History of art Books

Book SynopsisCynthia Fowler is a feminist art historian and professor of art at Emmanuel College, Boston. She received her PhD from the University of Delaware in 2002 and also holds fellowships from the Smithsonian Institute, the Winterthur Museum, and the National Endowment for the Humanities. Previous work includes Hooked Rugs: Encounters in American Modern Art, Craft and Design and Locating American Art: Finding Meaning in Art Museums.Trade ReviewCynthia Fowler has written a key text which examines the lives and significant works of women embroiderers who were practicing at the forefront of ‘modern embroidery' in the United States in the early twentieth century. * Angie Wyman, Course Leader for Hand Embroidery at the Royal School of Needlework, UK *This rigorous account of the Modern Embroidery Movement in America firmly situates stitch within the fine arts of twentieth century art history whilst acknowledging the particular characteristics of working with a marginalised material. Cynthia Fowler's book addresses an important period of art long neglected due to its gendered materials, and is essential art history for artists and embroiderers alike. * Ele Carpenter, Senior Lecturer in Curating at Goldsmiths, University of London, UK *Cynthia Fowler's "The Modern Embroidery Movement" provides an insightful examination of the work of a selection of American artists who turned to embroidery as a medium through which to express their understanding of modernity in visual terms. The author reveals the complex relationship between art, craft, and the decorative, as well as the ways in which all three intersected with industrial production and the social, political and economic rights of women. * Frances Pohl, Professor of Art History at Pomona College, USA *To those readers who—consciously or unconsciously—continue to adhere to the art/craft hierarchy, try not to be persuaded by Fowler’s elegant discussion that positions embroidery as art. This book provides ample primary sources and careful visual analysis as evidence. * Julia Skelly, Faculty Lecturer in Art History at McGill University, Canada *Cynthia Fowler brings to life the work of the artists who formed America’s Modern Embroidery Movement in this beautifully written and richly illustrated book. In recovering their important contributions, Fowler eloquently reveals the central place of embroidery in modern art. * Lorinda Cramer, Research Fellow in Arts and Education at Deakin University, Australia *Table of Contents1. Introduction 2. The Modern Embroidery Movement in Context 3. Marguerite Zorach: The Roots of the Modern Embroidery Movement 4. Georgiana Brown Harbeson and Her Collaborators: Establishing the Modern Embroidery Movement 5. Collaboration 6. Visualizing Manhattan 7. Nature as Symbol 8. Embroidered Portraits 9. Conclusion References Index

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Book SynopsisRebecca Houze is Associate Professor of Art History at Northern Illinois University, USA. Her publications include, as co-editor, The Design History Reader (Berg, 2010), and, as author, New Mythologies in Design and Culture: Reading Signs and Symbols in the Visual Landscape (Bloomsbury, 2016) and Textiles, Fashion, and Design Reform Before the First World War: Principles of Dress (2015).Grace Lees-Maffei is Professor of Design History and Director of the Professional Doctorate in Heritage (DHeritage) at the University of Hertfordshire, UK. She is Chair of the Editorial Board of the Journal of Design History and Series Editor, with Kjetil Fallan, of the book series Cultural Histories of Design (Bloomsbury). Her publications include Design at Home (2014) and, with Nicolas P. Maffei, Reading Graphic Design in Cultural Context (Bloomsbury 2019). For Bloomsbury, Grace edited Writing Design (2012) and Iconic Designs

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Book SynopsisThe Impact of a PhD on Design Practice assesses the value and impact of design PhDs for design practitioners, exploring in detail and through perspectives from a range of international designers how a doctorate can develop research and critical thinking skills that will enhance their professional practice.The book develops the contribution of Laurene Vaughan''s earlier work Practice-Based Design Research in furthering the global understanding of this dynamic and expanding area of design education. Whereas the earlier work provided a survey of key issues and developments in doctoral education in design globally, this book delves deeper by focusing on the experience of those who have undertaken design PhDs and taken their expertise into industry settings. Designers from Europe, the USA and Australasia working in a range of design disciplines provide perspectives on how they have used project design, research, analytical and writing skills developed as a result of

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Book SynopsisCentring priest and navigator Tupaia and Pacific worldviews, this richly illustrated volume weaves a new set of cultural histories in the Pacific, between local islanders and the crew of the Endeavour on James Cook's first voyage of discovery' (1768-1771). Contributors consider material collections brought back from the voyage, paying particular attention to Tupaia''s drawings, maps, cloth and clothes, and the attending narratives that framed Britain's engagement with Pacific peoples. Bringing together indigenous and Pacific-based artists, scholars, historians, theorists and tailors, this book presents a cross-cultural conversation around the concepts of acquired and curated artefacts that traversed oceans and entwined cultures. Each chapter draws attention to a particular material, object or process to reveal fresh insights on the voyage, the societies it brought together and the histories it transformed. Authors also explore animal iconography, instruments and ethnomusicology,Trade ReviewThe book provides an enlightening alternative prism through which we can rediscover the Pacific agency in Tupaia, beyond the gaze of the dominant colonial history, which often revolves around Captain Cook’s view of the world. It is a must-read collection of narratives woven together into an intellectually illuminating tapestry of cultural history with a strong Pacific flavour. A highly recommended text. -- Steven Ratuva, Distinguished Professor and Director of the Macmillan Brown Centre for Pacific Studies, University of Canterbury, Aotearoa New ZealandThis set of essays does not result in a history, nor in a re-evaluation of previous histories but instead it is a tapestry of relations, of conversations and reflections on the Ra’iatean navigator Tupaia. This contemporary engagement with Tupaia redresses thin colonial understandings of his role with layers of social fabric that emerge from the multivocality of the volume’s authors, including established and emerging artists, scholars, filmmakers and composers. From multiple vantage points, the authors reveal that the strength of material culture, in this case the cloaks of Tupaia and Cook, is in their relationship to the intangible, the cross-temporal, the sonic, the performative, and how these make kin of all involved. -- Kathryn Bunn-Marcuse, Director of the Bill Holm Center, Burke Museum of Natural History and Culture and Associate Professor of Native Art, University of Washington, USAAs European institutions remain trapped by their colonial legacies, this book documents a funeral procession for the great navigator Tupaia, that walked from the doors of the National Maritime Museum to the ocean over which he guided Captain Cook, from the bowels of Europe’s collections to the air of living Polynesian history. -- Darren Jorgensen, Associate Lecturer, University of Western AustraliaUsing dress to redress historical ignorance about the significance of Tupaia during Cook’s Endeavour voyage, this volume is a multivocal assemblage of perspectives and reflections that demonstrate the ongoing challenges and complex legacies that stem from early colonial encounters. Not only do the authors demonstrate the potency of clothing in restoring Tupaia’s absence from the historical record, they also address questions of ownership of museum collections. The volume interweaves social relationships in a realm of dialogue in which all voices act as co-interpreters. Divided in two sections, one analysing the manifold histories of Tupaia, the other honouring Tupaia by describing the Cook’s New Clothes project, this book presents a mosaic of interpretations that cross geographical, temporal and disciplinary boundaries, as such providing a true testimony to the complexity and command of the figure of Tupaia himself. -- Karen Jacobs, Associate Professor in the Arts of the Pacific, University of East Anglia, UKThis rich and wonderful book exemplifies the explosion of research, reflection and creative practice around European maritime exploration over the last thirty years. Building especially on the work of Anne Salmond, commemorative studies of celebrity navigators such as Captain Cook have been succeeded by critical inquiry into cross-cultural voyaging, the deep histories of collecting, projects to return artefacts from institutions such as the Museum of Archaeology and Anthropology in Cambridge to Australia, Aotearoa and Tahiti, and art practices that re-imagine encounters towards postcolonial futures. The Society Islands priest, artist and navigator Tupaia has been at the heart of these studies. This book offers a key set of debates and contributions that will be widely valued. -- Nicholas Thomas, Director of the Museum of Archaeology and Anthropology, University of Cambridge, UKTable of ContentsList of Figures List of Contributors Acknowledgements 1. Taonga and Tupaia: Introduction to a Material History, Khadija von Zinnenburg Carroll (Central European University, Austria) and Simon Layton (Queen Mary, University of London, UK) 2. The Whale and Wave that Washed our Minds: Notes from the Making of a Documentary, Kay Robin, Jody Toroa and Khadija von Zinnenburg Carroll. Featuring words by Emalani Case, Tina Ngata and Hinane Teavai-Murphy Section One: The Wave of Tupaia 3. Tupaia and the Heva Tupapa'u: Voyages Past, Present and Future, Pauline Reynolds (Norfolk Island Museum) and Julie Adams (British Museum, UK) 4. Art and History in Conversation: Tupaia's Drawing of a Marae, Harriet Parsons (University of Melbourne, Australia) and Katerina Teaiwa (Australian National University) 5. The Pacific and the Tasman: A Conversation with Alison Bashford, Alison Bashford (University of New South Wales, Australia) 6. ‘When it’s Rough, Don’t Pray for Good Weather. Pray for Courage’: An Interview with Anne Salmond, Anne Salmond (University of Auckland, New Zealand) 7. Rangiiwaho Ihu Ki Te Moana: Encountering the Pacific at the National Maritime Museum, Sylvia Cockburn (Australian War Memorial) 8. Western Histories of the Endeavour Voyage: Erasures and Creations Performed, Archived and Activated, Huw Rowlands (Royal Holloway, University of London, UK) Section Two: In the Wake of Tupaia 9. I Didn’t Know What I Was Doing: Tupaia’s Postcolonial Funeral and Ritual Art in Britain, Naomi Vogt (Warwick University, UK) 10. Conversation Pieces: Between Creases and Edges, Ruby Hoette (Goldsmiths, University of London, UK) 11. Museopiracy and the Vacuum Package: Redressing the Commemoration of the Endeavour's Voyage to the Pacific in Processions for Tupaia, Khadija von Zinnenburg Carroll (Central European University, Austria) 12. Fishing for Pirates: Institutional Violence and the Cook Commemoration, Simon Layton (Queen Mary, University of London, UK) 13. A New Atlantic: Wayfinding Beyond the Totalizing Claims and Epistemic Violence of Eurocentric Modernity, Tom Trevor (The Atlantic Project, UK) 14. Tupaia's New Cloak as Transformative Healing Object, Vita Peacock (Kings College London, UK) 15. Look at Me/Don’t Look at Me: A Voyage and a Journey Around High-Vis Materials; or Explorations in Fluorescent Matters, Juliette Kristensen (Goldsmiths, University of London, UK) 16. Reparation as a Crossing: On the Filming of Procession for Tupaia as a Performative Documentary Process, Ludovica Fales (Kitchen Sink Collective, London 17. Rubbishing Counterpoint: An Interview with Johanes (Mo’ong) Santoso Pribadi on Tupaia’s Funeral Music in Batavia, Johanes Santoso Pribadi (Independent Composer and Music Writer, Indonesia) and Hana Qugana (University of Sussex, UK) 18. Savaging the Sonic: Tupaia, Indigeneity and Commemorative Dissonance, Hana Qugana (University of Sussex, UK)

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Book SynopsisElaine Cheasley Paterson is Associate Professor of Craft History at Concordia University, Montreal, Canada. Susan Surette is a Postdoctoral Fellow in the Department of Art History and Critical Studies at Nova Scotia College of Art and Design University, Halifax, Canada and a professional artist.Trade ReviewSloppy Craft is edited with precision and wit. It is an important, of the moment, contribution to craft writing. It crosses boundaries of practice with elegance and rigour, defining Sloppy Craft in ways that are appealing as well as polemical. There is writing of the first order from some of the most significant authors in the field. -- Simon Olding Director, Crafts Study Centre, UKElaine Cheasley Paterson and Susan Surette have brought together diverse, uniformly thoughtful writings making the case that the concept of Sloppy Craft is not a contradictory one. Much as the artists in this book explore art practices that simultaneously challenge and reassert traditions of art-making disciplines, so do its authors illuminate how “sloppy craft” similarly challenges and reasserts traditions of skill. Sloppy Craft is an exciting, necessary new addition to the growing discourse on craft and contemporary art. -- Maria Elena Buszek, the University of Colorado Denver, USASloppy Craft’s collection of essays is a welcome addition to a relatively small canon of craft theory in the twenty-first century. It offers a broad array of perspectives to consider, and these always within historical contexts. * International Journal of Education Through Art *Table of ContentsForeword: Anne Wilson, School of the Art Institute of Chicago, USA Introduction: Elaine C. Paterson and Susan Surette, Concordia University, Canada Section One – Explorations of Postdisciplinarity through ‘Sloppy Craft’ Introduction ‘Male Trouble’: Sewing, Amateurism and Gender, Joseph McBrinn, University of Ulster, Ireland Sloppy Craft as Temporal Drag, Elissa Auther and Elyse Speaks, University of Colorado, USA An Impression of Déjà vu: Craft, the Visual Arts and the Need to get Sloppy, Denis Longchamps, Concordia University, Canada Section Two – The Implications of ‘Sloppy Craft’ Introduction Doomed to Failure, Sandra Alfoldy, NSCAD University, USA The Value of ‘Sloppy Craft’: Creativity and Community, Juliette MacDonald, Edinburgh College of Art, UK Why is Sloppy and Postdisciplinary Craft Significant and What are its Historical Precedents?, Gloria Hickey, curator and writer, USA From Maria Martinez to Kent Monkman: Performing Sloppy Craft in Native America, Elizabeth Kalbfleisch, Concordia University, Canada Section Three – ‘Sloppy Craft’ in Practice and Pedagogy: A Conversation Introduction Eliza Au, Ceramist, Emily Carr University of Art and Design, British Columbia, Canada Jean-Pierre Larocque, Ceramist, Concordia University, Montreal, Canada Kelly Thompson, Fibres, Concordia University, Montreal, Canada Conor Wilson, Ceramist, Royal College of Art, London, UK Peter Wilson, Ceramist, Charles Sturt University in Bathurst, Australia Postscript - Reprint of Glenn Adamson’s text ‘When Craft gets Sloppy,’ from Crafts No 211 (March/April, 2008), 36-40 Index

