History of art Books

Book SynopsisThis book investigates how British contemporary artists who work with clay have managed, in the space of a single generation, to take ceramics from niche-interest craft to the pristine territories of the contemporary art gallery. This development has been accompanied (and perhaps propelled) by the kind of critical discussion usually reserved for the ''higher'' discipline of sculpture. Ceramics is now encountering and colliding with sculpture, both formally and intellectually. Laura Gray examines what this means for the old hierarchies between art and craft, the identity of the potter, and the character of a discipline tied to a specific material but wanting to participate in critical discussions that extend far beyond clay.Trade Review'This is an essential read for the student of contemporary ceramics, providing a fresh perspective on "post-studio" ceramic practice.' Stephen Dixon, Manchester Metropolitan University, UKTable of ContentsTable of ContentsIntroductionChapter OneBecoming Partners?Creative Tension: Defining ceramicsSculpture: A category in danger of collapseThe Art and Craft DivideAn Overview of the BookChapter TwoMonumental MattersMonuments and the Collective MemoryTwo Approaches: The logical and the abstracted monument Ceramics in Civic SpaceWheel of Fortune: Monumentalizing Stoke-on-Trent Making it Big: The monumental styleChapter ThreeThe Numbers Game: Multi-part compositionsDo Numbers Matter?Plane Thinking: Horizonal groupsHigh Rise: Stack, build, repeatThe Expressive Possibility of Repetition Clare Twomey: Master assemblerChapter FourThe Art of Destruction: Ceramics, Sculpture and IconoclasmWhat is Iconoclasm?Iconoclasm and ArtVases and VandalismOut of the Ordinary: Destroying domestic wareClay in CommonPast Imperfect: The art of transformative repairDestruction as Cultural CritiquePlease Do Not Touch: Destruction in the vitrineBiting the hand that feeds? Iconoclasm as institutional critiqueChapter FiveEncounters: Ceramics on ShowThinking About ExhibitionsClay as an Authentic Material for Sculpture: The Raw and the CookedCeramics and Minimalism: The New WhiteCeramics Under Threat: A Secret History of ClayPost-Studio Practice: Possibilities and LossesCeramics for the HomeThe Separation of Art and the HomeHome Coming: Contemporary ceramics in domestic spaceDomesticating the White CubeConclusionRadical PlasticityA Single MaterialWorkmanshipThe VesselThe Current of InfluenceThe Future

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Book SynopsisStoried Deserts makes a crucial and critical intervention in the field of environmental humanities by showcasing an emerging body of research on desert places from around the world.Deserts, despite dominant stereotypes of wasteland and barrenness, are culturally and ecologically abundant places. This edited volume sets out to reimagine the world's desert places and the very concept of the desert itself, taking a boldly interdisciplinary and multicultural approach. Authors engage in literary ecocriticism and ecopoetics, film and visual studies, critical theory, personal and transdisciplinary reflection, creative practices, and historical scholarship. Through their diverse range of perspectives, contributors show how arid lands have been and can be understood as sites of narrative production, places where signs and imaginaries are born from the materialities of space and entanglement. In this way, this volume highlights how the storied matter of the Earth's deserts infor

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Book SynopsisFor sociologists, making, distributing, and using art and cultural products constitute social practices, yet, sociologists disagree on how to investigate these practices. Organised around three main schools of thought  critical sociology, symbolic interactionism, and social systems theory  Sociology about Art serves as an introduction to, and a self-reflective discussion about, how sociologists study the Arts.Providing a wide spectrum of approaches in art sociology, the book focuses on examining not only the famously cited theorists (notably Bourdieu, Becker, and Peterson) but also offers an overview of the sociologists who are often overlooked (Hennion, Heinich, Luhmann, and Van Maanen, among others). In presenting these various approaches, the crux of discussion concerns the status of art in sociological analyses. Following a critical assessment of the classical theories and assessing the risks of failing to observe the function of art, the authors contend

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

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

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Book SynopsisIn this lavishly illustrated study, the scholar and critic Yi Ying brings a distinctly Chinese perspective to the development of art and artists in China since 1949. These have been years of dramatic change for China, and the art of this period is therefore of historical, political and cultural interest, being first used to promote the revolutionary cause, later to question and criticise and, more recently, charting the changes in cultural and economic policy that have taken place since 1978. In the twenty-first century, Chinese art is diverse, distinctive, and highly prized in the global art market. Presented here in English translation for the first time, Yi's narrative opens up fresh questions about both the nature of contemporary art and the China of today.Table of Contents1. Under a red sky; 2. A glimmer of hope in a new era; 3. Moving toward modern art; 4. On the threshold of a new century.

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Book SynopsisRavenna was one of the most important cities of late antique Europe. Between 400 and 751 AD, it was the residence of western Roman emperors, Ostrogothic kings, and Byzantine governors of Italy, while its bishops and archbishops ranked second only to the popes. During this 350-year period, the city was progressively enlarged and enriched by remarkable works of art and architecture, many of which still survive today. Thus, Ravenna and its monuments are of critical importance to historians and art historians of the late ancient world. This book provides a comprehensive survey of Ravenna''s history and monuments in late antiquity, including discussions of scholarly controversies, archaeological discoveries, and interpretations of art works. A synthesis of the voluminous literature on this topic, this volume provides an English-language entry point for the study of this fascinating city.Trade Review'… in the past one had to deplore the fact that there is no comprehensive book in English on this subject. With the publication of the present book, this situation has changed dramatically, because [it] not only tells the full story of Ravenna, but also documents all the scholarly interpretations and controversies surrounding its art …' International Review of Biblical Studies'Deliyannis succeeds in her purpose to a commendable extent. Her work is scholarly, lucid, balanced and well organized throughout … The author concentrates on the great monuments of the city, offering not just meticulous and informed descriptions, but also judicious and knowledgeable examination of the context of each … This sensitive and informed treatment of the monuments combined with an impressive knowledge of secondary literature makes for a volume which should reinforce detailed understanding of an unparalleled survival from the antique world, and encourage more scholarly interest among both historians and art historians.' T. S. Brown, Early Medieval EuropeTable of Contents1. Introduction; 2. Roman Ravenna; 3. Ravenna and the western emperors 400–489 AD; 4. Ravenna the capital of the Ostrogothic kingdom; 5. Religion in Ostrogothic Ravenna; 6. Ravenna's early Byzantine period: AD 540–600; 7. Ravenna capital: 600–850.

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Book SynopsisIconoclasm, the debate about the legitimacy of religious art that began in Byzantium around 720 and continued for nearly one hundred and twenty years, has long held a firm grip on the historical imagination. This is the first book in English for over fifty years to survey this most elusive and fascinating period in medieval history. It is also the first book in any language to combine the expertise of two authors who are specialists in the written, archaeological and visual evidence from this period, a combination of particular importance to the iconoclasm debate. The authors have worked together to provide a comprehensive overview of the visual, written and other materials that together help clarify the complex issues of iconoclasm in Byzantium. In doing so they challenge many traditional assumptions about iconoclasm and set the period firmly in its broader political, cultural and social-economic context.Trade Review'This is the most important book on Byzantium to appear in my lifetime. The authors admirably fulfil their stated intention to discuss political recovery and institutional reshaping, the final stages in the evolution of eastern Orthodox dogma, the emergence of a new political and social elite, the transformation of urban life and also urban-rural relations, and the generation of a new 'medieval' perspective on the past.' Thomas F. X. Noble, Journal of Interdisciplinary History'… scholars and students interested in iconoclasm and Byzantine history cannot afford to ignore this volume.' ArctosTable of ContentsIntroduction; 1. Belief, ideology and practice in a changing world; 2. Leo III: iconoclast or opportunist?; 3. Constantine V and the institutionalisation of iconoclasm; 4. The triumph of tradition? The iconophile intermission, 775–813; 5. The second iconoclasm; 6. Economy, society and state; 7. Patterns of settlement: urban and rural life; 8. Social elites and the court; 9. Society, politics and power; 10. Fiscal management and administration; 11. Strategic administration and the origins of the themata; 12. Iconoclasm, representation, and rewriting the past.

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Book SynopsisThis unique book provides the student of Roman history with an accessible and detailed introduction to Roman and provincial coinage in the late Republic and early Empire in the context of current historical themes and debates. Almost two hundred different coins are illustrated at double life size, with each described in detail, and technical Latin and numismatic terms are explained. Chapters are arranged chronologically, allowing students to quickly identify material relevant to Julius Caesar, the second triumvirate, the relationship between Antony and Cleopatra, and the Principate of Augustus. Iconography, archaeological contexts, and the economy are clearly presented. A diverse array of material is brought together in a single volume to challenge and enhance our understanding of the transition from Republic to Empire.Table of Contents1. Approaching coinage in the late Roman Republic; 2. Competition, legitimacy and civil war (49–44 BC); 3. Competition and conflict after Caesar (44–36 BC); 4. The view from the East: Cleopatra and Mark Antony (38–31 BC); 5. Representing the Augustan principate (31 BC–AD 14); 6. Coins and daily life; Guide to further reading; Appendices: 1. Timeline; 2. Latin numismatic abbreviations; 3. Glossary Andrew Meadows; 4. Denominational systems Andrew Meadows; 5. The production of ancient coinage Andrew Meadows; Bibliography; Index.

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Book SynopsisIn the first centuries BCE and CE, Roman wall painters frequently placed representations of works of art, especially panel paintings, within their own mural compositions. This richly illustrated book explores the social, ethical and aesthetic dimensions of this practice and will appeal to both classicists and art historians.Table of ContentsIntroduction: the painting of painting in Ancient Rome; 1. Winckelmann and the cultural dynamics of painting; 2. Disrupting the frame; 3. The ethics and politics of art; 4. Transparent and opaque: medium and materiality on the Roman wall; 5. Paradigms, ensembles, and anachronisms; Epilogue: reflection and reflexivity.

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Book SynopsisRevealing what is ''Islamic'' in Islamic art, Shaw explores the perception of arts, including painting, music, and geometry through the discursive sphere ofhistoricalIslam including the Qur''an, Hadith, Sufism, ancient philosophy, and poetry. Emphasis on the experience of reception over the context of production enables a new approach, not only to Islam and its arts, but also as a decolonizing model for global approaches to art history. Shaw combines a concise introduction to Islamic intellectual history with a critique of the modern, secular, and European premises of disciplinary art history. Her meticulous interpretations of intertextual themes span antique philosophies, core religious and theological texts, and prominent prose and poetry in Arabic, Persian, Turkish, and Urdu that circulated across regions of Islamic hegemony from the eleventh century to the colonial and post-colonial contexts of the modern Middle East.Trade Review'This book is exactly what art history needs when it attempts to think about Islamic art. Instead of asking what properties make an image Islamic, this book asks, what is an image in Islam? When art history begins to understand its secularism, concepts like art, image, vision, matter, and history necessarily change. Shaw gives us a different perceptual culture, one that begins from Islamic discourses, and gradually becomes visible as art and history. It is the first book of its kind, and I hope there will be many more.' James Elkins, School of the Art Institute, Chicago'By questioning the primacy of the art object and placing the experience of perception at center stage, Shaw challenges a number of paradigms within the field of Art History. In this master stroke of scholarship, she pries open the affective and aesthetic landscapes of pre-modern Islamic cultures, untethered from any single-point perspective and re-enchanted by the soaring poesis of her prose.' Christiane Gruber, University of Michigan'A radical rethinking of modern art history and the secular terms of Islamic art history. Stepping out of the perspectival frame, this marvelous book unpacks not only a vibrant Islamic perceptual culture thriving on sensation and mimesis but also imagines the possibility of studying art from a de-colonial angle. An amazing tour de force revealing an alternate approach to art!' Birgit Meyer, Universiteit Utrecht'A question that may seem simple, but behind that door is the history of everything - the shape of thought, the logic of imagination, the cradle of taste. Creative, sophisticated, fluent and spirited, Shaw paints in the rich landscape that gives meaning to self and other.' Victoria Rowe Holbrook, Istanbul Bilgi University'… intriguing, insightful … the book offers stimulating readings of religious and literary texts … in relation to the perception of images.' L. Nees, Choice'… eloquent and readable book will make an excellent companion to the study of Islamic art.' Cleo Cantone, The Muslim World Book Review'... a must-read for art historians, curators and students interested in the sophistication of Islamic art, historically best appreciated by educated Muslims.' Tamimi Arab Pooyan, Journal of the Association of Art HistoryTable of ContentsList of figures; Preface; Note on transcultural communication; Introduction: from Islamic art to perceptual culture; 1. The Islamic image; 2. Seeing with the ear; 3. The insufficient image; 4. Seeing with the heart; 5. Seeing through the mirror; 6. Deceiving deception; 7. The transcendent image; 8. The transgressive image; 9. Mimetic geometries; 10. Perspectives on perspective; Conclusion: out of perspective; References; Index.

