers of the state . . . Special note should be taken of Karlsgodt's use of previously unavailable primary sources and her attention to the larger ethical issues her study raises . . . Highly recommended." -- S. Bailey * CHOICE *

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Book Synopsis"A curator, a paintings conservator, a photographer, and a conservation scientist walk into a bar." What happens next? In lively and accessible prose, color science expert Roy S. Berns helps the reader understand complex color-technology concepts and offers solutions to problems that occur when art is displayed, conserved, imaged, or reproduced. Berns writes for two types of audiences: museum professionals seeking explanations for common color-related issues and students in conservation, museum studies, and art history programs. The seven chapters in the book fall naturally into two sections: fundamentals, covering topics such as spectral measurements, metamerism, or color inconstancy; and applications, where artwork display, painting materials, and color reproduction are discussed. A unique feature of this book is the use of more than 200 images as its main medium of communication, employing color physics, color vision, and imaging science to produce visualizations throughout the pages. An annotated bibliography complements the main text with suggestions for further reading and more in-depth study of particular topics. Engaging, incisive, and absolutely critical for any scholar or student interested in color science, Color Science and the Visual Arts is sure to become a key reference for the entire field.Trade Review"Berns delivers . . . by providing novel and clear explanations of how colour is perceived in and around an artwork. [This book] provides an excellent introduction for students of conservation or any field dealing with the presentation of art objects. It is also a valuable source for anyone wishing to review or update their understanding of (mostly) painted surfaces, their display and reproduction. The text is intended to be an accessible, go-to source and succeeds." --Art Libraries Journal "Bridging the gap between chemistry, mathematics, psychology, art conservation, art history, and the fine arts, Color Science and the Visual Arts provides an unparalleled look at the way these discipline intersect and how the science of color relates to the display, creation, and reproduction of works of art."--Art Libraries Society, North America

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Book SynopsisAmong the most radical of the great American Abstract Expressionist painters, Clyfford Still has also long been among the least studied. Still severed ties with the commercial art world in the early 1950s, and his estate at the time of his death in 1980 comprised some 3,125 artworks-including more than 800 paintings-that were all but unknown to the art world. Susan F. Lake and Barbara A. Ramsay were granted access to this collection by the estate and by the Clyfford Still Museum in Denver, which houses this immense corpus today. This volume, based on the authors' materials research project and enriched by their unprecedented access to Still's artworks, paints, correspondence, studio records, and personal library, provides the first detailed account of the artist's materials, working methods, and techniques. Initial chapters provide an engaging and erudite overview of Still's life. Subsequent chapters trace the development of his visionary style, offer in-depth materials analysis of selected works from each decade of his career, and suggest new approaches to the care and conservation of his paintings. The richly illustrated narrative is complemented by a series of technical appendices and a full bibliography.Trade Review“Reading this book will make you want to rush to the Clyfford Still Museum in Denver, equipped with the wealth of knowledge the authors provide, to immerse yourself in the oeuvre of this formidable artist. For those who cannot do so, this richly illustrated volume offers a fantastic journey into Still’s singular life and work, with close-ups showing details of the paintings as if you were standing in front of them.”--Marie-Claude CorbeilTable of ContentsForeword Timothy P. Whalen Preface Sandra Still Campell Introduction Chapter 1: A Life in Art Early Life and Education The Itinerant Artist and Teacher The Myth and the Man Legacy Chapter 2: Reconsideration and Recapitulation: The Development of a Unique Visual Style Visual Style Chapter 3: Painting Materials Auxiliary Supports Supports Fabrics Sizing, Priming, and Underdrawing Paints Pigments Paint Medium Surface Coatings Signatures, Titles, and Other Inscriptions Frames Chapter 4: Condition and Conservation Inorganic Efflorescence: Metal Soaps Discoloration and Fading Appendix I Analysis of powdered pigments in 40 containers randomly selected from Still's studio Appendix II Analysis of 15 tube paints randomly selected from Still's studio Appendix III Pigments identified in 37 paintings 1942 - 1977 Appendix IV Analysis of binding media of 37 paintings 1942 - 1977 Appendix V Still's instructions on the care of his paintings Appendix VI Analytical Methods Notes References Acknowledgements About the authors

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Book SynopsisTrade Review “[A] beautifully illustrated and learned book” —Nicholas Penny, Apollo Magazine"By their very nature frames have a history, and the lasting value of this scholarly, thoughtful, and deeply innovative book lies not only in revealing the energy and agency, in short the work of the frame, in the social and material life of fifteenth-century Italy, but also in alerting us to the value of examining the role of the frame in other periods and contexts. Art history should take note."—Paul Duro, the Art History Journal