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Book SynopsisGlyn Davis is Professor of Film Studies at the University of St Andrews, UK. He is the author, co-author, or co-editor of eleven books, including The Richard Dyer Reader (BFI/Bloomsbury, co-edited with Jaap Kooijman, forthcoming 2022), The Living End: A Queer Film Classic (forthcoming, 2022), and Pop Cinema (co-edited with Tom Day, forthcoming 2022). From 2016 to 2019, Glyn was the Project Leader of Cruising the Seventies: Unearthing Pre-HIV/AIDS Queer Sexual Cultures', a pan-European queer history project funded by HERA and the European Commission (www.crusev.ed.ac.uk).Laura Guy is Lecturer in Fine Art Critical Studies at The Glasgow School of Art, UK. Her research focuses on post-1960s photographic, documentary and print cultures and has recently been published in Third Text, Women: A Cultural Review, Aperture and Frieze. She is editor of Phyllis Christopher, Dark Room: San Francisco Sex and Protest, 1988-20Trade ReviewQueer Print in Europe presents a timely and necessary analysis of queer printmaking, zines and print culture. It is unique in its use of interviews, its wide-ranging historical and political analysis and its challenge to a rights-based historical teleology common in North American analyses of LGBTQ+ cultural phenomenon. -- Alexandra Gonzenbach Perkins, Texas State University, USAThis book represents a vital contribution to the fields of queer history and queer print cultures. It starts from the insistence that queer community relies on the networked circulation of objects, information and ideas. From there, the various chapters explore a range of publications, each exploring how the circulation of printed material since the 1970s has shaped European LGBTQ activism. The collection offers a rich history of European queer print cultures and provides methodologies for future research in the field. -- Sam McBean, Queen Mary University of London, UKDavis and Guy provide a well-organized and thoughtfully selected collection of essays that represent an exciting broadening of the field of queer print culture from its often US-centered perspective. Exploring themes of inclusion/exclusion, connection/debate, past/present, this book offers both scholars and those interested in queer culture an enticing entry into queer worldmaking. In bringing different voices together and exploring a variety of publications, Queer Print in Europe does exactly what these circulated objects did—foster connection and invite further collaboration. -- Alexis Bard Johnson, Curator at ONE Archives, University of Southern California, USATable of ContentsIntroduction, Glyn Davis (University of St Andrews, UK) and Laura Guy (Glasgow School of Art, UK) Part One: Politics of Community Building 1. Silent Voices: The ‘Arabs’ and Gay Liberation in France, Antoine Idier (ESAM, France) 2. ‘Happiness was in the Pages of this Monthly’: The Birth of the Lesbian Press in France and the Fabric of a Space of One’s Own (1976-1990), Ilana Eloit (University of Geneva, Switzerland) 3. Seeking Acceptance or Revolution? An Overview of the First Italian LGBTQ Magazines, 1971-1979, Dario Pasquini (Independent Researcher, Italy) 4. Change Always has to Build: In Conversation with Gail Lewis, Taylor Le Melle (Independent Researcher, the Netherlands) Part Two: Materials and Making 5. The Sexual Revolt in Spain in the 1970s through its Publications: Ideas, Fears and Aesthetics, Alberto Berzosa (Carlos III University of Madrid, Spain) and Gracia Trujillo (Complutense University of Madrid, Spain) 6. Sexual Difference and Queer Subjectivity in Slovak LGBTQ Print Periodicals, Viera Lorencova (Fitchburg State University, USA) 7. Revolt Press, Internationalization and the Development of Gay Markets in Sweden before HIV/AIDS, Thomas Cubbin (University of Gothenburg, Sweden) 8. Mietje: In Conversation with Gert Hekma and Mattias Duyves, Benny Nemer (Royal Academy of Fine Arts (KASK), Belgium) Part Three: Generational Interactions 9. This Too is Polish Culture: In Conversation with Karol Radziszewski, Aleksandra Gajowy (Independent Researcher, UK) 10. Queer Memory in (re)Constituting and Forgetting the Trans ‘70s in the UK, Nat Raha (University of St Andrews, UK) 11. Encapsulated Time: Generational and Cultural Discrepancies in West German Lesbian Magazines of the 1970s, Janin Afken (Humboldt University, Germany) 12. Lavender Menace Revisited: In Conversation with Sigrid Nielsen, Bob Orr and James Ley, Fiona Anderson (Newcastle University, UK)

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Book SynopsisDominic Janes is Professor of Modern History at Keele University, UK. He is a cultural historian whose specialism is the study of texts and visual images relating to Britain in its local and international contexts since the eighteenth century. He also teaches and researches on the wider histories of gender, sexuality and religion and is Professorial Fellow in the School of Fine Art and Photography, University for the Creative Arts, UK.Trade ReviewClearly the product of long hours in the archives, Dominic Janes’ Freak to Chic offers a rich array of queer images and texts from the popular press of the first half of the twentieth century to document the creative variety of non-normative embodiments of sex and gender in an era before now-accepted identity labels. * Christopher Reed, Pennsylvania State University, USA *[A] unique intervention in the study of queer culture. * Notches *From Oscar Wilde and Cecil Beaton to flourishing inter- and post-war queer cultures, Janes takes his reader through a fascinating and endlessly glamorous story of the freakishly chic manifestations that have helped to galvanize and vilify queer identity. Somewhere between the beautiful and the ugly, the respectable and the profane, the book offers keen insights into the elusive and radical potential of queer style. * John Potvin, Concordia University, Montreal *This lavishly illustrated book is a sophisticated and entertaining account of the Twenties interface between camp, fashion, identity politics, and flowers, featuring some of the era's most orchidaceous personalities. * Jane Stevenson, University of Oxford, UK *Table of ContentsList of Illustrations Acknowledgments 1. Introduction: In Search of Lost Times 2. Freak Shows Decline and Fall 3. Freaks in Vogue George, Georgie, Georgino Mio 4. Bright Young Things Freak Parties The Uprise of Cecil Beaton 5. Divas Mariegold in Society 6. The Floral Closet Pansies Open for Trade 7. Conclusions Oscar Wilde Revamped Bibliography Index

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Book SynopsisIn April 1937, the Museum of Modern Art in New York hosted an exhibition that served as a catalyst for the appropriation of prehistoric rock art in postwar abstract painting. With the title Prehistoric Rock Pictures in Europe and Africa, it displayed a range of copies from the influential collection of the German ethnologist Leo Frobenius.Largely disregarded in modern American art history up until now, this book highlights the importance of this exhibition to artists such as Josef Albers, Adolph Gottlieb, David Smith, and The American Abstract Artists group, who sought inspiration from the prehistoric images' primordial creativity. With a transnational scope, this book reveals new facts about the connections between Paris and New York, and the importance of communication and collaboration between them for these artists. In doing so, Seibert shows that this debate was about more than just legitimizing abstract art forms from the past, but about recognizing an autonomous American abstracTrade ReviewOpens a fascinating discourse on the undervalued artistic reception of prehistoric works in American 20th century art. This thoroughly researched book demonstrates not only the inspiration they had on modernist artists, but also how use of the controversial term “primitivism” was directly related to ethnographic and anthropological thought at the time. * Thomas W. Gaehtgens, Director Emeritus, Getty Research Institute, USA *Meticulously researched and strikingly ambitious in its aims and range, Elke Seibert’s study is a highly original contribution to our understanding of American modernism. Drawing on largely neglected material from a rich variety of sources - from anthropological debates in 1930s New York to the activities of the American Abstract Artist group - this book explores with brilliance and in impressive detail the impact that an exhibition of prehistoric art made on artists in the 1930s, a phenomenon that until now has been largely overlooked. Apart from its importance for the history of modern art, this is an enthralling case study in the relationship between prehistoric and 20th century art that will resonate with any art historian concerned with issues of artistic influence and appropriation across history. * Malcolm Baker, Distinguished Professor Emeritus of Art History, University of California, Riverside, USA *An illuminating journey into the nexus where prehistoric art, emerging modernism and discourses of the indigenous intertwined and generated a new understanding of what American art could be. A lucid testament to the power of art across time. * Annette Bhagwati, Director, The Museum Rietberg, Zürich, Switzerland *Table of ContentsPart One: Introduction 1 Preface 2 Prehistory as a Modern Idea in Europe and “Primitivism” as intertwined concepts (1900–1940) Part Two: Prehistoric Artifacts, Prints, Painted Copies and the Genesis of Modern Art in New York (1937) 3 Alfred Barr’s View of Prehistory and Modernism as Shown at MoMA 4 Barr`s exhibition concept: “Prehistoric” Avant-Garde and Lala Eve Rivol’s Federal Art Project 5 Leo Frobenius’s Objectives, His Collection in Western debates—and Henry Moore 6 The Making of the MoMA Exhibition Prehistoric Rock Pictures in Europe and Africa (28 April–30 May, 1937) Part Three: The Art of Copying the Past—in Transatlantic Dialogue 7 Copies and Copyists: Pictorial Heritage at the Museum of Modern Art 8 Copying for the Index of American Design (1935–42) Part Four: Modern American Abstract Art and their Re-appropriation of Prehistoric Rock Paintings 9 The Founding of the American Abstract Artists (1936) and their Appropriation of Prehistoric Rock Paintings (1937–40) 10 Bridging Time and Space:Transcontinental AAA Networks in the Interwar Period 11 The Influence of (prehistoric) Artistic Concepts from Mexico on the American Abstract Artists 12 Prehistorical Modernists: Gottlieb, Lassaw, Schanker, Smith Part Five: Conclusion 13 The “Modernity” of Prehistory in the Thirties in Paris and New York Appendix I and II Bibliography Index

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Book SynopsisJulia Langbein is Research Fellow at Trinity College Dublin, Ireland. An art historian specialising in 19th-century popular visual culture, she previously held a postdoctoral research fellowship at the University of Oxford, UK.Trade ReviewWidely researched, and lavishly illustrated, Laugh Lines, makes both a challenging and inspirational reading. Supported by ample studies of the abundant primary sources, from Baudelaire and Champfleury to Grand-Carteret and Duret, as well as archival material in the Bibliothèque Nationale, the book straddles several areas: reproductive technologies, the practices of physiognomy, photography, Salon history, as well as into cultures of art viewing and the perception of laughter in nineteenth-century France. The book’s unquestionable strength are visual analyses. Langbein takes the readers on captivating journeys, which move with confidence between the original works by Delacroix, Ribot and many lesser-known artists, and the ‘hyperactive lines’ of the rapidly drawn caricatures by Cham and Bertall, sometimes including also polite reproductive engravings of the same paintings for comparison. * Katarzyna Murawska-Muthesius, Journal of Art Historiography *Laugh Lines makes a significant contribution to our understanding of cultural and artistic changes in France from the 1840s to 1880s. It offers an important corrective to the historiography on caricature and modernist painting, and illuminates shifting relations between visual art, literature, and journalism. * Jillian Lerner, Instructor in Media History, Emily Carr University of Art & Design, Canada *In this enthralling study of nineteenth-century Salon caricature, distinctive but neglected artists like Bertall and Cham benefit from being compared with Daumier and Nadar in a wide-ranging historical analysis which explores the extensive variety of printmaking techniques available at the time. * Stephen Bann, Emeritus Professor of History of Art, Bristol University, UK *Julia Langbein’s engaging and impeccably researched volume enriches our comprehension of the spatial and social dynamics of Salon spectatorship. It will become required reading for anyone interested in art headquartered in nineteenth-century Paris. * Hollis Clayson, Bergen Evans Professor Emerita in the Humanities and Professor Emerita of Art History, Northwestern University, USA *Table of ContentsList of Plates List of Figures Introduction 1. Comic Reproduction in July Monarchy Paris 2. Dueling and Doubling: The Antagonism of Salon Caricature 3. Salon Caricature and The Physiognomy of Paint 4. Salon Caricature in the age of Reproduction. 5. Gravity and Graphic Medium in Cham and Daumier 6. Caricature and Comic Spectacle at the Paris Salon 7. Salon Caricature and the Making of Manet Conclusion Bibliography Index

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Book SynopsisAntje Krause-Wahl is Professor for Contemporary Art at Goethe University Frankfurt, Germany. Her research focuses on Art and visual culture of the 20th and 21st centuries, especially in the US; artist's identity and education; painting and painting theory after 1945; gender studies (queer studies); interaction between art and digital culture; (artist) magazines, fashion and fashion photography.Petra Löffler is Professor for Theory & History of Contemporary Media at Carl von Ossietzky University Oldenburg, Germany. Her research focuses on material culture, film and photography, affect theory and media ecology.Änne Söll is Professor for Modern Art History at Ruhr University Bochum, Germany. Her areas of research include: art of the Weimar Republic, gender studies (masculinities), portraiture, fashion photography, video installations, artists magazines, museum architecture and period rooms.Table of ContentsAcknowledgments List of Contributors List of Illustrations Introduction, Antje Krause-Wahl (Goethe-University Frankfurt, Germany), Petra Löffler (Humboldt-University, Germany) and Änne Söll (Ruhr-University, Germany) Part I: Dissemination of Shine (in Popular Culture) 1. Gloss for all: Shiny Cars and Bemberg Silk in the 1920s, Monika Wagner (University of Hamburg, Germany) 2. Flickering Lights: Shine and Diversion in Weimar Cinema, Petra Löffler (Humboldt-University, Germany) 3. Matte Black/Pan Cake: On the Negation of Shine, Tom Holert (Harun Farocki Institute, Germany) Part II: Temporalities of Shine within Material Cultures: Between Nostalgia, Appropriation and Expropriation 4. Fabric of Light, Surface of Displacement: Lamé and its Shine in Early Twentieth-Century French Fashion, Mei Mei Rado (Parsons School of Design, USA) 5. Gleam: Rebranding Big Steel in Post-war America, Nicolas Maffei (Norwich University of the Arts, UK) 6. The Sheen of Shellac: From Reflective Material to Self-Reflective Medium, Elodie Roy (University of Glasgow, UK) Part III: Glimmer, Sparkle, Glitter – Performing Queer Identities 7. All that Sparkles and Shines: Deco, Dissidence and the Design of Glamorous Modern Interiors, John Potvin (Concordia University, Canada) 8. Cosmic Surfaces: Materiality and Portraiture in Queer Modernism, Antje Krause-Wahl (Goethe-University Frankfurt, Germany) 9. Double Shiny: Leigh Bowery’s costume design for Because We Must (1987/1989), Alistair O’Neil (Central St. Martins, UK) 10. “Inevitable Plastic Palace”: A Surface Reading of Andy Warhol’s Factory, Barbara Reisinger (University of Vienna, Austria) Part IV: Shiny Surfaces in the Art of the 1960s (and beyond) 11. Against the Biological Metaphor: Robert Smithson’s Crystalline Figuration, Eva Ehninger (Humboldt University, Germany) 12. Shiny, Glossy and Smooth: Commodity Surfaces in 1960s and 70s Painting, Christian Spies (University of Cologne, Germany) 13. Finish Fetish: Judy Chicago in L.A., Kathrin Rottmann (Ruhr-University, Germany) 14. Shine on: The Mirror Ball as Art Object, Änne Söll (Ruhr-Universität, Germany) Index