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Book SynopsisThe Art and Archaeology of the Aegean Bronze Age offers a comprehensive chronological and geographical overview of one of the most important civilizations in human history. Jean-Claude Poursat''s volume provides a clear path through the rich and varied art and archaeology of Aegean prehistory, from the Neolithic period down to the end of the Bronze Age. Charting the regional differences within the Aegean world, his study covers the full range of material evidence, including architecture, pottery, frescoes, metalwork, stone, and ivory, all lucidly arranged by chapter. With nearly 300 illustrations, this volume is one of the most lavishly illustrated treatments of the subject yet published. Suggestions for further reading provide an up-to-date entry point to the full richness of the subject. Originally published in French, and translated by the author''s collaborator Carl Knappett, this edition makes Poursat''s deep knowledge of the Aegean Bronze Age available to an English-language audiTable of ContentsPart I. Aegean Neolithic Art: 1. Artefacts and Contexts; 2. Architectural beginnings; 3. Pottery; 4. Figurines and models; 5. Other arts: ornaments, seals, and stone vases; Part II. The Art of the Aegean Early Bronze Age: 6. Artefacts and Contexts; 7. Architecture; 8. Early Bronze Age Aegean glyptic; 9. Sculpture; 10. Stone vases, metalware, miscellaneous; 11. EBA pottery in the Aegean; Part III. Aegean Art in the Cretan First Palace Period: 12. Artworks in context: the historical framework; 13. Minoan architecture in the First Palace Period; 14. Minoan glyptic in the Protopalatial period; 15. Other Minoan relief arts: stone vases, jewelry, minor arts; 16. Artworks in the round; 17. Minoan pottery; 18. Mainland Greece and the islands in the First Palace Period; Part IV. Aegean Art in the Second Palace Period: Crete and the Aegean Islands: 19. Artworks in context : the historical framework; 20. Aegean architecture in the Second Palace period; 21. Aegean wall painting; 22. Minoan glyptic; 23. Artworks in the round: figures, figurines, and zoomorphic vases; 24. Other artworks (stone, faience, ivory, metal; textile); 25. Pottery production; Part V. Aegean Art in the Cretan Second Palace Period: Mainland Greece: 26. Artworks in context: the historical framework; 27. Funerary architecture; 28. Metalwork; 29. Creto-Mycenaean glyptic; 30. Other Mycenaean relief arts: wood, bone, ivory, stone and faience; 31. Mycenaean pottery of LH I-IIA; 32. General remarks: Aegean art during the Cretan Second Palace period; Part VI. Aegean Art in the Final Palatial Period of Knossos: 33. Artworks in context: the historical framework; 34. Architecture; 35. The frescoes; 36. Metalwork, jewelry and various ornaments; 37. Creto-Mycenaean glyptic in LM II/LH IIB–IIIA1; 38. Other relief arts: ivory and stone; 39. Artworks in the round: figurines and zoomorphic vessels; 40. LM II/LH II-IIIA1 pottery; Part VII. Aegean Art of the Mainland Mycenaean Palatial Period: 41. Artworks in context: the historical framework; 42. Architecture; 43. Mycenaean painting; 44. The end of Aegean glyptic; 45. Mycenaean ivories of LH IIIA2-B; 46. Other relief arts: goldwork, glass, faience, stone; 47. Mycenaean art and 'international art'; Artworks in the round: figurines, figures, anthropomorphic and zoomorphic vases; 49. Pottery production: vases and sarcophagi; Part VIII. Aegean Art at the End of the Bronze Age: 50. Artworks in context: the historical framework; 51. Architecture at the end of the Bronze Age; 52. Figures, figurines, anthropomorphic and zoomorphic vases; 53. Jewelry and metalwork; 54. Pictorial art and vase painting; 55. Mycenaean art and its legacy; Afterword. Aegean art through forgers' eyes; 56. Fakes and dubitanda.

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Book SynopsisImages relating to imperial power were produced all over the Roman Empire at every social level, and even images created at the centre were constantly remade as they were reproduced, reappropriated, and reinterpreted across the empire. This book employs the language of social dynamics, drawn from economics, sociology, and psychology, to investigate how imperial imagery was embedded in local contexts. Patrons and artists often made use of the universal visual language of empire to navigate their own local hierarchies and relationships, rather than as part of direct communication with the central authorities, and these local interactions were vital in reinforcing this language. The chapters range from large-scale monuments adorned with sculpture and epigraphy to quotidian oil lamps and lead tokens and cover the entire empire from Hispania to Egypt, and from Augustus to the third century CE.Trade Review'… an original and well-structured volume.' Giovanni Alberto Cecconi, Bryn Mawr ClassicalTable of Contents1. Introduction: Imperial imagery and the Role of Social Dynamics Monica Hellström and Amy Russell; 2. The Altars of the Lares Augusti: A View from the Streets of Augustan Iconography Amy Russell; 3. Modelling the Emperor: Representations of Power, Empire, and Dynasty among Eastern Client Kings Julia Wilker; 4. Pvblica Nvmina: Conspicuously Consuming the Imperial Image at Tomis Nandini B. Pandey; 5. Roman Emperors, Conquest, and Violence: Images from the Eastern Provinces Caillan Davenport; 6. Court Politics and Imperial Imagery in the Roman Principate Benjamin Kelly; 7. Local Aspirations and Statues of Emperors in Roman North Africa Monica Hellström; 8. The Altar of P. Perelius Hedulus in Carthage and the Social Aspects of Provincial Image-Making Megan Goldman-Petri; 9. Imagines et tituli: Epigraphic Evidence of Imperial Imagery in Meeting-Places of Roman Professional corpora Nicolas Tran; 10. The Imperial Image in Media of Mechanical Reproduction: The Tokens of Rome Clare Rowan; 11. When was an Imperial Image? Some Reflections on Roman Art and Imagery Olivier Hekster.

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Book SynopsisIconoclasm was the name given to the stance of that portion of Eastern Christianity that rejected worshipping God through images (eikones) representing Christ, the Virgin or the saints and was the official doctrine of the Byzantine Empire for most of the period between 726 and 843. It was a period marked by violent passions on either side. This is the first comprehensive account of the extant contemporary texts relating to this phenomenon and their impact on society, politics and identity. By examining the literary circles emerging both during the time of persecution and immediately after the restoration of icons in 843, the volume casts new light on the striking (re)construction of Byzantine society, whose iconophile identity was biasedly redefined by the political parties led by Theodoros Stoudites, Gregorios Dekapolites and Empress Theodora or the patriarchs Methodios, Ignatios and Photios. It thereby offers an innovative paradigm for approaching Byzantine literature.Trade Review'This is an impressive and lengthy book which deserves careful consideration given its focus on the period of the iconoclastic controversy.' Francesca Dell'Acqua, SpeculumTable of ContentsIntroduction; 1. The Stoudite Milieu: the foundations of the literature of Iconoclasm; 2. The Methodian Milieu: literature conceived in the patriarchate after the iconoclast crisis; 3. The Dekapolitan Milieu: the integration of the third way after the restoration of icons; 4. Secular Milieux and their rewriting of the second Iconoclasm: the aristocracy, the army, the court and the imperial family; 5. The Ignatian Milieu: the management of inherited Iconodule literature; 6. The Photian Milieu: rewriting and updating of the Iconodule literature; 7. Mobility between Milieux: the hagiographer Sabas, from the Bithynian Olympos to the Constantinopolitan Milieux; 8. Final remarks.

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Book SynopsisIs music just matter of hearing and producing notes? And is it of interest just to musicians? By exploring different authors and philosophical trends of the Roman Empire, from Philo of Alexandria to Alexander of Aphrodisias, from the rebirth of Platonism with Plutarch to the last Neoplatonists, this book sheds light on different ways in which music and musical notions were made a crucial part of philosophical discourse. Far from being mere metaphors, notions such as harmony, concord and attunement became key philosophical tools in order to better grasp and conceptualise fundamental notions in philosophical debates from cosmology to ethics and from epistemology to theology. The volume is written by a distinguished international team of contributors.Trade Review'the collection is welcome and will serve as an excellent entry point to important thought about music linked directly to the antique roots of modern philosophy. Because there are no musical examples and the references to classical languages are translated into idiomatic English, laypersons - even those unfamiliar with the classical period - should not meet obstacles or have accessibility problems. Readers, whether in classics or in music, will find these essays invaluable for making inroads into a period long overlooked in music history. Highly recommended.' M. Dineen, Choice ConnectTable of ContentsIntroduction Francesco Pelosi and Federico Maria Petrucci; 1. Scala nature and music: two models in Philo's thought Carlos Lévy; 2. Music and Plutarch's Platonic cosmos Bram Demulder; 3. The harmoniser god: harmony as a cosmological model in middle Platonist theology Federico M. Petrucci; 4. Alexander of Aphrodisias and musical models for ontological enquiries Laura M. Castelli; 5. How to resist musical dogmatism: the aim and methods of Pyrrhonian inquiry in Sextus Empiricus' 'Against the Musicologists' (Math. VI) Máté Veres; 6. Shifting epistemological perspectives in Ptolemy's 'Harmonics': from the science of sound to the study of music Andrew Barker; 7. Musical imagery in Clement of Alexandria and Origen: the Greek musical world revised and accepted Francesco Pelosi; 8. Plotinus on music, rhythm, and harmony Alexandra Michalewski; 9. Porphyry's 'Commentary on Ptolemy's Harmonics': questions of philosophic and scientific identity Harold Tarrant; 10. The music of the virtues in late ancient Platonism Dominic O'Meara; 11. Harmonics as theological paradigm in Proclus Stephen Gersh; 12. Calcidius on cosmic harmony Christina Hoenig; 13. Harmonia in Philoponus' 'Commentary on Nicomachus' introduction to arithmetic' Giovanna R. Giardina.

