History of art Books

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Book SynopsisThis book brings to light the work and influence of the German-American architect, art critic, and urban planner Ludwig Hilberseimer a central figure of the Weimar Republic avant-garde, an important Bauhaus teacher, and long-standing collaborator of leading modernist architect Ludwig Mies van der Rohe.Despite being internationally-known for his work on Lafayette Park in Detroit, Hilberseimer's legacy as a whole has been obscured in the history of modern architecture. Whether this is due to the intense shadow cast by Mies, or by his oeuvre being split between the differing languages and contexts of interwar Germany and post-war North America, this book argues that the time is now right for a critical reassessment of Hilberseimer's work and writings.Published as part of the Bloomsbury Studies in Modern Architecture series, which explores the work of significant yet overlooked modernist architects, this study clarifies and situates Hilberseimer's ideas bo

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Book SynopsisA Cultural History of Color in the Age of Industry covers the period 1800 to 1920, when the world embraced color like never before. Inventions, such as steam power, lithography, photography, electricity, motor cars, aviation, and cheaper color printing, all contributed to a new exuberance about color. Available pigments and colored products - made possible by new technologies, industrial manufacturing, commercialization, and urbanization also greatly increased, as did illustrated printed literature for the mass market. Color, both literally and metaphorically, was splashed around, and became an expressive tool for artists, designers, and writers. Color shapes an individual's experience of the world and also how society gives particular spaces, objects, and moments meaning. The 6 volume set of the Cultural History of Color examines how color has been created, traded, used, and interpreted over the last 5000 years. The themes covered in each volume are color phi

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Book SynopsisSerial Drawing offers a timely and rigorous exploration of a relatively little-researched art form. Serial drawings artworks that are presented as singular works but are made up of distributed parts are studied in fresh, contemporary terms with a novel philosophical approach, emphasizing both the way in which this unique form of visual art exists in the world, and how it is encountered by the beholder.Inspired by the quadruple framework of Graham Harman's object-oriented ontology, Joe Graham explores a variety of serial drawings according to the idea that, in being serially arrayed, such artworks constitute a rather particular form of art object: one which is both unified yet pluralised, visible yet withdrawn. Examining works by artists such as Alexei Jawlensky, Ellsworth Kelly, Hanne Darboven, Jill Baroff and Stefana McClure, Graham interrogates the manner in which serial drawings are able to be appreciated by the viewer who beholds them in object-oriented terms. T

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Book SynopsisBefore the tragedy of the Holocaust, many of the leading art and antiques dealers across Europe were Jewish, establishing dynamic cross-Channel, international and transatlantic networks. Aside from a few famous examples, however, we are only at the beginning of exploring the diversity of Jewish dealers'' commercial and cultural worlds in the 19th and early 20th centuries, and reflecting on the particular conditions that made possible their dramatic expansion within the profession.Adopting a wider geography than any previous study, and bringing together a distinguished team of international contributors, this is the first book to consider Jewish dealers as an interconnected cohort, tied together by common processes and strategies, but also a common vulnerability. After an extended introduction, the volume presents case studies and trends from the mid 19th to mid 20th century, including: Jewish family businesses in Western Europe; the role of Jews as mediators of

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Book SynopsisDesign and Agency brings together leading international design scholars and practitioners to address the concept of agency in relation to objects, organisations and people. The authors set out to expand the scope of design history and practice, avoiding the heroic narratives of a typical modernist approach. They consider both how the agents of design construct and express their identities and subjectivities through practice, while also investigating the distinctive contribution of design in the construction of individual identity and subjectivity. Individual chapters explore notions of agency in a range of design disciplines and historical periods, including the agency of women in effecting changes to the design of offices and working practices; the role of Jeffrey Lindsay and Buckminster Fuller in developing the design of a geodesic dome; Le Corbusier''s ''Casa Curutchet''; a re-consideration of the gendered historiography of the ''Jugendstil'' movement, and Bruce Ma

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Book SynopsisThis is the first English translation of Gombrich: una teor a del arte, by Joaqu n Lorda, originally published in 1991. This book presents an extensive, expansive and holistic analysis of Gombrich's thought.

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Book SynopsisUncovers Gerhard Richter's appropriation of science and technology from 1960 to the present and shows how this has shaped the artist's well-documented engagement with the canon of Western painting.

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Book SynopsisConsiders the emotional and relational implications of portrait photographs for three modernist writers

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Book SynopsisBrings together art history and philosophy to explore the wonder of early modern European works of art in unusual critical readings

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Book SynopsisEnvisioning the Past: Archaeology and the Image is a groundbreaking collection of original essays that brings together archaeologists, art historians and anthropologists to provide new perspectives on the construction of knowledge concerning the antiquity of man. Covers a wide variety of time periods and topics, from the Renaissance and the 18th century to the engravings, photography, and virtual realities of today Questions what we can learn from considering the use of images in the past and present that might guide our responsible use of them in the future Available within the prestigious New Interventions in Art History series, published in connection with the Association of Art Historians. Trade Review"I recommend this book to anyone interested in the relationship between archaeology and 'the image', and particularly point to the contributions by Glazier, Scott, Phillips and Arnold." Cultural Studies “Envisioning the Past dissects a range of visual reconstructions of antiquity to expose conventions so widely accepted that their distorting effect has become all but invisible. The reader undergoes a process of re-sensitization that is eye-opening in the most literal sense.” Arthur MacGregor, Ashmolean Museum, University of OxfordTable of ContentsSeries Editor's Preface. List of Illustrations. Notes on Contributors. Introduction: The Image in Question: Stephanie Moser (University of Southampton) and Sam Smiles (University of Plymouth). 1 Romancing the Human: The Ideology of Envisioned Human Origins: Paul Privateer (Arizona State University). 2 “We Grew Up and Moved On”: Visitors to British Museums Consider Their “Cradle of Mankind”: Monique Scott (Yale University). 3 The American Time Machine: Indians and the Visualization of Ancient Europe: Stephanie Pratt (University of Plymouth). 4 “To Make the Dry Bones Live”: Amédée Forestier’s Glastonbury Lake Village: James E. Phillips (University of Southampton). 5 Unlearning the Images of Archaeology: Dana Arnold (University of Southampton). 6 Illustrating Ancient Rome, or the Ichnographia as Uchronia and other time warps in Piranesi’s Il Campo Marzio: Susan M. Dixon (University of Tulsa). 7 Thomas Guest and Paul Nash in Wiltshire: two episodes in the artistic approach to British antiquity: Sam Smiles (University of Plymouth). 8 A Different Way of Seeing? Toward a Visual Analysis of Archaeological Folklore: Darren Glazier (University of Southampton). 9 Photography and Archaeology: The Image as Object: Fred Bohrer (Hood College). 10 Wearing Juninho’s Shirt: Record and Negotiation in Excavation Photographs: Jonathan Bateman (University of Sheffield). 11 Video Killed Interpretative VR: Computer Visualisations on the TV Screen: Graeme P. Earl (University of Southampton). 12 The Real, the Virtually Real and the Hyperreal: The Role of VR in Archaeology: Mark Gillings (University of Leicester). Index

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Book SynopsisTrade ReviewThis fine portrait of the artist is both gossipy and poignant … [and] one of the best art books I have read, by turns atmospheric and waspishly gossipy but also profound and poignant. -- Michael Prodger * The Times *A vivid new memoir by the artist’s protégé is set to be a classic … highly entertaining … the narrative comes hurtling off the page with a palpable sense of release and apparently guileless, even artless, candour.The cavalcade of bohemian celebrities goes on and on … captivating...a classic, not only of art writing, but of personal memoir * Sunday Telegraph *There is a certain grisly satisfaction in watching an artist behave as one expects an artist to. Francis Bacon … always delivered and just how richly is recorded by Peppiatt … A wonderfully vivid account -- Art Book of the Year * Sunday Times *The best art memoir published in years * Spectator *An intoxicating tour of the painter’s louchest, and most productive, years -- Susie Rushton * Vogue *Peppiatt offers a window into the experiences and emotional intelligence of this great artist * New Statesman *A remarkable book ... it captures what it was like to be in the presence of this brilliant, camp, reckless, waspish, drunken, generous, shameless character. Michael Peppiatt brings him back to life and somehow carries off the near-impossible trick of echoing the repetitive nature of his drunken talk ... while somehow preserving his electricity and effervescence -- Craig Brown * Mail on Sunday *An intimate memoir of two intense and interlaced lives ... Full of gossip, binges, nausea, bruises, stained sheets, punchlines and death wishes -- Richard Davenport-Hines * Times Literary Supplement *This fine memoir is more insightful than gossipy, and as a subject Bacon is just about unbeatable * New York Times *Fascinating and engaging -- Lynn Barber * Sunday Times *Entertaining, calculated and acerbic, Michael Peppiatt really does seem to have a bit of Bacon in his blood * Spectator *Every page is fresh, immediate, and flashing with glimpses into Bacon’s complicated psyche -- Donna Seaman * Booklist *An affecting personal narrative about his friendship with the great painter * Publisher's Weekly *Francis Bacon’s views on art, death and his bohemian circle make revealing reading in this enjoyable memoir * Independent *An enthralling, delightful story of two very different men * Kirkus *Part diary, part art history, part love letter, his memoir captures what it was like to know this brilliant, camp genius … an excellent glimpse into a vanished London bohemia -- Rebecca Wallersteiner * The Lady *

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Book SynopsisExamines literary, historical, and cultural portrayals of Chinese women, across centuries and continents.