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Book SynopsisPaul Duncum is Professor Emeritus at the University of Illinois, USA, and Adjunct Professor at the University of Tasmania, Australia. He is the author of Picture Pedagogy (Bloomsbury, 2020).Trade Review[P]layful yet serious and will attract a large audience. * International Journal of Education through Art *From Plato to Pokémon GO, Duncum brilliantly examines the enduring entanglements between art and popular culture … This book is for everyone who wants to avoid the interminable arguments that seem to dominate all things ‘aesthetics.’ * Kevin Tavin, Aalto University, Finland *Popular Pleasures is well-researched and has flashes of brilliant insight … The book will benefit students of many visual culture disciplines, including art education, art history, graphic arts and media communications. * Kerry Freedman, Northern Illinois University, USA *Immaculately researched and eloquently written, this engaging book highlights both the irresistible sensory appeal and economic, political, and ideological interest behind popular images. * Olga Ivashkevich, University of South Carolina, USA *Table of ContentsList of Illustrations Introduction But What is Aesthetics? And What is Popular? Popular Pleasures and Politics Previous Attempts So What’s Different Here? The Mind/Body Context Scope and Outline Chapter 1: A Realistic Style What is Realism? Idolatry and Ideology The Search for Realism Painting Screen Imagery The Pleasures of Realism Making Comparisons Appreciating the Skill Evaluating Realism is Easy Pulling Back the Curtain Realism and Reality When Too Much Realism is Bad When Seeing Shouldn’t be Believing Fake versus the Bona Fide Veridical, Virtual, and Verifiable Chapter 2: The Illusionistic Illusion versus Realism Magic, Miracles and the Devil The Persistence of Illusion Trompe-l’oeil Three-Dimensional Movies Optical Illusion Devices Stage Magic Magic, Wonder and Mischief Being Deceived Being in the Know Conflating Realism with Illusion Illusion and Delusion Illusion and Life Chapter 3: The Bright and Busy Terms and Taste The Doctrine of Decorum Reason and Restraint Modernist Minimalism The Relativity of Restraint Serious versus Superficial Purpose Brightness and Business Delighting the Eye Enhancing the Ordinary Resisting Restraint Bright, Busy and Biology The Seriousness of Selling Bright, Busy and Business Chapter 4: The Highly Emotional An Empire of Emotions Emotion versus Emotionalism The Rhetoric of Emotions versus the Aesthetics of Emotions The Theory of Emotional Rhetoric The Pictorial Practice of Rhetoric The Rise of Sentiment Rejecting Rhetoric The Rise of Romanticism Expression versus Imitation Fine Art and Popular Entertainment What Arouses Emotion? Why Do Emotional Lures Work? Catharsis versus Cognitive Coping Escaping Identifying Searching for Authenticity Seeking Attachment Participating For Better or Worse Chapter 5: The Sentimental Surveying Sentimentality A Discourse of Abuse A Sentimental Journey The Sugar of Sentimentality The Comfort of an Aestheticized Sanctuary Longing for a Past as Pleasant Love and Compassion as their Own Rewards The Ironic Distance of Camp and Kitsch Social Progress Exercising Power The Sins of Sentimentality Disempowering and Harming Sentimentality’s Subjects Disempowering and Infantilizing Viewers Poor Public Policy Sense and Sentimentality Chapter 6: The Vulgar Vulgarity and its Variants Vulgarity and Fine Art A Historical Perspective Grotesques and Carnival Vulgar Porn Scatology Vulgarity and Reform Viva Vulgarity! Disgust and Delight Transgression Social Bonding Joyful Resistance Haunting and Humanness Vile Vulgarity Transgression and Suppression Ridicule and Reaction Vexing Vulgarity Chapter 7: The Violent Violence and is Variants A Violent Present A Violent Past Explaining Violent Entertaiment Excitation Transfer Simultaneous Emotional Pleasures Fear and Mastery Seeking Stimulus Everything But Violence Algorithmic Allure The Problems of Violence Purgation Does Not Work Diminishing Returns Mental Scripts of a Hostile World A Cycle of Violence An End to Violence? Chapter 8: The Horrific Horror, Terror, and Dread Sublime Terror versus Popular Horror Horror Hedonism Performative Pleasures Escape and Stimulation Transfixed Fascination Making Moral Judgments Wish Fulfillment and/or Recognition Transgressive Liberation Repetition Horror and Humor Horror, Hostility and Hate Repression Unleashing Hatred Uncanny Uncertainty Chapter 9: The Miraculous Miracles and Marvels The Skeptical Discourse An Enchanted Universe of Miracles Wonder Curiosity Creating Social Identity Finding Patterns and Purpose Debunking Absurdities Parodying Absurdities Escaping into Fantasy Being Confounded Spectacles of Wonder Miracles and Mirage Rejecting Rationality Vulnerability and Vultures The Wonder of It All Chapter 10: The Exotic Exoticism Explored The Exotic Discourse Exotic Enchantment Wonder Spice Seasoning Cultural Renewal Defining Difference Feeling Culturally Superior Taking Symbolic Possession Being Reassured Distortion, Disparagement and Denigration Selectivity and Distortion Inferiority Complexes Superiority Complexes Denial and Projection Exiting the Exotic Chapter 11: The Erotic Exploring the Erotic Sexual Discourse The High Culture Alibi Enjoying the Erotic Voyeurism Fetishism Sadism, Masochism and Sadomasochism Identification Exhibitionism Queer and Queering Prohibition, Permission, and Perfection Permissiveness and Perfection Pornification Selling Sex Sex, Sin and Suppression Chapter 12: The Spectacular Sizing Up the Spectacular The Spectacular versus Sensationalism Size Matters Wonder Thrills and Spills Immersion Ego Loss Humor When Might Makes Right Requiring Submission Failing to See/ Failing to Feel Ignoring the Unspectacular Tedium Summarizing of the Spectacular Chapter 13: The Narrative The Nature of Narrative The Modernist Rejection of Narrative Narrative Norms Narrative’s Gratifications Organizing Complexity Satisfying Curiosity Escaping into Alternative Realities Emotional Identification Everything Else The Stories We Tell The End Chapter 14: The Formulaic Recipes and Road Maps Formulaic Fine Art Formulae and Form Why Formulae Work Easy Communication Reducing Complexity Further Ongoing Comfort and Anxiety Innovation Reading Complexly Formulae and their Challenges Boredom Formulae and Falsity Finishing with Formulae Chapter 15: The Humorous Humor and Mirth Humor and the Haughty Humor versus Gravitas Why We Smile, Snigger and Snort. Feeling Superior Descending Incongruity Emotional Release Humor’s Disciplinary and Dark Side Anaesthesia of the Heart Imposing Social Discipline Ridicule and Repression Humor and Hate Humor and Hostility References Index

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Book SynopsisDesign culture foregrounds the relationships between the domains of design practice, design production and everyday life. Its focus is on contemporary designed objects and the networks between the multiple actors engaged in their shaping, functioning and reproduction. It acknowledges the rise of design and the role of the designer as key components and key challenges of the modern world.Featuring an impressive range of international case studies, ranging from examples of everyday design such as IKEA furniture and amateur graphic design, to the role of the design professional and the functioning of design within organisations, Design Culture interrogates what this emergent discipline is, its methodologies, its scope and its relationships with other fields of study. The volume's interdisciplinary approach brings fresh thinking to this fast-evolving field of study.Trade ReviewOffers the reader an excellent deep dive into the concepts of design culturing in a very accessible way ... Overall this authoritative book instills a great sense of the many attributes and values of design culture. * The Design Journal *Reinvigorates the study of design by offering an alternative to other cross-disciplinary terms such as ‘design studies’ or ‘design thinking’. * Journal of Design History *This stimulating introduction to the approaches and ideas which inform design culture should do much to promote new ways of thinking about both design and culture, and the dialectic between them. * Pat Kirkham, Professor Emerita at the Bard Graduate Center, USA and Professor of Design History at Kingston University, UK *Design Culture is an essential contribution to the field of design studies. It addresses the ubiquity of the term 'design' from a cross sectional perspective, while introducing a precise, conceptual and methodological focus. * Claudia Mareis, Professor of Design Studies at the Academy of Art and Design, Basel, Switzerland *A stimulating, must-read overview of the interdisciplinary debates around Design Culture as a discipline and object of study for all those interested in the phenomenon of Design. * Mónica Farkas, Professor of Visual Communication Design at the Universidad de la República, Uruguay *Design Culture manages to break through the noise, providing an enlightening view of design as a dominating feature of everyday life. From the influence of Turkish paper doilies to the rise of the global sex toy industry, it gives a multi-layered account of seemingly insignificant designs. Filled as it is with impressive philosophical insights and amusing historical connections, Design Culture offers much to ponder. Indeed, designers, historians as well as many non-specialists will find this book both enriching and enjoyable. * Elizabeth Guffey, Professor of Art and Design History at the State University of New York at Purchase, USA *Designers often claim they seek to “improve or maintain the habitability of the world of their fellow citizen”. Design Culture may well be the appropriate theoretical framework I am longing for to better understand and explain what “habitability” is about. * Alain Findeli, Professor of Industrial Design at the University of Montreal, Canada *Table of ContentsIntroducing Design Culture Section 1: Developing Design Culture Introduction Design Culturing: Making Design History Matter, Kjetil Fallan Taste and Attunement: Design Culture as World Making, Ben Highmore Embedding Design in the Organisational Culture: Challenges and Perspectives, Alessandro Deserti and Francesca Rizzo Use in Design Culture, Toke Riis Ebbesen Section 2: Addressing Market and Society Introduction A Brand for Everyone, Sara Kristoffersson Buying into the Future: A Case Study of a Danish Brand of Fashionable Children’s Clothing, Trine Brun Petersen The Glowing Black of fritz-kola. Aestheticisation in Design Culture, Mads Nygaard Folkmann Section 3: Positioning Design Professions Introduction Design Culture in the Sex Toy Industry: a new phenomenon, Judith Glover Working from Home: Fashioning the Professional Designer in Britain, Leah Armstrong On the Professional and Everyday Design of Graphic Artifacts, Sarah Owens The Fixing I: Repair as Prefigurative Politics, Gabriele Oropallo Section 4: Locating Design Culture Introduction Something Old, Something New, Something Borrowed: Relocating Kähler’s brand heritage, Niels Peter Skou Performing Turkish Design in Products, Collections and Exhibitions: Expanding the Archive, Seeking Depth, Harun Kaygan A Theoretical Straddle: Design Culture between National Structures and Transnational Networks, Joana Ozorio de Almeida Meroz and Katarina Serulus The Challenges and Opportunities of introducing Design Culture in Jordan, Danah Abdulla Epilogue: Design Culture as Practice Index

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Book SynopsisGabriela Nicolescu is an Exhibition Maker, a Writer and a Post-Doctoral Researcher with the School of Anthropology and Museum Ethnography at the University of Oxford, UK. She has published in Critique of Anthropology, the Journal of Design History, the Journal of Material Culture, World Art, East Central Europe and Anthropology & Aging.Trade ReviewNicolescu’s scholarship throws light on what happens to a globally significant collection through decades of social and political transformation. Her thinking on the power of objects, styles and collections will galvanise students of culture everywhere. * Adam Drazin, Associate Professor, Department of Anthropology, University College London, UK *Masterfully examines aesthetics, ethics, and politics in the turbulent monarchist, socialist, and post-socialist biography of the Museum of the Romanian Peasant. Nicolescu’s analysis of the museum as a vital, porous actor within society is engaging and original. * Margaret H. Beissinger, Research Scholar, Department of Slavic Languages & Literatures, Princeton University, USA *Table of ContentsAcknowledgements Abbreviations INTRODUCTION: POROUS MUSEUMS Museums as expandable Museums as garbage and concealing Museums as continuities of practice Synopsis of Chapters 1. TWO DIFFERENT DOORS: BUREAUCRACY AND PLAYFULNESS Living among stereotypes Closed rooms ‘Socialist’ white and tidy ‘Anti-communist’ colour and bricolage Negotiating a white gown In search of creativity: the EMYA prize Conclusion 2. THE STAGING OF HISTORY: ETHNOGRAPHY IN MUSEUM’S WAVERING ARCHIVES Why silencing the socialist past? Golden archives: aristocrats and peasants in the capital city Finding inspiration in Stockholm and Oslo Partial archives: partial truths 1950’s relocations Bucharest 1957 exhibition: the difficulty of inscribing difference Where are the peasants? Replies from a photo archive Conclusion 3. SOCIALIST MULTIPLICATION AND THE USE OF THE FUTURE TENSE Multiplication of employees and the school of seriality Work as a gift: the art of bureaucracy and numbers 1960s: Marathon of exhibitions and events and technocrat dispersion The secret police searches the soul of Tancred Bana?eanu Socialism goes global: Travelling folk art exhibitions to Austria, Belgium, China, Mexico, Switzerland and Vietnam Endless multiplication of collections: the storage fever puts the museum to a halt 4. A QUESTION OF (IN)VISIBILITY The 1977 earthquake: new visibility and the media Socialist artizanat, art naïve and the mix of values Back to the stores: what museums do not need 1980s: Eating at the Museum of the Communist Party Hunger and collapse 5. WHAT IS LEFT AFTER A REVOLUTION… FRAGMENTS Priests in the museum: a story of exorcism and sacralisation 1990s’ Neo-Byzantinism Paper clips: fragmentation and assemblage ‘Alive’ museography: ‘when museums disrupt and heal’ Conclusion 6. THREE FACES OF COMMUNISM Anger: Communism as the Plague Practice: The Continuity of Stores Irony and playfulness: The Art of Bricolage Conclusion 7. CONCLUDING CHAPTER The porous museums: tales of continuity and rupture in central and eastern Europe The politics of display and peasants out of history Little space for modernity: the missing metal spoon Notes References List of Illustrations Index

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Book SynopsisSheila Cliffe is Professor at Jumonji Gakuen Women's University, Japan. She has lectured at conferences, museums and events in Japan, England, Hawaii and Korea and she is one of the first non-native Japanese people to hold an official kimono dressing and teaching licence.Trade ReviewThe Social Life of Kimono does cover well-trodden ground in parts, but it mixes in new information and hints at future projects by (Sheila) Cliffe, making it as tantalizing as the glimpse of a hidden collar on a kimono wearer as they run to catch their train in downtown Tokyo. * H-Net *[A] delightful and comprehensive feast of kimono cultural knowledge ... In addition to its wonderful historical sweep, [Cliffe's volume] offers immense and often personal detail about the intricate stages of making, finishing and accessorising a kimono ... The achievement of a true aficionado. * Times Higher Education *Shatters antiquated views of Japan's traditional garment ... Cliffe's passion for kimono is infectious, and her deep knowledge on the subject – both academically and aesthetically – is nothing less than inspiring. * Tokyo Weekender *The Social Life of Kimono gives a unique insight into [the] making and meaning of this complex garment. * Love Sewing *Tracing the history, economic role, cultural impact, and social uses of kimono, Sheila Cliffe’s valuable contribution to the sociology of fashion is a real treat. Comprehensive yet detailed, this book, with its generous collection of beautiful and colorful plates of kimono, should grace the shelf of anyone who appreciates this icon of Japanese aesthetics. -- Brian J. McVeigh, author of Wearing Ideology: State, Schooling and Self-Presentation in JapanSheila Cliffe has made invaluable empirical as well as theoretical contributions to the field of fashion studies through her in-depth research on kimono and by making comparisons between the kimono system and the Western fashion system. This is a must-read for anyone interested in ethnic or non-Western dress and fashion. -- Yuniya Kawamura, Fashion Institute of Technology, New York, USA.An abundance of illustrations and solid research gives readers a new and exciting look at kimonos and their wearers. Cliffe demonstrates that Japan has long had a fashion system based on the indigenous garment quite apart from Western influence. Cultural interviews provide a fascinating look at contemporary interpretations of this tradition. -- Michaele HaynesThe Social Life of Kimono gives a unique insight into making and meaning of this complex garment. * ADDRESS: Journal for Fashion Criticism *The Social Life of the Kimono animates the flat textile that the western world is used to seeing on display in clothing collections as works of craftsmanship and art, demonstrating how it is, in fact, fashion with styles that change and reflect the social, industrial, and economic influences of the moment. In conjunction with textile art resources on kimono and guides for dressing, the reader would gain a solid base of information with which to understand the Japanese kimono. * The Journal of Dress History *Table of ContentsPreface Introduction 1. Think Fashion or Tradition? 2. Tracing Trends in Heian and Edo 3. Mode Becomes Modern: Meiji to 21st Century 4. In Press and Picture: The Published Kimono 5. Makers and Marketers 6. Wearers and Wardrobes 7. Returning Kimono to the Streets Glossary Bibliography Index

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Book SynopsisThis book celebrates and seeks to understand the overlooked appearances of hybrid forms in visual culture; artefacts and practices that meld or interweave incongruous elements in innovative ways. And with an emphasis on the material aspects of such entities, the book adopts the term ''mixed form'' for them.Focusing on key phenomena in the last half millennium, such as the cabinet of curiosities, the broadside ballad and the chapbook as early forms of image-text, the scrapbook, assemblage, and, in digital times, so-called ''mixed reality,'' the book argues that while the quality of inconsistency is traditionally dismissed, its expression nevertheless plays a vital role in social life.Crucially, Mixed Forms of Visual Culture relates its phenomena to the emergence of the division of labour under capitalism and addresses the shifting relationships between art and life, when singularity and uniformity are variously valued and dismissed in the two arenas, and at different points in hiTrade Reviewit is a pleasure to follow the author on her historical and taxonomic crossing of the world of mixed form, from the Renaissance and post-Renaissance cabinet of curiosities till today’s digital creations, over popular genres such as the broadsheet, the chapbook and the scrapbook – all well documented and cleverly illustrated. The visual material of the book is refreshing and often very original, while the comments are always helpful as well as consistently structured in function of the underlying general question of the link with division of labor. * Jan Baetens, Leonardo *Table of ContentsList of Illustrations Preface Introduction: Mixtures of all sorts 1. The cabinet of curiosities as mixed form: depictions and desire 2. Mixed form in working life: the rise of manufacture 3. Popular mixed forms in a long eighteenth century: from the broadside ballad to the chapbook 4. Visual essay 5. Mixed-form and modernism in the visual arts: assemblage and assembly lines 6. Visual essay 7. Digital culture as Wunderkammer Conclusion: A synthesis of sorts Bibliography Index

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Book SynopsisAn analysis of surrealist artist Leonor Fini's self-fashioning and dressing-up practices that explores broader questions of gender and identity performance, creating and styling the self and the woman artist's role.

