History of art Books
Istanbul Aydin University International Rusya Multecileri: Uzak Diasporaya Savrulan
Book Synopsis
£24.69
Rare Bird Books Head on a Pike: The Illustrated Lyrics of Matt
Book SynopsisWith dozens of full-color illustrations!This is a retrospective of musical poetry by heavy metal guitarist and frontman, Matt Pike, which spans twenty years beginning in 1998 with the album Art of Self Defense up to the latest release, the 2019 Grammy-Award winning record, Electric Messiah. Every chapter features brand-new artistic interpretations from the minds and hearts of an incredible cast of illustrators, tattooers, printmakers, and painters Pike has been trusted since the beginning to depict his vision. The cast of artists are Arik Roper, David V. D'Andrea, Santos, Brian Mercer, Skinner, Jondix,Stash, Tim Lehi, Jordan Barlow, and Derrick Snodgrass created brand new, never before seen works specifically inspired by each album, including one large illustration to define the chapter ahead and two additional vignettes that are directly inspired by the songs. Each has their own bold and iconic style that perfectly compliments the breadth of Pike's various works. These prolific artists transport the reader further into a far-away landscape of ominous Lovecraftian entities, shrouded in wondrous and esoteric darkness. Together, they have redefined the way we perceive Underground Doom Metal these past twenty years and it is our honor to showcase them together along with the incredible written word of Pike.Trade Review"Here, [Pike's lyrics are] presented with elegant minimalism, broken down by stanzas and verses, like a poetry book."—ConsequencePraise for Matt Pike"...fronting the berserker roar of High On Fire, a band now on to the eighth in an incredible run of albums which make up one of the 21st century’s most impressive metal catalogues." —Olly Thomas, Kerrang! Magazine"Matt Pike might be more regularly referred to as renaissance man if he didn’t also appear to be the physical manifestation of rock ‘n roll hedonism, the embodiment of the rejection of all pretension, the inheritor of Lemmy Kilmister’s swaggering grit, Tony Iommi’s axe wizardry and Hendrix’s legendary appetites. And yet, the label seems completely apt given his creative output over the last few years."—David Howard King, The Collaborative Magazine
£999.99
Snuggly Books What Makes the Wave Break?
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£9.38
Levine Querido Black Queer and Untold
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£22.10
Dixie W Publishing Corporation 碎语闲文集
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£13.99
Primary Information Michael Asher: Writings 1973-1983 on Works
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£27.55
Jordan Schnitzer Family Foundation Global Asias: Contemporary Asian and Asian
Book SynopsisFifteen artists draw on an array of motifs and techniques to construct diverse “Asias” in a modern global context This book examines the subtly subversive characteristics of contemporary Asian and Asian American art. The 15 artists represented here were born in Japan, China, Korea, Vietnam, Argentina or the United States; all are adept at crossing borders both physical and material. Artists include: Kwang Young Chun, Jacob Hashimoto, Manabu Ikeda, Jun Kaneko, Dinh Q. Lê, Hung Liu, Mariko Mori, Hiroki Morinoue, Takashi Murakami, Roger Shimomura, Do Ho Suh, Akio Takamori, Barbara Takenaga, Rirkrit Tiravanija and Patti Warashina.
£999.99
Visual Aids for the Arts Inc Darrel Ellis
Book SynopsisThe first monograph on Darrel Ellis' expressive transformations of photographic memory Known for his experimental approach to painting and photography, New York–based mixed-media artist Darrel Ellis (1958–92) explored the psychic terrain between surface, memory and lyric self-representation. Working in part from his late father’s photographs, Ellis projected, deconstructed and reimaged his family history, creating uncanny portraits marked by voids and warps. His commitment to the self-portrait was no less inspired, particularly after his experiences of being photographed by Robert Mapplethorpe and Peter Hujar. Ellis was on the cusp of major recognition when his life was cut short by AIDS in 1992, at the age of 33. This monograph provides the most comprehensive account of the artist to date, including 80 plates that chart his development from figurative painting to photographic experimentation and his later preoccupation with self-portraiture. Essays and an illustrated chronology featuring previously unseen excerpts from the artist’s journals provide new insights into Ellis’ life and work.Trade ReviewDarrel Ellis is not only the first book devoted to his work since 1996, it is also an indispensable collection of scholarship, history, interviews, and stunning reproductions of the artist’s oeuvre. The impressive essays by Derek Conrad Murray and Tiana Reid, a description of the artist’s archive by Steven G. Fullwood, an eye-opening interview with the artist from 1991, and a thought-provoking conversation between contemporary artists will lift the shroud of mystery that has surrounded Ellis’s life and art. -- Peter Murphy * ASAP/J *Rather than showcasing his best-known works, such as his self-portrait made after a photograph by Mapplethorpe, it instead leans into process, including unfinished works, pages of journals, and a section that considers how to treat the archive he left behind after his 1992 death at age 33 from AIDS complications. -- Megan Liberty * Hyperallergic *Darrel Ellis made a wrenchingly heartfelt body of work based on his late father’s photographs. They’ve remained obscure until now. -- Chris Wiley * New Yorker *Addresses the myriad components of identity through patrimony, race, self-perception, and aesthetic tampering. -- Sarah Moroz * Bookforum *
£999.99
Dave Hoyt Stop! Hey, What's That Sound?: The 1960's
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£29.45
Udon Entertainment Corp Street Fighter: Ultimate Art Portfolio
Book SynopsisFeaturing 20 removable art pieces of your favorite World Warriors! Cover the walls of your personal dojo with classic heroes Ryu, Chun-Li, Ken and Guile, dark villains M.Bison, Vega, Sagat, and Akuma, and modern martial artists like Menat, Juri, Rashid, and F.A.N.G! Illustrated by Jo Chen, Arnold Tsang, Panzer, and more, the Street Fighter Ultimate Art Portfolio is an instant art collection for any fan of the ultimate fighting video game!
£22.94
Reaktion Books Joseph Beuys
Book SynopsisJoseph Beuys is arguably the most important and most controversial German artist of the late twentieth century, not least because his persona is interwoven with Germany's fascist past. This book illuminates two defining threads in Beuys's life and art: the centrality of trauma, and his sustained investigation of the very notion of art itself. In addition to the materials of fat and felt that Beuys used widely in his oeuvre, numerous Beuys artworks are autobiogra-ph-ical in content. His self-woven legend of rescue and redemption still strikes many as a highly inappropriate fantasy, or even an outright lie, located as it is in the harrowing context of the Second World War as it was lived by a German soldier or 'Nazi'. Nevertheless, Beuys's self-mythology confronted the post-traumatic, foregrounding his struggle for psychic recovery. Perhaps most importantly, this led to his major efforts to expand Western art, freeing artists after him to work in a thoroughly interdisciplinary way and to embrace anthropological conclusions about art and culture. Beuys's lived experience determined a consistent commitment to peaceful change and positive transformation not only through his work, but in the discussions and institutions he initiated. His notion of activism-as-art has not only become a widespread practice, but is predominant in contemporary art of the twenty-first century. Exploring Beuys's expansive conception of art and following him into the realms of science, politics and spirituality, this book, in contrast to many other accounts of Beuys's life, attributes extraordinary importance to his own myth-making as a positive force in the post-war confrontation of Germany's past.Trade Review..". presents an informative discourse of Beuysian work and 21st century art by addressing issues such as how the current practice of established codes of meaning and iconography fit Beuys' model. In doing so, this reader successfully meets its main aim, which was to reopen an 'international discussion on Joseph Beuys and his work.'" contemporary (U.K.)