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Book SynopsisOffering a unique blend of thematic and chronological investigation, this highly illustrated, engaging text explores the rich historical, cultural, and social contexts of 3,000 years of Greek art, from the Bronze Age through the Hellenistic period.Table of ContentsIllustrations xiii Acknowledgments xxi Timeline xxiii About the Website xxvii Maps xxviii 1 Introduction and Issues in the History of Greek Art 1 An Alternative Mini-History of Greek Art 6 Some Questions to Consider for this Book 10 The Plan of this Book 15 A Few Notes About Using this Book 16 Textbox: Stylistic Analysis and Sir John Beazley 17 References 18 Further Reading 18 2 The Early and Middle Bronze Ages c. 3100–1600 BCE 19 Timeline 20 Chronology, Regions, Periods, and Pottery Analysis 21 Early Cycladic and Minoan Periods, c. 3100–2000 BCE 24 Early to Middle Helladic (c. 3100–1675 BCE) 27 Protopalatial and Neopalatial Crete 32 The Cyclades 39 Middle Helladic to the Late Helladic I Shaft Graves 43 Textbox: The Eruption of Thera and Debates over Absolute Chronology 46 References 47 Further Reading 47 3 The Late Bronze Age II–III (c. 1600–1075 BCE) 48 Timeline 49 Late Minoan (LM II to LM III) 51 Late Helladic Architecture 52 Late Helladic Pottery and Terracottas 59 Textbox: The Trojan War 66 References 67 Further Reading 67 4 The Sub-Mycenaean, Protogeometric, and Geometric Periods (c. 1075–700 BCE) 68 Timeline 69 Pottery 71 Sculpture 84 Architecture 89 Textbox: What is in a Name? 95 References 96 Further Reading 96 5 Contexts I: Civic, Domestic, and Funerary 97 Timeline 98 The City and its Spaces 99 The Agora 105 Houses and Domestic Spaces 111 Textiles 115 The Symposion 118 Graves 122 Textbox: Agency 127 References 128 Further Reading 129 6 The Seventh Century (c. 725/700–625/600 BCE) 130 Timeline 131 Greek Pottery Painting and the Mediterranean 137 Metalwork and Terracotta 143 Architecture and its Decoration 145 Textbox: Network Theory 150 References 151 Further Reading 151 7 Contexts II: Sanctuaries and Architecture 152 Timeline 153 Sanctuaries 154 Temples and the Architectural Orders 161 A Mini-History of the Greek Temple 167 Other Buildings of the Sanctuary 170 Rituals and Offerings 172 Textbox: Ritual Analysis and Theoria 177 References 177 Further Reading 178 8 The Sixth Century (c. 625/600–480 BCE) 179 Timeline 180 Architecture and Architectural Sculpture 181 Free-Standing Sculpture 190 Other Media 197 Painted Pottery 199 Textbox: Color in Greek Sculpture 207 References 208 Further Reading 208 9 Narrative 209 Timeline 210 Narrative and Artistic Style 212 Narrative Time and Space 214 Viewing Context 220 Art and Literature 222 Choice of Mood and Moment 225 Symbolic and Universal Aspects of Narrative 229 Textbox: Interpretation and Information Theory 233 References 234 Further Reading 234 10 The Fifth Century (c. 480–400 BCE) 235 Timeline 236 Architecture, Architectural Sculpture, and Relief 244 The Acropolis at Athens 246 Late Fifth-Century Sculpture 253 Painting 255 Textbox: The Parthenon Marbles and Cultural Patrimony 262 References 263 Further Reading 264 11 The Production of Greek Art and its Markets 265 Timeline 266 Production: Architecture 267 Production: Architectural Sculpture 269 Production: Sculpture 271 Production: Pottery 273 Wares, Markets, and Distribution 276 Artists and Workshops 279 Textbox: The Value of Greek Art 284 References 284 Further Reading 285 12 The Fourth Century to c. 330 BCE 286 Timeline 287 Architecture 288 Sculpture 293 Art and Individuals 299 Pottery 305 Mosaic and Fresco 310 Textbox: The Copy Hypothesis 317 References 318 Further Reading 318 13 Identity 319 Timeline 320 Gender 322 Women’s Lives 324 Women in Public 329 Men and Youths: Gender and Sexuality 331 Interaction: Class, Civic, and Ethnic Identity 335 Textbox: Money Purses, Sex, and Identity 339 References 340 Further Reading 340 14 The Hellenistic Period c. 330–30 BCE 341 Timeline 342 Characteristics of the Hellenistic Period 347 Cities and Architecture 348 Sculptural Styles and Dating 355 Theatricism and Narrative 358 Representations and Portrayal 363 Painting 369 The Private and Personal Realm 374 Textbox: The Riace Warriors as Hellenistic Sculpture 378 References 379 Further Reading 379 15 Epilogue 380 Glossary 388 Index 395

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Book SynopsisFor millennia, the culture of the ancient Egyptians has fascinated historians and spiritual seekers. The 20th anniversary edition of this seminal work includes all-new material analysing the progress in modern Egyptology

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Book SynopsisBy the time of his death in 1904, critics, arts reformers, and government officials were near universal in their praise of Art Nouveau designer Emile Gallà (1846â1904), whose works they described as the essence of French design. Many even went so far as to argue that the artistâs creations could reinvigorate Franceâs fading arts industries and help restore its economic prosperity by defining a modern style to represent the nation. For fin-de-siÃcle viewers, GallÃâs works constituted powerful reflections on the idea of national belonging, modernity, and the role of the arts in political engagement. While existing scholarship has largely focused on the artistâs innovative technical processes, a close analysis of GallÃâs works brings to light the surprisingly complex ways in which his fragile creations were imbricated in the political turmoil that characterized fin-de-siÃcle France. Examining GallÃâs works inspired by Japanese art, his patriotically inflected designs for the Universal Trade Review"This fascinating book takes a new look at the artist, arguing his success in redefining 'Frenchness' through his ability to translate the nation into visual form that rendered it legible, all the while keeping away from nationalist rhetoric."--EuropeNow"Dandona has done a masterful job of identifying and interpreting archival materials, and she demonstrates consummate skill at interpreting the art works not only through documentation and historical context, but also through careful looking. ...It’s a 'must-read' for anyone interested in late nineteenth-century and early twentieth-century French culture."--Nineteenth-Century Art WorldwideTable of ContentsContentsList of figures Acknowledgments IntroductionObject nation: The role of the decorative arts in defining a modern style for France Chapter OneCarved into the flesh of France: Gallé and the Franco-Prussian War Chapter TwoClear water: Japonisme, nature, and the formation of a national style Chapter ThreeGallé and Dreyfus: A Republican vision Chapter FourOne for all or all for one? Gallé and the Ecole de Nancy Conclusion: A fragile legacy Works cited Index

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Book SynopsisSince the publication of Edward Said's groundbreaking work Orientalism 35 years ago, numerous studies have explored the West's fraught and enduring fascination with the so-called Orient. Focusing their critical attention on the literary and pictorial arts, these studies have, to date, largely neglected the world of interior design. Oriental Interiors is the first book to fully explore the formation and perception of eastern-inspired interiors from an orientalist perspective. Orientalist spaces in the West have taken numerous forms since the 18th century to the present day, and the fifteen chapters in this collection reflect that diversity, dealing with subjects as varied and engaging as harems, Turkish baths on RMS Titanic, Parisian bachelor quarters, potted palms, and contemporary yoga studios. It explores how furnishings, surface treatments, ornament and music, for example, are deployed to enhance the exoticism and pleasures of oriental spaces, looking across Trade ReviewThis is the first book to fully explore the formation and perception of Eastern-influenced interiors. Potvin (Concordia Univ., Montreal) divides the essays into three parts: "Modes of Display and Representation," "Gendered and Sexual Identities," and "Spaces and Markets of Consumption." Highlighting design influences such as spatial arrangement, visual culture, gender, and design theory, the 13 essays look at furnishings, ornaments, and other components as they assist to create Oriental interiors. Summing Up: Recommended. All readers. * CHOICE *This engaging collection of fifteen essays breaks new ground in the study of the neglected subject of the interior in relation to Orientalism, covering a range of examples from the 18th century to the present day, by scholars of art, architecture, film, literature, decorative arts and furniture and theatre design. * Louisa Iarocci, Associate Professor of Architecture, University of Washington, USA *Oriental Interiors is a splendid collection of essays that take the reader on a journey through the visual, material and ideological aspects of its topic. The book explores the myriad ramifications of the concept of 'oriental interiors' and demonstrates that it is far more than style, being a complex mix of commerce, politics and consumption practices. * Clive Edwards, Emeritus Professor of Design History, Loughborough University, UK *Table of ContentsIntroduction: Inside Orientalism: Hybrid Spaces and Modern Interior Design John Potvin, Concordia University, Canada Section I: Modes of Display and Representation Introduction to Section I Chapter 1: The Emptiness of Western Aesthetics Versus the Aesthetics of Eastern Intimacy: A Reading of Interior Spaces and (Colonial) Literary Impressionism in E. M. Forster’s A Passage to India Victor Vargas, Cogswell Polytechnic, USA Chapter 2: The Exhibitionary Re-production of ‘Islamic’ Architecture Solmaz Mohammadzadeh Kive, University of Colorado, USA Chapter 3: Promoting the Colonial Empire through French Interior Design Laura Sextro, University of Dayton, USA Chapter 4: Orientalism and David Hockney’s Male-positive Imaginative Geographies Dennis S. Gouws, Springfield College and the Australian Institute of Male Health and Studies, Australia Chapter 5: The Excessive Trompe l’Oeil: The Saturated Interior in Tears of the Black Tiger Mark Taylor, University of Newcastle, Australia and Michael J. Ostwald, University of Newcastle, Australia Section II: Gendered and Sexual Identities Introduction to Section II Chapter 6: On Oriental Interiors in Eighteenth-century British Women Writers’ Novels Marianna D’Ezio, Luspio University for International Studies of Rome, Italy Chapter 7: Bachelor Quarters: The Spaces of Japonisme in Nineteenth-century Paris Christopher Reed, Pennsylvania State University, USA Chapter 8: Coming Out of the China Closet?: Performance, Identity and Sexuality in the House Beautiful Anne Anderson, Hon. Research Fellow Exeter University and Associate MIRC, Kingston University, UK Chapter 9: Orientalism, Collecting and Shame: Inside Rolf de Maré’s Hildesborg Estate John Potvin, Concordia University, Canada Section III: Spaces and Markets of Consumption Introduction to Section III Chapter 10: Paradise in the Parlour: Potted Palms in Western Interiors, 1850 – 1914 Penny Sparke, Kingston University, UK Chapter 11: Traveling in Time and Space: The Cinematic Landscape of the Empress Theatre Camille Bédard, McGill University, Canada Chapter 12: Oriental Spaces at Sea: From the Titanic to the Empress of Britain Anne Massey, Middlesex University, UK Chapter 13: Posturing for Authenticity: Embodying Otherness in Contemporary Interiors of Modern Yoga Lauren Bird, Queen’s University, Canada Index