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Book SynopsisThe childlike character of ideal femininity has long been critiqued by feminists, from Mary Wollstonecraft to Simone de Beauvoir. Yet, women continue to be represented as childlike in the western fashion media, despite the historical connotations of inferiority. This book questions why such images still hold appeal to contemporary women, after three, or even four, waves of feminism.Focusing on the period of 19902015, Picturing the Woman-Child traces the evolution of childlike femininity in British fashion magazines, including Vogue, i-D and Lula, Girl of my Dreams. These images draw upon a network of references, from Kinderwhore and Lolita to Alice in Wonderland and the femme-enfant of Surrealism.Alongside analysis of fashion photography, the book presents the findings of original research into audience reception. Inviting contemporary women to comment on images of the woman-child' provides an insight into the meaning of this figure as well as an evalTrade ReviewThis fascinating book centres on a paradox in visual culture: why do contemporary messages of female empowerment sit alongside a proliferation of images of childlike femininities? Examining magazine fashion spreads over 25 years, Picturing the Woman-Child offers a compelling analysis of four figures and the ways they are understood. * Rosalind Gill, City, University of London, UK *Morna Laing’s nuanced and layered analysis of childlike femininities in fashion imagery is eye-opening. She weaves together a compelling theoretical, historical, and visual analysis, offering the reader a new perspective on and a deeper understanding of these pervasive cultural depictions of women. * Jennifer Farley Gordon, independent researcher, writer and curator, USA *Morna Laing's Picturing the Woman-Child is essential reading for anyone seeking insight into fashion photography and the politics of the gaze. * Valerie Steele, Director of The Museum at FIT, New York, USA *Picturing the Woman-Child is an elegantly textured study of the complex history of childlike femininities, sharply observing how the concept has been centralized in contemporary European fashion media. Morna Laing offers us scholarly exploration at its finest, an analysis at once beautiful, poetic and sophisticated. This is a much-anticipated study that demystifies the cultural imagery of childlike femininities and deconstructs their allures that have long attracted artists, fashion practitioners, men, and, perhaps surprisingly, women themselves. A delightful book which will become central to our thinking on femininities. * Masafumi Monden, University of Sydney, Australia *Table of ContentsList of Figures Acknowledgements 1. Introduction PART I 2. Fashion Photography and Gender 3. Childlike Femininity: A History of Feminist Critique 4. Between Image and Spectator: Reception Studies as Visual Methodology PART II 5. The Romantic Woman-child, Lost from Home 6. Fashion’s Femme-enfant-fatale: Surrealism, Curiosity and Alice in Wonderland 7: Rewriting Lolita in Fashion Photography 8: Kinderwhore: From Catwalk to Slutwalk Post-script: Looking Backwards to Look Forwards Bibliography Index Appendix 1. Participant Demographics

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Book SynopsisWeaving Europe, Crafting the Museum delves into the history and the changing material culture in Europe through the stories of a basket, a carpet, a waistcoat, a uniform, and a dress. The focus on the objects from the collection of the Museum of European Cultures in Berlin offers an innovative and challenging way of understanding textile culture and museums. The book shows that textiles can be simultaneously used as the material object of research, and as a lens through which we can view museums. In doing so, the book fills a major gap by placing textile knowledge back into the museum.Each chapter focuses on one object story and can be read individually. Swooping from 19th-century wax figure cabinets, Nazi-era collections, Cold War exhibitions in East and West Berlin, and institutional reshuffling after German unification, it reveals the dramatically changing story of the museum and its collection. Based on research with museum curators, makers and users of the textiles in ItalyTrade ReviewComplex, enriching and beautifully written, Weaving Europe, Crafting the Museum is a key, interdisciplinary text composed of compelling stories, distinctive case studies and unique archival materials, entwined with textiles as carriers of meaning, migration and politics. * Janis Jefferies, Goldsmiths, University of London, UK *A pioneering effort of museum studies craftwork that weaves together Europe’s West and East and its histories of colonialism, nazism and socialism; disentangles shifting notions of ‘folk culture’; and highlights the challenging task faced by curators inheriting ambivalent historical collections. * Erica Lehrer, Concordia University, Canada *Weaves together a fascinating series of textile stories, narrated through the woven fabrics housed in German ethnographic collections … This book expands our understanding of museums, collections and materiality, and will definitely appeal to a wide range of scholars, including anthropologists, museum curators and textile historians. * Graeme Were, University of Bristol, UK *Table of ContentsList of Figures Acknowledgements Abbreviations Introduction Textiles beyond the folkloric Fieldwork trajectory Textural ethnography The problem of crafting collections Outline of the book 1. Sample collection: Dreams and archives Encounter A place for the museum Textile archives World stage Conclusion 2. Carpets: Knotted histories, recurrent patterns Nationalist folklore School and museum Regained Territories Post-war reconstruction Truly Polish craft Scraps Recurrent patterns Conclusion 3. Woven basket: Untethered art Trader in exotica Survivors Waiting Thread On demand Valuing work Stubborn survival 4. Waistcoat: Colour and Cold War Language island Go West Perforating the Iron Curtain? Vestige Conclusion 5. Cook’s uniform: Refashioning the social fabric Renewal Reorientation Blue-collar museum House ghosts Costume/fashion Conclusion Conclusion: From unification to prefiguration Collection reconceptualized Other futures Prefigurative acquisition Conclusion Bibliography Index

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Book SynopsisCurating Transcultural Spaces asks what a museum which enables the presentation of multiple perspectives might look like. Can identity be global and local at the same time? How may one curate dual identity? More broadly, what is the link between the arts and processes of identity construction? This volume, an indispensable source for the process of engaging with colonial history in Germany and beyond, takes its starting point from the ''scandal'' of the Humboldt Forum. The transfer of German state collections from the Ethnological Museum and the Museum for Asian Art, located at the margins of Berlin in Dahlem, into the centre of Germany''s capital indicates the nation's aspiration of purported multiculturalism and cosmopolitanism; yet the project's resurrection of the site's former Prussian city palace, which was demolished during the GDR, stands in opposition to its very mission, given that the Prussian rulers benefited from colonial exploitation. By examining the coTrade ReviewThis compelling volume invites different perspectives and analysis to coexist about Germany’s most controversial cultural projects of the last three decades, the Humboldt Forum. By framing such museum spaces as “transcultural”, Sarah Hegenbarth highlights the significance of focusing on relationally, rather than essence in contemporary curatorial practice, opening up spaces for dialogue, conflict and debate. * Margareta von Oswald, Associate researcher, Center for Anthropological Research on Museums and Heritage, Humboldt University, Berlin, Germany. Author of Working Through Colonial Collections. An Ethnography of the Ethnological Museum in Berlin (2022). *Channelling multiple perspectives on the ways artistic, curatorial and architectural practices can address entangled colonial histories, this book explores novel forms of identity construction in museum spaces and their formative role in contemporary multicultural societies. * Eva Huttenlauch, Head of Collections Postwar & Contemporary Art, Lenbachhaus Munich, Germany *With 12 case studies from Germany all the way to South Africa, Namibia, Nigeria and Burkina Faso, this unique collection of critical and creative approaches to decolonizing and reshaping museum collections provides a timely intervention into the curating of colonial-era artefacts. * Michael Falser, Heisenberg Fellow of the German Research Foundation (DFG) and Associate Professor of Global Art and Architectural History at Technical University Munich, Germany *This timely book provides a sensitive and multi-layered look into Germany’s current discourses around identity, heritage and museums. Boldly critical of the way colonial histories have been addressed, it highlights a plethora of artistic, architectural, museological and political histories which underpin present-day approaches to curating. * Eva Bentcheva, Associate Lecturer, Heidelberg Centre for Transcultural Studies, Heidelberg University , Germany *Table of ContentsList of Illustrations Notes on Contributors Acknowledgements Preface: Positionality Statement 1. Introduction: Collaborating cultures, negotiating identities, Sarah Hegenbart (Technical University Munich, Germany) Part One: Curating Transcultural Spaces 2. Initial Legal and Policy Questions Surrounding Objects Dispossessed in Colonial Context, Kwame Opoku (previously, United Nations Office in Vienna, Austria) 3. Symptoms of postcolonial aporia and (national) identity crises in Germany (Sarah Hegenbart Technical University Munich, Germany) 4. Multiple Modernisms – curating the postwar era for the present, Kristian Handberg (University of Copenhagen, Denmark) Part Two: Confronting the colonial past and constructing identities on the African continent 5. The Architecture and Aesthetics of Apartheid: Dada in South Africa, a Case Study, Thomas Haakenson (California College of the Arts in San Francisco, California, USA) 6. Contested Memories and Spaces: Art, Archives, and Ambivalence in ‘Ovizire · Somgu: From Where Do We Speak’, a case study from Namibia, Julia Rensing (University of Basel, Switzerland) 7. Democracy reflected in Form Space and Order: Learning from West Africa’s Ancient Empires, a Case Study from Nigeria, Olajumoke Adenowo (Architect, AD Consulting, Nigeria) 8. Westerns made in Africa, a Case Study from Burkina Faso, Camille Varenne (Filmmaker, Independent, France) Part Three: Post-Colonial Conflicts, colonial memories and negotiating identities in Germany 9. Troubling the Nation: Black Germans and the Teaching of History, Jeff Bowersox (University College London, UK) 10. The African Diaspora Palace: The Pastfuture of Black Knowledge in Europe, Natasha A. Kelly (Filmmaker, Artist, Author, Berlin, Germany) 11. Cosmopolitanizing Colonial Memories in Berlin: The Humboldt Forum and the current Shift in Germany’s Culture of Remembrance, Thomas Thiemeyer (The University of Tübingen, Germany) 12. Under the shadow of the Christian cross: visions, delusions, and national Realpolitik. Whose concepts will be seen, whose voices can be heard behind the coat of baroque facades inside a faked Prussian palace?, Viola Konig (Freie Universität Berlin, Germany) Conclusion Index

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Book SynopsisDespite having become marginalized on the map of contemporary art since the wars of the 1990s, the regions of former Yugoslavia continue to be a hub of creative activity. Especially noteworthy is the strong presence of women artists, scholars, and activists whose deeply personal, yet highly political artwork is rooted in a long legacy of female artistic agency. Building on existing scholarship as well as original research, this book highlights how female figures through art and exhibition making, writing, mentorship, and activism have shaped the alternative art scene in former Yugoslavia and placed the region firmly on the map of the international post-avantgarde.Using the founding of the Student Cultural Center Belgrade in 1971 as a starting point, the book details the pioneering work of women in the realm of curation, where they developed radical exhibition concepts and programs that furthered the development of the New Art Practice and embedded Yugo

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Book SynopsisFashion is a subject that has long been marginalized in art history and in museums. And yet, one of the most well-known artists in the twentieth century - Marcel Duchamp - created works that challenge the notion that fashion does not belong in the museum. As well, there is material evidence of his engagement with clothing as part of his oeuvre. This book reveals that clothing and dressing are significant themes that recur in Duchamp''s life and his work including his drawings, his fashioning of his body, his readymades, and in his curatorial gestures. In examining the items of clothing worn by Duchamp and the related traces of his wardrobe management, Duchamp is unmasked as a dandy. His waistcoat readymade series ''Made to Measure'' (1957-1961) is in fact a remarkable and deliberate effort to recalibrate the definition of the readymade to include clothing. With this little-studied readymade series, Duchamp established a precedent for sartorial art as a valid form of artisti