£15.26
Bloomsbury Publishing PLC Touching and Imagining: An Introduction to
Book SynopsisJan Svankmajer wrote this remarkable book on tactile art when he stopped directing films and experimented intensively with tactile art after repeated censorship by the communist governmnent of Czechoslovakia. Illustrated with over 100 imges, this book is organised around many reproductions of Svanmajker's wondrous tactile art objects, tactile poems, experiments and games. It includes dialogues with, and artworks by, other collaborating artists from the Group of Czech and Slovak Surrealists. Svankmajer also gathers together as contributors such notable exponents of tactical experience as Edgar Allan Poe, Guillaume Appollinaire, Salvador Dali, Marcel Duchamp, Meret Oppenheim, Edith Clifford Williams, Ay-O, Valie Export, F.T. Marinetti and Karel Teige.Trade Review'It is typically vankmajer: erudite and very consequential. Sometimes also very funny and erotic. Totally unique and a brilliant example of how Czech intellectuals and artists were capable despite total isolation and censorship under Communism of discovering cosmopolitan islands of knowledge where you would least expect them.' Michael Havas, Czech documentary film producer/directorTable of ContentsList of Illustrations Acknowledgements Translator's Note Editor's Preface Introduction to the English Language Edition Tactilism Touch 1. Introduction 2. Between Utilitarianism and Imagination 3. Restorer 4. Sources of Tactile Imagination 5. Short Anthology of Tactile Art 6. Inside Afterword: Tactilism Reviewed Notes Bibliography Index
£22.99
Bloomsbury Publishing PLC Black Artists in British Art: A History since the
Book SynopsisBlack artists have been making major contributions to the British art scene for decades, since at least the mid-twentieth century. Sometimes these artists were regarded and embraced as practitioners of note. At other times they faced challenges of visibility - and in response they collaborated and made their own exhibitions and gallery spaces. In this book, Eddie Chambers tells the story of these artists from the 1950s onwards, including recent developments and successes. Black Artists in British Art makes a major contribution to British art history. Beginning with discussions of the pioneering generation of artists such as Ronald Moody, Aubrey Williams and Frank Bowling, Chambers candidly discusses the problems and progression of several generations, including contemporary artists such as Steve McQueen, Chris Ofili and Yinka Shonibare. Meticulously researched, this important book tells the fascinating story of practitioners who have frequently been overlooked in the dominant history of twentieth-century British art.Trade Review'Eddie Chambers' Black Artists in British Art is a breathtaking tour de force. Brilliantly conceptualised, beautifully written and inspirationally theorised, this volume's seminal contribution to art history is unparalleled. Spectacularly well researched and stunningly original, it is an exemplary scholarly feat, essential for researchers, students and general audiences alike, and one which offers yet further confi rmation of Chambers' reputation as the leading international scholar of his generation.' Celeste-Marie Bernier PROFESSOR OF AFRICAN-AMERICAN STUDIES, UNIVERSITY OF NOTTINGHAM; 'If you told most art-world types you were interested in black British art, they might point you to Yinka Shonibare, Chris Ofili, Steve McQueen, and-maybe-a couple of others. That's it. But if you really want to know about the history and context of this vital part of contemporary practice in the UK, Black Artists in British Art: A History Since the 1950s (I. B. Tauris) by Eddie Chambers is the book you need. Chambers writes an authoritative history of black British art, but also explores its fraught relationship with white, establishment institutions... a refreshing mix of the art historian's meticulous archival work, the thrilling, blow-by-blow account of the eyewitness, and the impassioned, candid argumentation of the seasoned critic.' - Chika Okeke-Agulu, ArtForumTable of ContentsBlack Artists in British Art: A History from 1950 to the Present Chapters Foreword: Celebrating Nelson’s Ships Introduction: Some Problems with History and its Treatment of Black-British Artists. Chapter One: The Pioneering Generation of Caribbean Artists Chapter Two: Early Contributions by South Asian Artists Chapter Three: The Significance of the 1970s Chapter Four: Uzo Egonu and Contemporary African Art in Britain Chapter Five: The Earliest Black-British Practitioners Chapter Six: South Asian Stories Chapter Seven: The ‘Black Art’ Generation and the 1980s Chapter Eight: The Rise and Fall of The Black-Art Gallery Chapter Nine: The Emergence of Black Women Artists: Arguments and Opinions Chapter Ten: Sonia Boyce and Other Black Women Artists Chapter Eleven: Substantial Sculpture: The work of Sokari Douglas Camp, Veronica Ryan, and Permindar Kaur. Chapter Twelve: Black Artists of the 1990s Generation Chapter Thirteen: The Triumphant Triumvirate: Yinka Shonibare, Chris Ofili, and Steve McQueen. Epilogue: The New Generation
£999.99
Bloomsbury Publishing PLC Delacroix and His Forgotten World: The Origins of
Book SynopsisThe image of Eugene Delacroix as an august artist with an august oeuvre was initially frozen into place by posthumous tributes and it has continued to the present. He was one of the finest yet least understood painters of the nineteenth century, the golden age of the French Romantic movement. He is remembered best for his masterpiece, La Liberte guidant le people, but few of his works have received the kind of constant, fascinated revisiting that has sealed the iconic status of Theodore Gericault's Le Radeau de la Meduse, for example. This book is one of the first to look carefully at individual paintings by Delacroix, especially at one of his most important works - a key but often overlooked painting from early Romanticism's heyday, Scene des massacres de Scio.Trade Review'Few Irish art historians tackle important international subjects. Mac Namidhe shows that it is possible to do so - and to excel,' Dublin Review of Books;Table of ContentsPreface Acknowledgements 1. Delacroix's Elusive Paintings 2. Isolation in David and Delacroix 3. Paint that Divides and Gathers 4. The Lost Romantic 5. Stendhal's Art Criticism Reconsidered Envoi Appendix 1 Appendix 2 Notes Select Bibliography Photo Credits Index
£52.25
Legenda Poetry, Painting, Park: Goethe and Claude Lorrain
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£999.99
John Hunt Publishing Digesting Recipes The Art of Culinary Notation
Book SynopsisChapters become courses in this curious feast, exploring the form of the recipe from post-war to today.
£9.49
Bloomsbury Publishing PLC Art and Emergency: Modernism in Twentieth-Century
Book SynopsisDuring states of emergency, normal rules and rights are suspended, and force can often prevail. In these precarious intervals, when the human potential for violence can be released and rehearsed, images may also emerge. This book asks: what happens to art during a state of emergency? Investigating the uneasy relationship between aesthetics and political history, Emilia Terracciano traces a genealogy of modernism in colonial and postcolonial India; she explores catastrophic turning points in the history of twentieth-century India, via the art works which emerged from them. Art and Emergency reveals how the suspended, diagonal, fugitive lines of Nasreen Mohamedi's abstract compositions echo Partition's traumatic legacy; how the theatrical choreographies of Sunil Janah's photographs document desperate famine; and how Gaganendranath Tagore's lithographs respond to the wake of massacre. Making an innovative, important intervention into current debates on visual culture in South Asia, this book also furthers our understanding of the history of modernism.Table of ContentsACKNOWLEDGEMENTS LIST OF ILLUSTRATIONS INTRODUCTION HISTORY AS PHOTOGRAPHY/PHOTOGRAPHY AS HISTORY CHAPTER ONE FUGITIVE LINES OF LIGHT: REVELATION PARTITION AND THE EMERGENCY OF 1975-77 CHAPTER TWO BEYOND EMERGENCY? THE EMERGENCE OF PHOTOGRAPHY DURING THE 1943-44 BENGAL FAMINE CHAPTER THREE EXCEPTIONAL MASSACRES: MECHANICAL REPRODUCTION IN THE AGE OF MARTIAL LAW C. 1905-29 POSTSCRIPT: AFTERIMAGES
£999.99
Archaeopress Narratives and Journeys in Rock Art: A Reader
Book SynopsisWhy publish a Reader? Today, it is relatively easy and convenient to switch on your computer and download an academic paper. However, as many scholars have experienced, historic references are difficult to access. Moreover, some are now lost and are merely references in later papers. This can be frustrating. This book provides a series of papers from all over the world that extend as far back as the 1970s when rock art research was in its infancy. The papers presented in the Reader reflect the development in the various approaches that have influenced advancing scholarly research.Table of Contents1. Seeing and Construing: The Making and ‘Meaning’ of a Southern African Rock Art Motif – by J.D. Lewis-Williams; 2. An Introduction to the Problems of Southern African Rock Art Regions: The Rock Art of Bongani Mountain Lodge and its Environs – by Jamie Hampson, William Challis, Geoffrey Blundell and Conraad De Rosner; 3. Fluvial erosion of inscriptions and petroglyphs at Siega Verde, Spain – by Robert G. Bednarik; 4. The Location of Prehistoric Rock Art in North-East England: An Experimental Approach to Field Survey – by Richard Bradley, Tess Durden and Nigel Spencer; 5. Beyond Art and Between the Caves: Thinking About Context in the Interpretive Process – by Margaret W. Conkey; 6. Transculturation, Rock Art and Cross-Cultural Contact – by Thomas Heyd; 7. The Cultural Context of Hunter-Gatherer Rock Art – by Robert Layton; 8. Who Thought Rock Art Was About Archaeology? The Role of Prehistory in Algeria’s Terror – by Jeremy Keenan; 9. The power of a place in understanding southern San rock engravings – by Janette Deacon; 10.Acoustic elements of (pre)historic rock art landscapes at the Fourth Nile Cataract – by Cornelia Kleinitz; 11. Unsettled times: shaded polychromes and the making of hunter-gatherer history in the southeastern mountains of southern Africa – by Aron D. Mazel; 12. Engraved in Place And Time: A Review of Variability in the Rock Art of the Northern Cape and Karoo – by David Morris; 13. Rock art and the material culture of Siberian and Central Asian shamanism – by Ekaterina Devlet; 14. Chronological Trends in Negev Rock Art: The Har Michia Petroglyphs as a Test Case – by Davida Eisenberg-Degen and Steven A. Rosen; 15. Making sense of obscure pictures from our own history: exotic images from Callan Park, Australia – by John Clegg; 16. Religious Spatial Behaviour: Why Space is Important to Religion – by Matthew Kelleher; 17. Bedrock notions and isochrestic choice: evidence for localised stylistic patterning in the engravings of the Sydney region – by Jo McDonald; 18. Rainbow Colour and Power among the Waanyi of Northwest Queensland – by Paul S. C. Taçon; 19. Caves as Landscapes – by Jean Clottes; 20. Landscape representations on boulders and menhirs in the Valcamonica-Valtellina area (Alps, Italy) – by Angelo Fossati; 21. Roaring Rocks: An Audio-Visual Perspective on Hunter-Gatherer Engravings in Northern Sweden and Scandinavia – by Joakim Goldhahn; 22. Rock Art and Archaeological Excavationin Campo Lameiro, Galicia: A new chronological proposal for the Atlantic rock art – by Manuel Santos Estévez and Yolanda Seoane Veiga; 23. The Shore Connection: Cognitive landscape and communication with rock carvings in northernmost Europe – by Knut Helskog; 24. Rock art as visual representation – or how to travel to Sweden without Christopher Tilley – by Liliana Janik; 25. A discovery of possible Upper Palaeolithic Parietal art in Cathole Cave, Gower Peninsula, South Wales – by George Nash, Peter van Calsteren, Louise Thomas and Michael J. Simms; 26. Images as Messages in Society: Prolegomena to the Study of Scandinavian Petroglyphs and Semiotics – by Jarl Nordbladh; 27. Approaches to Passage Tomb Art – by Muiris O’Sullivan; 28. Ritual Landscapes: Toward a Reinterpretation of Stone Age Rock Art in Trøndelag, Norway – by Kalle Sognnes; 29. Excavation of a rock art site at Hunterheugh Crag, Northumberland – by Clive Waddington with Benjamin Johnson and Aron Mazel; 30. From natural settings to spiritual places in the Algonkian sacred landscape: an archaeological, ethnohistorical, and ethnographic analysis of Canadian Shield rockart sites – by Daniel Arsenault; 31. In Small Cupules Forgotten: Rock Markings, Archaeology, and Ethnography in The Deep South – by Johannes H. N. Loubser; 32. Shamanism, Natural Modeling and the Rock Art Hunter-Gatherers – by David S. Whitley; 33. Tsagiglalal, She Who Watches: Rock Art as an Interpretable Phenomenon – by James D. Keyser; 34. Rocks in the landscape: managing the Inka agricultural cycle – by Frank Meddens; 35. On-Site and post-site analysis of pictographs within the San Pedro Viejo de Pichasca rock shelter, Limarí Valley, North-Central Chile – by Francisca Moya, Felipe Armstrong, Mara Basile, George Nash, Andrés Troncoso and Francisco Vergara