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Book SynopsisThe bestselling graphic design reference, restructured by themes to represent motivations for visual communication over time Graphic designers must have a thorough understanding of the field's rich history in order to inspire and inform their work. Meggs' History of Graphic Design is the industry's original reference, serving as an essential resource for a generation of professionals, scholars, and students. With over 1,400 high-quality images throughout, this visually stunning text guides you through artistic innovators, breakthrough tools and technologies, and significant artifacts that have pushed the boundaries of graphic design throughout its history. The initial publication of this book was heralded as a landmark, and author Philip B. Meggs is credited with significantly shaping the academic field of graphic design. This new edition foregrounds cultural and social context and elevates diverse voices that are pivotal contributors to the history of graphic design. This seventh edit

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Book SynopsisThis book investigates how British contemporary artists who work with clay have managed, in the space of a single generation, to take ceramics from niche-interest craft to the pristine territories of the contemporary art gallery. This development has been accompanied (and perhaps propelled) by the kind of critical discussion usually reserved for the 'higher' discipline of sculpture. Ceramics is now encountering and colliding with sculpture, both formally and intellectually. Laura Gray examines what this means for the old hierarchies between art and craft, the identity of the potter, and the character of a discipline tied to a specific material but wanting to participate in critical discussions that extend far beyond clay.Trade Review'This is an essential read for the student of contemporary ceramics, providing a fresh perspective on "post-studio" ceramic practice.' Stephen Dixon, Manchester Metropolitan University, UKTable of ContentsTable of ContentsIntroductionChapter OneBecoming Partners?Creative Tension: Defining ceramicsSculpture: A category in danger of collapseThe Art and Craft DivideAn Overview of the BookChapter TwoMonumental MattersMonuments and the Collective MemoryTwo Approaches: The logical and the abstracted monument Ceramics in Civic SpaceWheel of Fortune: Monumentalizing Stoke-on-Trent Making it Big: The monumental styleChapter ThreeThe Numbers Game: Multi-part compositionsDo Numbers Matter?Plane Thinking: Horizonal groupsHigh Rise: Stack, build, repeatThe Expressive Possibility of Repetition Clare Twomey: Master assemblerChapter FourThe Art of Destruction: Ceramics, Sculpture and IconoclasmWhat is Iconoclasm?Iconoclasm and ArtVases and VandalismOut of the Ordinary: Destroying domestic wareClay in CommonPast Imperfect: The art of transformative repairDestruction as Cultural CritiquePlease Do Not Touch: Destruction in the vitrineBiting the hand that feeds? Iconoclasm as institutional critiqueChapter FiveEncounters: Ceramics on ShowThinking About ExhibitionsClay as an Authentic Material for Sculpture: The Raw and the CookedCeramics and Minimalism: The New WhiteCeramics Under Threat: A Secret History of ClayPost-Studio Practice: Possibilities and LossesCeramics for the HomeThe Separation of Art and the HomeHome Coming: Contemporary ceramics in domestic spaceDomesticating the White CubeConclusionRadical PlasticityA Single MaterialWorkmanshipThe VesselThe Current of InfluenceThe Future

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Book SynopsisPainting, Politics and the Struggle for the École de Paris, 1944-1964 is the first book dedicated to the postwar or ''nouvelle'' École de Paris. It challenges the customary relegation of the École de Paris to the footnotes, not by arguing for some hitherto ''hidden'' merit for the art and ideas associated with this school, but by establishing how and why the École de Paris was a highly significant vehicle for artistic and political debate. The book presents a sustained historical study of how this ''school'' was constituted by the paintings of a diverse group of artists, by the combative field of art criticism, and by the curatorial policies of galleries and state exhibitions. By thoroughly mining the extensive resources of the newspaper and art journal press, gallery and government archives, artists'' writings and interviews with surviving artists and art critics, the book traces the artists, exhibitions, and art critical debates that made the École de Paris a zone of aesthetTable of ContentsContents: Introduction: École de Paris: meaning to be determined; A complete change of décor: the Nouvelle École de Paris; An 'individualist internationale': foreign artists and abstract painting; The crisis of realism and reality; The critics of the École de Paris; Is the École de Paris condemned to death?; Conclusion: the mourning of the object; Selected bibliography; Index.

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Book SynopsisShould sight trump the other four senses when experiencing and evaluating art? Art, History and the Senses: 1830 to the Present questions whether the authority of the visual in ''visual culture'' should be deconstructed, and focuses on the roles of touch, taste, smell, and sound in the materiality of works of art. From the nineteenth century onward, notions of synaesthesia and the multi-sensorial were important to a series of art movements from Symbolism to Futurism and Installations. The essays in this collection evaluate works of art at specific moments in their history, and consider how senses other than the visual have (or have not) affected the works'' meaning. The result is a re-evaluation of sensory knowledge and experience in the arts, encouraging a new level of engagement with ideas of style and form.Trade Review'...a fascinating volume full of insights about the sensory histories in art history ... a pioneering collection.' Caroline Jones, MIT, USA 'Art, History, and the Senses: 1830 to the Present with its illustrations, general index, senses index, select bibliography, with its readability and precise and thorough explication of particular works of art is an important beginning to an art history of the senses.' Senses and SocietyTable of ContentsContents: Foreword: disciplining the senses: Beethoven as synaesthetic paradigm, Simon Shaw-Miller; Introduction: other than the visual: art, history and the senses, Patrizia Di Bello and Gabriel Koureas; Photography and sculpture: a light touch, Patrizia Di Bello; Seeing and tasting the divine: Simeon Solomon's homoerotic sacrament, Dominic Janes; A Trip to Japan in 16 Minutes: Sadakichi Hartmann's perfume concert and the aesthetics of scent, Christina Bradstreet; Intimate modernism: the Nabis, symbolist theatre, and the Gesamkunstwerk, Katherine Kuenzli; In your face: the futurists' assault on the public's senses, Francesca Bacci; Between silence and sound: John Cage, Karlheinz Stockhausen and the sculptures of Dorothea Tanning, Victoria Carruthers; 'Can you hear the lights?', Alexander Dumbadze; Niki de Saint Phalle's Hon: an ethics through the visual?, Nicola Foster; Airchitecture: guarded breaths and the [cough] art of ventilation, Jim Drobnick; Trauma, space and embodiment: the sensorium of a divided city, Gabriel Koureas; Select bibliography; Indexes.

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Book SynopsisThis thoroughly revised and updated edition of Fashion Theory: A Reader brings together and presents a wide range of essays on fashion theory that will engage and inform both the general reader and the specialist student of fashion. From apparently simple and accessible theories concerning what fashion is to seemingly more difficult or challenging theories concerning globalisation and new media, this collection contextualises different theoretical approaches to identify, analyse and explain the remarkable diversity, complexity and beauty of what we understand and experience every day as fashion and clothing.This second edition contains entirely new sections on fashion and sustainability, fashion and globalisation, fashion and digital/social media and fashion and the body/prosthesis. It also contains updated and revised sections on fashion, identity and difference, and on fashion and consumption and fashion as communication. More specifically, the section on idenTable of ContentsIntroductionPART 1: Fashion and Fashion TheoriesIntroduction1. Elizabeth Wilson Explaining it Away2. Gilles Lipovetsky The Empire of Fashion: Introduction3. Barbara VinkenThe Fashion Zeitgeist4. Pierre Bourdieu Haute Couture and Haute CulturePART 2: What Fashion Is and Is NotIntroduction5. Edward SapirFashion6. Nancy Troy Fashion as Art7. Fred DavisAntifashion: The Vicissitudes of Negation8. Georg Simmel The Philosophy of Fashion 9. Ted Polhemus and Lynn ProcterFashion and AntifashionPART 3: Fashion and (the) ImageIntroduction10. Roland BarthesThe Fashion System: Fashion Photography 11. Paul JoblingGoing Beyond The Fashion System 12. Erica LennardDoing Fashion Photographs13. Tamsin BlanchardFashion and Graphics: IntroductionPART 4: Sustainable FashionIntroduction14. Marie-Cécile Cervellon and Lindsey CareyConsumers' Perceptions of 'Green'' 15. Kate FletcherFashion, Needs and Consumption16. Alison GwiltFashion and Sustainability: Repairing the Clothes We WearPART 5: Fashion as CommunicationIntroduction17. Umberto EcoSocial Life as a Sign System 18. Roland BarthesThe Analysis of the Rhetorical System 19. Fred DavisDo Clothes Speak? What Makes them Fashion?20. Colin Campbell When the Meaning is not a Message: A Critique of the Consumption as Communication Thesis21. Malcolm Barnard Fashion as Communication RevisitedPART 6: Fashion: Identity and DifferenceIntroductionGender22. Tim EdwardsExpress Yourself: The Politics of Dressing Up23. Lee Wright Objectifying Gender: The Stiletto Heel24. Joanne Entwistle Power Dressing and The Construction of the Career WomanLGBT+25. Annamari VänskäFrom Gay to Queer - Or, Wasn't Fashion Always Already A Very Queer Thing?26. Adam Geczy and Vicki Karaminas Lesbian Style: From Mannish Women to Lipstick DykesSocial Class27. Angela PartingtonPopular Fashion and Working-Class Affluence28. Herbert Blumer Fashion: From Class Differentiation to Collective SelectionEthnicity and Race29. Emil Wilbekin Great Aspirations: Hip Hop and Fashion Dress for Excess and Success30. Reina LewisMuslim Fashion: Taste and Distinction; The Politics of Style 31. Emma TarloVisibly Muslim: Islamic Fashion Scape 32. Carol TullochYou Should Understand, It's a Freedom Thing: The Stoned Cherrie - Steve Biko T-Shirt PART 7: Fashion, Clothes and The BodyIntroduction33. Joanne EntwistleAddressing the Body34. Ingun Grimstad Klepp & Mari Rysst Deviant Bodies and Suitable Clothes35. Laini Burton & Jana Melkumova-Reynolds 'My Leg is a Giant Stiletto Heel': Fashioning the Prosthetised Body36. Malcolm Barnard Fashion, Clothes and The BodyPART 8: Fashion: Production, Consumption, ProsumptionIntroduction37. Marco PedroniThe Crossroad between Production and Consumption38. Tim Dant Consuming or Living with Things? Wearing it Out39. Tommy Tse and Ling Tung TsangReconceptualising Prosumption40. Kate FletcherAttentiveness, Materials, and Their Use41. Daniel MillerThe Little Black Dress is the Solution, but what is the Problem?"PART 9: Modern FashionIntroduction42. Elizabeth WilsonAdorned in Dreams: Introduction43. Kurt BackModernism and Fashion44. Richard SennettPublic Roles/Personality in Public45. Adam Geczy and Vicki KaraminasWalter Benjamin: Fashion, Modernity and the City StreetPART 10: Post-modern FashionIntroduction46. Jean BaudrillardThe Ideological Genesis of Needs/Fetishism and Ideology47. Jean Baudrillard Fashion, or the Enchanting Spectacle of the Code48. Kim SawchukA Tale of Inscription: Fashion Statements49. Alison Gill Deconstruction FashionPART 11: Digital/New Media and FashionIntroduction50. Sandra Lee BartkyNarcissism, Femininity and Alienation51. Agnès RocamoraPersonal Fashion Blogs 52. Katrin TiidenbergBringing Sexy Back: Reclaiming the Body Aesthetic via Self-Shooting53. Agnès RocamoraMediatization and Digital Media in the Field of FashionPART 12: Global and Transnational FashionIntroduction54. Malcolm Barnard Globalization and Colonialism55. Jan Brand and Jose Teunissen From Global Fashion/Local Tradition56. Ian Skoggard,Transnational Commodity Flows and the Global Phenomenon of the Brand 57. Olga Gurova Body, gender and discourse on fashion in Soviet Russia in the 1950s and 1960s58. Lise Skov Hong Kong Fashion Designers as Cultural Intermediaries

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Book SynopsisBoth lauded and criticized for his pictorial eclecticism, the Florentine artist Jacopo Carrucci, known as Pontormo, created some of the most visually striking religious images of the Renaissance. These paintings, which challenged prevailing illusionistic conventions, mark a unique contribution into the complex relationship between artistic innovation and Christian traditions in the first half of the sixteenth century. Pontormo''s sacred works are generally interpreted as objects that reflect either pure aesthetic experimentation, or personal and cultural anxiety. Jessica Maratsos, however, argues that Pontormo employed stylistic change deliberately for novel devotional purposes. As a painter, he was interested in the various modes of expression and communication - direct address, tactile evocation, affective incitement - as deployed in a wide spectrum of devotional culture,fromsacri monti,to Michelangelo''s marble sculptures,to evangelical lectures delivered at the Accademia FiorentinaTable of ContentsIntroduction: Drawing devotion, imitating nature in Cinquecento Florence; 1. Performing the Passion at the Certosa del Galluzo; 2. Pictorial theology and the Paragone in the Capponi Chapel; 3. Elusive rhetoric at San Lorenzo; 4. A Pontormo legacy in Florence?