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Book SynopsisThe Villa dei Papiri at Herculaneum, the model for the Getty Villa in Malibu, is one of the world's earliest systematically investigated archaeological sites. Buried by the eruption of Mount Vesuvius in 79 CE, the Villa dei Papiri was discovered in 1750 and excavated under the auspices of the Neapolitan court. Never fully unearthed, the site yielded spectacular coloured marble floors and mosaics, frescoed walls, the largest known ancient collection of bronze and marble statuary, intricately carved ivories and antiquity's only surviving library, with over a thousand charred papyrus scrolls. For more than two and a half centuries, the Villa dei Papiri and its contents have served as a wellspring of knowledge for archaeological science, art history, classics, papyrology and philosophy. 'After Vesuvius: Treasures from the Villa dei Papiri' offers a sweeping yet in-depth view of all aspects of the site. Presenting the latest research, the essays in this authoritative and richly illustrated volume reveal the story of the Villa de Papiri's ancient inhabitants and modern explorers, providing readers with a multidimensional understanding of this fascinating site.

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Book SynopsisA pathbreaking call to halt the intertwined crises of cultural heritage attacks and mass atrocities and mobilize international efforts to protect people and cultures. Intentional destruction of cultural heritage has a long history. Contemporary examples include the Bamiyan Buddhas in Afghanistan, mosques in Xinjiang, mausoleums in Timbuktu, and Greco-Roman remains in Syria. Cultural heritage destruction invariably accompanies assaults on civilians, making heritage attacks impossible to disentangle from the mass atrocities of genocide, war crimes, crimes against humanity, and ethnic cleansing. Both seek to eliminate people and the heritage with which they identify. Cultural Heritage and Mass Atrocities assembles essays by thirty-eight experts from the heritage, social science, humanitarian, legal, and military communities. Focusing on immovable cultural heritage vulnerable to attack, the volume's guiding framework is the Responsibility to Protect (R2P), a United Nations resolution adopted unanimously in 2005 to permit international intervention against crimes of war or genocide. Based on the three pillars of prevent, react, and rebuild, R2P offers today's policymakers a set of existing laws and international norms that can and--as this book argues--must be extended to the protection of cultural heritage. Contributions consider the global value of cultural heritage and document recent attacks on people and sites in China, Guatemala, Iraq, Mali, Sri Lanka and Afghanistan, Syria, and Yemen. Comprehensive sections on vulnerable populations as well as the role of international law and the military offer readers critical insights and point toward research, policy, and action agendas to protect both people and cultural heritage. A concise abstract of each chapter is offered online in Arabic, Chinese, French, Russian, and Spanish to facilitate robust, global dissemination of the strategies and tactics offered in this pathbreaking call to action. The free online edition of this publication is available at getty.edu/publications/cultural-heritage-mass-atrocities. Also available are free PDF, EPUB, and Kindle/MOBI downloads of the book.

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Book SynopsisFor more than ten years, the Science for Conservators series has been the key basic texts for conservators throughout the world. Scientific concepts are basic ot the conservation of artefacts of every type, yet many conservators have little or no scientific training. These introductory volumes provide non-scientists with the essential theoretical background to their work.Table of ContentsChapter One The Nature of Dirt Chapter Two Mechanical Cleaning Chapter Three Liquids and Solutions Chapter Four Organic Solutions Chapter Five Cleaning With Water Chapter Six Water, Acidity and Alkalinity Chapter Seven Cleaning By Chemical Reaction