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Book SynopsisElizabeth Resnick is a professor of graphic design Graphic Design at Massachusetts College of Art and Design, USA. Trade ReviewThe urgency of the need for this book cannot be overstated. The culture of graphic design is now poised to catch up with the sea change within design already demanding holistic change. It provides clear examples of why this work matters especially as a serious area of research within design education and affecting industry. * Peter Fine, University of Wyoming, USA *"A timely reminder of the potential and influence of an underestimated profession. The practice of graphic design really is a matter of life or death. Elizabeth Resnick offers an accessible, insightful and ultimately usable guide on how to be a designer who can change the world. An inspirational resource for students, teachers and design professionals" * Olwen Moseley, Dean of Cardiff School of Art & Design, UK *Designing responsibly is an increasingly important criteria for a generation of students who have grown up with a strong awareness of green, ethical and social responsibility. Developing Citizen Designers makes its case with reason and clarity. Rather than focusing on 'shock' imagery, and the inevitability of becoming overly designed, the layout and flow of the book is calm and rational, serving to project and communicate the passionate content with even greater success. * Philip Thomas, University of Wales Trinity St David, UK *This is a very good text, showcasing method, process and outcomes for projects focusing on design for society [...] one of the best texts on the subject. * Myrna MacLeod, Edinburgh Napier University, UK *Developing Citizen Designers is a well-organized resource, designed to offer meaningful guidance on social design practices via a close, cover-to-cover read or quick access to individual, topic-specific, framing essays, interviews and case studies of university-level, socially and culturally transformative design assignment briefs… Elizabeth Resnick’s deep experience as a design curator, educator, author, facilitator, and instigator offers an ideal, passionate position from which to call upon, cull and synthesize the diverse array of national and international voices and project-based case studies on offer within Developing Citizen Designers. The people-centered design and research skills imparted in the various methodologies outlined in the essays, interviews and case studies in Developing Citizen Designers comprise the spectrum of understanding and knowledge needed by future designers, regardless of how, when and whether they define themselves as citizen designers. * Dialectic *The critical stance and passionate position that Resnick adopts for her compilation allow her voice to be heard as a seminal one, alongside her contemporaries... the tone of the book is motivating and encourages educators to pursue socially responsible design in their curricula and students to see socially responsible design as an empathic way of thinking... Resnick’s literary contribution also provides a broad scope for socially responsible design by including examples that traverse the use of different media. * Fatima Cassim, Lecturer in Information Design at the University of Pretoria, South Africa *An engaging range of writing and illustrative work, stimulus quotations, discussion and a spectrum of the theoretical and the practical in and for design education in general and graphic design education in particular. * Design and Technology Education *Table of ContentsForeword, Bernard Canniffe, Iowa State University, USA Introduction, Elizabeth Resnick, Massachusetts College of Art and Design, USA Graphic Design Education and the Challenge of Social Transformation, Victor Margolin, design historian and writer, USA Part 1: Designing Thinking Section 1: Socially Responsible Design 1. Essay: Anatomy of the Socially Responsible Designer, Andrew Shea, designer, writer and educator, USA 2. Interview: Five Questions of Omar Vulpinari, IUAV University of Venice, Italy 3. Case Study: Apocalypsis Ante Portas – Exoteric City Competition, Dora Balla, Moholy-Nagy University of Art and Design, Hungary 4. Case Study: Señor John's BBQ Sauce, Antonio H Castro, University of Texas at El Paso, USA 5. Case Study: Womens Exchange, Brockett Horne, Maryland Institute College of Art, USA 6. Case Study: The Kelabit Highlands Community Development Project, Meghan Kelly, Deakin University, Australia 7. Case Study: Fundación Mark, Gustavo Morainslie, Universidad Tecnológica de México campus Atizapán, Mexico 8. Case Study: Greening the Mind (Matarkista Reykjavíkur), Massimo Santanicchia, Iceland Academy of the Arts, Iceland 9. Case Study: together+, Robert Sedlack, University of Notre Dame, USA 10. Case Study: Women of Istanbul Through Time, Basak Ürkmez, Mimar Sinan Fine Arts University, Turkey Section 2: Design Activism 1. Essay: What Design Activism is and is Not: A Primer for Students, Natalia Ilyin, Cornish College of the Arts, USA 2. Interview: Five Questions of Harry Pearce, Pentagram, UK 3. Case Study: Life is a Protest, Gulizar Cepoglu, London College of Communication, UK 4. Case Study: Amen: Supporting Male Victims of Domestic Abuse, Brenda Dermody and Clare Bell, Dublin Institute of Technology, Ireland 5. Case Study: Bird's Eye View, Alice Drueding, Tyler School of Art at Temple University, USA 6. Case Study: Sustainable, Joo Ha, Namseoul University, South Korea 7. Case Study: Finding Your Way_De Grote Beek, Catelijne van Middelkoop, Design Academy Eindhoven, The Netherlands 8. Case Study: Designing Police, Bernard Canniffe, Ringling College of Art and Design, USA 9. Case Study: Communication Design for Social Issues, Hyunmee Kim, Samsung Art and Design Institute, South Korea 10. Case Study: WASH Curriculum Redesign, Ken Visocky-O'Grady, Kent State University, USA Section 3: Design Authorship 1. Essay: Embracing the Notion of Design Authorship and Entrepreneurship, Steven McCarthy, University of Minnesota, USA 2. Interview: Five Questions of Juhan Sonin, Involution Studios, USA 3. Case Study: Food for Good: Self-Initiated Project, Siân Cook, London College of Communication, UK 4. Case Study: Packaged Pets, Maria Mordvintseva, Designer, Russia 5. Case Study: SexSense, David Smith, Dún Laoghaire Institute of Art, Design and Technology, Ireland 6. Case Study: Culturally Appropriate Graphics, Audrey Bennett, Rensselaer Polytechnic Institute, USA 7. Case Study: Entomo, David Smith, Dún Laoghaire Institute of Art, Design and Technology, Ireland Part 2: Design Methodology Section 1: Collaborative Learning 1. Essay: Collaborative Learning: The Social in Social Design, Teal Triggs, Royal College of Art, UK 2. Interview: Five Questions of Jacques Lange, Bluprint Design, South Africa 3. Case Study: Project Baltimore, Ryan Clifford, Maryland Institute College of Art, USA 4. Case Study: Designing for Democracy, Christopher Hetherington, Emily Carr University of Art and Design, Canada 5. Case Study: Community Partnership with St. James School, Kelly Holohan, Tyler School of Art at Temple University, USA 6. Case Study: European Street Design Challenge 2013, Sadna Jain, Chelsea College of Art, UK 7. Case Study: The West End Workbook, Keith Owens and Michael Gibson, The University of North Texas, USA 8. Case Study: ELISAVA 4 Walls Project, Raffaella Perrone, ELISAVA Barcelona School of Design and Engineering, Spain 9. Case Study: Welcome Home, Lisa Rosowsky, Massachusetts College of Art and Design, USA 10. Case Study: The Brightmoor Farmway Project, Hannah Smotrich and Charlie Michaels, University of Michigan, USA Section 2: Participatory Design 1. Essay: Social Innovation through Participatory Design, Helen Armstrong, Miami University, USA 2. Interview: Five Questions of Astrid Stavro, Atlas Studio, Spain 3. Case Study: Colors for Life/ Diego Giovanni Bermúdez Aquirre, Pontificia Universidad Javeriana Cali, Colombia 4. Case Study: WhoNotWhat: A Photovoice Exploration, Mark Biddle, Weber State University, USA 5. Case Study: InDEFYnable: Struggle Together, Stand Together, Audra Buck-Coleman, University of Maryland, USA 6. Case Study: Designing Alteratives, Emma Gieben-Gamal and Sónia Matos, University of Edinburgh, UK 7. Case Study: Family Van Wrap Redesign, Elizabeth Resnick, Massachusetts College of Art and Design, USA 8. Case Study: Llagostera Youth Center, Ariel Guersenzvaig, ELISAVA Barcelona School of Design and Engineering, Spain 9. Case Study: The Human Story, Jackie Malcolm, Duncan of Jordanstone College of Art & Design, UK 10. Case Study: Dementia Lab (D-lab) Masters Module, Andrea Wilkinson, LUCA School of Arts, Belgium Section 3: Service Design 1. Essay: Designing from the End to the Beginning and Back Again: Introducing Students to Service Design Thinking, Michael Gibson, The University of North Texas, USA 2. Interview: Five Questions of Jake Barrow, George Patterson Y&R, Australia 3. Case Study: Designing a Better Fly-In-Fly-Out Lifestyle in Western Australia, Christopher Kueh, Edith Cowan University, Australia 4. Case Study: Creating an Identity for the Cahaba River Blueway, Doug Barrett, the University of Alabama at Birmingham, USA and Matt Leavell, both University of Alabama, USA 5. Case Study: Ballot: a Digital Resource to Assist Young Adults with the Voting Process, Paul Nini, The Ohio State University, USA 6. Case Study: Prosperity Gardens, Brian Wiley and Eric Benson, University of Illinois, USA 7. Case Study: Translating Happiness through Design, Stuart Medley, Christopher Kueh, and Hanadi Haddad, Edith Cowan University, Australia Part 3: Making a Difference Section 1: Getting Involved 1. Essay: Designing Sustainable and Equitable Relationships with Communities, Eric Benson, University of Illinois, USA 2. Interview: Five Questions of Kenji Nakayama, artist, USA 3. Essay: Teaching Social Literacy, Myra Margolin, Maryland Institute College of Art and Design, USA 4. Essay: Cultural Respect, Not Social Responsibility: The Seven Principles of Design Anthrology, Elizabeth Tunstall, Swinburne University of Technology, Australia Section 2: Resources 1. Essay: Assessment Considerations for Social Impact Design, Audra Buck-Coleman, University of Maryland, USA 2. Essay: The Citizen Designer: A Cautionary Note, Cinnamon Janzer and Lauren Weinstein, designers, USA 3. Essay: Making the Transition: A Personal Reflection, Penina Acayo, University of Notre Dame, USA 4. Essay: Some Thoughts on Empathy, Gunta Kaza, Massachusetts College of Art and Design, USA 5. Essay: All Together Now, Scott Boylston, Savannah College of Art and Design, USA 6. Resources Bibliography Index Acknowledgements

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Book SynopsisDialogues with Degas demonstrates the ongoing relevance of Edgar Degas to 20th- and 21st-century ideas and art practices.The first in-depth examination of this major artist's impact on contemporary art, this book explores how contemporary practitioners have used Degas's creativity as a springboard to engage imaginatively and critically with themes of colonialism, gender, race and class. Individual chapters are devoted to dialogues between Degas's art and works produced by Frank Auerbach, Cecily Brown, Xinyi Cheng, Ryan Gander, Maggi Hambling, Damien Hirst, Howard Hodgkin, Chantal Joffe, Leon Kossoff, R.B. Kitaj, Juan Muñoz, Paula Rego, Jenny Saville, Yinka Shonibare, Cy Twombly and Rebecca Warren.Through close analyses of selected paintings, drawings, prints and sculptures, Kathryn Brown explores how Degas's technical and compositional experiments have been extended or challenged in innovative ways. By experimenting with the materials and methods of exiTrade ReviewThoughtfully positioning the work of Edgar Degas in dialogue with that of certain contemporary artists, Brown compellingly reveals not just his ongoing relevance, but also the rich possibilities presented by an art history that is global, diverse, non-linear and inclusive. * MARNI KESSLER, Professor and Director of Graduate Studies, Kress Foundation Department of Art History, University of Kansas, USA *Kathryn Brown makes an adventurous charting of the cultural, social, and aesthetic loops and swoops of Degas’s art through the practices of leading contemporary artists. Dialogical and tantalisingly transversal in its sights and insights, vivid in its writing, this book is a major advance in art criticism. * SUSAN HARROW, Ashley Watkins Professor of French, University of Bristol, UK *Exhilarating in her focus on women and ‘minority’ painters, Kathryn Brown recalibrates our understanding of Degas through the prism of modern art. Brown’s vivid analysis of post-WWII artists’ engagement with Degas – including Kitaj, Rego, Hambling, Xinyi Cheng and Twombly – explores the enduring impact of Degas’s provocative art. * ANTHEA CALLEN, Professor Emeritus of Visual Culture, and Professor Emeritus, The Australian National University, Australia *Bringing Degas’ oeuvre thrillingly to life, this book demonstrates how, in grappling with his more problematic aspects, contemporary artists have added a whole range of complexities of their own. * REBECCA FORTNUM, Professor of Fine Art and Head of the School of Fine Art, The Glasgow School of Art, UK *Table of ContentsAcknowledgements List of Colour Plates List of Figures Introduction Influence and Antagonism Art out of Time Structure and Approach 1. Degas and the School of London R. B. Kitaj and the Anxious Condition of Art Making The Anti-Dreyfusard Master Leon Kossoff and Frank Auerbach Draw Degas 2. Influence as Excess Misogyny Paula Rego’s Dog Women Cecily Brown: New Provocations 3. Vitrines, Vacancy, and Immanent Things: Little Fourteen-Year-Old Dancer Medicine and Moral Judgment: Damien Hirst Entangled Histories: Yinka Shonibare Ryan Gander’s Empathetic Storytelling 4. Degas Doubled Rebecca Warren as Twin Juan Muñoz and Miss La La’s Legacy 5. Pearl Divers: Prying Loose the Past Maggi Hambling’s Monotypes: Queer Phenomenology and the Gaze Chantal Joffe’s Bathers: Self and Other Xinyi Cheng: Modern Masculinities 6. The Final Act Jenny Saville: Colour Shock Howard Hodgkin’s Hero Conclusion Cy Twombly and Degas’s Hat Degas Unbound Notes Bibliography Index

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Book SynopsisRachel Cooper OBE is Distinguished Professor of Design Management and Policy at Lancaster University, UK. She is the co-editor of The Handbook of Design Management (Bloomsbury 2011, 2017) and of Design for Health (2020).Louise Mullagh is Senior Research Associate at the Lancaster Institute for the Contemporary Arts, Computing and Communications, Lancaster University, UK.Table of ContentsIntroduction, Rachel Cooper and Louise Mullagh (ImaginationLancaster, Lancaster University, UK) Part One: Reaction 1. Design Reactions, Louise Mullagh, Rachel Cooper, Lisa Thomas and Justin Sacks (ImaginationLancaster, Lancaster University, UK) 2. The Usefulness of Imperfect Design, Paul A. Rodgers (University of Strathclyde, UK), Craig Bremner (Charles Sturt University, Australia) and Fernando Galdon (Royal College of Art, UK) 3. Strategic Design in a Pandemic, Camilla Buchanan (Policy Lab, UK Government) Part Two: International Reaction and Adaptation 4. Designing for Social Distancing, Des Fagan (Lancaster University, UK) 5. International Public Health Communication Design, Emmanuel Tsekleves, Mariana Fonseca-Braga and Alejandro Moreno Rangel (ImaginationLancaster, Lancaster University, UK) 6. Design’s First Line Response to the Challenges Posed by COVID-19 in South America: Chilean and Colombian Examples, Ricardo J Hernandez (Pontificia Universidad Católica de Chile) 7. A Team of 5 Million: Tackling the COVID-19 Pandemic in New Zealand, Tomas Garcia Ferrari and Carolina Short (University of Waikato, New Zealand) 8. Lessons and Implications from South Korea’s Design Response to COVID-19: Case Studies and Analysis of ICT Convergence in Design, Yoori Koo (Hongik University, South Korea) Part Three: Recovery and Resilience: Building for the Future 9. Here to Stay: Design-Led Recovery from COVID-19 in New York, Mariana Amatullo and Isabella Gady (Parsons School of Design, USA) 10. Design for a Post-Pandemic World: Embedding Business Resilience Through Design, Boyeun Lee, Elisavet Christou and David Hands (ImaginationLancaster, Lancaster University, UK) 11. Moving with the Music: Co-designing Jalisco's Post-Pandemic Cultural Policy Through Orchestration, Bas Raijmakers (STBY, UK) and Megan Anderson (D-Ford, UK) 12. Designing Resilient Cities Post COVID-19, Christopher Boyko and Rachel Cooper (ImaginationLancaster, Lancaster University, UK) 13. Re-Imagining the Use of Outdoor Learning Environments in Secondary Education, Ana Rute Costa (ImaginationLancaster, Lancaster University, UK) 14. Resilient Digital Technologies, Naomi Jacobs, Zach Mason, David Perez, Rosendy Galabo, David Green, Joseph Lindley (ImaginationLancaster, Lancaster University, UK), Peter J. Craigon, Steve Benford, Dimitrios Darzentas and Hanne G. Wagner (University of Nottingham, UK) Conclusion: Principles for Resilience

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Book SynopsisPresenting key examples and case studies of how design has responded to the pandemic, Design and Covid-19 offers lessons and approaches to design for future resilience. Design has a key role to play in not only creating products to ensure safety from the pandemic, but also in the creation of complex systems, new technologies and physical environments that enable us to carry out our lives and protect populations in the future. Design and Covid-19 identifies four key phases of the pandemic to examine how designers developed systems, services, communications and products as part of our response to the crisis, whether at an international, national or community level. Contributors report from a range of international contexts, including countries in Europe, Asia, Africa and Australasia, detailing how countries responded to the pandemic, introduced social distancing and lockdowns, developed test, track and trace systems, implemented new laws and how design and desigTrade ReviewDesign & Covid 19 is a pioneering publication to come out of the pandemic in its evaluation of the impact of design practices. With an international selection of papers from a range of disciplines, the essays chart the roles of design during the crisis, with an eye toward a more resilient future. * Anna Kallen Talley, Doctoral Researcher of Design at University of Edinburgh, Scotland *Table of ContentsIntroduction, Rachel Cooper and Louise Mullagh (ImaginationLancaster, Lancaster University, UK) Part One: Reaction 1. Design Reactions, Louise Mullagh, Rachel Cooper, Lisa Thomas and Justin Sacks (ImaginationLancaster, Lancaster University, UK) 2. The Usefulness of Imperfect Design, Paul A. Rodgers (University of Strathclyde, UK), Craig Bremner (Charles Sturt University, Australia) and Fernando Galdon (Royal College of Art, UK) 3. Strategic Design in a Pandemic, Camilla Buchanan (Policy Lab, UK Government) Part Two: International Reaction and Adaptation 4. Designing for Social Distancing, Des Fagan (Lancaster University, UK) 5. International Public Health Communication Design, Emmanuel Tsekleves, Mariana Fonseca-Braga and Alejandro Moreno Rangel (ImaginationLancaster, Lancaster University, UK) 6. Design’s First Line Response to the Challenges Posed by COVID-19 in South America: Chilean and Colombian Examples, Ricardo J Hernandez (Pontificia Universidad Católica de Chile) 7. A Team of 5 Million: Tackling the COVID-19 Pandemic in New Zealand, Tomas Garcia Ferrari and Carolina Short (University of Waikato, New Zealand) 8. Lessons and Implications from South Korea’s Design Response to COVID-19: Case Studies and Analysis of ICT Convergence in Design, Yoori Koo (Hongik University, South Korea) Part Three: Recovery and Resilience: Building for the Future 9. Here to Stay: Design-Led Recovery from COVID-19 in New York, Mariana Amatullo and Isabella Gady (Parsons School of Design, USA) 10. Design for a Post-Pandemic World: Embedding Business Resilience Through Design, Boyeun Lee, Elisavet Christou and David Hands (ImaginationLancaster, Lancaster University, UK) 11. Moving with the Music: Co-designing Jalisco's Post-Pandemic Cultural Policy Through Orchestration, Bas Raijmakers (STBY, UK) and Megan Anderson (D-Ford, UK) 12. Designing Resilient Cities Post COVID-19, Christopher Boyko and Rachel Cooper (ImaginationLancaster, Lancaster University, UK) 13. Re-Imagining the Use of Outdoor Learning Environments in Secondary Education, Ana Rute Costa (ImaginationLancaster, Lancaster University, UK) 14. Resilient Digital Technologies, Naomi Jacobs, Zach Mason, David Perez, Rosendy Galabo, David Green, Joseph Lindley (ImaginationLancaster, Lancaster University, UK), Peter J. Craigon, Steve Benford, Dimitrios Darzentas and Hanne G. Wagner (University of Nottingham, UK) Conclusion: Principles for Resilience