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Book SynopsisFifteen leading scholars and practitioners of theatre systematically explore, from a variety of perspectives, contemporary adaptations of Greek tragedy. The volume offers both a survey of recent developments and much-needed theoretical grounding in what is an increasingly dynamic approach to an ancient dramatic genre.Trade Review'… this is a volume that is broad in its aims and encompasses vast swathes of intellectual enquiry, political event, and theatrical activity. It will be especially useful for teachers of Greek tragic reception, and of interest to wider audiences too.' Lucy Jackson, Bryn Mawr Classical ReviewTable of ContentsIntroduction; Prelude: Adapting Greek Tragedy: A Historical Perspective Vayos Liapis; Part I: Adapting Greek Tragedy: Definitions, Conceptual Foundations, Ethics: 1. Definitions: Adaptation and Related Modalities Katja Krebs; 2. Forsaking the Fidelity Discourse: The Application of Adaptation Peter Meineck; 3. Translation and/as Adaptation Lorna Hardwick; 4. Adaptation as a Love Affair: The Ethics of Directing the Greeks Avra Sidiropoulou; Part II: Adaptation on the Page and on the Stage: Re-inscribing the Greek Classics: 5. Interlude: Speaking Up: Theatre Practitioners on Adapting the Classics; 6. The View from the Archive: Performances of Ancient Tragedy at the National Theatre, 1963–1973 Adam Lecznar; 7. Compromise, Contingency, and Gendered Adaptation: The Case of the Malthouse's Antigone Jane Montgomery Griffiths; 8. Technology, Media and Intermediality in Contemporary Adaptations of Greek Tragedy Peter Campbell; 9. Violence in Adaptations of Greek Tragedy Simon Perris; 10. Adaptations of Greek Tragedies in non-Western Performance Cultures Erika Fischer-Lichte; 11. Cultural Identities: Appropriations of Greek Tragedy in Post-colonial Discourse Elke Steinmeyer; 12. Trapped between Fidelity and Adaptation? On the Reception of Ancient Greek Tragedy in Modern Greece Anastasia Bakogianni; 13. Adaptation and the Transtextual Palimpsest: Anne Carson's Antigonick as a Textual/Visual Hybrid Vayos Liapis.

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Book SynopsisSara B. Marcketti is Director of the Center of Excellence in Learning and Teaching and Professor of Apparel, Events, and Hospitality Management at Iowa State University, USAElena E. Karpova is Putnam and Hayes Distinguished Professor of Consumer, Apparel, and Retail Studies at the University of North Carolina at Greensboro, USATrade ReviewAs leaders in their field, Karpova, Marcketti, and their impressive roster of authors were uniquely qualified to take on the task of creating this compilation of contemporarily significant studies on the most pressing, interconnected challenges in the modern fashion system. Readers of The Journal of Dress History will find this book to be a valuable resource to turn to when examining garments, the conditions under which they were made, and the questions that arise from their production and consumption. * The Journal of Dress History *The Dangers of Fashion convincingly dissects the complexities of the challenges and solutions for achieving an ethical and sustainable fashion industry that spans cultures with differing values, world views, and profit motives. The authors’ narratives point out that no single segment of the industry, whether fiber and apparel production, retailing, or consumption, can stand alone in effecting change. This book, with its critical integrative focus, should be required in all fashion programs. * Mary Littrell, Colorado State University, USA *This book brilliantly weaves together the fashion system’s harmful and ethical uncertainties. The reader is given threads of knowledge as well as reasons for hope and urgency in what should be required reading for all. * Connie B Ulasewicz, San Francisco State University, USA *The Dangers of Fashion strays into territories all too often ignored by other texts, that of the ethics and morals of producing fashion, with chapters on counterfeiting and cultural appropriation. Texts cover topics from earth to dirt and all the processes in between through a range of contributors that span content and continents to give a complete picture of the impacts of fashion. * Sass Brown, Manchester Metropolitan University, UK *Table of ContentsList of Illustrations Notes on Contributors Part 1 – Moral and Ethical Dangers in Fashion 1. Introduction Sara B. Marcketti and Elena E. Karpova 2. Moral Dilemmas in the Fashion Business Jung Ha-Brookshire 3. Sustainability [Must] Drive Design Elizabeth Bye 4. Stealing Fashion Designs Sara B. Marcketti, Jean Parsons, and Hallie Erdahl Part 2 – The Dangers of Making Fashion 5. Fibres and Materials: What is Fashion Made of? Huantian Cao 6. Fashion: An Unrecognized Contributor to the Climate Change Kim Y. Hiller Connell and Melody L. A. LeHew 7. The Dangers in the Fashion Supply Chain: Offshore vs. Domestic Sourcing Ting Chi and Sheng Lu 8. A Look at Labour Issues in Manufacture of Apparel through the Perspective of Human Trafficking and Modern-Day Slavery Marsha Dickson and Hayley Warren 9. Exodus to Elsewhere: Exploring the Effects of Fashion Industry Globalization on Local Communities Nancy Hodges Part 3 – The Dangers of Consuming Fashion 10. Taking offense: A discussion of fashion, appropriation, and cultural insensitivity Denise Nicole Green and Susan B. Kaiser 11. Striving to Fit In Kelly L. Reddy-Best 12. Pain in [From] Fashion Ellen McKinney and Eulanda A. Sanders Part 4 – The Dangers of Caring for and Disposing Fashion 13. A Consumer Perspective on Clothing Care: Economic, Environmental and Social Costs Pam Norum and Rachel LoMonaco-Benzing 14. Disposing Fashion: From the Ugly… Jana M. Hawley and Elena E. Karpova 15. Disposing Fashion 2: …To the Good Elena E. Karpova and Jana M. Hawley 16. Conclusion Elena E. Karpova and Sara B. Marcketti Index