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Book SynopsisThe book that changed the conversation on the contemporary museumTrade Review'A real game-changer' -- The Economist'If you care about museums and the world, read this book' -- New York Times 'Best Art Books' 2020'Hicks’s urgent, lucid, and brilliantly enraged book feels like a long-awaited treatise on justice' -- Coco Fusco, New York Review of Books'Unsparing ... especially timely ... his book invites readers to help break the impasse by joining the movement for restitution.' -- CNN'The book is a vital call to action: part historical investigation, part manifesto, demanding the reader do away with the existing “brutish museums” of the title and find a new way for them to exist' -- Charlotte Lydia Riley, Guardian'A startling act of conscience. An important book which could overturn what people have felt about British history, empire, civilisation, Africa, and African art. It is with books like this that cultures are saved, by beginning truthfully to face the suppressed and brutal past. It has fired a powerful shot into the debate about cultural restitution. You will never see many European museums in the same way again. Books like this give one hope that a new future is possible.' -- Ben Okri, poet and writer'An epiphanic book for many generations to come' -- Victor Ehikhamenor, visual artist and writer'Unflinching, elegantly written and passionately argued, this is a call to action' -- Bénédicte Savoy, Professor of Art History at Technische University'In his passionate, personal, and, yes, political account, Dan Hicks transforms our understanding of the looting of Benin. This book shows why being against violence now more than ever means repatriating stolen royal and sacred objects and restoring stolen memories' -- Nicholas Mirzoeff, Professor in the Department of Media, Culture and Communication at New York University'Destined to become an essential text' -- Bryan Appleyard, Sunday Times'Dan, your words brought tears to my eyes. I salute you' -- MC Hammer'A masterful condemnation and inspiring call to action' -- Los Angeles Review of Books'Timely' -- Nature'The Brutish Museums shows that colonial violence is unfinished, and as it persists in the present, it cannot be relativized.' -- Ana Lucia Araujo, Public Books'The Brutish Museums leaves no stone unturned' -- Financial Times'The Brutish Museums argues, persuasively, that the corporate-militaristic pillage behind Europe’s encyclopedic collections is not a simple matter of possession, but a systematic extension of warfare across time' -- The Baffler'A bombshell book' -- Los Angeles Times‘After this book, there can be no more false justifications for holding Benin Bronzes in museums outside of Africa’ -- Africa is a Country‘Presents a powerful case for restitution of looted objects, and hostile responses to it highlight enduring attachments to imperialism' -- ‘Counterfire’Table of ContentsList of Plates Preface Preface to the Paperback Edition 1. The Gun That Shoots Twice 2. A Theory of Taking 3. Necrography 4. White Projection 5. World War Zero 6. Corporate-Militarist Colonialism 7. War on Terror 8. The Benin-Niger-Soudan Expedition 9. The Sacking of Benin City 10. Democide 11. Iconoclasm 12. Looting 13. Necrology 14. ‘The Museum of Weapons, etc.’ 15. Chronopolitics 16. A Declaration of War 17. A Negative Moment 18. Ten Thousand Unfinished Events Afterword: A Decade of Returns Appendix 1: Provisional List of the Worldwide Locations Of Benin Plaques Looted in 1897 Appendix 2: Provenance of Benin Objects in the Pitt Rivers Museum, Oxford (the ‘First Collection’) Appendix 3: Sources of Benin Objects in the Former Pitt-Rivers Museum, Farnham (the ‘Second Collection’) Appendix 4: Current Location of Benin Objects Previously in the Pitt-Rivers Museum at Farnham (the ‘Second Collection’) Appendix 5: A Provisional List of Museums, Galleries and Collections that May Currently Hold Objects Looted from Benin City in 1897 Notes References Index

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Book SynopsisMigration is in the news every day. Whether it be the plight of refugees fleeing Syria, or the outbreak of the Zika virus across Latin America, the modern world is fundamentally shaped by movement across borders. Migration, arising from the 2018 Darwin College Lectures, brings together eight leading scholars across the arts, humanities, and sciences to help tackle one of the most important topics of our time. What is migration? How has it changed the world? And how will it shape the future? The authors approach these questions from a variety of perspectives, including history, politics, epidemiology, and art. Chapters related to policy, as well as those written by leading journalists and broadcasters, give perspective on how migration is understood in the media, and engage the public more widely. This interdisciplinary approach provides an original take on migration, providing new insights into the making of the modern world.Table of ContentsList of figures; Notes on contributors; Acknowledgements; Introduction Johannes Knolle and James Poskett; 1. Black and British migration David Olusoga; 2. Immigration and freedom Chandran Kukathas; 3. Art and migration Khadija von Zinnenburg Carroll; 4. Refugees and migration Filippo Grandi; 5. Migration of disease Eva Harris and Fausto Bustos Carrillo; 6. The partition of India and migration Kavita Puri; 7. Migration in science Venki Ramakrishnan; 8. Animal migration Iain Couzin; Index.