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Book SynopsisLindsay Kelley is a practicing artist and Associate Lecturer at the School of Art & Design, University of New South Wales, Australia.Trade ReviewBioart Kitchen plays with the industrial food system – taking familiar products off the shelf and making them strange. Chicken soup, Coke, peanut butter, canned food and corn syrup will never taste the same. Kelley’s collection of recipes brings feminist sensibilities to home economics – showing how the kitchen has long been a space of subversion, performance and innovation. * Eben Kirksey, Australian Research Council Fellow, University of New South Wales, Australia and author of Emergent Ecologies (2015) *This fascinating tome mixes appliance lore, technological food scares, feminist fists raised in protest, artists’ pot lucks and the Neiman Marcus cafeteria into its eclectic “menu”! Read it, study it, learn from it. This important read adds to a growing shelf of books that show how earlier feminist art set the stage for younger artists today engaged with social justice, food and eating. * Linda Mary Montano, performance artist based in the USA *Table of ContentsIntroduction: What is Food? 1. Subject P: Embodying Home Economics Home economics origins of public amateurisms now active in bioart engagements with food and eating 2. Chicken Heart Soup Early tissue culture work in laboratories and speculative fiction; the animal body in pieces 3. Domestic Computing Kitchen as laboratory, recipe as data point, woman as computer 4. Semiotics of the Kitchen: Feminist Food Art Locating a performance politics of food and eating in feminist art of the 1970s 5. DIY Coke Industrial interventions, kits, and critical approaches to processed food 6. Meat Culture In vitro meat and the victimless utopias of the Tissue Culture & Art Project 7. Public Amateurism Critical Art Ensemble’s Free Range Grain and the risks of learning in public 8. Cookbook The cookbook form as political critique 9. Carnal Light With Eva Hayward. Eduardo Kac’s GFP Bunny, invisible jellyfish bodies, and somalumenal encounters 10. Digesting Wetlands Natalie Jeremijenko’s Cross(x)Species Adventure Club, molecular gastronomy, and the human microbiome imaginary 11. Plumpiñon Recipe for reciprocal capture among people, trees, and starvation foods 12. Dysphagiac Eating without swallowing: feeding the tube

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Book SynopsisArt as Organism shows that the digital image was a rich and expansive artistic medium of modernism. Linking its emergence to the dispersion of biocentric aesthetic philosophies developed by Bauhaus pedagogue Laszlo Moholy-Nagy, from 1920s Berlin to the Massachusetts Institute of Technology in the 1970s, Charissa Terranova uncovers seminal but overlooked references to biology, the organism, feedback loops, emotions, and the Gestalt, along with an intricate genealogy of related thinkers across disciplines. Unearthing a forgotten narrative of modernism, one which charts the influence that biology, General Systems Theory, and cybernetics had on modern art, Terranova interprets new major art movements such as the Bauhaus, Op Art, and Experiments in Art and Technology by referencing contemporary insights from architects, embryologists, electrical engineers, and computer scientists. From kinetic and interactive art to early computer art and installations spanning an entire cTable of ContentsPreface Introduction: The Haptic Unconscious: László Moholy-Nagy’s Organismic Aesthetics 1. Bauhaus Biology: The Beginnings of Biofunctionalism 2. Gyorgy Kepes and the Light image as Bio-Image: Pop Art-and-Science, Integration, and Distribution 3. The Distributed Image of the City: The Collaboration between Gyorgy Kepes and Kevin Lynch 4. Wet Perception: Op Art and New Tendencies, between the Gestalt and Ecological Psychology 5. The Digital Image in Art: The Generative Turn, Computational and Biological

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Book SynopsisIzabel Galliera is Assistant Professor of Art History in the Department of Art & Design at Susquehanna University in Pennsylvania, USA. Her research has been published in the Journal of Curatorial Studies and appears in the forthcoming collections Collaborating Now: Art in the Twenty First Century (2016) and Redefining Creativity: Multi-Layered Collaborations in Art and Art Historical Practice (2016).Trade ReviewSocially Engaged Art after Socialism is the first comprehensive scholarly treatment of the important new forms of socially engaged art that emerged in Central and Eastern Europe following the demise of the USSR. Its publication represents an important intervention in the emerging critical and theoretical debate around socially engaged art, and will allow us to further broaden the geopolitical scope of this important research. * Grant Kester, Professor of Art History, University of California, San Diego, USA and author of 'Conversation Pieces: Community and Communication in Modern Art' *Table of ContentsList of Illustrations Acknowledgements Introduction 1. Points of Contention: Socially Engaged Art Practice in Contemporary Theory 2. Civil Society, and Social, Cultural and Political Capital 3. Historical Antecedents: Participatory Art under Socialism, 1956–89 PART I FROM SECOND SOCIETY TO CIVIL SOCIETY 4. Civil Society in a Period of Post-Socialist Transition 5. Antipolitics: Exhibitions at the Soros Centres for Contemporary Art 6. Sofia: Participatory Public Art and Emerging Contemporary Art Institutions PART II FROM LOCALIZED PUBLIC SITES TO EU TRANSNATIONAL PUBLIC SPHERES 7. Place-Making: Framing Art in Public Spaces Curatorially 8. Representing Counterpublics in Bucharest, Budapest and Sofia 9. Contesting the Politics of Belonging in the Post-1989 EU Community PART III INSTITUTIONALIZED AND INSTITUTIONALIZING 10. Institutionalized Community Arts Programmes 11. Big Hope: Reviving Leftist Activism in Budapest 12. Self-Institutionalizing as Political Agency Conclusion Notes Bibliography Index

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Book SynopsisAnna Grasskamp is Lecturer at the School of Art History at University of St Andrews, UK. She is the author of Objects in Frames: Displaying Foreign Collectibles in Early Modern China and Europe (2019) and Art and Ocean Objects of Early Modern Eurasia: Shells, Bodies, and Materiality (2021).Anne Gerritsen is Professor of History at the University of Warwick, UK, and Chair of Asian Art at University of Leiden, Netherlands. She is the author of Ji'an Literati and the Local (2007), and The City of Blue and White: Chinese Porcelain and the Early Modern World (2020). At Warwick, she co-directs the Global History and Culture Centre.Trade ReviewThis fascinating, multidisciplinary collection of essays on ceramic jars from, and in, global contexts illuminates ceramic trade, consumption, production and reception through the lens of a single form, demonstrating the agency of vessels as both containers and cultural objects. * Stacey Pierson, Reader in the History of Chinese Ceramics, SOAS, University of London, UK *A brainstorm of a book, with scholars from a wide range of different fields, Transformative Jars gathers fresh studies on Asian ceramics. It not only totally reshapes our ideas on these most common and practical vessels but also greatly contributes to the interdisciplinary nature of material culture studies. * Ching-fei Shih, Professor, Graduate Institute of Art History, National Taiwan University, Taiwan *Table of ContentsList of Contributors List of Illustrations Transformative Jars: An Introduction Anna Grasskamp, University of St Andrews, UK; Anne Gerritsen, University of Warwick, UK, and Leiden University, Netherlands Part I. Transformative Matters: Ceramic Vessels, Chemistry and Socio-Economic Change Chapter 1. Dreams of Transformation: A 14th-century Flask from Cizhou Anne Gerritsen, University of Warwick and Leiden University Chapter 2. Jars that Cheered: Alcohol and Stoneware Containers in Java before 1500 Jiri Jakl, University of Heidelberg Part II. Transformative Spaces: Ceramic Vessels and Asian Locations Chapter 3. Siamese Jars and their Significance in Southeast-Asian Trade from the 14th to the 18th Century Atthasit Sukkham, Bangkok University Chapter 4. Weaving Networks: Production and Exchange of Ceramic Jars in South China and Vietnam from the 14th to the 16th Century Wong Wai-yee Sharon, Chinese University of Hong Kong Part III. Transcultural Enclosures: Containers and their Contents in Global Context Chapter 5. For Oil, Date Syrup and the Tomb of a Chinese Queen: The Reciprocal Trade in Chinese and West Asian Jars in the Late Tang/Early Abbasid Periods Eva Ströber, Curator Emerita, National Museum of Ceramics Princessehof Leeuwarden Chapter 6. Translocation and Transformation: The Lives of Chinese Fishbowls in the Early Modern Period Wen-ting Wu, National Taiwan University Part IV. Transformative Containers: Individual Jars and Modes of Agency Chapter 7. The Jars Have Ears: Circulation and Proliferation of Chinese Prototype Container Jars and their Offspring in Asia Louise Cort, Curator Emerita for Ceramics, Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution Chapter 8. Dragons in Flux: A Changing Relationship between People and Jars in the Kelabit Highlands, Borneo, from the 19th to the 21st century Borbala Nyiri, independent scholar Chapter 9. Jar Interventions: Ceramic Containers as Disobedient Objects in Contemporary Asian Art Sooyoung Leam, The Courtauld Institute of Art, UK; Anna Grasskamp, University of St Andrews, UK Chapter 10. Concluding Thoughts on Transformative Jars: Asian Ceramic Vessels as Transcultural Enclosures Anna Grasskamp, University of St Andrews, UK; Anne Gerritsen, University of Warwick, UK, and Leiden University, Netherlands Index

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Book SynopsisIn the late nineteenth and early twentieth century, ideals of technological progress and mass consumerism shaped the print cultures of countries across the globe. Magazines in Europe, the USA, Latin America, and Asia inflected a shared internationalism and technological optimism. But there were equally powerful countervailing influences, of patriotic or insurgent nationalism, and of traditionalism, that promoted cultural differentiation. In their editorials, images, and advertisements magazines embodied the tensions between these domestic imperatives and the forces of global modernity.Magazines and Modern Identities explores how these tensions played out in the magazine cultures of ten different countries, describing how publications drew on, resisted, and informed the ideals and visual forms of global modernism. Chapters take in the magazines of Australia, Europe and North America, as well as China, The Soviet Turkic states, and Mexico. With contributions from leading internatTrade ReviewThree shifts mark Magazines and Modern Identities in expanding periodical studies: from “small” to “big” embedded in key historical turns; from textual to visual and contextual readings; and from Europe- and US-centred studies to cultural displacements. With interdisciplinary focus that defies fixed definitions, these thorough chapters ask: whose modernity and identity was it, and why? * Evanghelia Stead, Professor of Comparative Literature and Print Culture, UVSQ Paris-Saclay, and Fellow of the Institut Universitaire de France *Working the nexus between innovations in illustrated magazines and modern identity formation around the globe, this book strides forcefully into the most vital questions in modern periodical studies. How did illustrated magazines enable readers to envision themselves as cosmopolitans or nationalists, as modern people or traditionalists? More profoundly, how do media set the horizons for articulating a self under the pressures of modern history? These chapters engage these questions with vigour, ingenuity, and impressive detail. * Patrick Collier, Professor of English and Associate Dean, College of Sciences and Humanities, Ball State University, USA; Author of Teaching Literature in the Real World: A Practical Guide (Bloomsbury, 2021) *Table of ContentsList of Contributors Acknowledgements Introduction: ‘The Rapid Rhythm of Modern Life’, Andrew Thacker (Nottingham Trent University, UK) and Tim Satterthwaite (University of Brighton, UK) Part I: Modern Times: Magazines in the USA at the turn of the 20th century 1. “A Monthly Album of Crazy Fancies”?: The Arena magazine, alternative modernities and US radical print culture (1889-1909), Jean-Louis Marin-Lamellet (Université Savoie-Mont Blanc, France) 2. “The Young Man of To-Day is not the Young Man of Fifty Years Ago”: The changing image of United States men in the cover art of popular periodicals, 1880–1920, Richard Junger (Western Michigan University, USA) Part II: The Age of Extremes: European magazines of the interwar decades 3. Left-wing Answers to the Bourgeois Illustrated Press in the German Reich, Konrad Dussel (University of Mannheim, Germany) 4. Spearheading the Iconic Turn: German Illustrated Magazines in the Interwar Period, Patrick Rössler (University of Erfurt, Germany) 5. Acrobatics of the Printed Page: The Cosmopolitanism of Rizzoli’s Periodicals, Maria Antonella Pelizzari (Hunter College, CUNY, USA) 6. Visual Modernism and its Others in VU, Laura Truxa (EHESS, Paris, France) 7. ‘The Greater Britain of Fascism’: Politics, Propaganda and Photography in Action (1936-40), Emma West (University of Birmingham, UK) Part III: Transnational Modernities: Culture and lifestyle magazines in Canada and Australia 8. Memories and Promises: Australian Modernism and National Identities in Home During the 1930s, Melissa Miles (Monash University, Australia) and Geraldine Fela (Macquarie University, Australia) 9. Seeing the World and One’s Place Within It: Australian Quality Magazines and the Asia-Pacific in the 1920s and 1930s, Susann Liebich (Univ of Heidelberg) and Victoria Kuttainen (James Cook University, Australia) 10. To be or Not to be Modern: The paradox of Modernity in the French-Canadian Magazine La Revue moderne During the 1930s, Adrien Rannaud (University of Toronto Mississauga, Canada) 11. Magazine Digest, Canadian Invader?, Jaleen Grove (Rhode Island School of Design, USA) Part IV: Future States: Chinese, Soviet Turkic, and Mexican magazines 12. Global Magazine Culture and Modern Chinese Identities, Michel Hockx (University of Notre Dame, France) and Liying Sun (University of Iowa, USA) 13. Photographic Portraits of Leaders of the 1911 Revolution: The Promise of Historical Rupture in the Chinese Republican Press, Giulia Pra Floriani (Heidelberg Centre for Transcultural Studies, Germany) 14. Publishing the Nation: Periodicals and Nation-Building in Soviet Turkic Communities, 1921-1937 Michael Erdman (British Library, UK) 15. Female Identities and Translocal Networks in Mexican Folkways, Claudia Cedeño Báez (University of Tübingen, Germany) Bibliography Index