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Book SynopsisIn The Fashion Reader, Linda Welters and Abby Lillethun have selected 76 influential articles to offer insight into the critical theories and conversations that surround this huge international industry. Many of the essays are drawn from books, journals, magazines, and exhibition catalogues, bringing together new and established concepts to offer a solid grounding in the history, business and culture of fashion. Fourteen of the chapters were written expressly for this edition. For added context, each of the fifteen parts has an introduction from the editors, guiding you through the interdisciplinary world of fashion studies, and each part concludes with suggestions for further reading. This third edition has been substantially revised to highlight issues of sustainability, identity, the body, as well as global perspectives from The Commodification of Ethnicity to The Cultural Heritage of Tattooing.Trade ReviewAn engaging text that unpacks the interdisciplinary nature of the global fashion system with considerations of time, place, and context. Readers will gain new and critical insights into the ways various fields such as economics, psychology, geography, politics, art, culture, and business influence fashioned identities and communities. -- Kelly Reddy-Best, Iowa State University, USAHistorically informed and critically integrated, The Fashion Reader sheds fresh light on key concepts in fashion studies: time, space/place, identity, and globalization. * Susan Kaiser, University of California at Davis (from 1st edition) *A panoramic collection of current and classic texts and an excellent introduction to fashion . . . from history, cultural identity, gender, through to the business, economics, manufacturing and marketing of fashion. * Pammi Sinha, University of Manchester (from 1st edition) *Presenting rich, diverse, and significant essays, The Fashion Reader will contribute to and expand the study of fashion. * Theresa M. Winge, Indiana University (from 1st edition) *An invaluable resource that covers Fashion Studies' range of disciplines and approaches, The Fashion Reader will invigorate the growing field of fashion. * Patrik Aspers, Stockholm University (from 1st edition) *This is a useful starting point that demonstrates the richness of the subject, indicates the diverse themes to be explored, and the variety of approaches it is possible to take in examining both contemporary and historical fashion. * Costume, Vol 42, 2008 (from 1st edition) *Table of ContentsIntroduction — Linda Welters and Abby Lillethun Part I: A Brief History of Fashion Introduction — Linda Welters 1. From Prehistory through Byzantium — Abby Lillethun 2. Europe to 1700 — Linda Welters 3. From Baroque Elegance to the French Revolution: 1700–1790 — Kimberly Chrisman-Campbell 4. From Neoclassicism to the Industrial Revolution: 1790–1860 — Susan North 5. The Victorian and Edwardian Eras: 1860–1910 — Cynthia Cooper 6. The Modern Era: 1910–1960 — Tiffany Webber 7. The Postmodern Age: 1960–2020 — José Blanco F. 8. Fashion Outside the West — Linda Welters and Abby Lillethun Annotated Guide to Further Reading for Part I Part II: Fashion Theory Introduction — Abby Lillethun 9. Dress as an Expression of the Pecuniary Culture — Thorstein Veblen 10. The Habitus and the Space of Life-Styles — Pierre Bourdieu 11. The Fashion System — Grant McCracken 12. The Dressed Body — Joanne Entwistle 13. Re-Orienting Fashion Theory — Sandra Niessen Annotated Guide to Further Reading for Part II Part III: Psychology of Fashion Introduction — Abby Lillethun 14. The Fundamental Motives — J. C. Flugel 15. Blue or Pink? That is the Question: Homophobia and Its Influence on the Gendering of Colour Symbolism — Eun Jung Kang 16. Shopping for Fashion — Carolyn Mair 17. Lacan and Fashion — Alison Bancroft 18. Spirited Individuality: Halloween — Pravina Shukla Annotated Guide to Further Reading for Part III Part IV: Fashion and Identity Introduction — Abby Lillethun 19. Dress and Identity — Mary Ellen Roach-Higgins and Joanne Eicher 20. All Out in the Wash: Convict Stain Removal in the Narryana Heritage Museum’s Dress Collection — Jennifer Clynk and Sharon Peoples 21. Subculture: The Unnatural Break — Dick Hebdige 22. 1980s and Beyond: Queering Fashion — Susan B. Kaiser 23. Islamic Fashion and the Global Islamic Revival Movement — Annalies Moors and Emma Tarlo 24. The Commodification of Ethnicity: Vlisco Fabrics and Wax Cloth Fashion in Ghana — Christine Delhaye and Rhoda Woets Annotated Guide to Further Reading for Part IV Part V: Fashion: Space and Place Introduction — Linda Welters 25. Fashion in Peripheral Places: The New Zealand Story — Sally Weller 26. Travelling the Street Style Blogosphere: Amateur Photography — Brent Luvaas 27. Flagship Stores: Scaling Fashion’s Luxury Spaces — Louise Crewe 28. Globalization Reconsidered: The Historical Geography of Modern Western Male Attire — Wilbur Zelinsky 29. Nailed It: Producing and Consuming in Tokyo’s Nail Industry — Rebecca Scofield Annotated Guide to Further Reading for Part V Part VI: Politics of Fashion Introduction — Abby Lillethun 30. Fashioning the Colonial Subject — Barbara L. Voss 31. Khartoum at Night — Marie Grace Brown 32. The Soul Wide World: The “Afro Look” in South Africa from the 1970s to the New Millennium — Tanisha C. Ford 33. How White Became the Color of Suffrage — Einav Rabinovitch-Fox 34. Worker Rights, Factory Inspection, and Fashion — Richard McIntyre 35. Trade Policies and the Textiles and Apparel Industries — Arthur C. Mead Annotated Guide to Further Reading for Part VI Part VII: Fashion and the Body Introduction — Abby Lillethun 36. The Cultural Heritage of Tattooing: A Brief History — Lars Krutak 37. Consumptive Corsetry and Romantic Fashion — Carolyn A. Day 38. Outcomes of Plastic Surgery — Charlotte N. Markey and Patrick M. Markey 39. Hair and Human Identity — Sarah Cheang and Geraldine Biddle-Perry 40. Disciplining Corpulence: The Case of Plus-Size Fashion Models — Amanda M. Czerniawaski Annotated Guide to Further Reading for Part VII Part VIII: Fashion and Art Introduction — Linda Welters 41. Fashion — Valerie Steele 42. Putting Artwear in Context — Melissa Leventon 43. Curating Chanel — Nick Rees-Roberts 44. One Work: Elsa Schiaparelli & Salvador Dalí: The Tears Dress (1938) — Ella Plevin 45. Dynamic Static — Nicole Archer Annotated Guide to Further Reading for Part VIII Part IX: Fashion, Media and Communication Introduction — Linda Welters 46. Jacqueline Kennedy Onassis — Kathleen Craughwell-Varda 47. Film Stars as Fashion Icons — Pamela Church Gibson 48. Style Narratives: Sixties in the Twenty-First Century — Heike Jenss 49. The Celebrity as Designer of His/Her Own Fashion Brand — Marta Martina and Silvia Vacirca 50. A Global Discourse: The New Millennium — Kate Nelson Best Annotated Guide to Further Reading for Part IX Part X: From Haute Couture to the Street Introduction — Linda Welters 51. The Dressmaking World — Thérèse Bonney and Louise Bonney 52. A New House, a New Femininity — Alexandra Palmer 53. Trickle Down, Bubble Up — Ted Polhemus 54. Punks and Pirates: The Costiff Collection of Vivienne Westwood — Sonnet Stanfill 55. Connoisseurs of Trash in a World Full of It — Jennifer Le Zotte Annotated Guide to Further Reading for Part X Part XI: Design and Manufacture Introduction — Linda Welters 56. The Future of Fashion Forecasting — Regina Lee Blasczyk and Ben Wubs 57. Hedi Slimane and the Reinvention of Menswear — Jay McCauley Bowstead 58. At Work in the Vintage Archive — Jennifer Ayres 59. Luxury Indian Fashion — Tereza Kuldova 60. The Sweatshop, Child Labor, and Exploitation Issues in the Garment Industry — Liat Smestad Annotated Guide to Further Reading for Part XI Part XII: Marketing and Merchandising Introduction — Linda Welters 61. Spectacle — Ginger Gregg Duggan 62. Surprise Ambush: The Unexpected and Unscheduled — Nilgin Yusuf 63. The A&F Brand/Story — Anne-Peirson-Smith and Joseph H. Hancock II 64. Disruptive Business Model Innovations in the Fashion Retail Industry — Byoungho Ellie Jin and Daeun Chloe Shin 65. What Is the Future of the Fashion Show? — Steff Yotka Annotated Guide to Further Reading for Part XII Part XIII: The Fashion Business and Global Economics Introduction — Abby Lillethun 66. Made in ____ — Arthur C. Mead 67. Zara: The Business Model for Fast Fashion — Teresa M. McCarthy Byrne 68. Contemporary South Asian Youth Cultures and the Fashion Landscape — Lipi Begum and Rohit K. Dasgupta 69. Moroccan Fashion and Economics — M. Angela Jansen 70. Used Clothing Markets in the Global South — Andrew Brooks Annotated Guide to Further Reading for Part XIII Part XIV: Sustainability and Fashion Introduction — Linda Welters 71. Textile Production — Leslie Davis Burns 72. The Filippa K Story — Kerli Kant Hvass 73. Sustainability in Textiles and Fashion: How Far Have We Come Since 2000? — Martin Bide Annotated Guide to Further Reading for Part XIV Part XV: Future of Fashion Introduction — Linda Welters and Abby Lillethun 74. Amazon Has Developed an AI Fashion Designer — Will Knight 75. Sewing Up a Storm: How Robots and Other New Technologies are Shaping a New Era of Manufacturing — Kilara Le 76. Forecasting Fashion’s Future — Abby Lillethun and Linda Welters Annotated Guide to Further Reading for Part XV Bibliography Index

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Book SynopsisThe Business of Beauty is a unique exploration of the history of beauty, consumption, and business in Victorian and Edwardian London. Illuminating national and cultural contingencies specific to London as a global metropolis, it makes an important intervention by challenging the view of those wholike their historical contemporariesperceive the 19th and early 20th centuries as devoid of beauty praxis, let alone a commercial beauty culture.Contrary to this perception, The Business of Beauty reveals that Victorian and Edwardian women and men developed a number of tacit strategies to transform their looks including the purchase of new goods and services from a heterogeneous group of urban entrepreneurs: hairdressers, barbers, perfumers, wigmakers, complexion specialists, hair-restorers, manicurists, and beauty culturists. Mining trade journals, census data, periodical print, and advice literature, Jessica P. Clark takes us on a journey through Victorian and Edwardian London'sTrade ReviewClark’s study is an elegant one, rich in detail with a sophisticated argument that compellingly encapsulates an important element of the beauty scene in a major global city ... Debates over beauty—currently a multibillion-dollar global industry incorporate and reveal issues of business, law, the body, morality, and labour in Britain and beyond, making The Business of Beauty a timely and important contribution. * Histoire sociale/Social History *[T]his text complements existing work around fashion and modernity in London, with a timely focus on the impact that colonialism, nationalism, and gender based conventions in the nineteenth century have had on so many aspects of life. * Journal of Dress History *Clark’s fascinating study of beauty entrepreneurship in 19th-century London provides wonderful insights not only into Victorian and Edwardian business and marketing practices but also into the history of gender, self-fashioning, national identities, and urban cosmopolitanism. Through careful research, the author has unearthed a wide array of intriguing source material that will surprise and delight. * Paul R. Deslandes, University of Vermont, USA *In this lively and imaginative new study, Jessica Clark demonstrates how the Victorians invented a major beauty industry in the center of their capital city. By focusing on hairdressers and other beauty experts, Clark’s fascinating and entertaining new book establishes how London became the center of a new type of consumer culture, in which consumers who could afford it could transform their bodies and identities. This is a must-read for anyone interested in the history of London, gender and capitalism. * Erika Rappaport, University of California, Santa Barbara, USA *Table of ContentsList of Plates List of Figures List of Maps Acknowledgments 1. Introduction 2. ’Backmewsy’ Beauty: Agnes Headman and Aimée Lloyd 3. Upstarts and Outliers: Sarah “Madame Rachel” Leverson 4. Mobilizing Men: Robert Douglas and H.P. Truefitt 5. Professionalizing Perfumery: Eugène Rimmel 6. Female Enterprise at the Fin-de-Siècle: Jeannette Pomeroy 7. From Beauty Culturist to Beauty Magnate: Helena Rubinstein Epilogue Appendix I Appendix II Notes Select Bibliography Index

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Book SynopsisJeremy Aynsley is Professor of Design History and founding Director of the Centre for Design History at the University of Brighton, UK.Alison J. Clarke is Professor of Design History and Theory and founding Director of the Papanek Foundation at the University of Applied Arts Vienna, Austria.Tania Messell is Researcher in Design History at the University of Applied Sciences and Arts Northwestern Switzerland (FHNW) in Basel, Switzerland.Trade ReviewInternational, regional and national organizations have been essential in negotiating the political, economic and social standings and functions of the design professions since the mid-twentieth century. This volume brings together an impressive array of new research on these networks and their role in the consolidation of the culture and practice of design as we know it today. -- Kjetil Fallan, Professor of Design History, University of Oslo, NorwayIn the past 80 years, international organizations have greatly shaped discourse and practice in industrial and graphic design. International Design Organizations provides a refreshingly diverse array of critical perspectives into the designers’ interactions with and through international organizations, with a focus on lived experience and the political ramifications of the ideal of the ‘international’, within design communities. Chapters clearly demonstrate how international design organizations are constituted both by regional and local ways of working brought into dialogue and by an often-illusory proposal for ‘universal’ design approaches, values or standards, showing how the resulting communities of practitioners, researchers and educators both link design culture across geographical and cultural divides and reflect deeper political inequalities between continents and nations. -- Sarah Teasley, Professor of Design, RMIT University, AustraliaThis new edited volume presents pioneering research in predominantly postwar design histories and successfully applies network research methods onto yet unexplored design history material. Thirteen essays analyse histories of institutions transnationally and reveal the complex functioning of design institutions and their contributions to the narrative of design history as a whole. This fascinating and engaging book will captivate its readers but should also become a useful teaching tool for understanding this net of stories and histories. -- Helena Capková, Associate Professor of Art History, Ritsumeikan University, JapanAn invaluable retrospective for students of design management and design history and a rare treat for graphic design students, tracing the historical underpinning of paradigm shifts that have informed a century of design. This volume provides a unique insight and perspective on the evolution and impact of key international design organizations and influential personalities instrumental in shaping the international discourse on design. This is a timely reminder of the importance of international collaboration in a time of resurgent nationalism. -- Sara Ekenger, Course Leader, MA Design Management, London College of Communication, UAL, UKInternational Design Organizations is a much-awaited collection that offers new perspectives on the entanglement of design cultures and networks during a historical period of heightened internationalism and exchange. Drawing on a plurality of expert views and deftly edited, this book contributes to our understanding of design and designing as a multifaceted, ever-shifting activity negotiated through professional and institutional rules, national and transnational interests, and resulting from diverse epistemic structures. A timely read for anyone invested in advancing global, transnational and decolonial approaches to design. -- Livia Rezende, University of New South Wales, AustraliaTable of ContentsList of Figures List of Tables List of Contributors Preface Introduction, Jeremy Aynsley (University of Brighton, UK), Alison J. Clarke (University of Applied Arts Vienna, Austria) and Tania Messell (University of Applied Sciences and Arts Northwestern Switzerland) Part One: Professions – Rules – Institutions – Personalities 1. Professional Graphic Design and Cold War Politics: National and Transnational Design Organizations, Dora Souza Dias (Brunel University, UK) 2. One Step before Organizations: Networks, Actors and Trajectories in Argentine Design (1938-1962), Verónica Devalle (University of Buenos Aires, Argentina) 3. International Design Organizations and Emigré Identity: Peter Muller-Munk and American Representation in ICSID, 1950-1967, Tania Messell (University of Applied Sciences and Arts Northwestern Switzerland) 4. International Design Organizations as Global Design Advocates: Romance, Reality and Relevance? Jonathan M. Woodham (University of Brighton, UK) Part Two: National - International – Transnational 5. Becoming the International Design Conference in Aspen, Robert Gordon-Fogelson (University of Southern California, USA) 6. ALADI, a Latin American Voice of Design, Juan Buitrago (University of the Valley, Colombia) 7. Internationalizing Japanese Graphic Design: From the Pre-War Period to Today, Yasuko Suga-Ida (Tsuda University, Japan) 8. Shaping National and International Design Policies: the Transnational Trajectory of the Belgian Policymaker Josine des Cressonnières (1926-1985), Katarina Serulus (KU Leuven, Belgium) Part Three: Design Definitions - Epistemologies - Differences 9. Negotiating Graphic Design between National and International Design Organizations: the Case of the Associazione per il Design Industriale in Milan, Chiara Barbieri (ECAL, Switzerland) 10. Tööstuskunsti Komitee: a Case Study of an Invisible Design Organization in Soviet Estonia, Tr’in Jerlei (Estonian Academy of Arts, Estonia) 11. Design for Development, ICSID and UNIDO: the Anthropological Turn in 1970s Design, Alison J. Clarke (University of Applied Arts Vienna, Austria) 12. No “Good Design” Would Come of It: The International Design Conference in Aspen, 1977–2004, Penelope Dean (University of Illinois at Chicago, USA) 13. XIN, A Message with Strategic Vision - An Analysis of the Meaning of the 2009 Icograda Bei-jing Congress, Yun Wang (China Design Museum, Republic of China) Select Bibliography