£71.25
Manchester University Press The Matter of Art: Materials, Practices, Cultural
Book SynopsisMaterials carried the meaning of early modern art. Transformed and crafted from the matter of nature, art objects were the physical embodiment of both the inherent qualities of materials and the forces of culture that used, refined and produced them. The study of materials offers a new approach to this important period in the history of art, science and culture, linking the close study of painting, sculpture and architecture to much wider categories of the everyday and the exotic. Drawing on research and models from anthropology, material culture and the history of art, scholars in The matter of art explore topics as diverse as Inka stonework, gold in panel painting, cork platforms for shoes, and the Christian Eucharist.Trade Review'…shows the reader that engagement with the particularities of medium can lead to the richest of interpretations.'Renaissance Quarterly'The Matter of Art is a volume of superb interdisciplinary criticism thoughtfully organized and presented in as compact and accessible form as could possibly be expected for all it achieves.'Sixteenth Century Journal -- .Table of ContentsPart I:Matter1. The matter of the medium: some tools for an art-theoretical interpretation of materials – Ann-Sophie Lehmann2. The matter of ideas in the working of metals in early modern Europe – Pamela H. Smith 3. On the origins of European painting materials, real and imagined – Anne Dunlop 4. Gold coins and gold leaf in early Italian paintings – Irma Passeri Part II: Practices5. The ‘Genealogy of Jean le Blanc’: accounting for the materiality of the medieval Eucharist – Aden Kumler 6. Lead white’s mysteries – Spike Bucklow 7. Material distinctions: plaster, terracotta and wax in the Renaissance artist’s workshop – Eckart Marchand 8. Rocks and reverence: Inka and Spanish perceptions of stonework in the early modern Andes – Carolyn Dean Part III: Cultural logics9. Precious stones, material beings: performative materiality in fifteenth-century northern art – Brigitte Buettner 10. Carving life: the meaning of wood in early modern European sculpture – Christina Neilson 11. Arti povere, 1300–1650 – Michael Cole 12. Polish stone, Venetian glass, and red Hungarian marble: the materials of a Renaissance chapel in Jagiellonian Poland – Katie Jakobiec 13. Reveal or conceal: chopines and the display of material wealth in early modern Valencia and Venice – Elizabeth Semmelhack 14. Entanglements of body, text and stone: the crafting and connoisseurship of inkstones in eighteenth-century China – Dorothy KoIndex
£20.99
Berghahn Books Designing Worlds: National Design Histories in an
Book Synopsis From consumer products to architecture to advertising to digital technology, design is an undeniably global phenomenon. Yet despite their professed transnational perspective, historical studies of design have all too often succumbed to a bias toward Western, industrialized nations. This diverse but rigorously curated collection recalibrates our understanding of design history, reassessing regional and national cultures while situating them within an international context. Here, contributors from five continents offer nuanced studies that range from South Africa to the Czech Republic, all the while sensitive to the complexities of local variation and the role of nation-states in identity construction.Trade Review “This highly interesting volume provides varied methodological approaches and contributions to new national design histories that will undoubtedly enhance research in global design studies.” • National Identities “…the contributions are valuable beyond question and the cases studied original. This book will therefore be a referent for future studies on national design histories.” • Journal of Design History “This is a lively, spirited, and imaginative volume whose editors have assembled an impressive range of contributions. It is likely to be embraced not just within design history but also by scholars working in comparative history, art history, spatial theory, and material culture.” • Peter McNeil, University of Technology, SydneyTable of Contents List of Illustrations Introduction: National Design Histories in an Age of Globalization Grace-Lees-Maffei and Kjetil Fallan Chapter 1. Designs on/in Africa Dipti Bhagat Chapter 2. Does Southern African Design History Exist? Deirdre Pretorius Chapter 3. Designing The South African Nation: From Nature To Culture Jacques Lange and Jeanne van Eeden Chapter 4. Resisting Global Homogeneity but Craving Global Markets: Kiwiana and Contemporary Design Practice in New Zealand Claudia Bell Chapter 5. Creativity within a Geographical-National Framework: From Modern Japanese Design to Pevsner’s Art Geography Ariyuki Kondo Chapter 6. Imagining the Indian Nation: The Design of Gandhi’s Dandi March and Nehru’s Republic Day Parade Suchitra Balasubrahmanyan Chapter 7. Troubled Geography: Imagining Lebanon in 1960s Tourist Promotion Zeina Maasri Chapter 8. Czech Glass or Bohemian Crystal? The Nationality of Design in the Czech Context Marta Filipová Chapter 9. The Myth of Danish Design and the Implicit Claims of Labels Stina Teilmann-Lock Chapter 10. Altering a Homogenized Heritage: Articulating Heterogeneous Material Cultures in Norway and Sweden Kjetil Fallan and Christina Zetterlund Chapter 11. A Special Relationship: The UK-US Transatlantic Domestic Dialogue Grace Lees-Maffei Chapter 12. Surveying the Borders: Authenticity in Mexican-American Food Packaging, Imagery and Architecture Nicolas P. Maffei Chapter 13. An Empire of One’s Own: Individualism and Domestic Built Form in 21st Century Jamaica Davinia Gregory Chapter 14. The Quest for Modernity: A Global/National Approach to a History of Design in Latin America Patricia Lara-Betancourt Chapter 15. Of Coffee, Nature and Exclusion: Designing Brazilian National Identity at International Exhibitions 1867 & 1904 Livia Rezende Index
£94.05
Scala Arts & Heritage Publishers Ltd Guercino's Friar with a Gold Earring: Fra
Book SynopsisWho is the intriguing man wearing a religious habit and a gold hoop earring in this portrait by Italian Baroque master Il Guercino? And why does he point to a stack of drawings? This fascinating book investigates The Ringling’s portrait of Fra Bonaventura Bisi, a Franciscan Minor Conventual friar whose work as an art dealer, printmaker, and celebrated painter of miniatures made him a major figure in the artistic culture of 17th-century Bologna. Beautifully illustrated, this volume offers new scholarship on both Guercino’s portrait and Fra Bisi’s life, including his extraordinary miniatures, his dogged pursuit of artworks for high-ranking collectors, his passionate efforts to promote the appreciation and collecting of drawings, and - not least - his incongruous gold hoop earring. Published to accompany an important exhibition of the same name at The Ringling (14 October 2023-07 January 2024), this book, based on years of research, provides a captivating glimpse into art making and art collecting in Baroque Italy.
£31.50
Flame Tree Publishing Vincent Van Gogh
Book SynopsisA gorgeous new edition with the cover printed on silver. Vincent van Gogh is considered one of the world's greatest painters, his work having had a huge and far-reaching influence on 20th-century art as well as remaining visually and emotionally powerful to this day. We all know of Van Gogh's troubled genius, but now through his letters to his brother Theo, as discussed in this beautifully illustrated and fascinating giftbook, you will discover the true depth of the artist's thoughts, beliefs, ambitions and his struggle with his mental illness. Containing translations of some of the most revealing letters and insightful commentary, alongside photographs of the letters themselves and his best-loved artworks, this is a real treat.
£21.25
Troubador Publishing Jenny Leach Paintings, Prints, Drawings from 1986
Book SynopsisAn inspired collection of the authors’ own work spanning 30 years into the ‘Visual Art Language’. Demonstrates a variety of mediums including oil paint, etching and drawing. Will appeal to readers with an interest in Fine Art, practitioners or those with an interest in the development of a visual language. This is a book of original art works comprising 49 colour and 62 black and white images, most are at full page size. The book is divided into six sections which look at different aspects of visual language in terms of either subject matter or media. It contains works from memory, etchings, still life, portrait, figure drawings and student work which form these six sections. Readers are able to see the development of a language which has evolved from early student work to current work. There are brief introductions to each section which aim to explain how the ideas came about, providing some detail about the artistic process, the inspiration behind the work and the challenges encountered along the way. Complementing the visual art are short and concise introductions to each section. A biography of the author is included at the end.
£18.75
Irish Academic Press Ltd Vicereines of Ireland: Portraits of Forgotten
Book SynopsisThis book tells the untold story of the women who were the faces of the British administration in Ireland. As the wives of the country''s viceroys, the vicereines were once the fashionable figureheads of social, cultural, and charitable life at Dublin Castle, in the days before Irish independence. Exploring the portraits, papers, and personal objects they left behind, this book sets out to recapture their lost legacies. Fabrics shimmer, flowers blossom, and pearls glint in the painted world of the vicereines. But behind these genteel images were activists and advocates who, as the studies in this book reveal, touched almost every facet of Irish life. Campaigns to develop hospitals, relieve poverty, promote Irish fashions, and, remarkably, mitigate what several perceived as the injustices of British rule in Ireland, are just some of their overlooked initiatives. The experiences and papers of the vicereines have much to tell us, not only about official Ireland but also about those whose identities are largely lost to history, such as orphans, artisans, and the working poor. Often sympathetic but sometimes apathetic, the contrasting attitudes of the vicereines suggest a fresh, more inclusive reading of the British administration in Ireland, as viewed not only through its men but also its women. Featuring essays by leading scholars and based on original sources, including diaries and letters, this beautifully illustrated book brings together text and image to create new and illuminating portraits of forgotten women.