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Book SynopsisJuliet Hacking is Subject Leader for Photographic Studies at Sotheby's Institute of Art, UK.Joanne Lukitsh is Professor of History of Art at Massachusetts College of Art and Design, USA.Trade ReviewBy placing nineteenth-century photography into rich dialogue not only with fine art but with other disciplines, this welcome volume provides thought-provoking readings of both familiar and overlooked images with an attentiveness to the material properties of photographic objects. * Elizabeth Siegel, Curator of Photography and Media, The Art Institute of Chicago, USA *This innovative volume presents photographic history in all its wonderful, controversial diversity. The essays open onto myriad forms of art-making, illuminating crucial debates in nineteenth-century aesthetics. The book’s introduction offers an indispensable historiography of the subject. Photography and the Arts makes a valuable contribution to the art history of photography. * Rachel Teukolsky, Associate Professor of English, Vanderbilt University, USA *The reader comes away from the texts with a number of useful insights. Images and—more specifically—objects presented through the category of art did not just make beauty and philosophy possible in a medium closely associated with the mechanical and the functional. Beauty, in other words, often served—intentionally or not—as a fig leaf in photographs with other agendas seemingly well outside the realm of art. Establishing this fact, along with making fundamental additions to our historical knowledge of photography, represents the volume’s primary contribution. * Nineteenth-Century Art Worldwide *Table of ContentsLIST OF ILLUSTRATIONS NOTES ON CONTRIBUTORS INTRODUCTION Juliet Hacking and Joanne Lukitsh PART ONE: THE ARTS OF REPRODUCTION 1. A Bug for Photography? Hippolyte Fizeau’s Photographic Engraving and other Media of Reproduction Stephen C. Pinson 2. Casting History: The role of photography and Plaster Casting in the Creation of a Colonial Archive Sarah Victoria Turner 3. Modernising the Victorian: Readings of the Photographs of Julia Margaret Cameron, 1886 to 1914 Joanne Lukitsh PART TWO: PHOTOGRAPHY & AESTHETICS 4. The Photographic and the Picturesque: The Aesthetic and Chemical Foundations of Louis Désiré Blanquart-Evrard’s Activities Herta Wolf 5. Picturesque Conflict: Photography and the Aesthetics of Violence in the Nineteenth-Century British Empire Sean Willcock 6. Sun-struck: Elizabeth Rigby (Eastlake) and the Sun’s ‘Earnest Gaze’ in Calotypes by Hill and Adamson Lindsay Smith 7. ‘Carlyle like a Rough Block of Michelangelo’s’: Thinking Photography through Sculpture in Julia Margaret Cameron’s Portraits Patrizia di Bello PART THREE: PHOTOGRAPHY & PAINTING 8. Art, Reproduction and Reportage: Roger Fenton’s Crimean Photographs Sophie Gordon 9. Impressionism in Photography Hope Kingsley PART FOUR: ARTISTIC PHOTOGRAPHY 10. ‘The Poetical Talents of Our Artists’: American Narrative Daguerreotypes Diane Waggoner 11. ‘Radically Vicious’: Henry Peach Robinson, Alfred Henry Wall and the Critical Reception of Composition Photography 1859-63 Juliet Hacking 12. From ‘Studies from Nature’ to ‘Studies for Painting’: Julia Margaret Cameron in the South Kensington Museum Marta Weiss

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Book SynopsisIntersecting art, science and the scenographic mise-en-scène, this book provides a new approach to anatomical drawing, viewed through the contemporary lens of scenographic theory.Sue Field traces the evolution of anatomical drawing from its historical background of hand-drawn observational scientific investigations to the contemporary, complex visualization tools that inform visual art practice, performance, film and screen-based installations. Presenting an overview of traditional approaches across centuries, the opening chapters explore the extraordinary work of scientists and artists such as Andreas Vesalius, Gérard de Lairesse, Santiago Ramón y Cajal and Dorothy Foster Chubb who, through the medium of drawing dissect, dismember and anatomize the human form.Anatomical Drawing examines how forms, fluids and systems are entangled within the labyrinthine two-dimensional drawn space and how the body has been the subject of the spectacle. Corporeal

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Book SynopsisSwati Chattopadhyay is Professor in the Department of History of Art and Architecture, with an affiliated appointment in the Department of Comparative Literature at the University of California, Santa Barbara, USA.Trade ReviewThis brilliantly provocative study provides an alternative, micro-scalar history of colonial and middle-class domiciles, along with an extraordinary archaeology of objects and bodies that mediated the intimacy of the rulers and the ruled—taking us on an exhilarating journey from the cellars, kitchens, dining rooms and verandahs of the imperial mansions of Calcutta to the streets, bazars and bungalows of the Bengal and north-Indian countryside. * Sudipta Sen, University of California, Davis, USA *In this erudite yet eminently accessible volume, Chattopadhyay imaginatively stitches together the overlooked worlds of fragmented and seemingly minor spaces underpinning the workings of everyday life and better regarded practices, inspiring readers, by example, to recognize their indispensability and resilience. * Zeynep Kezer, Newcastle University, UK *An original examination of empire from marginal spaces in the built environment. This book unites subalterns with the spatial medium of their agency during colonial rule. It brilliantly reveals the hidden infrastructure of empire through an architectural and social history of service, separation, and subordination. * K. Sivaramakrishnan, Yale University, USA *Table of ContentsPreface and Acknowledgments Part I. Small Spaces 1. Of Small Spaces 2. Empire of Small Spaces Part II: Trade and Labor 3. Dependency 4. Locating the Bottlekhana 5. Potable Empire 6. Europe Goods 7. Strange Tongues 8. Making Invisible Part III: Land Imagination 9. Vantage 10. Connective Spaces 11. Anomalous Spaces 12. An Aesthetic Episode 13. Roofscape Part IV: A Geography of Small Spaces 14. Collections and Containment 15. Portable Geographies 16. A Good Shelf 17. A Box of Medicine 18. Epilogue Appendix A Index

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Book SynopsisPresenting a novel and needed theoretical model for interpreting shipwrecks and other drowned fragmentsthe histories they tell, and the futures they presageas junctures of artefact and ecofact, human remains and emergent ecologies, this book puts the environmental humanities, and particularly multispecies studies, in close conversation with literary studies, history, and aesthetic theory. Earth's oceans hold the remains of as many as three million shipwrecks, some thousands of years old. Instead of approaching shipwrecks as either artefacts or ecofacts, this book presents a third frame for understanding, one inspired by the material dynamism of sea-floor stuff. As they become encrusted by oceanic mattersome of it living, some inanimateanthropic fragments participate in a distinctively submarine form of material relation. That relation comprises a wide, and sometimes incalculable, array of things, lives, times, and stories. Drawing from several centuries of literary, philosophical, anTrade ReviewReading Underwater Wreckage is a book that does not operate at the surface; it is not an overview. Instead, The Encrusting Ocean introduces a dynamic methodology in oceanic interpretation that focuses on submerged artifacts. The book's encrusted theory unfolds as a valuable addition to the growing body of work in the blue humanities and new materialism. It is a book that inevitably will push the blue humanities to greater depths. -- Professor Sid Dobrin, University of Florida, USAThis book is a remarkable confluence of material culture, environmental humanities, and literary studies – but at its heart is the work of the sea itself. Quigley invites us to sift through the de debris of the seafloor with new feelers, new eyes, new conceptual prosthetics. We are invited to rethink the sea as archive and artist, and to reconsider what sunken treasure augurs in a time of rapid cultural and environmental change. * Astrida Neimanis, University of British Columbia, Canada *Reading Underwater Wreckage is a poignant and insightful entreaty to keep in mind that how we think and write, and conduct science, about wreckage is of paramount importance because wrecks are not things of the past. They are real things that impact real lives, then as now. -- Sarah Rich * Journal of Maritime Archaeology *Table of ContentsFigures Acknowledgements Preface: Submersions, Wrecks, and Stirrings Introduction I. Lively Debris: Ontologies of an Encrusting Ocean II. First Habit: Fouling III. Second Habit: Concrescing IV. Third Habit: Artmaking Bibliography Index

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Book SynopsisModernist painter, socialist realist, Holocaust survivor, and student of the Parisian Avant Garde, Jewish-Polish artist Henryk Streng was extraordinary for his aesthetic innovation during the two major traumas of 20th-century European history, the Holocaust and Stalinism. Yet his legacy in the development of European modernism is rarely acknowledged. In this book, inspired by the 2021 exhibition at the Museum of Modern Art in Warsaw, Piotr Slodkowski demonstrates that the work of Streng disrupts established notions of 20th-century Polish art, connecting local Polish art history with wider trends in European Modernism.Traversing the 1920s Académie Moderne, hubs of creativity in interwar Poland, Nazi concentration camps, and the Polish People's Republic under Soviet influence, this book reveals the changing artistic phenomena of Poland between the 1920s and 1950s, illustrating how Streng drew on his Jewish-Polish identity and the legacy of genocide in his work. Rather t

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Book SynopsisMartino Stierli is Chief Curator of Architecture and Design at the Museum of Modern Art (MoMA) in New York, USA. He was previously SNSF Professor for the History of Architecture & Art at the Art History Institute, University of Zurich, Switzerland.Mechtild Widrich is Professor of Art History at the School of the Art Institute of Chicago, USA. She was previously Postdoctoral Fellow and Lecturer at the Department for the History and Theory of Architecture at ETH Zurich, Switzerland.Trade ReviewMarking out a knowingly complex field of contemporary scholarship on 'participation' in art and architecture, this volume is testament not only to the multiple valences of the term - artistic, social, political, civic, urban, economic, and more - and the distinct contexts in which participatory acts and forms of agency have appeared or been strategically mobilized, but also of the term’s rich and ongoing potential as a critical and artistic lens. Inviting us to continue to 'think' through participation, it will be a welcome addition to contemporary debates on the ethical and political dimensions of art and architecture. * Felicity D Scott, Associate Professor of Architecture and Director of the Program in Critical, Curatorial & Conceptual Practices in Architecture, Columbia University, USA *Intervening in vibrant debates on participation in the public sphere, Participation in Art and Architecture ranges widely over continents and cases: Sarajevo under siege, Sao Paulo between moving bodies and opened urbanism, the Acropolis and architectural erotics, Google Street View, Cairo, Mexico, and various European and American heterotopias. Tactics are examined in exhilarating historical detail, as theatrical and performative possession converts the spaces of the state into sites of contestation, and as design from the bottom up, immaterial labor, and theaters of memory are mobilized by users on the ground. This provocative collection hybridizes the disciplinary concerns of art and architecture, enriching them both. * Caroline A. Jones, Professor of Art History, History Theory & Criticism of Architecture & Art Program, MIT School of Architecture and Planning, USA *Table of ContentsList of Illustrations Acknowledgements Whose Participation? Introductory Remarks - Martino Stierli and Mechtild Widrich Part I: Agency 1. The Infrastructure of Participation: Cultural Centres in Postwar Europe - Kenny Cupers 2. Occupied Sites: Tlatelolco and Metropol Parasol - Ana María León 3. Aesthetics and Politics of Participation in 1960s Brazil: From Hélio Oiticica’s ‘Parangolés’ to the Paulista School of Architecture - Martino Stierli 4. Putting on the Map: Suzanne Lacy’s International Dinner Party - Elke Krasny 5. Exhibitions in Damaged and Destroyed Architectural Objects in Besieged Sarajevo: Spaces of Gathering and Socialization - Asja Mandic 6. City of Revolution: On the Politics of Participation and Municipal Management in Cairo - Mohamed Elshahed 7. Disobedient Objects - Gavin Grindon Part II: Display 8. Between Theatre and Agora: Thoughts on Exhibition, Drama and Participation - Werner Hanak-Lettner 9. 1912 – Hellerau as Spielraum - Lutz Robbers 10. Participatory Aesthetics: Alexander Dorner’s Reorganization of the Provinzialmuseum Hannover (1923–1926) - Sandra Löschke 11. ‘The Ultimate Erotic Act’: On the Performative in Architecture - Mechtild Widrich 12. Echo-Logy: Working with Allan Kaprow - Philip Ursprung 13. Documentary (Non-)Interventions: Mediated Presence in Public Space and its Artistic Reflection - Katja Kwastek Author Biographies Index

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Book SynopsisDabney Townsend is retired as Executive Director of the American Society for Aesthetics and Professor of Philosophy at Georgia Southern University, USA. He is Editor of Eighteenth-Century British Aesthetics and Classical Readings in Aesthetics.Trade ReviewThe term 'aesthetics' was coined in eighteenth-century German, but without benefit of the name the discipline itself blossomed in eighteenth-century Britain. This is important, because as Dabney Townsend persuasively argues, it is a mistake to read Kant's conception of a distinct, 'disinterested' aesthetic experience back into eighteenth-century British aesthetics. The British, especially Scottish authors wrote under the influence of John Locke, and took a deeply empiricist approach to the variety of aesthetic experiences. Townsend's brilliant work builds upon a lifetime of exploration of this rich subject. He offers original readings of well-known philosophers such as Hutcheson, Hume, and Burke as well as lesser-known figures such as Kames and Priestley, and original approaches to such topics as taste, tragedy, genius, the sublime, the picturesque, and more. His attention to the different projects and conclusions of these philosophers is itself an illustration of the value of an empiricist approach to the history of philosophy. * Paul Guyer, Jonathan Nelson Professor of Humanities and Philosophy, Brown University, USA *Dabney Townsend is one of the world’s leading figures in eighteenth-century aesthetics, and in this new book – lucid, acute, richly informed – he casts new light on texts we thought we knew. Situating eighteenth-century British authors – some major figures, some marginalized yet of major significance – into their own cultural and intellectual contexts, Townsend rethinks what we commonly take as the origins of the modern discipline of philosophical aesthetics and leads us to a new and more historically enriched way of seeing the contemporary field and its possibilities. This is a book that reveals the importance of asking the right questions of philosophical authors and that shows the importance of framing those questions with sufficient historical insight. Rich with illuminating interconnections, this absorbing volume leaves us with a better understanding and deeper comprehension of the concepts – empirical perception, judgments of taste, artistic genius, beauty, the sublime, and the picturesque – that constitute our aesthetic inheritance from eighteenth-century Britain. A major contribution. * Garry L. Hagberg, James H. Ottaway Professor of Philosophy and Aesthetics, Bard College, USA *Dabney Townsend is an acknowledged expert on eighteenth-century British aesthetics and his latest book is the culmination of a lifetime’s study of the subject. This book is an authoritative, accessible and comprehensive examination of Townsend’s subject. * James O. Young, Professor of Philosophy, University of Victoria, Canada *Table of ContentsIntroduction 1. The Empiricist Move in Aesthetics: Locke and Shaftesbury 2. Francis Hutcheson: The Sense of Taste 3. Hume: The Priority of Sentiment4. Associationism: David Hartley and Joseph Priestley 5. Theories of Taste 6. Problems of Taste: The Tragic Paradox and a Standard of Taste 7. Genius 8. The Sublime: Baillie and Burke 9. The Picturesque 10. Thomas Reid and the Theory of Taste 11. Archibald Alison: Experience and Expression 12. Dugald Stewart: Beauty and Taste Again Conclusion Notes Bibliography Index

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Book SynopsisPaul Duncum is Professor Emeritus at the University of Illinois, USA, and Adjunct Professor at the University of Tasmania, Australia. He is the author of Picture Pedagogy (Bloomsbury, 2020) and Popular Pleasures (Bloomsbury, 2021).Trade ReviewAnchored by respect for children and by compelling imagery, Paul Duncum comprehensively and captivatingly interrogates multiple and contradictory discourses that generate both personal and public conceptions of childhood. * Marissa McClure, Professor of Art Education, Indiana University of Pennsylvania, USA; Associate Editor, Childhood Art: An International Journal of Research *Images convey so much more than we realize. This extraordinary and seminal text will surely expand, enrich, even interrogate, one’s conceptions of what childhood has meant across history, cultural studies and psychology. * Rita L. Irwin, Distinguished University Scholar and Professor, Art Education, The University of British Columbia, Canada *Deconstructing childhood imagery and its ideologies, this book outlines the different ways of understanding infancy throughout history. Gender, abuse, victimization, and commoditization are some of the issues the author reveals through a wide array of historical images. * Cesar Peña, Professor, School of Architecture & Design, Universidad de los Andes, Colombia *Examining the trope of childhood innocence that permeates representations of children throughout Western history, this engaging text highlights the role images play in shaping our conceptions of childhood and our enduring cultural ambivalence toward children. * Christine Marmé Thompson, Professor Emerita, Penn State University School of Visual Arts, USA *Table of ContentsList of Illustrations Introduction 1. Worthy Subject 2. Family Member 3. Gendered 4. Adult 5. Schooled 6. Aesthetic 7. Victim 8. Threat 9. Economic Entity 10. Political Propaganda 11. Innocent References Index