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Book SynopsisThroughout the 21st century, various craft practices have drawn the attention of academics and the general public in the West. In Craft is Political, D Wood has gathered a collection of essays to argue that this attention is a direct response to and critique of the particular economic, social and technological contexts in which we live.Just as Ruskin and Morris viewed craft and its ethos in the 1800s as a kind of political opposition to the Industrial Revolution, Wood and her authors contend that current craft activities are politically saturated when perspectives from the Global South, Indigenous ideology and even Western government policy are examined. Craft is Political argues that a holistic perspective on craft, in light of colonialism, post-colonialism, critical race theory and globalisation, is overdue.A great diversity of case studies is included, from craft and design in Turkey and craft markets in New Zealand to Indigenous practitioners in Taiwan and Finnish craTrade ReviewCraft is Political is craft with teeth bared. No hiding behind the trappings of commercial viability or neutrality in trying to fit in the space between fine art and hobby crafts. The global context of the book is a feat. The book is unapologetically political, words and work honed to a fine point, a needle whose eye the authors expertly thread. A collection of 16 essays and authors from across craft disciplines, the book itself is deceptively small, for all its dense ideas, compact into a slim volume. The text is foliage that catches our eye, and we must follow to the roots, the notes, for further reading. * Studio Magazine *D. Wood's book gathers together a global chorus of voices that demonstrate the political relevance of craft practice. The practices referenced in Craft is Political range from craftivism to tea ceremony, refugee embroidery, Mexican wood-carving and sheep farming. Underpinning this is a fabric of key theories, including feminism, labour politics, race theory, ethics of care and sustain-ability. This book extends the purpose of the handmade beyond a romantic reaction to industrialisation. It places it at the centre of issues that have global import today, particularly climate change -- Kevin Murray, Editor, Garland magazine, AustraliaCraft is Political provides a thought-provoking and much-need global perspective on the political, economic, and social role of craft in the 21st century. -- Juliette MacDonald, Professor of Craft, History and Theory, University of Edinburgh, UKCraft is Political is a compelling book that illuminates the many ways in which craft workers have engaged in forms of activism. The texts included here highlight inspiring moments of resistance, protest and collective production, while also offering thoughtful critical analysis. The book is especially noteworthy for the global perspectives of its contributors, as well as its diversity of practices and conceptual frameworks, which encourage readers to reflect on how craft might help us remake our world in a more ethical manner. -- Noni Brynjolson, Assistant Professor of Art History, University of Indianapolis, USAIn Craft is Political, D Wood offers a timely, fresh look at the power of craft to critique mainstream culture. Whereas the original theorists of craft such as John Ruskin, William Morris, and Yanagi Soetsu conceived of craft as a response to industrial capitalism, the essays in this volume shift the focus to a critique of neoliberalism during the Anthropocene. Locating the politics of craft in social context, practice, and product, the volume offers a way to think beyond craft as commodity to a wider ethical perspective that accounts for ecology, equity, and care. -- Edward S. Cooke, Jr., Charles F. Montgomery Professor of the History of Art, Yale University, USATable of ContentsAcknowledgements List of Figures Introduction: Re-Crafting an Unsettled World, D Wood (OCAD, Canada) Part 1: Craft Legacy 1. Politics of Tea Furniture: Invention of Ryurei Style in Late Nineteenth Century Japan, Yasuko Suga (Tsuda University, Japan) 2. (Dis)playing Politics: Craft and the Caughnawaga Exhibition, 1883, Lisa Binkley (Dalhousie University, Canada) 3. Indigenous Craft is Political: Making and Remaking Coloniser-Colonised Relations in Taiwan, Geoffrey Gowlland (Museum of Cultural History and the University of Oslo, Norway) 4. Co-existence of Craft and Design in Turkey as Two Separate Epistemes, Cigdem Kaya (Istanbul Technical University, Turkey) 5. Leisure and Livelihood: A Socio-economic Reading of Craft in Australia and Egypt, Anne-Marie Willis (Independent Scholar, Australia) Part 2: Craft Practice 6. The Politics of Craft and Working Without Skill: Reconsidering Craftsmanship and the Community of Practice, Alanna Cant (University of Reading, UK) 7. From ‘Making Flowers’ to Imagining Futures: Rohingya Refugee Women Innovate a Heritage Craft, Lurdes Macedo (International Organization for Migration, Lusophone University of Porto and University of Minho, Portugal), David Palazón (International Organization for Migration, Bangladesh), Shahirah Majumdar (Rohingya Cultural Memory Centre, International Organization For Migration, Bangladesh) and Verity Marques (Independent Writer, Portugal) 8. Liminality: The Work of Monica Mercedes Martinez, PJ Anderson, and Habiba El-Sayed, Heidi McKenzie (Independent Artist, Canada) 9. Jewellery is Political: Ethical Jewellery Practice, Elizabeth Shaw (Griffith University, Australia) 10. Networks of Economic Kinship in Aotearoa New Zealand Craft Markets, Fiona P. McDonald (University of British Columbia, Canada) 11. It Goes Without Saying: Craft Talks Politics, D Wood (Independent Scholar, Canada) Part 3: Craft World View 12. Crafts as the Political: Perspectives on Crafts from Design of the Global South, Fernando Alberto Álvarez Romero (Universidad de Bogotá, Colombia) 13. Chilean Arpilleras: Hand-stitched Geographies and the Politics of Everyday Life in Santiago’s Poblaciones, Nathalia Santos Ocasio (Queen's University, Canada) 14. From Essential Skill to Productive Capital: Perspectives on Policies and Practices of Craft Education in Finland, Anna Kouhia (University of Helsinki, Finland) 15. Sincerity not Authenticity: Craft’s Political Path Out of a Modernist Trap, Leopold Kowolik (Sheridan College/York University, Canada) 16. Bellwether: Fingerprinting Your Woollies, Seema Goel (Independent Artist, Canada) Epilogue Author Bios Index

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Book SynopsisEighteenth-century women told their life stories through making. With its compelling stories of women's material experiences and practices, Material Lives offers a new perspective on eighteenth-century production and consumption. Genteel women's making has traditionally been seen as decorative, trivial and superficial. Yet their material archives, forged through fabric samples, watercolours, dressed prints and dolls' garments, reveal how women used the material culture of making to record and navigate their lives.Material Lives positions women as makers' in a consumer society. Through fragments of fabric and paper, Dyer explores an innovative way of accessing the lives of otherwise obscured women. For researchers and students of material culture, dress history, consumption, gender and women's history, it offers a rich resource to illuminate the power of needles, paintbrushes and scissors.Trade ReviewThere is something deeply moving about encountering eighteenth-century women via the things they stitched, wore, cut, drew and painted. Richly detailed, evocative and precise – as well as beautifully illustrated – Material Lives has much in common with the intricate, creative women's work that Dyer studies in this book. * Hannah Greig, University of York, UK *Serena Dyer’s lavishly illustrated and brilliantly researched book calls for us to rethink the immense cultural power of the “needles, brushes, glue and scissors” that four Georgian women used to fashion new versions of history. It is a compelling read. * Alison Matthews David, Ryerson University, Canada *A meticulous, insightful and intimate reconstruction of how four genteel women recorded and memorialized their lives through ‘material life writing’ ... [and] a compelling vision of women’s engagement in the eighteenth-century world of goods as knowledgeable, skilful and creative makers. * Karen Harvey, University of Birmingham, UK *This splendid book portrays the unforgettable world of female imagination, skill and artistic talent that shaped consumer identity in the eighteenth century. * Giorgio Riello, University of Warwick, UK *Material Lives offers a brilliant re-evaluation of eighteenth-century women’s lives through their craft practices. Organised around four rich case studies, Dyer’s book eloquently questions the presumed primacy of the textual archive and models an innovative interdisciplinary methodology that has far-reaching repercussions for the study of women’s history. * Jennie Batchelor, University of Kent, UK *Table of ContentsList of Illustrations List of Charts and Tables Acknowledgements List of Abbreviations 1. Introduction: Making Material Lives Material Life Writing The Consumer Culture of Making Four Material Lives 2. Material Accounting: A Sartorial Account Book Barbara Johnson (1738–1825) Educating Barbara Johnson Accounting for Herself Material Literacy A Chronicle of Fashion 3. Dress of the Year: Watercolours Ann Frankland Lewis (1757–1842) Sartorial Timekeeping and the Fashion Plate Accomplishment and Creative Practice Society and Fashionable Display Selfhood, Emotion and the Mourning Watercolours 4. Adorned in Silk: Dressed Prints Sabine Winn (1734–1798) Paper Textiles, Dress and the Dressed Print Sabine Winn’s Dressed Prints Print and Making at Nostell 5. Fashions in Miniature: Dolls Laetitia Powell (1741–1801) The Powell Dolls Mimetic Dolls and Miniature Selves Dolls as Sartorial Social Narrators 6. Conclusion: Material Afterlives Glossary Bibliography Index