£33.24
Bonnier Books Ltd Us and Them The Authorised Story of Hipgnosis
Book Synopsis'Hugely entertaining history' - MojoBetween the late '60s and early '80s, design house Hipgnosis created some of the most iconic and ubiquitous album artwork of all time. Their original lifespan coincided with the golden age of the 12-inch LP, beginning just as the Beatles' Sgt Pepper made the record sleeve the ultimate blank canvas and ending just as new technology looked set to usurp vinyl.Having originally been approached to design an album cover for their friends Pink Floyd, students Aubrey 'Po' Powell and Storm Thorgerson would go on to define the visual identity of rock and roll for the next fifteen years, swiftly gaining international prominence for their famed The Dark Side of the Moon artwork. This paved the way for other major musicians to set foot in the surreal photo-design world of Storm and Po, resulting in seminal Hipgnosis creations for the likes of Led Zeppelin, Paul McCartney, Genesis, Black Sabbath,
£13.49
Reaktion Books Utamaro and the Spectacle of Beauty: Revised and
Book SynopsisJapanese artist Kitagawa Utamaro (1753-1806) was one of the most influential artists working in the genre of ukiyo-e, `pictures of the floating world', in late eighteenth-century Japan, and was widely appreciated for his prints of beautiful women. In this book, Julie Nelson Davis draws on a wide range of period sources, makes a close study of selected print sets and reinterprets Utamaro in the context of his times. Offering a new approach to issues of the status of the artist and the construction of gender, identity, sexuality and celebrity in the Edo period, and now in an updated edition containing a new preface and many new images, this book is a significant contribution to the field, and will be a key work for readers interested in Japanese arts and cultures.Trade Review"By offering [a] new approach to the constructions of identity, to the roles of gender, sexuality and celebrity in the Edo period, Davis here makes a significant contribution to the field in showing us the constructed nature of the spectacle of beauty . . . her publishers have done her proud. Reaktion Books are always beautifully designed and this one, with its full-color illustrations from all the Utamaro series, its art paper and its elegant binding is one of the best."-- "Japan Times, on the previous edition" "Handsomely produced and copiously illustrated. . . . Davis has written a book that skillfully synthesizes a broad range of historical, cultural and artistic data that underscore the degree to which the conventional understanding of the floating world artist is an illusion constructed with the collusion of the viewer. General reader and scholars alike will appreciate her careful analyses of the multi-layered visual and verbal meanings of Utamaro's most familiar print series."-- "Print Quarterly, on the previous edition" "This beautifully illustrated volume presents an engaging argument which will be of interest to a readership with prior knowledge of Edo art history."-- "Art Book, on the previous edition" "Davis provides a succinct and credible overview of Utamaro's career, one devoid of the romanticized drama found in most treatments of this artist . . . Drawing on the research of Edo culture specialists, Davis treats the reader to a series of interesting and informative essays on such topics as the publishing industry, the Tenmei-era gesaku community, the history of the Yoshiwara and its protocols, the pseudoscience of physiognomy, and the Kansei reforms."-- "Monumenta Nipponica, on the previous edition" "Utamaro and the Spectacle of Beauty makes a significant contribution to the field of ukiyo-e studies by aptly showing that past readings of Utamaro as one au fait with the life of women has limited our understanding of the complexity of social factors that led to such a construct. By approaching her reading of the Utamaro style as the concept of a publishing industry geared to catering to the needs of the market, Davis opens up a broader reading of his work that reveals much about cultural and societal attitudes, particularly those related to the perception of women in the male-dominated Edo society."-- "Japanese Studies, on the previous edition"Table of ContentsIntroduction: Utamaro, Ukiyo-e and the City of Prints 1 Constructing the Artist Known as Utamaro 2 `Pictures of Beauties' and Other Social Physiognomies 3 Behind the Brocade and Other Yoshiwara Illusions 4 Utamaro and the Feminine Spectacle 5 Making History into the Pageant of the Floating World References Works Cited Acknowledgements List of Illustrations Index
£28.50
Reaktion Books A Band with Built-In Hate: The Who from Pop Art
Book Synopsis'Ours is music with built-in hatred.' Pete Townshend A Band with Built-In Hate pictures The Who through the prism of pop art and the levelling of high and low culture it brought about. Peter Stanfield guides us through the British pop revolution as it was embodied by the band: first, under the mentorship of arch-mod Peter Meaden; and then with Kit Lambert and Chris Stamp, two aspiring filmmakers, at the very centre of things in Soho. Guided by contemporary commentators - most conspicuously, Nik Cohn - Stanfield tells of a band driven by fury, and of what happened when they moved from explosive 45s to expansive concept albums. Above all, he describes how The Who confronted their lost youth as it was echoed in punk."Trade Review"Eloquently framing their success as the only successful 1960s UK pop/rock group that didn't want to be either the Beatles or the Rolling Stones, Stanfield locates the Who (and crucially their peak years, during which they were, he writes 'not copyists but innovators') at a boundary-breaking intersection of pop and art-rock." -- Tony Clayton-Lea * Irish Times *“There’s some very perceptive writing on the influence the Who had on the wider scene. . . . Essential reading for anyone who’s ever loved the Who, or wants an insight into the Sixties’ music scene that goes beyond greatest hits compilations and easy generalizations.” * Louder Than War *"If Roger Daltry's 2018 autobiography was a prosaic foot soldier's telling of the Who story, here is a view from the high plains. . . . The best parts of the book mirror the best of the Who, fizzing with ideas and connections. . . . This book vividly reanimates the nasty, transgressive, scene-shaping thrill of their beginnings." * Daily Mail *"[An] ear for apt detail enriches Stanfield's stolid account. He plumbs archives for ephemeral magazines and forgotten interviews to reveal more than the standard recitals of the works." * PopMatters *“Stanfield uncovers the underpinnings of the Who. . . . He has masterfully identified the mod, pop art, and art rock stages of the Who’s career for rock fans and general readers alike.” * Library Journal *"[The book] brings together some significant criticism of the Who, connecting them with all manner of cultural references, and is a valuable addition to my ever-expanding Who library. That the Who continue to be so well-served by knowledgeable authors is a tribute to their importance." -- Chris Charlesworth * Just Backdated *"A Band With Built-in Hate reaffirms the Who's importance to the rock and pop revolutions of the sixties and seventies." * Choice Magazine (UK) *"Stanfield examines how the Who took in disparate influences from outside the rock world—influences flying in from the fine and pop arts, youth culture, and so-on—and shipped them back out to be co-opted by everyone from the Creation to the Sex Pistols. It is the first deep, book-length look at an important aspect of the Who’s persona and art that is an integral portion of every book on the band." * Psychobabble *"The best book on the Who. Stanfield understands that they were built entirely around opposition—they didn’t want to be the Beatles or the Stones; they didn’t even want to be the Who most of the time. He smartly states the case for peak Who as transgressive, how their clashing obsessions with primitive rock’n’roll and sociological statements made them so exciting. He also wisely concentrates on their peak years, before pop solidified as rock, when the Who were the closest thing to pop art British music has ever produced." -- Bob Stanley, founding member of St Etienne and author of "Yeah Yeah Yeah: The Story of Modern Pop""With impressive eloquence, A Band with Built-in Hate situates '60s Britain's most volatile and incendiary group at the heart of pop's wild vortex, its sonic assaults on the class system and the cultural status quo. Stanfield digs brilliantly into the Who's transgressions, their upending of entertainment, their transmuting of pop music into art-rock and proto-punk. He can see for miles." -- Barney Hoskyns, author of "Lowside of the Road: A Life of Tom Waits" and "Major Dudes: A Steely Dan Companion""That the Who’s image was constantly shifting according to whatever they thought would best promote their music in the moment is the focus of Stanfield’s new book A Band with Built-In Hate. Stanfield examines how the Who took in disparate influences from outside the rock world—influences flying in from the fine and pop arts, youth culture, and so-on—and shipped them back out to be co-opted by everyone from the Creation to the Sex Pistols. It is the first deep, book-length look at an important aspect of the Who’s persona and art that is an integral portion of every book on the band. . . . Fills in the gaps of an important area of Who history." -- Mike Segretto, author of "The Who FAQ: All That's Left to Know About Fifty Years of Maximum R&B"
£21.25
Reaktion Books Lucas Cranach
Book SynopsisUnveils Lucas Cranach the Elder, an artist whose vision transcended personal brilliance.
£16.16
Intellect Books Responding to Site: The Performance Work of
Book SynopsisThis book focuses on the performance art of Marilyn Arsem, an internationally acclaimed performance artist known for her innovative and experimental work. Arsem’s work addresses women’s history and myth-making capacities, the potency of site and geography, the idea of the audience as witnesses and the intimacy of one-to-one works. One of the most prolific performance artists working in the United States today, Arsem performs carefully choreographed durational actions that are developed site-responsively and range from deceptively simple interventions to elaborately orchestrated actions. This edited volume seeks to extend Arsem’s legacy beyond the audiences of her live performances and enter her work into the lexicon of the art world. Accompanied by 200 images, this book will be of interest to scholars and students of performance studies, feminist performance, feminist art history and performance history. It will also contribute to the history of alternative spaces and galleries, which is only now being written. I have had the privilege of knowing Marilyn for over 30 years. Her work has given me so many epiphanies about live art, time-based art practice and durational performance practice. How and why do you choose a single action and enact it over an extended period of time? How do you respond to site and create a sacred meditational zone; a reflexive space about the human condition? And most importantly, how do you teach future generations about the importance of living while making art as a spiritual and philosophical practice? This book is yet another example of Arsem’s legacy. Fundamental, I’d say. Guillermo Gómez-Peña Watching Marilyn Arsem perform can be a slow, careful, vulnerable and heart-stoppingly profound experience. To see her is to know better the complex, intermingling particularities of body, space, time, being and action. Reading this comprehensive, lucidly written and deeply insightful book – the first significant publication on Arsem’s practice as a performance artist – will enable new perspectives on a major artist’s work. It also sheds vivid light upon enduring themes for the critical encounter with art: duration and doing, materiality and nothingness, truth and representation, commitment and experiment, togetherness and solitude, experience and endurance. Dominic Johnson, Queen Mary University of LondonTrade Review'With this long overdue publication, editors Jennie Klein and Natalie Loveless have successfully curated a volume that claims critical space for Arsem’s body and magnifies its distinct odor. [...] Beyond the critical essays, handfuls of performance photographs appear at the end of each section in the volume. Quite pleasurably, these visual vignettes bring the tactile environments of Arsem’s work into delicate focus. [...] Responding to Site validates the work of performance artists who most often operate outside the bounds of traditional time structures and codified performance spaces. The book is an indispensable resource for anyone interested in performance art and an integral monograph about one of the field’s most prolific makers.' -- Raegan Truax, TDR: The Drama Review'What this book does admirably well is to provide as much of an experience of Arsem’s work as possible considering the limitations of the medium of text. It also avoids falling into the trap of attempting to only represent her artistic output: the broad scope of the twelve essays in this collection ensures that Arsem’s work is situated in global social and political contexts, making this book a valuable resource for those not only interested in performance