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Book SynopsisEleanor Herring''s unique study of street furniture in post-war Britain considers how objects which are now familiar parts of our urban environment were designed to populate public spaces. Herring explores the design of lampposts, post boxes, parking meters, and signage in the context of a government backed by various bodies keen to propagate ''good'' modern design, in a Britain whose towns and cities had been laid waste by bombing and the privations of war.She also considers the innate conservatism of local communities and councils, wary of a standardised street design imposed from above. She traces how the design of street furniture became the site of a fierce struggle which exposed deep-seated anxieties about class, taste and power. Herring''s original research draws on archival material and on interviews with leading figures in urban design, including graphic designer Margaret Calvert and industrial designer Kenneth Grange.Trade Review[Herring] has done an enormous amount of research to uncover the story of objects that most of us walk past without a second glance. ... [A] fascinating book. * The Glasgow Herald *The book includes a useful select bibliography, is appealingly designed and is generously illustrated ... Street Furniture Design: Contesting Modernism in Post-War Britain is an important account of an overlooked chapter in post-war design history, which also demonstrates that design histories can—and should—include multiple voices. * Journal of Design History *A fascinating and revealing analysis of the controversies and anxieties that surrounded the design of urban environments in post-war England. Using archival and other contemporary accounts, Herring demonstrates how the interplay between a wide array of different players and their contrasting agendas based on class, politics and power, formed and controlled the design of these public spaces. * Dr Clive Edwards, Emeritus Professor of Design History at Loughborough University, UK *Meticulously researched and beautifully written, Street Furniture Design delves into the debates about the aesthetics and ethics of British townscapes in the immediate postwar decades. Eleanor Herring has written a scintillating book about how the often unnoticed world of lampposts, benches and bus shelters gets fashioned. It’s a great read. * Dr Ben Highmore, Professor of Cultural Studies at the University of Sussex, UK *Street Furniture Design sheds a clear light on how taste, class and power impact the relationship between public policy and design. Its thorough research presents compelling evidence about the politics of furnishing the street and the privatization of public space. Eleanor Herring has provided a deep and original insight into the way design meets society. You’ll see the street differently now. * Professor John Dunnigan, Head of Furniture Design Department, Rhode Island School of Design, USA *A brilliant and entertaining account of a neglected subject, well written, often comic but fundamentally serious history of an important battleground in the war for Good Modern Design in the 20th Century. This will surely become the standard work. * Dr Jules Lubbock, Professor of Art History at the University of Essex, UK *“Street furniture”, once central to debates about good design and town planning, has here been treated properly by a meticulous scholar who understands the significance of the subject for design history as a whole. Concentrating on the post war period in Britain, Herring uses street furniture as a lens to elucidate some of the key debates about design and modern urban life. This is an excellent book. * Dr Paul Stirton, Professor of Decorative Arts at the Bard Graduate Center, USA *Table of ContentsIntroduction 1. Precedents and Beginnings: 1814 - 1944 2. The Council of Industrial Design: Official Articulations of Street Furniture Design 3. The Great and the Good: Power and Influence 4. Municipal Vandalism: Tyranny, Confrontation and Resistance 5. Beyond Good Design: A Period of Transformation 1960 - 1974 Conclusion Epilogue

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Book SynopsisTricky Design responds to the burgeoning of scholarly interest in the cultural meanings of objects, by addressing the moral complexity of certain designed objects and systems. The volume brings together leading international designers, scholars and critics to explore some of the ways in which the practice of design and its outcomes can have a dark side, even when the intention is to design for the public good. Considering a range of designed objects and relationships, including guns, eyewear, assisted suicide kits, anti-rape devices, passports and prisons, the contributors offer a view of design as both progressive and problematic, able to propose new material and human relationships, yet also constrained by social norms and ideology. This contradictory, tricky quality of design is explored in the editors'' introduction, which positions the objects, systems, services and ''things'' discussed in the book in relation to the idea of the trickster that occurs in anthropological Trade ReviewIn the past forty years the focus of design has broadened considerably. It is about time we addressed the bad and the ugly as well as the good designers do, and this book does just that. A valuable resource for everyone interested in the role of design in society. * Rachel Cooper OBE, Distinguished Professor of Design Management and Policy at Lancaster University, UK *In order to overcome the tragedies of the present, design must re-embrace the example of Metis, the Greek Goddess of wisdom and cunning. This challenging book indicates several paths to do so, by putting forward‘tricky’ research directions for design culture. * Ezio Manzini, Founder of DESIS and Chair Professor of Design at the University of the Arts, London, UK *Summing Up: Recommended. * CHOICE *Table of ContentsForeword Clive Dilnot, independent, USA Introduction – Design’s Tricky Ethics Tom Fisher, Nottingham Trent, UK and Lorraine Gamman, University of the Arts London, UK Section One, Tricky Thinging Chapter 1: Civilian and Military: Design Across an Ethical Horizon Tom Fisher, Nottingham Trent University, UK Chapter 2: Designers and Brokers of the Mobility Regime Mahmoud Kesharvarz, Uppsala University, Sweden Chapter 3: Trickery in Design: Cooptation, Subversion and Politics Nidhi Srinavas, Parsons School of Design, USA and Eduardo Staszowski, Parsons School of Design, USA Chapter 4: Guns and morality: Mediation, Agency and Responsibility Tim Dant, Lancaster University, UK Chapter 5: The Magic that is Design Cameron Tonkinwise, Carnegie Mellon University, USA Section Two: Tricky Processes, Tricky Principles Chapter 6: Designer/Shapeshifter: A De-colonial Redirection for Speculative and Critical Design Luiza Prado de O. Martins, A Parede, Germany and Pedro J. S. Vieira de Oliveira, A Parede, Germany Chapter 7: Making 'Safety', Making Freedom: Design and Contested Futures Shana Agid, Parsons School of Design, USA Chapter 8: The Nature of ‘Obligation’ in Doing Design with Communities: Participation, Politics and Care Ann Light, University of Sussex, UK and Yoko Akama, RMIT University, USA Section Three: Tricky Policy Chapter 9: Designing Policy Objects: Designer as Anti-Hero Lucy Kimbell, University of the Arts London, UK Chapter 10: Tricky like a Leprachaun – Navigating the Paradoxes of Public Service Innovation Adam Thorpe, University of the Arts London, UK Chapter 11: Understanding Suicide and Assisted Dying – Why “Design for Death” is Tricky Lorraine Gamman, University of the Arts London, UK and Pras Gunasekera, University of the Arts London, UK Chapter 12: The Quest for Purity, 'Clean' Design and a New Ethics of 'Dirty' Design Jeremy Kidwell, University of Birmingham UK Conclusion Tom Fisher, Nottingham Trent, UK and Lorraine Gamman, University of the Arts London, UK