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Book SynopsisFrom cinema's silent beginnings, fashion and interior design have been vital to character development and narrative structure. Despite spectacular technological advancements on screen, stunning silhouettes and striking spaces still have the ability to dazzle to dramatic effect. This book is the first to consider the significant interplay between fashion and interiors and their combined contribution to cinematic style from early film to the digital age.With examples from Frank Lloyd Wright inspired architecture in Hitchcock's North by Northwest, to Coco Chanel's costumes for Gloria Swanson and a Great Gatsby film-set turned Ralph Lauren flagship, Cinematic Style describes the reciprocal relationship between these cultural forms. Exposing the bleeding lines between fashion and interiors in cinematic and real-life contexts, Berry presents case studies of cinematic styles adopted as brand identities and design movements promoted through filmic fantasy.Shedding light onTrade ReviewCinematic Style approaches the long-term disciplinary distinction between fashion, architectural decor and interior design through the lens of cinema, arguing for the interconnectivity of these fields. Abundantly illustrated, with an approachable writing style and innovative story line, it is an essential read for scholars of the domestic, commercial, or fictive interior, fashion historians, architects and historic preservationists alike. * Anca Lasc, Pratt Institute, USA *Berry brings themes from feminist theory, and to a lesser degree, Queer theory, to bear on this slice through film history to consider intersections between fashion, design and groupings of films (many canonical) from the 1920s and 1930s, the mid- and late 20th-century, and more recent examples. Anyone with an interest in masquerade, transformation, performativity, staging, interiority, gender, and sexuality, as well as camp, Queer nostalgia, and Queer heterotopias, fashion and luxury, will find much to intrigue them in here. * Pat Kirkham, Kingston School of Art, UK *Table of ContentsList of Figures Acknowledgements Introduction: Cinematic Style—Fashion, Architecture and the Interior on Film 1. Bedrooms, Boudoirs and Bathrooms: Modern Women, Seductive Spaces and Spectacular Silhouettes 2. Evil Lairs and Bachelor Dandies: Modernist Architecture, Spies and the Suit 3. Luxurious Longings: Queer Heterotopias in Décor and Dress 4. Grand Entrances: Staircases, Stages and Fashion Parades 5. Windows and Screens: Cinema, Department Stores and Boutique Displays 6. Dream Spaces: Film Sets as Fashion Flagships and Experiential Retail Environments Conclusion Notes Filmography Bibliography Index

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Book SynopsisDuring the prosperous, forward-thinking era after the Second World War, a growing number of men, women, and children across the United States were wearing fashions that evoked the Old West. Westernwear: Postwar American Fashion and Culture examines why a sartorial style with origins in 19th-century agrarian traditions continued to be worn at a time when American culture sought balance between technocratic confidence in science and technology on one side, and fear and anxiety over global annihilation on the other. By analysing well-known and rarely considered western manufacturers, Westernwear revises the common perception that fashionable innovation came from the East coast and places western youth cultures squarely back in the picture. The book connects the history of American working class dress with broader fashionable trends and discusses how and why Native American designs and representations of Native American people were incorporated broadly and inconsistently intoTrade ReviewSonya Abrego has unearthed a wealth of examples from the westernwear archives and shares these through an expert and absorbing commentary. Generously illustrated and accessibly written, this fascinating history of fashion at, and of, the frontier questions, complicates and, ultimately, enriches. * Alison L. Goodrum, Norwich University of the Arts, UK *Impeccably researched and written with clarity, Westernwear broadens existing fashion history narratives and offers fresh insights on topics such as American sportswear, and important issues including appropriation and representation. Beautifully illustrated, this new book will be an indispensable resource for scholars and students alike. * Rebecca C. Tuite, Fashion Historian and Author of 1950s in Vogue *Table of ContentsList of Figures Acknowledgements Introduction Chapter 1: Westernwear: Histories and Contexts Chapter 2: Four Westernwear Companies Chapter 3: Dressing the Atomic West: Locating the Western in Midcentury America Chapter 4: Westernwear as ready-to-wear Chapter 5: Westernwear in youth culture and subculture Chapter 6: The Native American Presence in Westernwear: Design and Representation Conclusion Bibliography Index

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Book SynopsisA major voice in the architectural culture of the mid-century, Sibyl Moholy-Nagy was uniquely engaged with modernism and modernity. As one of the very few female architectural critics of the time, she was an early voice articulating doubts about the path modernist architecture was taking, demystifying the myths of the masters, Mies, Le Corbusier and Gropius, and questioning their heroic, masculinist approach. Yet her writings and work are understudied, and have largely vanished from the canon of scholarly references on modernism. This book analyzes the significance of the life and work of Moholy-Nagy and explores the paradoxical aspects of the relationship between modernism and feminism. Published as part of the Bloomsbury Studies in Modern Architecture series, which brings to light the work of significant yet overlooked figures in modernism, it is both an examination of her work and legacy, and also a study on the roles of gender and of the changing nature of modernism in its trajeTrade Review“It is high time for a book like Heynen’s . . . Heynen’s book offers refreshing insight into Moholy-Nagy’s overall project." * The Plan Journal *Table of ContentsIntroduction 1. Life trajectory 2. Vernacular architecture and the uses of the past 3. Engaging with modernism 4. Narrative of architecture and the city 5. Teaching as vocation 6. Alliances and controversies: positioning Sibyl Moholy-Nagy Notes Index

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Book SynopsisThis is the first book length study of Salon caricature, a widespread genre of press illustration that flourished in Paris in the second half of the 19th century. Salon caricature began with a few tentative lithographs in the 1840s and, within a few decades, no Parisian exhibition could open without appearing in warped, incisive, and hilarious miniature in the pages of the illustrated press.Supported by ample primary sources, from Baudelaire and Champfleury, to Grand-Carteret and Duret, as well as archival material made available here for the first time, Laugh Lines explores not only 19th-century caricature but a larger history of reproductive image technologies, including photography, and their relation to painting during the period of modernist emergence. In bringing to light this rich register of art criticism-in-pictures, Laugh Lines offers new material and methods for the study of 19th-century painting, modernism, and art historiography, no

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Book SynopsisThis book on Stephen Willats pulls together key strands of his practice and threads them through histories of British cybernetics, experimental art, and urban design. For Willats, a cluster of concepts about control and feedback within living and machine systems (cybernetics) offered a new means to make art relevant. For decades, Willats has built relationships through art with people in tower blocks, underground clubs, middle-class enclaves, and warehouses on the Isle of Dogs, to investigate their current conditions and future possibilities. Sharon Irish's study demonstrates the power of Willats's multi-media art to catalyze communication among participants and to upend ideas about audience and art. Here, Irish argues that it is artists like Willats who are now the instigators of social transformation.Trade ReviewChange and exchange—Sharon Irish has given us an insightful, nuanced and sympathetic account of Stephen Willats’s cybernetic art and social practice, growing from the maelstrom of the 1960s to the present, unsettling the balance of present and future, artist and participants, galleries and worlds along the way. * Andrew Pickering, Emeritus Professor of Sociology and Philosophy, Exeter University, UK *Table of ContentsList of figures Preface Acknowledgements Introduction: new functions for art practice in society A cybernetics primer Cybernetics goes social A social practice primer Chapter overview 1. The Omni-Directional Artist Heuristic tools on the move < Control Magazine Homeostat diagrams Cooperative decision-making: Visual Meta Language Simulation Pedagogical processes Man from the Twenty-First Century 2. Modelling the Social Cognition Control Centre for Behavioural Art Constructing social resources and social models West London Social Resource Project Social modelling in Edinburgh Meta Filter Art and social function 3. Mutually Bound Of concept frames From a Coded World A ‘new reality’? Willats in east London Sorting Out Other People’s Lives Inside an Ocean Art for Whom? 4. The Art of Sociotechnical Systems Toward a ‘depleted, disillusioned new reality’ The Ideological Tower Vertical Living Brentford Towers Art creating society: curating the Oxford Symposium and the Mosaic Series Personal Islands 5. Creativity in Self-Organization Participatory reception Working within a defined context Defined context, social practice, and the multi-homeostat problem Living with practical realities Do-It-Yourself (DIY) aesthetics ‘Objects of Creative Release’ Back to the Wasteland 6. Open-Ended Urban Systems Middlesbrough and The Transformer Marble Arch to Oxford Circus, London: Freezone Simulation in Sheffield South London: changing everything A pivot in scale: data streams Oxford community data stream Data stream portrait of London Conclusion: On Giving Up and Compromise Feedback and multiple futures Open systems and participation Thinking with cybernetics Compromise not compliance Notes Select Bibliography Index

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Book SynopsisKathleen Davidson is a Postdoctoral Research Fellow in the Department of Art History at the University of Sydney, Australia.Molly Duggins is a lecturer in the Department of Art History and Theory at the National Art School, Sydney, Australia.

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Book SynopsisTo what extent have developments in global politics, artworld institutions and local cultures reshaped the critical directions of feminist art historians? The significant research gathered in Feminism and Art History Now engages with the rich inheritance of feminist historiography since around 1970, and considers how to maintain the forcefulness of its critique while addressing contemporary political struggles.Taking on subjects that reflect the museological, global and materialist trajectories of 21st-century art historical scholarship, the chapters address the themes of Invisibility, Temporality, Spatiality and Storytelling. They present new research on a diversity of topics that span political movements in Italy, urban gentrification in New York, community art projects in Scotland and Canada''s contemporary indigenous culture. Case studies focus on the art of Lee Krasner, The Emily Davison Lodge, Zoe Leonard, Martha Rosler, Carla Lonzi and Womanhouse. Together withTrade ReviewAs an innovative selection that engenders new approaches to writing feminist art histories today, [this collection] unquestionably adds to the scholarship and the growing number of edited collections on feminist art and art histories. * Visual Studies *Table of ContentsList of Illustrations Notes on Contributors Acknowledgements Introduction: Feminism and Art History Now Victoria Horne and Lara Perry PART I. WRITING | SPEAKING | STORYTELLING 1. An Unfinished Revolution in Art Historiography, or How to Write a Feminist Art History Victoria Horne and Amy Tobin 2. I Want a Dyke for President: Sounding out Zoe Leonard’s Manifesto for Art History’s Feminist Futures Laura Guy 3. ‘Our Stories Are Our Life Blood’: Indigenous Feminist Memory and Storytelling as Strategy for Social Change Cherry Smiley PART II. VISIBILITY | INTERVENTION | REFUSAL 4. Making Visible Lee Krasner’s Occupation: Feminist Art Historiography and the Pollock-Krasner Studio Andrew Hardman 5. Challenging Feminist Art History: Carla Lonzi’s Divergent Paths Giovanna Zapperi 6. This Moment: A Dialogue on Participation, Refusal and History Making Angela Dimitrakaki and Lara Perry PART III. SPATIALITY | OCCUPATION | HOME 7. The Salon Model: The Conversational Complex Elke Krasny 8. Los Angeles, 1972/Glasgow, 1990: A Report on Castlemilk Womanhouse Hannah Hamblin 9. If You Lived Here…: A Case Study on Social Reproduction in Feminist Art History Kirsten Lloyd PART IV. TEMPORALITY | GHOSTS | RETURNS 10. Temporalities of the ‘Feminaissance’ Francesco Ventrella 11. Gestures of Inclusion, Bodily Damage and the Hauntings of Exploitation in Global Feminisms (2007) Kimberly Lamm 12. Learning and Playing: Re-enacting Feminist Histories Catherine Grant Index