art, but in art theory and practice more generally. [...] Intrinsically ephemeral, transient and temporary Arsem’s work may be, but Responding to Site: The Performance Art of Marilyn Arsem nevertheless allows access to at least some aspects of this art, and the ethos of the artist. As such it is a significant resource, a valuable collection of artistic traces, an impactful archival document and a moving and engaging read.' -- Mareli Stolp, Journal for Artistic Research'Austere, demanding, rigorous, pedagogical while also rich, generous, kind, and companionable, the work of Marilyn Arsem has long been respected within a branch of performance art that has resisted commodification. This book extends knowledge of her work to those who have not been able to see it first hand. Extensive illustrations complement essays by academics, curators and fellow artists. Contextualising and analysing her practices from distinct viewpoints, each essay focuses upon particular works or bodies of work, building into a comprehensive offering. This is essential reading for an understanding of Arsem’s oeuvre.' -- Hilary Robinson, Loughborough University'I have had the privilege of knowing Marilyn for over 30 years. Her work has given me so many epiphanies about live art, time-based art practice and durational performance practice. How and why do you choose a single action and enact it over an extended period of time? How do you respond to site and create a sacred meditational zone; a reflexive space about the human condition? And most importantly, how do you teach future generations about the importance of living while making art as a spiritual and philosophical practice? This book is yet another example of Arsem’s legacy. Fundamental, I’d say.' -- Guillermo Gómez-Peña'Watching Marilyn Arsem perform can be a slow, careful, vulnerable and heart-stoppingly profound experience. To see her is to know better the complex, intermingling particularities of body, space, time, being and action. Reading this comprehensive, lucidly written and deeply insightful book – the first significant publication on Arsem’s practice as a performance artist – will enable new perspectives on a major artist’s work. It also sheds vivid light upon enduring themes for the critical encounter with art: duration and doing, materiality and nothingness, truth and representation, commitment and experiment, togetherness and solitude, experience and endurance.' -- Dominic Johnson, Queen Mary University of London'The performance work of Marilyn Arsem is always generous, stubborn, anxious, smarty-pants and beautiful as hell. Finally we have a book that equals this amazing and affective career that even now continues to grow, influence and surprise!' -- Pope.L'I am one of the lucky people to have participated in a workshop led by Marilyn Arsem. It changed my perspectives on seeing, thinking, making and teaching. This long-overdue encounter with Arsem's remarkable site responsive performance work opens with a Manifesto for Performance Art. We are told that performance art cannot be held, saved, reproduced; it is experienced. I believe that is true. But this carefully curated publication of photographs, accounts and essays, like Arsem's work, holds open the space for renewed attentiveness, allowing for a different but no less profound experience. This is a book that calls for your time.' -- Dee Heddon, University of GlasgowTable of Contents Acknowledgments Introduction: Responding to Site – Jennie Klein Performance Photographs 1987-1999 SECTION ONE: DURATION AND ACTION On Time at the Museum – Lucian O’Connor Salt, Stones, and Stars – Jeffery Byrd With the Others – Sandrine Schaefer The Lightness and Darkness of Becoming-Marilyn – Paul Couillard Performance Photographs 2003-2009 SECTION TWO: SITE AND HISTORY “Lux Balcanica est umbra Orientis” Marilyn Arsem’s Balkan Performances – Kristine Stiles Impossible Totalities: Political Performance as Palimpsest – El Putnam Dropping the Frame: Orpheus to Red in Woods – David P. Miller Performance as/of Shamanism and Mediumship: Writing Ada – John Dennis Anderson Performance Photographs 2010-2013 SECTION THREE: PERFORMANCE AND PEDAGOGY Some Thoughts on Teaching Performance Art, in Five Parts – Marilyn Arsem Dialogues with Absence: Reflections on Time and If to Drift – Sandra Johnston Documenting Arsem – Michael Woolley “Reminding Me Always that Nothing Remains”—Marilyn Arsem’s Performance and Pedagogy – Kathy O’Dell Performance Photographs 2013-2015 Afterword: Durational Forms and Pedagogical Encounters – Natalie Loveless Performance Photographs 2015-2019 Appendix: Arsem’s Performances 1967-2019 Author Biographies Further Reading Index
£26.55
Intellect Books Punk Art History: Artworks from the European No
Book SynopsisThe punk movement of the 1970s to early 1980s is examined as an art movement through archive research, interviews, and art historical analysis. It is about pop, pain, poetry, presence, and about a ‘no future’ generation refusing to be the next artworld avant-garde, instead choosing to be the ‘rear-guard’. Skov draws on personal interviews with punk art protagonists from London, New York, Amsterdam, Copenhagen, and Berlin, among others the members Die Tödliche Doris (The Deadly Doris), members of Værkstedet Værst (The Workshop Called Worst), Nina Sten-Knudsen, Marc Miller, Diana Ozon, Hugo Kaagman, as well as email correspondence with Jon Savage, Anna Banana, and Genesis Breyer P-Orridge. A large portion of the discussed materials stem from the protagonists' private archives, while some very public—scandalous and spectacular—events are discussed, too, such as the Prostitution exhibition at the ICA in London in 1976 and Die Große Untergangsshow (The Grand Downfall Show) in West-Berlin in 1981. The examined materials cover almost all media: paintings, drawings, bricolages, collages, booklets, posters, zines, installations, sculptures, Super 8 films, documentation of performances and happenings, body art, street art. What emerges is how crucial the concept of history was in punk at that point in time. The punk movement's rejection of the tale of progress and prosperity, as it was being propagated on both sides of the iron curtain, evidently manifested itself in punk visual art too. Central to the book is the thesis that punks placed themselves as the rear-guards, not the avant-gardes, a statement which was in made by Danish punks in 1981, when they called themselves “bagtropperne". Behind the rear-guard watchword was the rejection of the inherent notion of progress that the avant-garde name brings with it; how could a "no future" movement want to lead the way? Although aimed at students and scholars of art, design, music and performance history, the subject as well as the author’s accessible, occasionally playful style will no doubt draw readers with an interest in punk, music, and urban histories.Trade Review'Punk Art History is a dazzling and original exploration of punk’s relationship to contemporary art. Skov has produced a rigorously-researched, engaging, and accessible journey into punk’s art-historical foundations. Drawing on her PhD research, personal history, archival material, and interviews with those active within first-wave punk, Skov creates a tapestry of punk-art-history from Berlin, Copenhagen, Amsterdam, and London throughout the 1970s and 1980s. Her work is so rich it could be examined within a myriad of disciplines – art, music, subcultural studies, history, psychology – however, as a writer and researcher of punk and philosophy I found the philosophical threads running throughout Punk Art History the most fascinating and insightful aspect of her work. [...] Punk’s beauty lies in its ability to simultaneously embody both death and creation, and Skov demonstrates the plentiful ways in which punk-art captured this paradox. Furthermore, she eschews the ‘punk-as-postmodernism’ argument in favour of ‘punk-as-post-historical’, a reading which allows for a more fruitful discussion. [...] There is so much more to this work than I have managed to capture here – you’ll have to read it to find out.' Full review at Loud Women -- Grace Healy, Loud Women'Capturing the sharp, subversive energy that fueled punk art and music, Punk Art History is a blistering, scintillating chronicle of rebellious brilliance' -- Foreword'Skov describes incendiary punk artworks in vivid detail and with an eye for humor. The book is equally for scholars and for punk kids in cities with DIY music scenes.' -- Sarah Wolberg, Library Journal'What Skov has achieved with this book is to shine the light on a much-ignored part of punk, pulling on exemplary research and an insightful vision to illuminate an important art movement. It will be a sourcebook on the subject for many years to come. It is an essential addition to any serious punk library. Skov is a Danish art historian, author and curator based in Berlin. She works on the subjects of music, art and sexuality, with a historical focus on Surrealism and the punk movement of the 1970–80s. She is also an international affiliate of the Punk Scholars Network, and it’s clear from this book that she knows, and loves, her subject well' Full review at Louder Than War -- Mark Ray, Louder Than War“If you have ever wondered why you read about Marcel Duchamp in the morning, visit Kippenberger exhibitions in the afternoon, and listen to Black Flag or Suicide in a club at night, this is your book. It reveals the suspicion we’ve always had about the deep affinity between contemporary art and punk, that appropriation and do-it-yourself are the same, as much as the Sex Pistols’ ‘no future’ and Arthur Danto’s ‘The Death of Art.’ Marie Arleth Skov had that suspicion, because this is also a personal book: a story full of affinities shared in a wild cry that longs to destroy art in order to change life.” -- David G. Torres, art critic, curator, and professor, Barcelona“Punk Art History is an energetic, unique, and engaging exploration of punk’s relationship to both art and the associated discourse of art history. Marie Arleth Skov takes you along on a sometimes chaotic and dangerous journey, working the pressure points of her material focus with great detail, accuracy, and crossdisciplinary analysis.” -- Ian Trowell, independent scholar and writer, Cambridge“As an art historian who is both a fan and a scholar of punk, I have been waiting for someone to write this book! Punk Art History is the first real scholarly survey of both the art-historical influences and visual culture of the artists to emerge from punk in Europe and the United States. Rigorously researched and accessibly written, spanning Duchamp to Divine to Die Tödliche Doris, Marie Arleth Skov has finally written an art history that is truly punk AF.” -- Maria Elena Buszek, curator and professor, University of Colorado Denver'Punk Art History, which describes the history of artists, works and exhibitions that consciously stepped aside from the mainstream of art, is a refreshing reading experience precisely because it looks at Art history of the turn of the 1970s and 1980s from a fresh angle. Although the subculture formed around punk rock has already been studied in the 1970s, the areas of interest have recently expanded, as Skov brings out in this book, for example women's agency or scenes outside the Anglo-American context. Punk culture is also studied in new disciplines. Skov also reminds me that art history is a discipline where the study of punk culture is relatively new.' -- Riikka Niemelä, Tahiti - art history as a science [translated from Finnish through Google]Table of ContentsAcknowledgements 1 Prelude 1.1 What are we looking at? A punk art movement? 1.2 Negations, conflicts, and swindles: The elusiveness of punk 1.3 Case in point: The first Punk Art exhibition, 1978 1.4 Forty-five years of trying to capture the art in punk 2 Art Origins in the Story of Punk 2.1 The short version: From proto to post 2.2 Art school vs. hard school 2.3 Punk precursors: 1919, 1966, 1968 2.4 DIY: The DNA of punk 3 Pop Multiples, Camp Affirmations 3.1 Andy Warhol: "Hero of the Punks" 3.2 Hedonism as attack 3.3 Trash and travesty 4 The Weapons of the Underdog 4.1 Punk propaganda 4.2 Punk poetry 4.3 Crime as art, scandal as art 5 Art with No Future? 5.1 Originality and appropriation 5.2 Modernity in extremis 5.3 Avant-garde vs. rear-guard 6 Children Run Riot: The Art of the Infantile 6.1 Dead end kids 6.2 The Life of Sid Vicious: The sad, dead boy 6.3 "Infancy conforms to nobody" 7 Work vs. Play 7.1 Punk's homo ludens 7.2 Ingenious dilletantes 7.3 The Baby Wagner Lullaby, or: Brilliance blackout 8 SEX 8.1 Queer punks and dykes in high heels 8.2 Defiant prostitutes, porn artists & well-dressed whores 8.3 Sadism and submission 8.4 Punk feminism: Vamp up! 9 Pain and Presence 9.1 Performances and punches 9.2 "It hurts and looks cool!": Fetish fashion 9.3 Real romance? 10 Dystopian with a Twist 10.1 It's the end of the world 10.2 The Grand Downfall Show 10.3 Broken heroes, aces of failure 11 The Laws of the Lawless List of Interviews and Archives Notes Bibliography Index
£85.46
Intellect Contemporary Absurdities Existential Crises and
Book SynopsisAn edited collection consisting ofessays and artworks by distinguished andemerging theorists, artists, and scholars. Itexplains how our contemporary moment is absurdand how absurdity is a useful, potentially radicaltool within the contemporary.35 b&w illus.