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Book SynopsisThe Making of Visual News sets out to show how photography has changed the way we read, report and sell the news. It investigates how photographs first became news images at the end of the nineteenth century and how magazines in the USA, the UK, France and Germany have put them to use ever since. Drawing on a wide selection of images, author Thierry Gervais (in collaboration with Gaëlle Morel) analyses news photographs in the context of their original presentation in print. Highly illustrated, the book contains 85 full colour magazine layouts and spreads, offering the reader a view of how photographs were and are used in print publications, including Life, Picture Post, the Berliner Illustrirte Zeitung and VU. It examines how photographs were employed to attract new readers throughout the twentieth century, arguing that photography was the main tool by which news editors sought to communicate the news and attract a broader readership. Looking beyond the roles of photographer and journaTrade ReviewRichly illustrated and clearly written, this book firmly and definitively anchors such well-known mid-century photo weekly magazines as LIFE in a much longer history. Photojournalism is meticulously and meaningfully given its vital role in shaping information and communication since the nineteenth century in this excellent survey - Co-Editor of Getting the Picture and The Visual Culture of the News - Vanessa R. SchwartzTable of ContentsIntroduction The invention of the magazine (1843-1918)From a photographThe halftone agePress photographersThe role of the art directorReflections of the warGeneral news magazines: European know-how (1919-1936)Berliner Illustrirte Zeitung before the warThe postwar German press: a competitive marketPropagandist visual strategies A style for news magazinesAn aesthetics of transparencyVU: a photographic workshopNarrating the newsThe Life model and the standardization of news magazines (1936-1976)From idea to actuality: the beginnings of LifeDramatizing the newsFrom the photographic essay to the pictorial essayChallenges to authorityTowards diversificationConclusion

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Book SynopsisDavid Raizman is Distinguished University Professor Emeritus in the Department of Art and Art History at Drexel University, USA.Trade ReviewReading Graphic Design History is an important addition to the literature on Graphic Design. It serves a diverse audience of students, scholars, teachers and practitioners. This is the perfect companion volume to a survey text for anyone who teaches Graphic Design History. A collection of carefully researched and clearly presented case studies, each chapter offers a fresh and provocative reading of key works by important designers. Raizman’s treatment covers a broad spectrum of issues from creative design through the production process to distribution and reception. Raizman is interested in the collaborative nature of Graphic Design as both an art form and a commercial enterprise. This is a gem of scholarship, treating multiple facets of a rich and complex subject in a masterful manner. -- Dennis Doordan, Editor of Design Issues, USARaizman's expert analysis ranges across a spectrum of material artifacts to uncover what has, for too long, been neglected in histories of modern graphic design. Reading this book will reward those who hunger for meticulous and inventive interpretation. * Michael J. Golec, Associate Professor of Art and Design History at the School of the Art Institute of Chicago, USA *Raizman treats each of his topics on its own terms, diving deeply into social, practical, and creative issues without shoehorning his subjects into ideological boxes. It is rare to find design writing this informative and this enjoyable. * Gunnar Swanson, Professor of Graphic Design at East Carolina University, USA *Through a series of seven case studies across a variety of graphic and typographic design, Reading Graphic Design History offers many fresh perspectives on interpreting designed objects. Arguing that individual graphic designs warrant the attention of deeply-considered contextual analysis, Raizman brings new approaches and ideas to the growing critical literature on graphic design. The book will engage all those interested in understanding how graphic design works, as well as serve students of graphic design and design history alike as a standard point of reference. -- Jeremy Aynsley, Professor and Director of the Centre for Design History, University of Brighton, UKDavid Raizman has done a great service to the studies of graphic design history with Reading Graphic Design History. Not only will the work be a fine addition to libraries but significantly, it should also find a place in the studio. Its intention to engage with students in a practical way is evident in the case study approach, and the very wide range of sources and over 200 valuable illustrations. Importantly, Raizman has emphasized aspects of graphic design history that are often overlooked, including, advertising and fine art, but also has made an engagement with the physical formats and technologies of production. His often forensic investigation within his case studies demonstrates how design history can be particularly useful within a studio teaching context, as it not only focused on the object but draws together a wide range of valuable contextual research. This important contribution, by a renowned scholar, has set a bench mark for future approaches to the methodologies used in design history. -- Clive Edwards, Professor Emeritus of Design History, Loughborough University, UKDavid Raizman follows his History of Modern Design with heavily-illustrated ‘readings’ of well-known examples of graphic design aimed at students. His case studies include Josef Müller-Brockmann’s ‘schutzt das Kind!’ (1952-3), picking up on current research in Swiss graphic design history by Robert Lzicar and Davide Fornari, and Cassandre’s ‘Dubo-Dubon-Dubonnet’ posters (1932), which follows larger studies of French alcohol advertising by Sarah Howard and Marty Roth. Raizman’s book joins titles such as Rebecca Houze’s semiotic analysis New Mythologies (Bloomsbury, 2016), and Grace Lees-Maffei and Nicolas P. Maffei’s wider contextual study Reading Graphic Design (Bloomsbury, 2019). -- Grace Lees-Maffei, Professor of Design History, University of Hertfordshire, UKTable of ContentsAcknowledgments List of Illustrations Foreword by Steven Heller Introduction 1. Josef Müller-Brockmann: “schutzt das Kind!” and the Mythology of Swiss Design 2. Koloman Moser’s Thirteenth Secession Exhibition Poster (1902): Anatomy of a Work of Viennese Graphic Design 3. Cassandre and Dubonnet: Art Posters and Publicité in Interwar Paris 4. Frank Zachary at Holiday: Travel, Leisure, and Art Direction in Post-World War II America 5. Food, Race, and the "New Advertising": The Levy’s Jewish Rye Bread Campaign 1963-1969 6. Graphic Design and Politics: Thomas Nast and the “TAMMANY TIGER LOOSE” 7. The Politics of Learning: Dr. John Fell and the Fell Types at Oxford University in the Later Seventeenth Century Bibliography Index

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Book SynopsisCelebrates the variety and richness of Arabic-language cinema by analysing 28 films released between 1933 and 2021, including Muhammad Khan's 'Dreams of Hind and Camilia' (1989), Moufida Tlatli's 'Silences of the Palace' (1994) and Elia Suleiman's 'Divine Intervention' (2002).

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Book SynopsisExposing the strategy of Turkey's ruling elite to obtain cultural hegemony, this book examines the AKP's efforts to rewrite Turkish public memory by promoting its ideas through TV series, movies, propaganda videos, school curricula and material culture in urban public spaces.

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Book SynopsisDemonstrates the central role of Bergson for modernist art and intellectual history in the UKTrade Review"Bergson in Britain ambitiously interpolates the first synthetic study of the French philosopher's multifaceted impact on the visual arts in Britain with an experimental form of art writing, deriving from the author's innovative interpretation of Bergson's philosophy of immanence." Based on extensive archival research, this timely book is sure to stimulate cross-disciplinary debate."" -Mark Antliff, Duke University

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Book SynopsisShows how and why an ancient city destroyed and then rebuilt by Mongols became the 'Pearl' of the Iranian east

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Book SynopsisBorn in Mallorca, Pere Joan Riera (known professionally as Pere Joan) thrived in the underground comics world, beginning in the mid-1970s with the self-published collections Baladas Urbanas and MuŽrdago, both of which were released almost immediately after the death of the dictator Francisco Franco and Spain''s transition to democracy. The first monograph in English on a comics artist from Spain, The Art of Pere Joan takes a topographical approach to reading comics, applying theories of cultural and urban geography to Pere Joan’s treatment of space and landscape in his singular body of work.Balancing this goal with an exploration of specific works by Pere Joan, Benjamin Fraser demonstrates that looking at the thematic, structural, and aesthetic originality of the artist''s landscape-driven work can help us begin to newly understand the representational properties of comics as a spatial medium. This in-depth examination reveals the resonance between Trade ReviewThe Art of Pere Joan is a valuable contribution...Its historical introduction as well as its balanced blend of theory and close reading makes this book a useful tool for scholars and students interested in comics in general but also Iberian cultural studies in particular. * European Comic Art *The Art of Pere Joan takes an ambitious interdisciplinary approach to Comic Studies through the analysis of the reception of one particular artist: Pere Joan...Through [Fraser's] complex and comprehensive investigation into [Pere Joan's] works, the reader not only understands how the Mallorcan pushed the boundaries of comics definitions, but also how to frame Comics Studies research as the product of cultural, economic, political, and social frameworks...Fraser has created a robust and contextualised history of a lesser-known artist. * Journal of Graphic Novels and Comics *Table of Contents List of Illustrations Preface Selected Artist Chronology Important Note on Spain for the General Reader Introduction: Pere Joan’s Comics Geographies Chapter 1. The Comics Landscape of Spain Chapter 2. Topographies of the Image, Panel, and Page: Comics Narration Three Ways Chapter 3. Rural Cartographies: Emotion, Ecology, and Subjectivity Chapter 4. Urban Geographies: Cityscapes, Mobility, and Belonging Chapter 5. Island Imaginaries: Mallorca’s Cultural Landscapes Conclusion Notes Bibliography Index