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Book SynopsisThis ground-breaking book explores the revolution thats transformed New Zealand museums in recent decades, and is influencing how museums worldwide care for indigenous objects. Drawing on practical examples and interviews with professionals from all kinds of institutions, Dr Conal McCarthy lifts the lid on current practice. How do museum professionals deal with the indigenous objects in their care from day to day? How do they engage with tribal communities? How do they meet the needs of visitors, as well as these communities? The first critical study of its kind, Museums and Māori is an indispensible resource for professionals, students, academics, and museum supporters.Trade Review"Using a theoretical perspective grounded in museum practice, McCarthy masterfully brings the experiences of both museum professionals and Māori communities together over the past three decades and discusses the successes, pitfalls and frustrations posed by the social and ethnic tensions that exist in New Zealand despite the governments attempts at 'biculturalism' This case study of museums and Māori could fit any country where Europeans invaded and colonized indigenous peoples. This book is required reading for museum professionals currently working in museums that hold and exhibit indigenous collections and for anyone planning to become a museum professional. I would also recommend this to anyone studying identity politics, the history of colonization and de-colonization, and the advancements by indigenous peoples throughout the world who are engaging in the process of self-determination.' Shelby Tisdale, PhD, Director Museum of Indian Arts & Culture, Santa Fe"Table of ContentsHe Mihi -- Preface -- Acknowledgements -- Introduction: Museums and indigenous people -- Part one: From monoculturalism to biculturalism -- 1 Before Te Maori -- 2 The Te Maori exhibition -- 3 After Te Maori -- Part two: Biculturalism in practice -- 4 Into a new century -- 5 Reforming museology at Te Papa -- 6 Evolving museum practice -- Part three: Beyond biculturalism? -- 'A new net goes fishing' -- 8 Biculturalism and its discontents.

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Book SynopsisWith the inception of cinema, discussions relating to the preservation of film emerged in countries around the globe. Early motion picture collectors, critics, and producers justified film preservation by appealing to cinema''s role as art or artifact or through the medium''s capacity to document historical events. In the mid to late twentieth century, however, film preservation advocates shifted to validating their work through re-defining and celebrating cinema as cultural heritage. Saving Cinema investigates the evolution of the film preservation movement--from Hollywood studios and U.S. federal institutions, to influential international associations and small cinema collections in developing nations. Western preservation advocates have succeeded in solidifying a material, artifact-driven approach to how society approaches managing historical relics. But the digital era offers an unprecedented opportunity for change in which widespread access to historical media can, itself, be seenTrade ReviewSaving Cinema is a valuable addition to our understanding of preservation issues surrounding film and moving image media. Frick makes a smart and timely contribution to the intellectual ferment taking place at the nexus of media studies and film archiving. She enriches the discussion of American film preservation as a national project, placing it within a much-needed global perspective. * Dan Streible, Orphan Film Symposium and New York University *The author's impressive educational and professional background provides her with a unique perspective on the film archives community and its history.... Aimed at a wide audience, including film historians and media study students, Saving Cinema presents a cogent challenge to the archival community regarding the philosophy of regional film archives. * Amy M. Moorman, Archival Issues *Table of ContentsPREFACE; ACKNOWLEDGMENTS; INTERNATIONAL DISCOURSE AND GLOBAL FILM HERITAGE; TOWARDS A MORE INCLUSIVE FILM HERITAGE; INDEX

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

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

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Book SynopsisAlfred Flechtheim (1878-1937) war einer der bedeutendsten Kunsthändler seiner Zeit. Werke von Paul Klee oder Pablo Picasso hingen in seinen Galerien. 1933 musste er als verfolgter Jude aus Deutschland fliehen. Was mit seinen Bildern geschah, ist bis heute in vielen Fällen ungeklärt und umstritten. Der Sammelband widmet sich dem Galeristen und seinen Bildern. Internationale Expertinnen und Experten aus Provenienzforschung und Zeitgeschichte erörtern exemplarisch in interdisziplinärer Perspektive aktuelle Fragen nach der Restitution von Raubkunst.

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Book SynopsisThe Information Audit is a process by which an organisation investigates its information requirements and matches them against the information resources and services that are currently provided. Using a seven stage model this book will take the information professional through the process of an audit.Table of ContentsFrontmatter -- The author -- Introduction to the series -- Contents -- List of figures -- List of tables -- Acknowledgements -- Introduction -- Chapter One. The changing role of the corporate information unit -- Chapter Two. Planning -- Chapter Three. Data collection -- Chapter Four. Data analysis -- Chapter Five. Data evaluation -- Chapter Six. Communicating the recommendations -- Chapter Seven. Implementing the recommendations -- Chapter Eight. The information audit as a continuum -- Chapter Nine. Bringing it all together -- Chapter Ten. Case studies -- Appendix A. Extracts from the research -- Appendix ?. Glossary -- Appendix C. Selected bibliography -- Index

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