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Book SynopsisDeborah van der Plaat is Honorary Senior Research Fellow in the School of Architecture, the University of Queensland, Australia.John Macarthur is Professor of Architecture and Director of Research in the School of Architecture, the University of Queensland, Australia.Trade ReviewThis lavishly-illustrated volume is a fine piece of transnational architectural history writing, documenting the fascinating trajectory of a migrant architect who imported innovative ideas from cosmopolitan Vienna to the provincial Australian tropics and produced work of remarkable local sensitivity. * Johan Lagae, Ghent University, Belgium *A compelling, innovative and timely story of migration, politics and creative collaboration from occupied Vienna to the tropics of Australia. This impressive constellation of authors each bring a fascinating, and carefully researched dimension to the Karl Langer story, not forgetting the crucial contribution made by Gertrude Langer. * Iain Jackson, University of Liverpool, UK *Table of ContentsList of Illustrations List of Contributors Acknowledgements 1. Introduction: Modern and Migrant Architect, Deborah van der Plaat and John Macarthur (University of Queensland Australia) 2. Karl Langer and Vienna, Philip Goad (University of Melbourne, Australia), Andrew McNamara (Queensland University of Technology, Australia) and Andrew Wilson (University of Queensland, Australia) 3. Australia is our fate, Fiona Gardiner and Don Watson (University of Queensland, Australia) 4. Bend like bamboo: Always bounce back, Don Watson and Fiona Gardiner (University of Queensland, Australia) 5. The spell of the sunny south, the urge for ‘light, sun and air.’ Karl Langer’s Australian writings, Deborah van der Plaat (University of Queensland, Australia) 6. Bridging Continents: Karl Langer’s contributions to housing, Andrew Wilson (University of Queensland, Australia) 7. Man about Town, Robert Riddel (University of Queensland, Australia) 8. A Touch of Vienna, a Pinch of America, and a Whiff of Exoticism. Karl Langer’s Architecture for Leisure and Lifestyle in Australia, Janina Gosseye (TUDelft, The Netherlands) 9. A League of His Own: Karl Langer’s Landscape Australia, Andrew Saniga (University of Melbourne, Australia) Bibliography Index

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Book SynopsisTracey Emin has undergone an extraordinary metamorphosis from a young, unknown artist into the bad girl' of the Young British Art (YBA) movement, challenging the complacency of the art establishment in both her work and her life. Today she is arguably the doyenne of the British art scene and attracts more acclaim than controversy. Her work is known by a wide audience, yet rarely receives the critical attention it deserves.In Tracey Emin: Art Into Life, writers from a range of art historical, artistic and curatorial perspectives examine how Emin's art, life and celebrity status have become inextricably intertwined. This innovative collection explores Emin's intersectional identity, including her Turkish-Cypriot heritage, ageing and sexuality, reflects on her early years as an artist, and debates issues of autobiography, self-presentation and performativity alongside the multi-media exchanges of her work and the tensions between art and craft. With its discussions of thTrade ReviewTracey Emin - artist, public figure, legend - remains divisive. In the first significant new scholarship on Emin in a decade, Tracey Emin: Art Into Life treats readers to a collection of critical essays that probes the reaches of her layered performances of identities. With both her enduring provocations and artistic preoccupations analysed here, this volume offers critical insights into Emin’s continuing significance to art today. -- August Davis, Associate Professor of Contemporary Art History, University of Texas at Arlington, USATable of ContentsIntroduction: The Last Great Adventure is Me Deborah Cherry, University of the Arts London UK and Alexandra Kokoli, Middlesex University, UK 1. Rethinking Tracey Emin: Life into Art Mark Durden, University of South Wales, UK 2. ‘It was just me, Tracey’: Strategies of Self-Presentation in the Art of Tracey Emin Camilla Jalving, National Gallery of Denmark, Denmark 3. A Black Cat Crossed My Path Glenn Adamson, Yale Center for British Art, USA 4. Twenty Years in the Making: Tracey Emin’s My Bed Deborah Cherry, University of the Arts London UK 5. The Bonfire of the Fallacies (or is it Phalluses?) Alexandra Kokoli, Middlesex University, UK 6. Early Emin John White, independent, UK 7. ‘I Do Not Expect to be a Mother’: Non-Reproduction and Ageing in the Work of Tracey Emin Joanne Heath, independent, UK 8. Dream and Diaspora: Tracey Emin’s Turkish Cypriot Legacy Alev Adil, indepedent, UK 9. All at Sea: Bad Girls, Hut Myths and Tracey Emin’s ‘Property by the Sea’ Gill Perry, Open University, UK

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Book SynopsisDrawing on a rich legacy of pictorial evidence, Images of Childhood examines historical constructions of childhood and how they reinforce or challenge the prevailing view of childhood as a state of innocence. Each chapter explores how visual elements such as framing, points-of view, and lighting, as well as clothes, accessories, and body language, help to construct our many different conceptions of children: from members of the family unit and assumed gender roles; to schooling and aesthetic objects; through to their economic value and use in political propaganda.Skillfully navigating a multitude of perspectives on this topic, Paul Duncum considers both how our ideas, beliefs and values have changed throughout history and how some have remained unchanged. He also explores the cultural notion of the child within and how this has contributed to the way adults perceive children. The result is a text far broader in scope than any other in its field, as art history is interweaved wiTrade 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. Children as Worthy Subject 2. Children as Family Member 3. Children as Gendered 4. Children as Adult 5. Children as Schooled 6. Children as Aesthetic 7. Children as Victim 8. Children as Threat 9. Economic Entity 10. Political Propaganda 11. Children as Innocent Bibliography Index

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Book SynopsisMartín Ávila is a designer, researcher, and Professor of Design at Konstfack University of Arts, Crafts and Design in Stockholm, Sweden. Martín's postdoctoral project Symbiotic Tactics (2013-2016) was the first of its kind to be financed by the Swedish Research Council. His research is design-driven and addresses forms of interspecies cohabitation.Trade ReviewThe book’s greatest strength is its insistence that more-than human beings be taken seriously as co-habitants of human habitations. But instead of simply making the case for his thesis in words, the author has practiced and built experiments in creating interspecies co-habitations. In this original book, Ávila does not romanticize or demonize interspecies relations, but treats them with the nuance they deserve, giving due respect to the complexities of our relations, our attractions, our revulsions. -- Kriti Sharma, California Institute of Technology, USATable of ContentsList of Figures Foreword, Andreas Weber (Bard College Berlin, Germany) Acknowledgements Introduction: Bio-centric? 1. Poetics of Relating 2. Responding 3. Alter-natives 4. (De)signing Alter-natives As a Mode of Closing: Encounters Bibliography Index

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Book SynopsisThis book provides an intellectual history of the modernist minimum dwelling, exploring how early modernism saw mass housing as a primary vehicle for achieving the utopian transformation of society. It reappraises the often-overlooked 2nd and 3rd CIAM conferences (1929-31), addressing their engagement with the minimum dwelling and revealing them both as milestones in the organisation''s annals and as seminal moments in the history of interwar modernism.In 1929, an eclectic international group of avant-garde modernist architects, including Ernst May, Mart Stam, Walter Gropius and Le Corbusier, met in Frankfurt for the second instalment of the CIAM conferences. They discussed a design programme for cost-effective, good-quality housing, seeking new approaches and processes to maximize quality and functionality while ensuring affordability for the wider population. In exploring the meaning and form of the ''minimum dwelling'', they also re-defined dwelling as the hub of a new way of livingTrade ReviewThe early Modern Movement was passionately committed to addressing the housing needs of the industrial working classes. In this meticulously researched book, Aristotle Kallis presents an authoritative account of the emergence and significance of the Minimum Dwelling (Existenzminimum) as an important expression of that commitment. It supplies important new understandings to our knowledge of twentieth-century European architectural and planning history. * John R. Gold, University College London , UK *Table of ContentsList of Illustrations Acknowledgments Abbreviations Introduction ‘Contact Zone’ and 'Practical Utopia' Structure 1. Genealogies of the Minimum Poverty, ‘Human Needs', and 'Minimum' Habitation and 'Minimum Needs' Early Interventions and Reform Initiatives Existenzminimum The Low-cost Housing Calculus 2. The 'Small Dwelling' Between Emergency and Aspiration Size and Dwelling The 'Small Dwelling' after WW1 From the 'Small' to the 'Smallest' Dwelling (Kleinstwohnung) The Pioneering Cases of Vienna and Frankfurt 3. International Expert Networks and The Housing Question in the Interwar Period The IFHTP Encounters the Question of Mass Housing: Vienna, 1926 The IFHTP Congress in Paris, 1928: The Trope of the 'Housing For the Very Poor' The IFHTP Congress in Rome, 1929: Planning and Financing Mass Urban Housing 4. The 'Minimum Dwelling' as Utopia WW1 as Rupture: The Space of Utopia Interwar Modernism as Discourse: Minimum and Optimum Architecture as Revolution The Private Cell, The Public Sphere, and What Lies In-Between The Soviet Experience: Pursuing the Minimum in Utopia The 'Dwelling Ration': Social Utopia in Disguise ‘Frictionless Living': The Studies of Alexander Klein 5. CIAM2: The 'Minimum Dwelling' In Focus CIAM and its 'Lesser' Congresses CIAM’s First Steps and the Question of Dwelling Setting Up the First 'Working Congress' The 1929 Frankfurt Congress (CIAM2) Language Matters: The Opacity of the Existenzminimum The Aftermath of the Frankfurt Congress 6. CIAM3: Dwelling as the Unlikely Hub og Modern Architecture From CIAM2 to CIAM3: Exploring Scales in Three-Dimensional Space The Elusive Theme(s) of CIAM3: The Battle of the Scales The Brussels Congress The 'Minimum Dwelling' in CIAM3 7. The CIAM2 and CIAM3 Exhibitions The Exhibition Field in Interwar Europe: Showcasing the 'Minimum' The Minimum Dwelling on Show: Exhibiting CIAM2 Exhibiting CIAM3 Conclusions Bibliography Index

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Book SynopsisTom Cubbin is Senior Lecturer in Design Studies and head of Campus Steneby, part of the Artistic Faculty at the University of Gothenburg, Sweden. He is a design historian and has a background in Russian and Soviet history. He has contributed to the Bloomsbury Encyclopedia of Design and has had several articles published in Home Cultures, Estonian Art, and the Calvert Journal.Trade ReviewFor many years, it seemed as if there were only two kinds of Soviet design: visionary Constructivism or Stalinist kitsch. Cubbin’s vividly written and deeply researched study offers an entirely new picture. Illuminating the long history of modernism in the USSR, he examines how critical designers sought to create utopia on a human scale. * David Crowley, Head of the School of Visual Culture at NCAD, Ireland *What happens when principles of Russian avant-garde of the 1920s are retooled for the needs of Soviet science and technology? In his book, Cubbin traces the emergence and demise of “technical aesthetics” created by Soviet artists-engineers in the 1960s-1980s as a communist alternative to capitalist design. Highly informative and richly documented, this book reconstructs fascinating yet barely known moments in the history of material culture and aesthetic theory of the twentieth century. * Serguei A. Oushakine, Director of the Russian and Eurasian Studies Program at Princeton University, USA *The book provides insight to the activities of Senezh studio, an important part of the USSR Union of Artists. It also explores the phenomenon of 'paper design', a particular kind of project work, characteristic of the Soviet cultural milieu. Senezh studio operated for more than twenty years, although only a fraction of its projects were ever realized. Despite this, the studio's design practices were of remarkable national importance. * Alexandra Sankova, Director of the Moscow Design Museum, Russia *Table of ContentsIntroduction: The Communist Surround 1. Art, Technology and Design in the Soviet Thaw 2. Senezh Studio and the Emergence of a Critical Practice 3. Semiotics, Environment and the Historical Turn 4. Design and the Projective Imagination 5. A Quiet Conversation Among Things: Memory, Agency and Materiality at the End of History Conclusion Appendix I: Complete List of Senezh Projects Appendix II : Key People Index

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