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Book SynopsisSusan Laxton writes a new history of surrealism in which she traces the centrality of play to the movement and its ongoing legacy, showing how its emphasis on chance provided the means to refashion artistic practice and everyday experience.Trade Review"This volume adds another layer of interpretation and visual analysis to the mass of recent scholarship on surrealism during its heyday. . . . Recommended. Graduate students, researchers, faculty." -- W. S. Bradley * Choice *"Surrealism at Play is a major contribution to the study of surrealism: Laxton balances a close reading of artwork with theoretical analysis. Every art school and college that covers surrealism in its curriculum and every museum with surrealist works in its collection should acquire this work." -- Stephen Bury * ARLIS/NA Reviews *"This book, without doubt, will take its rightful place alongside the best works in art history and literary criticism. Very well written, extensively researched, and breaking new ground in the understanding of surrealism." -- Robert Maddox-Harle * Leonardo Reviews *"Surrealism at Play passionately traces how a particular art movement envisioned and articulated its own transformative potential. . . . Laxton helps us understand the Surrealists’ insistence on irrationality not as a sport, but rather as an attempt to engage in the political debates of their time." -- Ela Bittencourt * Hyperallergic *"Laxton’s project is a major accomplishment, matching extensive imagination with scholarly rigor." -- Natalie Dupêcher * CAA Reviews *“Laxton’s elegantly written book engages with the topical question of play and points to future research on avant-garde and contemporary art along ludic critical lines.” -- Xiaofan Amy Li * French Studies *“Laxton’s sharp, well-informed, and incisive study offers a rich exploration of the serious business of surrealist play.” -- Johanna Malt * Modernism/modernity *Table of ContentsList of Illustrations ix Acknowledgments xv Introduction. A Modern Critical Ludic 1 1. Blur 29 2. Drift 72 3. System 137 4. Pun 185 5. Postlude 246 Notes 273 Bibliography 331 Index 351

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Book SynopsisThis lavishly illustrated volume features hundreds of full-color images of Russian architecture and landscapes taken by early-twentieth-century photographer Sergey Prokudin-Gorsky juxtaposed against those of contemporary photographer and scholar William Craft Brumfield. Together their images document Russia's architectural, artistic, and cultural heritage.Trade Review“In the current climate in the West, with the return to an awareness of Russia being coupled with a renewed sense of threat, William Craft Brumfield's work is a major catalyst for making people aware of the richness of Russian culture. Journeys through the Russian Empire is an innovative book and an invaluable resource for coming generations of cultural historians. Allowing an opportunity to consider loss over time and to think in terms of common human values, it is indispensable to both Russophiles and all those interested in wider issues of restoration, plans for public space, the impact of industrialization and modernization, and the consequences of large-scale population migration.” -- Ann Kleimola, coeditor of * Culture and Identity in Muscovy: 1359–1584 *“As miraculous and prodigious as Sergey Prokudin-Gorsky’s photographic efforts were, William Craft Brumfield’s heroically resolute labor to record the Russian built environment of the late twentieth and early twenty-first centuries is remarkable in its own way. For the past four decades, Brumfield has pursued buildings, cityscapes, and landscapes across the length of Russia, producing what has become the single most important record of the Russian built environment of our era. This period’s political tumult makes his work even more significant. Journeys through the Russian Empire is an important record of how Russia changed over a troubled century and will help readers appreciate what will come to be seen as lost worlds.” -- Blair A. Ruble, coeditor of * Rebounding Identities: The Politics of Identity in Russia and Ukraine *“Sergei Prokudin-Gorsky's eerie color photographs of the Tsarist empire, made in its waning years before war and revolution, record the serene glories of Russian architecture typically set in a softly glowing pre-industrial landscape. Beginning in the last decades of the Soviet Union, William Craft Brumfield has photographed these same widely dispersed monuments. The resulting juxtaposition of images, taken as much as a century apart, reminds the reader that buildings, like empires, have lives in time.” -- John Beldon Scott, author of * Architecture for the Shroud: Relic and Ritual in Turin *"This large-format book, 520 pages in length, contains some 400 stunning full-color images of ancient churches, towns, and landscapes taken by two great explorers, who have preserved so much of Russian culture through their photography." -- Anna Sorokina * Russia beyond the Headlines *"This is a book to be approached slowly and with care. As you move through the eight regions of travel, there is much to be absorbed and to be savored including Brumfield’s narrative, which ends at the Solovetsky Transfiguration Monastery, an impressive array of buildings on the Solovetsky Archipelago in the White Sea. . . . This is rich journey worth taking for anyone with an interest in Russia and Russian culture, and it matters not at all whether you have been to Russia or not." -- Richard Crepeau * New York Journal of Books *"At the asking price, this large-format book is a bargain, not just for 'content' but for the excellence of production values and design, enhanced by clearly drawn maps for each of the regions covered. Anyone interested in Russian or Central Asian history and culture would find pleasure in having this volume to savor." -- Dan Waugh * Newsletter of the Early Slavic Studies Association *"The journeys wend through little-known towns like Belozersk and Rzhev, and the complexity of their churches and monasteries, full of tiny and intricate details, unfold like flowers before the eyes. Magnificent iconography, graceful 'onion' domes, wildly colorful exteriors, and blended architectural styles keep the eye roving, with descriptions that provide historical context and artistic merit. . . . As intriguing as the photos are, Brumfield’s text draws readers in with tales of vast wealth and power and religious devotion. Moreover, Brumfield invites readers to consider not only the circumstances under which the buildings were built, but what happened after Prokudin-Gorsky captured them." -- Faith Dawson * Tulane Today *"The juxtaposition of these two artists’ works provides students and researchers with an excellent study in how artists can view the same subjects in different historical contexts. Prokudin-Gorsky’s and Brumfield’s photographs show the changes each site underwent, including differences in condition, color, and the effects (or lack) of preservation attempts over time. The photographs also invite discussion of issues such as reconstruction versus restoration and reality versus memory in the history of Russian architecture. Highly recommended. Lower-division undergraduates through faculty." -- M. Miller * Choice *"An extraordinary study of two photographers and, indeed, two Russias. . . . Journeys through the Russian Empire is a masterful achievement that readers will want to savor and return to again and again. In its pages are insightful lessons on everything from color photography to the nature of time. William Craft Brumfield has brought all of his considerable talent, expertise, and energy to produce an invaluable resource for students of Russian history, photography buffs, nature lovers, architecture aficionados, and anyone who longs to explore the expansive Russian empire through the eyes of two eminently talented and devoted photographers." -- Jennifer Eremeeva * The Moscow Times *"Brumfield’s own photographs are of exceptional quality, and . . . there is something enthralling for the reader about comparing pictures of a building or set of buildings taken many years apart. . . . What Brumfield does in Journeys is provide visual material and text that provoke reflection on important questions without seeking to provide simplistic answers. He shows the value of Prokudin-Gorskii’s photographs while acknowledging that they do not provide an unproblematic insight into a vanished world. He provides an effortless visual and textual history of important sites of Russian ecclesiastical architecture that is accessible to non-specialists." -- Michael Hughes * Slavic and East European Review *"In 1970, an American graduate student set off for what was then the Soviet Union, taking a camera he’d bought for the trip. William Craft Brumfield spent the next half-century travelling through the Soviet Union and its successor states, becoming a specialist in the region’s architectural history and a respected photographer in his own right. . . . [A]s Journeys through the Russian Empire quietly illustrates, the desire to preserve religious buildings as part of a national past was not solely a phenomenon of perestroika." -- Miriam Dobson * London Review of Books *"The publication of Journeys through the Russian Empire marks a jubilee of sorts, as its author, William Craft Brumfield, first arrived in Russia in 1970, exactly fifty years earlier. A half century is indeed more than half a lifetime, and over this time Russia has become a second homeland for the scholar. . . . Brumfield thus allows us to compare the appearances of the most significant works of Russian architecture over the course of a century, but this is not his only contribution. He also demonstrates the coexistence of two long-standing artistic traditions of representing works of Russian architecture: the Russian and the foreign." -- Evgeny Khodakovsky * Russian Review *"This is a work of pure enchantment! William Craft Brumfield’s Journeys lead us to some of the most forbidding regions on Earth to reveal centuries-old architectural masterpieces. His photographic odyssey, which parallels the travels of a pioneering Russian photographer in the early 1900s, opens a world of almost supernatural grace and beauty. The images—at times dreamlike, often frozen in the amber light of the far North—portray structures both towering and serene, gemstones of timber and rock that stand as timeless monuments to mysticism and spirituality. The images are spellbinding, but the text is no less so. Professor Brumfield’s concluding essay 'Above the Abyss' is a deeply informed meditation on photography, memory, and the arc of Russian history." -- John R. Beyrle, former United States Ambassador to Russia“Bill Brumfield’s Journeys Through the Russian Empire is a visual and cultural tour d' force. In treading the steps of his legendary imperial predecessor Sergey Prokudin-Gorsky, Brumfield’s lens documents and captures why for Russia in particular the architecture and creativity of its buildings is an essential key to understanding its culture and identity, and his images provide a contemporary vision of the enduring core that has given the world Russian culture, art, and architecture. His photos and text, set alongside the images from a century ago, document what neither two world wars nor three quarters of a century of permanent, hostile revolution could destroy or erase from the Russian landscape or vision. Brumfield’s pictures and text are essential for anyone truly seeking to understand Russia and its people. It likewise offers the reader a vision about how monuments that reflect what is best in a culture survive even the most determined efforts to undo the values and aspirations they represent.” -- James F. Collins, Senior Fellow, Carnegie Endowment for International Peace, and former United States Ambassador to Russia, 1997-2001"Written at the juncture of visual studies and cultural history, Journeys through the Russian Empire makes a major contribution to the study of the architectural heritage of Russia and Central Asia. . . . Although the book is indeed addressed to a wide circle of readers, we have before us not a 'picture book,' but a serious, multilayered investigation. . . . Brumfield’s service can be summarized by the fact that he has simultaneously preserved the legacy of two authors. Exhibits and internet publications are fleeting, but a book is something that remains for the long term. Brumfield’s book can be used by researchers as a guide to photographic sources. At the same time, it is a superb guide for travelers planning a trip to Russia and Central Asia." (translated from Russian) -- Ramina Abilova * Ab Imperio * "This book is spectacularly beautiful. . . . The book provides a fine introduction to the architectural heritage of the Russian Empire. . . . Scholars of Russian architecture, photography, and culture more broadly will read this book with profit." -- Susan Smith-Peter * Slavic Review *"A veritable masterpiece. . . . A gorgeous book, I swooned when I saw it." -- Cecily Bateman * The Era Leader *"This is a volume of ‘places of memory’, lieux de mémoire, in Pierre Nora’s phrase – but the memories are more than physical, and deeply ambiguous." -- Andrew Louth * Journal of Ecclesiastical History *"The weight of ‘time and memory’ echoes from this [final] chapter into Brumfield’s conclusion, which ruminates on the uses of photography in public memory. His own study is an invaluable contribution to this very question, one that should be read by scholars working on all aspects of Imperial, Soviet and post-Soviet history." -- Yelizaveta Raykhlina * Europe Asia Studies *Table of ContentsAcknowledgments vii Author's Note ix Introduction. An Unsentimental Journey 1 Part I. Documenting Cultural Legacies of an Empire Sergey Prokudin-Gorsky: Photographer of an Empire 13 The Intertwining of Two Collections 27 The Prokudin-Gorsky Collection, The Library of Congress 13 The William Craft Brumfield Collection, National Gallery of Art 33 Part II. Journeys 1. The Ancient Heartland 39 2. The West: From Smolensk Southward to Ryazan 101 3. The Northwest: From Lake Ladoga to the Volga Basin 167 4. The Upper Volga: From Valdai Heights to Torzhok 225 5. The Volga from Uglich to Yurevets 277 6. From the Ural Mountains to Siberia 351 7. Central Asia—Turkestan 413 8. North to the Solovetsky Islands 473 Conclusion. Above the Abyss: A Reflection on Photographs as an Instrument of Memory 497 Index 507