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Book SynopsisMarcel Duchamp is today considered one of the most significant 20th century artists worldwide. His far-reaching influence is visible within a variety of areas of creative production and critical inquiry, extending far beyond the world of art. Duchamp Accelerated: Contemporary Perspectives examines Duchamp and his reception through a series of essays that explore the ongoing impacts of his life, ideas and practice on innumerable fields of research, practice and study. Contributors include art historians, curators, artists and writers who offer histories and approaches that actively challenge dominant narratives on Duchamp, discussing his influences from a multitude of different disciplinary and cultural perspectives. Written in the specific context of the 21st century, this volume situates the artist firmly in a global context and highlights the numerous influences from theories of perception and the writings of Georges Bataille, to travels in Argentina that shaped his ideasTrade Review‘Duchamp Accelerated provides a rejuvenated model for the study of individual artists. Moving past conventional art historical biography, the essays within contribute robustly to an expanded notion of artistic reception and consider Duchamp’s legacy within geographical, historical, and conceptual environments beyond those experienced by the artist, opening up new and compelling research avenues.’ * Ambra d'Antone, Curatorial Assistant, The Peggy Guggenheim Collection, Italy *Introducing new critical and artistic voices, this timely volume explores the transformative impetus and generative momentum of Duchamp’s works as accelerants which propel our ideas about art in a global culture. * Dalia Judovitz, Professor Emerita of French, Emory University, USA, and author of Drawing on Art: Duchamp and Company (2010) *A very Duchampian book about Duchamp…Breaking free from the parameters of art history, criticism, theory, or biography, this book uses these disciplines—plus more, notably the insights of artists, curators, writers, and poets—to emphasize the ambiguities, eccentricities, irony, and crudity that disguised, in plain sight, the disciplined profundity of his work. All contributors see a certain Duchamp as crucial to their contemporaneity. More than a readymade assisted, this book is indeed what is says it is: Duchamp, accelerated into the present. * Terry Smith, Emeritus Professor of Art History, University of Sydney, Australia *From brilliant and insightful thinkers, this extraordinary book offers a charming and fascinating study of the artist's life and career. Duchamp Accelerated is a marvel of scholarship. * Marcelo Gutman, Visual artist, Curator, and Duchamp scholar *Table of ContentsList of Figures Notes on Contributors Acknowledgements 1. The Lives and Times of Marcel Duchamp—An Introduction, Julian Jason Haladyn (OCAD University, Canada) 2. Fifty Cubic Centimetres of Infected Air? Duchamp’s Paris Air and Dada’s Transmission, David Hopkins (University of Glasgow, UK) 3. I.O.U’s and a Practice Deferred: On Duchampian Refusals of Work, Nare Mokgotho (Artist, Johannesburg, South Africa) 4. What Was and Was Not (an Unhappy Readymade): Marcel Duchamp in Argentina, Dot Tuer (OCAD University, Canada) 5. Unchamp, a Cyclops: Looking with one eye, close to, from the other side of the glass, Maxwell Hyett (Western University, Canada) 6. Casting a Long Shadow: Jean-François Lyotard, Marcel Duchamp, Michael Snow, Elizabeth Legge (University of Toronto, Canada) 7. Duchamp and the Play of Distances, Yam Lau (University of York, UK) 8. The Subterranean Modernism of Bataille and Duchamp, Jaime Tsai (The National Art School, Australia) 9. The Fine Art of Bureaucracy: Duchamp and Broodthaers, E.J. Dickson (Western University, Canada) 10. Capturing the Dada Spirit: Curating the Israel Museum’s Dada and Surrealist Collection, Adina Kamien (The Israel Museum, Israel) 11. Idle Speculation, André Alexis (Independent writer, Canada) 12. Visual Cast: Cinéma en relief and the nude figure in Given, Penelope Haralambidou (The Bartlett School of Architecture, UK) 13. Going Underground with Marcel Duchamp and Jeff Wall, Michael R. Taylor (Virginia Museum of Fine Arts, USA) 14. We Will Wait, Serkan O¨zkaya (Artist, New York City, USA) Appendix: Interview with André Alexis

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Book SynopsisBonne Zabolotney is Professor at Emily Carr University of Art and Design, Canada. She has a BDes in visual communication, an MA in liberal arts and a PhD in practice-based design. Her research focuses on Canadian design culture and the political economy of design.Table of ContentsAcknowledgements List of Figures Introduction: What We Make in a Design Studies Practice, Bonne Zabolotney (Emily Carr University of Art and Design, Canada) Section One: Redirecting Practices Introduction, Bonne Zabolotney (Emily Carr University of Art and Design, Canada) 1. Tactical Ambiguity: Designing in the Space Between, Bonne Zabolotney (Emily Carr University of Art and Design, Canada) 2. Yvy rembe’y rojapo (Land Bordering); Between Borderlands and Intersections: Dismantling the Colonial Structures of Modernist Design, Patricia Vera (Emily Carr University of Art and Design, Canada) 3. Design Research Practice Narrative: 'Happy Objects within Reach’, Hannah Korsmeyer (Monash University, Australia) 4. Languages and Typographic Representations, Leo Vicenti (Field Museum, Chicago, USA) 5. Conversations with Designers: Positioning Ethics, Values and Experiences within a Professional Design Practice, Mark Rutledge (Graphic Designer, Yukon), Brian Johnson and Silas Munro (Polymode, USA) Section Two: Paradigm Shifting Introduction, Bonne Zabolotney (Emily Carr University of Art and Design, Canada) 6. InWorlding: Design Practice and Personhood, Sophie Gaur (Emily Carr University of Art and Design, Canada) 7. Designing New Narratives for Untold Design Histories, Bonne Zabolotney (Emily Carr University of Art and Design, Canada) 8. Making a Design Fiction from the Inside-Out, Anne Burdick (ArtCenter College of Design, USA) 9. Design-enabled Recommoning, Dimeji Onafuwa (Microsoft, USA) 10. Turning the Body Inside Out: Model-Making, Critical Theory and Self-Accountability, Myriam Diatta (Independent Practitioner-researcher) Section Three: Immersing Introduction, Bonne Zabolotney (Emily Carr University of Art and Design, Canada) 11. Kaleidoscopic Storytelling: Positionality, Indigenous Ways and Slow Autoethnography, Lisa Grocott (Monash University, Australia) 12. Zen and Design: Cultivating Insight, Louise St. Pierre (Emily Carr University of Art and Design, Canada) 13. The Typographic Translations of Borges’s Manuscripts, Celeste Martin (Emily Carr University of Art and Design, Canada) 14. Centering Anti-Racism in Design: From Theory to Practice, Terresa Moses (University of Minnesota, USA) and Lisa E. Mercer (University of Illinois, USA) 15. It’s Not Just About Mountains You Know: Nature-clothing Writing as Design Practice, Kate Fletcher (Royal Danish Academy, Denmark) Epilogue: Designing in Good Faith, Bonne Zabolotney (Emily Carr University of Art and Design, Canada) Contributors: A Community of Practice

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Book SynopsisAggie Toppins is an Associate Professor and Chair of Design at the Sam Fox School of Design and Visual Arts at Washington University in St. Louis, USA. She writes and practices design at the intersection of critical histories,social justice,and studio-based making.

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Book SynopsisBy exploring diagrams, diagramming and the diagrammatic across a range of disciplinary traditions and arts-led practices, this open access book addresses the gap between diagrams being a widely recognised mode of visual representation, whilst their status within arts and art education being minimal. Informed by Charles Sanders Peirce's understanding of a diagram as an analogy of relations, Drawing Analogies draws on its authors' creative use of diagrams as artists, educators and arts researchers, and on fields of inquiry that bring the arts into alignment with other disciplines most notably anthropology, critical theory, pedagogy, philosophy, psychology, semiotics and the physical and life sciences. This range of disciplines is evident in the artists and writers discussed, such as Gregory Bateson, Black Quantum Futurism, Salvador Dali, Phillipe Descola, Aristotle, Hilma af Klint, Rosalind E. Krauss, Yayoi Kusama, Louis Hjelmslev, Susanne Leeb, Jacques Lacan, P

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Book SynopsisDrawing from a rich body of archival documents, case studies and interviews, this book explores the ways in which graphic designers in China sought to establish graphic design as a profession and discipline from the 1980s to the present day. Yun Wang traces the impact of cultural, economic and social conditions on China's developing design industry in a period of rapid transformation, focusing on Beijing, Guangzhou and Shenzhen as industry centres. From the influence of the newly implemented reform and opening up policy in 1978, to membership of the World Trade Organization in 2001, and international events such as the 2008 Beijing Olympics, Wang maps the increased demand for design talent and the evolution of a creative industry. This book provides a critical and extensively researched narrative of how graphic design developed locally and regionally, through practice, in education and within the publishing landscape, and pays particular attention to the ways in which design

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Book SynopsisElizabeth Resnick is a Professor Emerita, former chair of Communication Design at Massachusetts College of Art and Design, USA. She is a designer/design educator/curator/writer. Her publications include The Social Design Reader (Bloomsbury Visual Arts 2019); Developing Citizen Designers (Bloomsbury Academic 2016); Design for Communication: Conceptual Graphic Design Basics (2003) and Graphic Design: A Problem-Solving Approach to Visual Communication (1984).

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Book SynopsisSusan Luckman is Professor of Cultural and Creative Industries and Director of the Creative People, Products and Places Research Centre at the University of South Australia. Her work is concerned with the intersections of creativity, place, making and technology.Nicola Thomas is Professor of Historical and Cultural Geography at the University of Exeter, UK. Her research addresses craft geographies and situating contemporary and 20th-century craft practice within the broader creative economy.Trade ReviewSusan Luckman and Nicola Thomas have drawn deeply and carefully from the world’s well of the contemporary craft economy. Their pluralistic, international approach makes for a complex and counterpointed book of essays. Craft emerges from statistics as a still humanistic practice: hovering with creative intelligence in the body politic of culture and the economy. * Simon Olding, Director of the Craft Study Centre at the University for the Creative Arts, UK *This collection offers a comprehensive overview of the craft economy as a viable force in opposition to existing systems of production through the humanization of work and commerce. It is critical to examine concepts such as disruptive collaboration, commodity activism and individualized consumption to ensure that highly networked societies of makers will continue to successfully position themselves within a consumer base no longer satisfied with the stuff of mass production. * Heidi Schwegler, Chair of the MFA in Applied Craft and Design at Oregon College of Art and Craft, USA *A rich collection of essays that reveal cultural economies of craft to be subtle, complex and pervasive – craft is a social and material practice that drives the most cutting-edge technology, innovation and design, yet also brings life to people and places, makes human relations, and gives form to imagined futures and worlds. This book shows us that the ‘tactile turn’ not only has global resonance but many diverse expressions – and is a perfect introduction to all those who care about craft, material-making, and the likely prospects for sustainable economies of tomorrow. * Mark Banks, Director of the CAMEo Research Institute for Cultural and Media Economies, University of Leicester, UK *A collection of essays taking a scholarly look at contemporary craft production around the world, placing professional and amateur practice within the broader creative economy. Look out for contributions by Ezra Shales and the Craft Council's head of research and policy, Julia Bennett. * UK Craft Council / Crafts magazine *Table of Contents1. Crafting Economies: Contemporary Cultural Economies of the Handmade, Susan Luckman (University of South Australia) and Nicola Thomas (University of Exeter, UK) Part One: Craft, Making and the Creative Economy 2. Crafts Community: Physical and Virtual, Xin Gu (Monash University, Australia) 3. Fast Forward: Design Economies and Practice in the Near Future, Marzia Mortati (Politecnico di Milano, Italy) 4. Craft, Collectivity and Event-time, Katve-Kaisa Kontturi (University of Turku, Finland) 5. "Buy a Hat, Save a Life": Commodity Activism, Fair Trade, and Crafting Economies of Change, Lisa A. Daily (NYU Gallatin, USA) Part Two: Craft, the ‘Handmade’ and Contested Commodification 6. Towards a Politics of Making: Re-framing Material Work and Locating Skill in the Anthropocene, Chris Gibson and Chantel Carr (University of Wollongong, Australia) 7. Dichotomies in Textile Making: Employing Digital Technology and Retaining Authenticity, Sonja Andrew (University of Leeds, UK) and Kandy Diamond (Nottingham Trent University, UK) 8. People Have the Power?: Appropriate Technology and the Implications of Design for Labour-intensive Making, Gabriele Oropallo (London Metropolitan University, UK) 9. The Ghost Potter: Vital Forms and Spectral Marks of Skilled Craftsmen in Contemporary Tableware, Ezra Shales (Massachusetts College of Art and Design, USA) Part Three: The Work of Craft 10. Our Future is in the Making: Trends in Craft Education, Practice and Policy, Julia Bennett (Crafts Council, UK) 11. Establishing the Crafting Self in the Contemporary Creative Economy, Susan Luckman and Jane Andrew (University of South Australia) 12. Handmaking your Way out of Poverty?: Craftwork’s Potential and Peril as a Strategy for Poverty Alleviation in Rockford, Illinois, Jessica Barnes (Northern Arizona University, USA) Part Four: Craft-driven Place-making and Transnational Circuits of Craft Practice 13. Interrogating Localism: What Does “Made in Portland” Really Mean? Stephen Marotta and Charles Heying (Portland State University, USA) 14. Policy, Locality and Networks in a Cultural and Creative Countryside: The Case of Jingdezhen, China, Troy Zhen Chen (University of the Arts London, UK) 15. Design Recycle Meets the Product Introduction Hall: Craft, Locality and Agency in Northern Japan, Sarah Teasley (RMIT University, Australia) 16. Crafted Places/Places for Craft: Pop-up and the Politics of the “Crafted” City, Ella Harris (Birkbeck University of London, UK) Part Five: Technology, Innovation and Craft 17. Knitting and Crochet as Experiment: Exploring Social and Material Practices of Computation and Craft, Gail Kenning (University of Technology Sydney, Australia) and Jo Law (University of Wollongong, Australia) 18. Towards New Modes of Knowledge Production: Makerspaces and Emerging Maker Practices, Angelina Russo (Global Centre for Modern Ageing, Australia) 19. The Post-digital: Contemporary Making and the Allure of the Genuine, Keith Doyle, Hélène Day Fraser and Philip Robins (Emily Carr University of Art + Design) 20. Crafting Code: Gender, Coding and Spatial Hybridity in the Events of PyLadies Dublin, Sophia Maalsen (University of Sydney, Australia) and Sung-Yueh Perng (Maynooth University, Republic of Ireland) References Index

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Book SynopsisThis volume presents for the first time a curated selection of essays written over the last 30 years by leading design thinker and educator, Tevfik Balcioglu. With a focus on Turkish and British design, his writing examines questions of national and transnational design history and provides a critical insight into contemporary global design issues.Structured into four thematic sections with contextualizing introductions, this anthology addresses various aspects of design history, theory, education and practice. Essays look at the impact of industrialization and globalization on design cultures and highlight local and global design developments from the late 20th century to the present day. They cover reproduction techniques and technological progress in recent decades, the changing nature of mass-produced objects and the introduction of new methods, systems, shapes, forms and styles over time.Addressing issues relating to education and practice, case studies draw on

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