£98.96
Archaeopress Greek Art in Motion: Studies in honour of Sir
Book SynopsisThis publication on Greek Art gathers a large number of studies presented at the International Congress ‘Greek Art in Motion’. Held in honour of Sir John Boardman’s 90th birthday, the congress took place at the Calouste Gulbenkian Foundation in Lisbon, 3-5 May, 2017. The volume first presents eight contributions by the keynote speakers who, as friends and students of Sir John, present a debate and a problematisation of Greek Art from the archaeological and historical point of view. Thereafter, 45 papers are divided into the different themes considered during the congress, all of which have greatly benefited from Sir John's researches throughout his long and distinguished academic career: Sculpture, Architecture, Terracotta and Metal, Greek Pottery, Coins, Greek History and Archaeology, Greeks Overseas, Reception and Collecting, Art and Myth.Table of ContentsPreface; John Boardman and Greek Sculpture – by Olga Palagia; Sanctuaries and the Hellenistic polis: an architectural approach – by Milena Melfi; ‘Even the fragments, however, merit scrutiny’ ancient terracottas in the field and the museum – by Lucilla Burn; The Good, the Bad, and the Misleading. A Network of Names on (mainly) Athenian Vases. – by Thomas Mannack; Studying gems: Collectors and Scholars – by Claudia Wagner; Buildings and History – by P. J. Rhodes; John Boardman at 90: ‘New’ Archaeology or ‘Old’? Confessions of A Crypto-Archaeologist – by Paul Cartledge; Some Recent Developments in the Study of Greeks Overseas – by Gocha R. Tsetskhladze; Sculpture; Godlike Images. Priestesses in Greek Sculpture – by Iphigeneia Leventi; The nude Constantinople. Masterpieces of Greek sculpture at Byzantium according to the Greek Anthology – by Carlos A. Martins de Jesus; Ornaments or amulets: a peculiar jewel on dedicatory statues – by Olympia Bobou; Architecture; Greek Emporios in Chios. The Archaeological Data from the Excavations of the Last Decades – by Kokona Roungou and Eleni Vouligea; Temples with a Double Cella. New Thoughts on a Little-Known Type of Temple – by Ugo Fusco; Terracotas and Metal; Images of Dionysos, Images for Dionysos: The God’s Terracottas at Cycladic Sanctuaries – by Erica Angliker; An Unusual Sympotic Scene on a Silver Cup from Ancient Thrace: Questions of Iconography and Manufacture – by Amalia Avramidou; Forgeries in a museum: a new approach to ancient Greek pottery – by Claudina Romero Mayorga; Beyond trade: the presence of Archaic and Classical Greek Bronze Vessels in the Northern Black Sea area – by Chiara Tarditi; Greek Pottery; Makron’s Eleusinian Mysteries: Vase-Painting, Myth, and Dress in Late Archaic Greece – by Anthony Mangieri; Timagoras: an Athenian Potter to be Rediscovered – by Christine Walter; Revisiting a Plate in the Ashmolean Museum: A new interpretation – by Marianne Bergeron; The Greek pottery of the Tagus estuary – by Ana Margarida Arruda and Elisa de Sousa; Vases on Vases. An Overview of Approaches – by Konstantina Tsonaka; Intriguing Objects of Desire: Collecting Greek Vases, a Short History Unfolded – by Daniela Freitas Ferreira; Youth in an enclosed context: new notes on the Attic pottery from the Iberian Tútugi necropolis (Granada, Galera) – by Carmen Rueda and Ricardo Olmos; An overview of Brazilian Studies on Greek Pottery: tradition and future perspectives – by Carolina Kesser Barcellos Dias and Camila Diogo de Souza; Coins; Sculptures and coins. A contextual case study from Side – by Alice Landskron; The romanitas of Mark Antony’s eastern coins – by João Paulo Simões Valério; War and Numismatics in Greek Sicily: Two sides of the same coin – by José Miguel Puebla Morón; Iconography of Poseidon in the Greek coin – by María Rodríguez López; The Silver Akragatine Tetradrachms with quadriga: A New Catalogue – by Viviana Lo Monaco; Gems and Glass; Why was Actaeon punished? Reading and seeing the evolution of a myth – by José Malheiro Magalhães; Greek Myth on Magical Gems: Survivals and Revivals – by Paolo Vitellozzi; From routine to reconstruction – by Susan Walker; Greek History and Archaeology; The Database of the Iberia Graeca Centre – by Xavier Aquilué, Paloma Cabrera and Pol Carreras; The Greeks overseas: a bioarchaeological approach – by Tasos Zisis and Christina Papageorgopoulou; The Messenian island of Prote and its relation to navigation in Greece and the Mediterranean – by Stamatis A. Fritzilas; Naukratis - Yet Again – by Astrid Möller; The Tomb of the Roaring Lions at Veii: Its Relation to Greek Geometric and Early Orientalizing Art – by Gabriele Koiner; Perserschutt in Eretria? Pottery from a pit in the Agora – by Tamara Saggini; Greeks Overseas; A Bridge to Overseas. Insight into the geomorphology, harbourworks and harbour layouts of the Archaic and Classical Greek harbours – by Chiara Maria Mauro; Gandharan Odalisque: Mounted Nereids on Gandharan Stone Palettes – by SeungJung Kim; The Attic Pottery from the Persephoneion of Locri Epizefiri between Ritual Practices and Worship – by Elvia Giudice and Giada Giudice; Was Knossos a home for Phoenician traders? – by Judith Muñoz Sogas; Greek Divine Cures Overseas: Italian Realisations of the Greek Paradigm – by Lidia Ożarowska; Reception and Collecting; Wine and blood? Dionysus, Other Gods and Heroes in a Catholic Chapel of Britiande (Lamego, Portugal) – by Nuno Resende; Pavlovsk Imperial villa and its collections: from the first stage of antiquities collecting and archaeology in Russia – by Anastasia Bukina and Anna Petrakova; Art and Myth; Greek Myths Abroad. A Comparative, Iconographic Study of Their Funerary Uses in Ancient Italy – by Valeria Riedemann Lorca; Orphica non grata? Underworld Palace Scenes on Apulian Red-Figure Pottery Revisited – by Karolina Sekita; Geryon in Tatarli – by Malcolm Davies; New Identifications of Heroes and Heroines on the West Pediment of the Parthenon: The Case of P, Q, and R – by Ioannis Mitsios; A new Sicilian curse corpus: blueprint for a geographical - chronological analysis of defixiones from Sicily – by Thea Sommerschield; Once again: A sacrificing goddess. Demeter - what´s up with her attribute? – by Maria Christidis and Heinrike Dourdoumas; Greek Divine Cures Overseas: Italian Realisations of the Greek Paradigm – by Lidia Ożarowska
£71.25
Archaeopress Art of the Ancestors: Spatial and temporal
Book SynopsisThis volume presents a new systematic approach to the archaeological recording and documentation of rock art developed to analyse the spatial and temporal structure of complex rock art panels. Focusing on the ceiling art at Nawarla Gabarnmang, one of the richest rock art sites in Arnhem Land the approach utilised DStretch-enhanced photographs to record 1391 motifs from 42 separate art panels across the ceiling. Harris Matrices were then built to show the sequence of superimpositions for each art panel. Using common attributes, including features identified by Morellian Method (a Fine Art method not previously employed in archaeological rock art studies), contemporaneous motifs within panels were then aggregated into individual layers. The art layers of the various panels were then inter-related using the relative and absolute chronological evidence to produce a full relative sequence for the site as a whole. This provided a story of the art that began some 13,000 years ago and concluded around 60 years ago, with a major change identified in the art some 450 years ago. The method was shown to be invaluable to the resolution of many difficult issues associated with the identification of motifs, their superimpositions and the development of art sequences.Table of Contents1. INTRODUCTION ; 2. JAWOYN LANDS: PHYSICAL ENVIRONMENT ; 3. JAWOYN PEOPLE, CULTURE AND COUNTRY ; 4. ARNHEM LAND ARCHAEOLOGY ; 5. RESEARCH METHODS ; 6. NAWARLA GABARNMANG AND ITS ARCHAEOLOGICAL CONTEXT ; 7. THE CEILING GALLERY ; 8. LAYERS OF TIME ; 9. ART IN TIME AND SPACE ; 10. INTERPRETING JAWOYN ROCK ART ; 11. A STORY OF ART ; REFERENCES ; APPENDIX 1: Nawarla Gabarnmang motif list including Panel Art Phase and Site Art Assemblage
£221.90
Archaeopress A Quaint & Curious Volume: Essays in Honor of
Book SynopsisJohn J. Dobbins, Professor of Roman Art and Archaeology, taught at the University of Virginia in the Department of Art from 1978 until his retirement in 2019. His legacy of research and pedagogy is explored in A Quaint & Curious Volume: Essays in Honor of John J. Dobbins. Professor Dobbins’ research in the field of Roman art and archaeology spans the geographical and chronological limits of the Roman Empire, from Pompeii to Syria, and Etruria to Spain. This volume demonstrates some of his wide-reaching interests, expressed through the research of his former graduate students. Several essays examine the city of Pompeii and cover the topics of masonry analysis, re-examinations of streets and drains, and analyses of the heating capacity of baths in Pompeii. Beyond Pompeii, the archaeological remains of bakeries are employed to elucidate labor specialization in the Late Roman period across the Mediterranean basin. Collaborations between Professor Dobbins and his former students are also explored, including a pioneering online numismatic database and close examination of sculpture and mosaics, including expressions of identity and patronage through case studies of the Ara Pacis and mosaics at Antioch-on-the-Orontes. A Quaint & Curious Volume not only demonstrates John Dobbins’ scholarly legacy, but also presents new readings of archaeological data and art, illustrating the impact that one professor can have on the wider field of Roman art and archaeology through the continuing work of his students.Table of ContentsPreface: J.J. Dobbins e il Foro di Pompei (Pier Giovanni Guzzo) ; Introduction: John Dobbins as Archaeologist, Teacher, and Mentor (Dylan K. Rogers and Claire J. Weiss) ; Masonry Analysis at Pompeii: The Maturation of a Stratigraphic Method (Eric Poehler) ; Disentangling the via del Foro Colonnade at Pompeii (Claire J. Weiss) ; Drain Outlets and the Pompeian Street: Evidence and Meaning (Janet S. Dunkelbarger) ; Heating the Stabian Baths at Pompeii (Ismini Miliaresis) ; Pistore Panem Petimus: Specialization in the Late-Roman Baking Industry (Jared Benton) ; The Fralin Numismatic Collection: Ten Years Later (Ethan Gruber) ; Dynamic Identity: Dynamis on the Ara Pacis Augustae (R. Benjamin Gorham) ; The Mosaics of the House of the Boat of Psyches: Reexamining Identity in Antioch (Elizabeth M. Molacek and Dylan K. Rogers)
£46.55
Archaeopress A Classical Archaeologist’s Life: The Story so