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Book SynopsisAnna Arabindan-Kesson examines how cotton became a subject for nineteenth-century art by tracing the symbolic and material correlations between cotton and Black people in British and American visual culture.Trade Review“Beautifully conceived, consummately researched, and effectively presented, Black Bodies, White Gold makes an important contribution to art history, African American and Black diaspora studies, American studies, and British Empire studies.” -- Lisa Lowe, author of * The Intimacies of Four Continents *“Anna Arabindan-Kesson's book offers an expansive visual accounting of cotton and its representations, from ‘negro cloth’ to contemporary art, that impressively charts the materiality, meaning, and memory of 'white gold' in the making of the Atlantic world and beyond. It is an exemplary model of African diasporic and globally oriented histories of art.” -- Krista Thompson, author of * Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice *“Arabindan-Kesson’s book expands the analytic potential of previous art-historical studies that trace the representation of Blackness across the threshold after emancipation.... One of its most valuable contributions to the field of art history ... is its inventive recourse across time, folding contemporary art into a methodology that illuminates subaltern historical conditions otherwise excluded or redacted from the archive." -- C.C. McKee * Panorama *"This thoughtful, well-illustrated book offers a long-overdue, original, engaged approach to studies of the cotton economy in tandem with slavery. . . . Arabindan-Kesson initiates new ways of seeing and reading visual art toward revealing and facing difficult truths about persistent race discrimination and injustice. Highly recommended. Lower-division undergraduates through faculty." * Choice *"[Arabindan-Kesson's] beautifully written storytelling is not only highly engaging and compelling to read, but . . . also offer[s] an indispensable account of the ways in which racial capitalism and corporate imperialism have shaped and been shaped by visual culture.” -- Edwin Coomasaru * Oxford Art Journal *“Black Bodies, White Gold . . . is a tour de force in its seamlessly transnational approach, uniting of historic and contemporary artworks, and creative deployment of theoretical approaches for ethically attending to the absence and the violence of slavery’s archives. Arabindan-Kesson’s commitment to antiracist work consistently drives her analysis.” -- Jennifer Van Horn * Art Bulletin *“Black Bodies, White Gold is a thoughtful, rigorous meditation on materiality, meaning, and memory. . . . Arabindan-Kesson’s methodologically innovative emphasis on materiality, land, labor, and value has significant insights for environmental studies, showing how vision materially shapes the world.” -- Anita Girvan * The Goose *“With beautifully-printed images, Arabindan-Kesson’s well-researched text uses a variety of historical and contemporary examples to drill down into the often-shrouded history of the Black lives behind the journey of cotton. . . . Black Bodies, White Gold is highly relevant for studies in art history, African American art, African diaspora history, colonialism, and business and commerce.” -- Suzanne Sawyer * ARLIS/NA *“Black Bodies, White Gold carefully unpacks the material, representational, and historical complexities of cotton with impressive skill and knowledge, offering a compelling, original and expansive approach to art history, fit for the twenty-first century.” -- Sarah Thomas * Art History *Table of ContentsAcknowledgments vii Illustrations xv Introduction: Threads of Empire 1 1. Circuits of Cotton 29 2. Market Aesthetics: Color, Cloth, and Commerce 67 3. Of Vision and Value: Landscape and Labor after Slavery 121 4. Material Histories and Speculative Conditions 171 Coda: A Material with Memory 203 Notes 213 Bibliography 247 Index 285

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Book SynopsisThe contributors to this volume examine the artistic practice of Consuelo Jimenez Underwood, whose innovative art and urgent engagement with a range of pressing contemporary issues mark her as one of the most vital artists of our time.Trade Review"With the publication of the important book . . . art lovers are treated to a full account of the life, creative processes, vision, and accomplishments of a great Latina artist. . . . The editors . . . have greatly enhanced our knowledge of an important American artist of craft and fine arts." -- Ricardo Romo * Latinos in America *"It is a joy to see Jimenez Underwood’s work as a teacher addressed and to read about her influence on students. Essays are supported by excellent images and a strong introduction. A significant notes section points to additional research. This excellent resource will be good for courses that expand on the understandings of textile art and art history. Recommended. Upper-division undergraduates through faculty; professionals." -- L. L. Kriner * Choice *Table of ContentsList of Illustrations xi Preface. The Art of Necessity / Luis Valdez xv Acknowledgments xvii Introduction / Laura E. Pérez and Ann Marie Leimer 1 I. Spinning—Making Thread 1. The Hands of Consuelo Jimenez Underwood: A Filmmaker's Reflections / Carol Sauvion 25 2. Charged Objects: The Multivalent Fiber Art of Consuelo Jimenez Underwood / Christine Laffer 35 II. Weaving—Hand Work 3. History/Whose-Story? Postcoloniality and Contemporary Chicana Art / Constance Cortez 53 4. A Tear in the Curtain: Hilos y Cultura in the Art of Consuelo Jimenez Underwood / Amalia Mesa-Bains 71 5. Prayers for the Planet: Reweaving the Natural and the Social—Consuelo Jimenez Underwood's Welcome to Flower-Landia / Laura E. Pérez 80 6. Consuelo Jimenez Underwood: Welcome to Flower-Landia / María Ester Fernández 91 7. Between the Lines: Documenting Consuelo Jimenez Underwood's Fiber Pathways / Emily Zaiden 100 8. Flags, the Sacred, and a Different America in Consuelo Jimenez Underwood's Fiber Art / Clara Román-Odio 111 9. Garments for the Goddess of the Américas: The American Dress Triptych / Ann Marie Leimer 123 10. Space, Place, and Belonging in Borderlines: Countermapping in the Art of Consuelo Jimenez Underwood / Karen Mary Davalos 142 11. Decolonizing Aesthetics in Mexican and Xicana Fiber Art: The Art of Consuelo Jimenez Underwood and Georgina Santos / Cristina Serna 161 12. Reading Our Mothers: Decolonization and Cultural Identity in Consuelo Jimenez Underwood's Rebozos for Our Mothers / Carmen Febles 181 13. Weaving Water: Toward an Indigenous Method of Self- and Community Care / Jenell Navarro 198 III. Off the Loom—Into the World 14. Consuelo Jimenez Underwood: Artist, Educator, and Advocate / Robert Milnes 221 15. Being Chicanx Studies: Lessons for Racial Justice from the Work and Life of Consuelo Jimenez Underwood / Marcus Pizarro 239 16. Blue Río Tapestries / Verónica Reyes 244 Notes 261 Bibliography 290 Contributors 304 Index 311

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Book SynopsisIn The Sovereign Self, Grant H. Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy—the sense that art should be autonomous from social forces while retaining the ability to reflect back critically on society—through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has Trade Review“An extraordinarily knowledgeable explanation for those outside the art world, as well as those critically within it, of the philosophical traditions and social contradictions within which artists do their work. This is a book to own.” -- Susan Buck-Morss, The Graduate Center, City University of New YorkTable of ContentsIntroduction 1 I. From Beauty to Dissensus 1. Freedom and Sovereignty 19 2. Communism and the Aesthetic State 48 II. Negation and Performativity 3. From Vanguard to Avant-Garde 85 4. Activism and Autonomy in the 1960s 108 III. Autonomy since the 1980s 5. The Rise of the Neo-Avant-Garde 145 6. The Hirschhorn Monument: Autonomy as Brand and Alibi 180 Conclusion. Aesthetics beyond Semblance 212 Notes 219 Works Cited 243 Index 259