Book SynopsisA Classical Archaeologists’s Life: The Story so Far shows that a scholar’s life is not all scholarship, though much of this book is devoted to the writing of books and, especially, travel to classical and other lands. Boardman is a Londoner, born in Ilford and attending school in Essex (Chigwell). His teenage years were spent often in air raid shelters rather than with ‘mates‘ (all evacuated). There are distinctive ‘aunties’, the rituals of daily life in a London suburb. The non-scholarly figures live large in this account of his life, marriage, children, new houses. At Cambridge he learned about classical archaeology as a necessary addition to reading Homer and Demosthenes, even being obliged to recite the latter. And those were the days of Bertrand Russell’s lectures in a university reawakening after the war. Thence to the British School at Athens to learn about excavation (Smyrna, Knossos, later Libya). His return from Greece was to Oxford, not Cambridge, at first in the Ashmolean Museum, then as Reader and Professor. A spell in New York gives an account of the city before the troubles, when Petula Clark’s Down Town was dominant. There is much here to reflect on university life and teaching, and on the reasons for and problems with the writing of his many books (some 40), with reflection on the university, colleges and their ways. Travels are well documented – a notable trip through Pakistan and China, in Persia, Egypt, Turkey – with comment on what he saw and experienced beyond archaeology. A lecture tour in Australia provides comment beyond the academic. He visited Israel often, lecturing and publishing for the Bible Lands Museum. Several tours in the USA took him to most of their museums and universities as well as many other sights, from glaciers to alligators. This book is a mixture of scholarly reminiscence, reflection on family life, travelogue, and critique of classical scholarship (not all archaeological) worldwide, illustrated with pictures of travels, friends, home life, and, for a historian, a reflection on experiences of over 90 years.Trade Review'Few who have investigated the world of classical archaeology over the past 60 years can have failed to benefit from consulting John Boardman’s many and varied publications. His central position continues to be paramount, and in this book we have his spirited account of his career, the researches he has carried out, the travels he has undertaken, and the home life and friendships he has enjoyed over the past 90 years.' - Brian A. Sparkes (2020), Classics for All'How John managed any teaching is amazing, given his travel accounts. Numerous and fascinating, whether undertaken for research or for pleasure (e.g., the Swan Hellenic Cruises), they cover most of Asia, part of the Near East and Africa, a great deal of Australia as well as Europe, and even the New World (Mexico), many of them revealing his ever expanding interest in the Greeks overseas and their (even if remote) influence on others’ arts and cultures, some as remote as India and China.' - Brunilde Ridgway (2021), Bryn Mawr Classical Review'Archaeopress has established a series on the lives of archaeologists, many of them like a recent study by David Gill of Dr John Disney who was the benefactor of the Disney Chair of Archaeology at Cambridge in the nineteenth century, long dead. In the case of the current volume we are given a lively and often entertaining account of a life, both personal and professional, by a lively and much-loved archaeologist, still active in his nineties. - Martin Henig (2021), Association for Roman Archaeology News'This book is a must for anyone interested in the ancient world and represents a unique chronicle of an extraordinary scholar.' - Mark Merrony (2021), ANTIQVVSTable of ContentsA Note to the Reader; PART I; Starters; Family and friends; Home; Redbridge School; Chigwell School: the War; A Return to Chigwell and Ilford; Cambridge: Magdalene College; Greece I (1948-50); Excavation I – Smyrna/Izmir Bayrakli; Return to Britain 1950; The Army – Marriage; Greece II (1952-5); Excavation II; Oxford, an Academic Career; Living in Oxford; Excavation III – Tocra; The United States; Homes: the Cottage, Woodstock; Other Travelling; Dreams; Films and TV; On Health and Old Age; Cars; Julia and Mark, the Wider Family; Ninety+; PART II: BOOKS AND ACADEMIA; Starting to Write Books; Oxford and Cambridge; Books; Dealers; Pupils; Conferences Overseas; Friends and Families; The Parthenon; Memberships; Glittering Prizes; Money; Religion; Poetry; PART III: GEMS, BOB AND CLAUDIA; Gems; Afterword; Bibliography; Index of People; Index of Places
£23.75
Archaeopress Anthropomorphic Images in Rock Art Paintings and
Book SynopsisIn the realm of rock art, humanlike images appear widely through time and space from the Upper Palaeolithic to the Neolithic and Bronze Ages, and for some continents to later, yet still prehistoric, times. The artworks discussed in Anthropomorphic Images in Rock Art Paintings and Rock Carvings range from paintings, engravings or scratchings on cave walls and rock shelters, images pecked into rocky surfaces or upon standing stones, and major sacred sites (among them Gobekli Tepe, Avebury, Stonehenge, and the Palaeolithic Chauvet Cave) in which the possibility exists of recovery of the meanings intended by the artists and sculptors. Such prospects can relate to known or inferred legends, myths, folklore, rites and ritual, and often allude to matters that recognise the unremitting benefits of human, animal and crop fertility to humankind. Occasionally, relevant art forms are present not in whole but as pars pro toto, in which a part stands for or symbolises the whole. Images or artistic compositions often articulate, in ways more or less manifest, scenes of dramatic action as with hunting and dancing, mating and birthing, ritual and ceremony, some of which may openly or latently express yearnings for the rewards of fruitful fecundity – as with the much-loved worldview known as the hieros gamos or Sacred Marriage.Table of ContentsContinental Europe and Britain and Ireland ; Chapter 1: Fertility Petroglyphs at Drombeg Stone Circle Help Explain Through Hieros Gamos the Calendar Planning Principles of Drombeg and Other Recumbent Stone Circles Including Stonehenge - Terence Meaden ; Chapter 2: Hieros Gamos—ἱερός γάμος—Symbol of Fertility and Orphism in Thracian Ideology - Stavros D. Kiotsekoglou ; Chapter 3: An Image Description Method to Access Palaeolithic Art: Discovering a Visual Narrative of Gender Relations in the Pictorial Material of Chauvet Cave - Gernot Grube ; Chapter 4: The Grotta Palmieri of Lettopalena (Chieti, Abruzzo): Preliminary Presentation of a New Site with Rock Paintings - Tomaso Di Fraia ; Chapter 5: Representations of the Human Figure in the Anfratto Palmerini on Monte La Queglia: Engravings, Paintings, Symbols - Guido Palmerini ; Chapter 6: A Unique Example of Engraved Transfigurative Rock Art at Avebury Cove in Wessex, Southern England - Terence Meaden ; Chapter 7: Anthropomorphic Images in High Lunigiana, Massa Carrara, Italy - Angelina Magnotta Chapter 8: A Rock Art Site on the Avebury Hills in Wessex Whose Images Express a Perception of Death and Possibly a Mystical Link to the Solstice Sunsets - Terence Meaden ; Asia ; Chapter 9: Gobekli Tepe, Anatolia, Turkey – the Womb of the Mother Goddess - Anu Nagappa Chapter 10: Revelatory Style Art: The Human-plant Engagement Revealed by the Jiangjunya Petroglyph, China - Feng Qu ; Australia ; Chapter 11: Anthropomorphic Engraved Images in South-East Queensland, Australia - Marisa GiorgiChapter 12: Anthropomorphic Images in Australian Rock Art through Time and Space - Mike Donaldson ; Africa ; Chapter 13: The Postures of Childbirth in the Bovidian Women in the Rock Art of Tassili N’ajjer, Central Sahara of Algeria - Hassiba Safrioun and Louiza Belkhiri ; North America ; Chapter 14: What Can Be Learnt from Body Postures and Gestures of Anthropomorphic Figures in Petroglyphs of the Southwest USA - Carol Patterson ; Chapter 15: Some Select Vulva Rock Petroglyphs and Forms in North America - Herman E. Bender ; Chapter 16: Manitou or Spirit Stones and Their Meanings, Personification and Link to the Native American Cultural Landscape in North America - Herman E. Bender ; Chapter 17: Multi-Layered Meanings in Anthropomorphic Figures in Yokuts and Western Mono Rock Art, California - Mary A. Gorden ; Chapter 18: The Thunderbird in Native American Rock Art - Herman E. Bender ; South America ; Chapter 19: Anthropomorphic Representations in the Cave Paintings Located in the Archaeological Region of Seridó in Brazil - Nathalia Nogueira and Daniela Cisneiros ; Chapter 20: Anthropomorphic Figures at the Alto De La Guitarra Site, Moche Valley, Peru - María Susana Barrau and Daniel Castillo Benítez ; Chapter 21: Exceptional Anthropomorphic Figures at the Monte Calvario Site, Poro Poro, Cajamarca, Peru - Daniel Castillo Benítez and María Susana Barrau Index
£52.25
Archaeopress Peintures et gravures rupestres des Amériques:
Book SynopsisThe rock art of the Americas was produced at very different times and by different cultures, both by hunter-gatherers, fishermen and by farmers from village or state societies. Each group can be characterised by diverse styles and techniques. The function of rock art depended on religious, political or social concerns that referred to a particular context and time. Peintures et gravures rupestres des Amériques: Empreintes culturelles et territoriales presents the proceedings from Session XXV-3 of the XVIII UISPP World Congress (4-9 June 2018, Paris, France). Papers address the following questions: How does the study of rock art make it possible to culturally characterize its authors? What does it tell us about the function of sites? How and under what circumstances does it make it possible to delimit a cultural territory? The six articles in this volume provide case studies from Mexico, El Salvador, Costa Rica, French Guiana and Chile.Table of ContentsIntroduction – Brigitte Faugère et Philippe Costa ; Une technique pour un peuple : Le cas d’une tradition rupestre majeure du Salvador – Philippe Costa ; Peintures et gravures rupestres du nord du Michoacán, Mexique : Caractérisation culturelle et iconographie – Brigitte Faugère ; Grottes de pétroglyphes qui “avalent” le soleil – Joseph B. Mountjoy ; Pétroglyphes, religion et organisation politique au sud du Costa Rica – Felipe Sol ; Les sites d’art rupestre de Guyane française dans les contextes local, régional et anthropologique – Gérald Migeon ; Les représentations d’objets de métal dans l’art rupestre du río San Juan del Oro (Bolivie méridionale) – Françoise Fauconnier ; Auteurs