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Book SynopsisIn Earth Diplomacy, Jessica L. Horton reveals how Native American art in the mid-twentieth century mobilized Indigenous cultures of diplomacy to place the earth itself at the center of international relations. She focuses on a group of artists, including Pablita Velarde, Darryl Blackman, and Oscar Howe, who participated in exhibitions and lectures abroad as part of the United States’s Cold War cultural propaganda. Horton emphasizes how their art modeled a radical alternative to dominant forms of statecraft, a practice she calls “earth diplomacy”: a response to extractive colonial capitalism grounded in Native ideas of deep reciprocal relationships between humans and other beings that govern the world. Horton draws on extensive archival research and oral histories as well as analyses of Indigenous creative work, including paintings, textiles, tipis, adornment, and artistic demonstrations. By interweaving diplomacy, ecology, and art history, Horton advances Indig

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Book SynopsisInformed by the analytical practices of the interdisciplinary material turn' and social historical studies of childhood, Childhood By Design: Toys and the Material Culture of Childhood offers new approaches to the material world of childhood and design culture for children. This volume situates toys and design culture for children within broader narratives on history, art, design and the decorative arts, where toy design has traditionally been viewed as an aberration from more serious pursuits. The essays included treat toys not merely as unproblematic reflections of socio-cultural constructions of childhood but consider how design culture actively shaped, commodified and materialized shifting discursive constellations surrounding childhood and children. Focusing on the new array of material objects designed in response to the modern invention' of childhoodwhat we might refer to as objects for a childhood by designChildhood by Design explores dynamic tensions betweTrade ReviewThis volume, edited by Megan Brandow-Faller, is a very welcome addition to the growing literature and the ensuing methodological renewal. * ResearchGate *Childhood by Design expands upon a common body of research that includes work by Gary Cross, Miriam Forman-Brunell, and Brian Sutton-Smith and, like their books often did, it should prove fascinating to students as well as to scholars. And, also as their work did, Childhood by Design poses some new directions in material culture studies. * American Journal of Play *A significant new addition to this area ... Childhood by Design has much to offer those interested in childhood and its physical manifestations, particularly to those with an interest in constructions of girlhood. * Cultural and Social History *Childhood by Design takes toys seriously as material embodiments of cultural and political values capable of shaping children’s beliefs through play. Yet in its careful treatment of design, the volume explores not only toys’ intended uses, but also imagines the ways that children might resist, adapt, and reinterpret the cultural aims that toys seek to impart. Contributions draw upon diverse material evidence from collections around the world to produce nuanced accounts of the role of design in children’s toys. Ambitious in its geographical and historical scope, this rich interdisciplinary volume combines the concerns and approaches of history, art and design history, and childhood studies in an original exploration of children’s material culture. -- Meredith A. Bak * Assistant Professor of Childhood Studies, Rutgers University-Camden *This sweeping collection that interpretively and imaginatively crosses fields and continents brings to light the agency of toys in “crystallizing the modern invention of childhood,” and especially girlhood. The uniformly outstanding essays trace more than 400 years of significant historical figures and forces—from aesthetics and ideologies to philosophies of childhood and patterns of consumption, play to pedagogy, discourse to design, anxiety to creativity, and colonialism to appropriation—dynamically informing dolls, doll houses, books, etc. Richly illustrated with objects along with advertisements and embroidery, catalogues and scrolls, this far reaching collection, that contributes importantly to contemporary and scholarly debates, is a major contribution to material culture, visual culture, children’s, and dolls studies, not to mention the history of play, toys, and girls. The innovative methodologies and theoretical frameworks of these accessibly written studies by truly interdisciplinary thinkers from across the academy, are instructional, informative, and inspirational to scholars and students alike. I love this book! -- Miriam Forman-Brunell * Professor of History, University of Missouri-Kansas City, USA, and author of Made to Play House: Dolls and the Commercialization of Girlhood (1998) and Dolls Studies: The Many Meanings of Girls’ Toys and Play (2015) *[T]his book [is] important and [will] open researchers to many avenues... in a field that continues to open up to new issues. * Strenæ *Table of ContentsList of Illustrations Notes on Contributors Acknowledgments Introduction: Materializing the History of Childhood and Children Megan Brandow-Faller, City University of New York Kingsborough, USA Part I: Inventing the Material Child: Childhood, Consumption and Commodity Culture 1. Training the Child Consumer: Play, Toys and Learning to Shop in 18th-Century Britain Serena Dyer, Middlesex University, UK 2. Transitional Pandoras: Dolls in the Long 18th-Century Ariane Fennetaux, University of Paris, Diderot, France 3. The (Play)things of Childhood: Mass Consumption and Its Critics in Belle Epoque France Sarah Curtis, San Francisco State University, USA 4. Building Kids: LEGO and the Commodification of Creativity Colin Fanning, Philadelphia Museum of Art, USA Part II: Child’s Play? Avant-Garde and Reform Toy Design 5. Cultivating Aesthetic Ways of Looking: Walter Crane, Flora's Feast, and the Possibilities of Children's Literature Andrea Korda, University of Alberta, Augustana, Canada 6. The Unexpected Victory of Charakter-Puppen: Dolls, Artists, Aesthetics and Identity in Early 20th-Century Germany Bryan Ganaway, The College of Charleston, USA 7. Work Becomes Play: Toy Design, Creative Play and Unlearning in the Bauhaus Legacy Michelle Millar Fisher, City University of New York, USA 8. Simply Child’s Play? Toys, Idealogy,and the Avant-Garde in Socialist Czechoslovakia before 1968 Cathleen Giustino, Auburn University, USA 9. Reconstructing Domestic Play: The Kaleidoscope House Karen Stock, Winthrop University, USA and Katherine Wheeler, University of Miami, USA Part III: Toys, Play and Design Culture as Instruments of Political and Ideological Indoctrination 10. Material Culture in Miniature: Nuremberg Kitchens as Inspirational Toys in the Long 19th Century James E. Bryan, University of Wisconsin-Stout, USA 11. Making Paper Models in 1860s New Zealand: An Exploration of Colonial Culture Through Child-Made Objects Lynette Townsend, Ministry for Culture and Heritage, New Zealand 12. Toys for Empire? Material Cultures of Children in Germany and German Southwest Africa, 1890 to 1918 Jakob Zollman, Wissenschaftszentrum Berlin, Germany 13. Public Nostalgia and the Infantilization of the Russian Peasant: Early Soviet Reception of Folk Art Toys Marie Gasper-Hulvat, Kent State University at Stark, USA 14. The ‘Appropriate’ Plaything: Searching for the New Chinese Toy, 1910-1960s Valentina Boretti, University of London, UK Index

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Book SynopsisCorrespondence, travel writing, diary writing, painting, scrapbooking, curating, collecting and house interiors allowed British women scope to express their responses to imperial sites and experiences in the 18th, 19th and 20th centuries. Taking these productions as its archive, British Women and Cultural Practices of Empire, 1775-1930 includes a collection of essays from different disciplines that consider the role of British women's cultural practices and productions in conceptualising empire. While such productions have started to receive greater scholarly attention, this volume uses a more self-conscious lens of gender to question whether female cultural work demonstrates that colonial women engaged with the spaces and places of empire in distinctive ways. By working across disciplines, centuries and different colonial geographies, the volume makes an exciting and important contribution to the field by demonstrating the diverse ways in which European women shaped constructions of eTrade ReviewIt is well established that work, culture, and empire were highly gendered concepts and practices in nineteenth century Britain. And yet, women are rarely invoked as cultural producers in the networks of Empire. This superb collection of essays examines the cultural significance of British women travelling, collecting, publishing, crafting, curating, cultivating, sketching, administering, and more. Moving well beyond bureaucratic archives, this volume recovers compelling material traces of the role that British women played in the creation and propagation of empire. * Douglas Fordham, Associate Professor of Art History, University of Virginia, USA *Here comes a long overdue interdisciplinary study of British women and their literary and material engagements with the British empire in the long nineteenth century. The reader travels from North Carolina to Zanzibar, India to Australia, in a geographical sweep that encompasses the length and breadth of Britain’s empire. Along the way, we encounter a staggering array of things from letters to coconut shells and flower paintings to an ivory throne as the authors examine the dense networks of art and material cultures that shaped the public and private domains of imperial life. From everyday objects and select royal gifts emerge complex histories of travel, curiosity, art-patronage, gift-exchange, loot, frontier politics, and slavery. * Romita Ray, Associate Professor of Art History, Syracuse University, USA *Taking a diverse approach to material culture in Empire, this book broadens our understanding of the imperial archive, allowing us ultimately to read the lives and experiences of women in Empire in new ways. Enriched with sumptuous detail and extensive research, the reader embarks on a virtual tour of the female networks of material culture, collecting and creating that enlivened the lives of colonial women, and left a legacy of female agency and action for the historian. These women made sense of their colonial lives by reference to remembered landscape of home, a sense of purpose through collection and curation, and by creating webs of imagined community with their correspondents at home and abroad through the writing of letters and the sending of gifts. Bringing together gendered, literary, visual and material cultures, this volume gives a uniquely enriched insight into the lives of imperial women from the objects they collected, the texts they created, and the networks they curated. * Emily Manktelow, Senior Lecturer in Global and Colonial History, Royal Holloway, University of London, UK *Table of ContentsList of Illustrations List of Contributors Acknowledgments List of Abbreviations Introduction Rosie Dias (University of Warwick, UK) and Kate Smith (University of Birmingham, UK) Part I: Travel 1: The Travelling Eye: British Women in Early 19th-Century India David Arnold (University of Warwick, UK) 2: Paper trails of Imperial Trav(a)ils: Janet Schaw’s Journal of a journey from Scotland to the West Indies, North Carolina and Portugal, 1774-1776 Viccy Coltman (University of Edinburgh, UK) 3: Sketches from the Gendered Frontier: Colonial Women's Images of Encounters with Aboriginal People in Australia, 1830s-1860s Caroline Jordan (La Trobe University, Australia) Part II: Collecting 4: "Of manly enterprise, and female taste!": Mina Malcolm's Cottage as Imperial Exhibition, c. 1790s-1970s Ellen Filor (University of Michigan, USA) 5: A Lily of the Murray: Cultivating the Colonial Landscape through Album Assemblage Molly Duggins (National Art School, Australia) 6: Collecting the "East": Women Travellers New on the New "Grand Tour" Amy Miller (Royal Museums Greenwich, UK) Part III: Identities 7: Agents of Affect: Queen Victoria’s Indian Gifts Rosie Dias (University of Warwick, UK) 8: ‘Prime Minister in the Home Department’: Female Gendered Identity in 19th-Century Upper Canada Rosie Spooner (University of Glasgow, UK) 9: Reconstructing the Lives of Professional Women in 1930s Zanzibar through Image, Object and Text Sarah Longair (British Museum, UK) Bibliography Index

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Book SynopsisWinner of the 2019 CHOICE Award The authoritative book on the origins, history, and influence of illustration. Bravo! David Brinley, University of Delaware, USAHistory of Illustration covers image-making and print history from around the world, spanning from the ancient to the modern. Hundreds of color images show illustrations within their social, cultural, and technical context, while they are ordered from the past to the present. Readers will be able to analyze images for their displayed techniques, cultural standards, and ideas to appreciate the art form. This essential guide is the first history of illustration written by an international team of illustration historians, practitioners, and educators.Trade ReviewThe authoritative book on the origins, history, and influence of illustration. This book will educate and foster mutual respect between designers, fine artists, faculty colleagues, and of course, the illustration students enrolled in contemporary Bachelors of Fine Arts programs. Bravo! -- David Brinley, University of Delaware, USAHighly detailed and thorough. I especially like that the history of illustration of non-western cultures aren’t ignored. . .Covers all of the major illustrators and movements. -- Deanna Staffo, Maryland Institute College of Art, USAThis book is one of the most thorough histories of illustration that I have seen and it would serve graphic design students well. Its content on non-western cultures far exceeds any comprehensive illustration or design history text available at this time. -- Amanda Horton, University of Central Oklahoma, USATable of ContentsPreface Acknowledgements Introduction SECTION ONE: ILLUSTRATIVE TRADITIONS IN EUROPE, ASIA and AFRICA 1. Image and Meaning, Prehistory to 1500 by Robert Brinkerhoff and Margot McIlwin Nishimura 2. Illustration in Printed Matter in Early Modern Europe, 1400–1660 by Susan Doyle 3. Pluralistic View of Indian Images: 2nd BCE to the 1990s by Binita Desai and Nina Sabnani 4. Illustrative Traditions in the Muslim Context by Irvin Cemil Schick 5. Chinese Illustration before 1900 by Sonja Kelley and Frances Wood 6. Prints and Books in Japan’s Floating World by Daphne Rosenzweig 7. Illustration in Latin America from Pre-Columbian to Modern 1990s by Maya Stanfield-Mazzi 8. Illustration in the African Context by Bolaji Campbell with contributions by Winifred Lambrecht SECTION TWO: IMAGES AS KNOWLEDGE, IDEAS AS POWER 9. Observation and the Representation of Natural Science Illustration 1450–1900 by Shelley Wall 10. Visualizing Bodies: Anatomical and Medical Illustration from the Renaissance to the nineteenth century by Shelley Wall 11. Dangerous Pictures: Social Commentary in Europe, 1720–1860 by Robert Lovejoy 12. From Reason to Romanticism by Hope Saska SECTION THREE: THE ADVENT OF MASS MEDIA 13. Illustration on British and North American printed ephemera of the Nineteenth and Early Twentieth Centuries by Graham Hudson 14. Illustration in the expansion of the Graphic Journalism, and Magazine Fiction in Europe and North America, 1830–1900 by Brian Kane and Page Knox 15. Beautifying Books and Popularizing Posters: Illustration in the Later Nineteenth Century by Susan Ashbrook and Alison Syme 16. Fantasy and Children’s Book Illustration Nineteenth and early Twentieth-Century England by Alice Carter 17. Six Centuries of Fashion Illustration by Pamela Parmal SECTION FOUR: DIVERGING PATHS IN 20TH CENTURY AMERICAN AND EUROPEAN ILLUSTRATION 18. American Narratives: Periodical Illustration in the Late Nineteenth and Early Twentieth Century by Mary Holahan with contributions by Alice Carter and Joyce Schiller 19. Avant-garde Illustration, 1900–1950 by Jaleen Grove 20. Diverse American Illustration Trends in Periodicals, 1915–1940 by Roger Reed 21. Wartime Imagery and Propaganda, 1890–1950 by Thomas LaPadula 22. Illustrating Alternate Realities in Pulps and Other Popular Fiction by Nicholas Egon Jainschigg with contributions by Robert Lovejoy 23. Overview of Comics and Graphic Narratives by Brian M. Kane with contributions by Loren Goodman and Michelle Nolan SECTION FIVE: THE EVOLUTION OF ILLUSTRATION IN AN ELECTRONIC AGE 24. The Shifting Postwar Marketplace: Illustration Competes with Growing Media Options in the United States and Canada, 1940–1970 by Stephanie Plunkett 25. Children's Book Illustration, 1920–2000 by H. Nichols B. Clark 26. Countercultures: Underground Comix, Rock Posters and Protest Art, 1960–1990 by Robert Lovejoy 27. Print Illustration in the Postmodern World by Whitney Sherman 28. Medical Illustration after Gray’s Anatomy: 1859 to the present by David M. Mazierski 29. Digital Forms by Nanette Hoogslag and Whitney Sherman Bibliography Glossary Index

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Book SynopsisSimon Kelly is Curator and Head of Department of Modern and Contemporary Art, The Saint Louis Art Museum, USA.Trade ReviewSimon Kelly’s consummate study of Théodore Rousseau draws the reader deeply into the complex lived experience of this adventurous, under-examined painter of the French landscape, bringing to light as never before an entire world of making, selling and viewing art in mid-nineteenth-century France, just as the stage was set for the avant-gardes to come. * Thomas Crow, Rosalie Solow Professor of Modern Art, Institute of Fine Arts, New York University, USA *Kelly’s book makes an important contribution, both to the history of French landscape painting and to recent scholarship on the modern art market. Far from being le grand refusé, Rousseau emerges as one of the most commercially shrewd artists of his generation, who used pioneering tactics to promote his often challenging and experimental style of painting. Unorthodox and independent-minded, he became an art market innovator, anticipating some of the strategies employed by the Impressionists. Written with a sensitive and curatorial eye, this fascinating book is based on extensive archival research and includes extracts from stockbooks and procès-verbaux, as well as letters from Rousseau to his patrons, dealers, critics and fellow artists. * Frances Fowle, Chair of Nineteenth-Century Art, University of Edinburgh and Senior Curator of French Art, National Galleries of Scotland, UK *This is an excellent book and makes a very substantial contribution to our understanding of Rousseau's work...the book must emerge as a primary point of reference for scholars of 19th-century French painting, changes in the art market, and Rousseau's role within them. * Steven Adams, H-France (University of Hertfordshire, UK) *Table of ContentsList of Plates List of Figures Series Editor’s Introduction Acknowledgments List of Abbreviations Introduction 1. “The Outlaw”: Rousseau at the Salon 2. Alternative Spaces: Artists’ Societies to the Cercle de L’Union Artistique 3. “A Small Number of the Privileged”: The Patrons 4. The Art Dealers: Adolphe Beugniet to Paul Durand-Ruel 5. “This Dangerous Game”: The Auction Sale 6. The Reproduction Industry: From Etching to Photography Rousseau’s Legacy Appendix 1 Appendix 2 Appendix 3 Select Bibliography Index

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Book SynopsisThe 7th Edition of Who''s Who in Fashion captures the energy, drama, excitement, and diversity of the luminaries working in the world of fashion. This lushly illustrated book features profiles of fashion legends as well as newcomers who make up the rich tapestry of the fashion industry, spanning designers, photographers, costume designers, writers/editors, illustrators, companies, accessory designers, makeup/cosmetic specialists, and fashion conglomerates. This new edition includes over 400 profiles, 90 of which are new, and 820 images, making this a must-have reference for fashion students, historians, costume curators, and fashion enthusiasts alike. New Profiles Virgil Abloh, Haider Ackermann, Adidas, Adnym, AEFFE, Mike Amiri, Imran Amed, Jonathan Anderson, Paul Andrew, Rosie Assoulin, Kevyn Aucoin, Brendon Babenzien (Noah), BCBGMAXAZRIA, Ritu Beri, Christopher Bevans (DYNE), Blair Breitenstein, Bobbi Brown, Sarah Burton, Giuliano Calz

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