£26.60
Archaeopress Barbaric Splendour: The Use of Image Before and
Book SynopsisBarbaric Splendour: the use of image before and after Rome comprises a collection of essays comparing late Iron Age and Early Medieval art. Though this is an unconventional approach, there are obvious grounds for comparison. Images from both periods revel in complex compositions in which it is hard to distinguish figural elements from geometric patterns. Moreover, in both periods, images rarely stood alone and for their own sake. Instead, they decorated other forms of material culture, particularly items of personal adornment and weaponry. The key comparison, however, is the relationship of these images to those of Rome. Fundamentally, the book asks what making images meant on the fringe of an expanding or contracting empire, particularly as the art from both periods drew heavily from – but radically transformed – imperial imagery.Trade Review‘Well-illustrated, full of new insights and breaking down barriers, this important publication is to be welcomed and, I am sure, will be used as a model for examining further types of material from these two periods of ‘barbaric splendour’ in the future.’ – Michael King (2022): Medieval Archaeology, 66/1, 2022Table of ContentsPreface ; Barbaric tendencies? Iron Age and early medieval art in comparison – Toby F. Martin ; In the eye of the dragon: how the ancient Celts viewed the world – Laurent Olivier ; Variations on a theme? Examining the repetition of patterns on British Iron Age art – Jody Joy ; Changing perspectives in southwest Norwegian Style I – Elna Siv Kristoffersen and Unn Pedersen ; Helmets and headaches: thoughts on the Staffordshire Hoard helmet – George Speake ; ‘Magnificent was the cross of victory’: the great gold cross from the Staffordshire Hoard – Chris Fern ; The materiality of faces – Charlotte Behr ; Insular numismatics: the relationship between ancient British and early Anglo-Saxon coins – Anna Gannon
£33.25
Archaeopress The Global Connections of Gandhāran Art:
Book SynopsisGandhāran art is often regarded as the epitome of cultural exchange in antiquity. The ancient region of Gandhāra, centred on what is now the northern tip of Pakistan, has been called the ‘crossroads of Asia’. The Buddhist art produced in and around this area in the first few centuries AD exhibits extraordinary connections with other traditions across Asia and as far as the Mediterranean. Since the nineteenth century, the Graeco-Roman associations of Gandhāran art have attracted particular attention. Classically educated soldiers and administrators of that era were astonished by the uncanny resemblance of many works of Gandhāran sculpture to Greek and Roman art made thousands of miles to the west. More than a century later we can recognize that the Gandhāran artists’ appropriation of classical iconography and styles was diverse and extensive, but the explanation of this ‘influence’ remains puzzling and elusive. The Gandhāra Connections project at the University of Oxford’s Classical Art Research Centre was initiated principally to cast new light on this old problem. This volume is the third set of proceedings of the project’s annual workshop, and the first to address directly the question of cross-cultural influence on and by Gandhāran art. The contributors wrestle with old controversies, particularly the notion that Gandhāran art is a legacy of Hellenistic Greek rule in Central Asia and the growing consensus around the important role of the Roman Empire in shaping it. But they also seek to present a more complex and expansive view of the networks in which Gandhāra was embedded. Adopting a global perspective on the subject, they examine aspects of Gandhāra’s connections both within and beyond South Asia and Central Asia, including the profound influence which Gandhāran art itself had on the development of Buddhist art in China and India.Table of ContentsPreface – Wannaporn Rienjang and Peter Stewart (vi-vii): DOI: 10.32028/9781789696950-1 ; Part 1 Global perspectives ; Gandhāra perceptions: the orbit of Gandhāran studies – Warwick Ball (1-25): DOI: 10.32028/9781789696950-2 ; Part 2 The Graeco-Roman connection ; On the crossroads of disciplines: Tonio Hölscher’s theory of understanding Roman art images and its implications for the study of western influence(s) in Gandhāran art – Martina Stoye (29-49): DOI: 10.32028/9781789696950-3 ; Roman sarcophagi and Gandhāran sculpture – Peter Stewart (50-85): DOI: 10.32028/9781789696950-4 ; The transmission of Dionysiac imagery to Gandhāran Buddhist art – Tadashi Tanabe (86-101): DOI: 10.32028/9781789696950-5 ; Part 3 Asian influences ; Buddha on the Rocks: Gandhāran connections through the Karakorum mountains – M. E. J. J. van Aerde, A. D. L. Mohns, and A. G. Khan (105-134): DOI: 10.32028/9781789696950-6 ; Buddhist temples in Tukhāristān and their relationships with Gandhāran traditions – Shumpei Iwai (135-155): DOI: 10.32028/9781789696950-7 ; More Gandhāra than Mathurā: substantial and persistent Gandhāran influences provincialized in the Buddhist material culture of Gujarat and beyond, c. AD 400-550 – Ken Ishikawa (156-204): DOI: 10.32028/9781789696950-8 ; Part 4 Gandhāra and China ; Cross-cultural Buddhist monastery ruins on the Silk Road and beyond: the layout and function of Buddhist monasteries reconsidered – Joy Yi Lidu (207-233): DOI: 10.32028/9781789696950-11 ; The sinicization and secularization of some Graeco-Buddhist gods in China – Juping Yang (234-247): DOI: 10.32028/9781789696950-9 ; Part 5 Epilogue ; De-fragmenting Gandhāran art: advancing analysis through digital imaging and visualization – Ian Haynes, Iwan Peverett, Wannaporn Rienjang with contributions by Luca M. Olivieri (251-264): DOI: 10.32028/9781789696950-10
£42.75
Archaeopress The World of Disney: From Antiquarianism to
Book SynopsisDr John Disney (1779-1857) was the benefactor of the first chair in archaeology at a British university. He also donated his major collection to the University of Cambridge. The sculptures continue to be displayed in the Fitzwilliam Museum. The Disney family traced its origins back to the Norman invasion of England, and the family home was at Norton Disney in Lincolnshire. Disney’s father, the Reverend John Disney DD (1746-1816) left the Church of England to become a minister at the Unitarian Essex Street Chapel in London. A major sponsor of the chapel was Thomas Brand-Hollis of The Hyde, Essex, who bequeathed the house and his Grand Tour collection (formed with Thomas Hollis) on his death in 1804 to the Reverend John Disney. Disney inherited part of the classical collection of his uncle and father-in-law Lewis Disney-Ffytche, owner of the 18th century pleasure gardens, Le Désert de Retz, outside Paris. Disney’s brother-in-law was Sir William Hillary, founder of the RNLI. Disney was instrumental in the creation of the Chelmsford Museum through the Chelmsford Philosophical Society, and the formation of the Essex Archaeological Society.Trade Review'[The book] concerns the family history of John Disney (1779–1857), who inherited a very important collection of antiquities, some of which he gave to Cambridge University, where he went on to found the premier chair of archaeology in Britain. - Martin Henig (2021): Journal of the History of CollectionsTable of ContentsIntroduction ; Chapter 1: The Disney Family ; Chapter 2: The Break with the Church of England ; Chapter 3: Collectors of the Grand Tour: Thomas Hollis and Thomas Brand ; Chapter 4: The Disney-Ffytche Family and Essex ; Chapter 5: Life at The Hyde and its Collection ; Chapter 6: Disney and Learned Societies ; Chapter 7: The Museum Disneianum and Cambridge ; Chapter 8: Going for Gold ; Chapter 9: The Disney Legacy ; Abbreviations ; Bibliography ; Index
£23.75
Archaeopress Rocks of Ages: Developing Rock Art Tourism in
Book SynopsisRocks of Ages: Developing Rock Art Tourism in Israel presents the findings of an interdisciplinary project aimed at safeguarding the future of this unique resource. Cultural heritage in the Negev desert region of Israel is potentially under threat from a number of social, political and economic activities such as militarization, settlement and tourism, resulting in significant environmental change. The cultural heritage and archaeology extend back at least a quarter of a million years but also include a unique engraved rock art assemblage that dates to at least 3000 BCE. These engravings form a clear association with other relic monuments including prehistoric and protohistoric settlements, agricultural and irrigation regimes, and the remnants of a nomadic way of life. But how can this unique cultural heritage survive in the long-term? In December 2017, an international conference was held at Mitzpe Ramon attended by academics, heritage professionals and individuals from the tourism industry. The meeting centered on the dissemination of the findings from the Integrative Multilateral Planning to Advance Rock Art Tourism (IMPART) research project. Formed from an interdisciplinary team of Israeli-Italian scholars, the IMPART researchers collaborated to conduct archaeo-ecological and socio-touristic research with the goal of establishing an authoritative set of sustainable best practices for effectively valorizing Negev rock art. Based on the successful outcome of this research dynamic, the book is organized into 12 thought-provoking chapters that identify and analyze the cultural heritage, archaeology and tourism geographies that fill the multilayered Negev landscape. The focus throughout is to find ways to preserve this unique heritage for future generations while striking a balance between these fragile resources and the pressures for development of the desert.Table of ContentsForeword – Steven A. Rosen ; Preface ; Part I: The Dynamics of Negev Rock Art Tourism ; Rock Art in the Negev – IMPART ; Negev Highlands Tourism – Dan Gur and IMPART ; Quantitative Analysis of Negev Tourism Data – Sara Levi Sacerdotti and IMPART ; Qualitative Analysis of Negev Tourism Data – Sara Levi Sacerdotti and IMPART ; Establishing a Benchmark for Open-Air Rock Site Management – Sara Levi Sacerdotti and IMPART ; Notes from an Ethnographic Field Survey of the Negev Highland Bedouin – Joshua Schmidt ; Part II: Ramat Matred Surveys ; Ecological Survey at Ramat Matred – Ron Frumkin ; Archaeological Survey at Ramat Matred – Davida Eisenberg-Degen ; The Rock Art and Archaeological Surveys at Ramat Matred – Ifat Shezaf ; GIS Visualization of the IMPART Surveys (Figures 10.1 to 10.10) – Eli Cohen-Sasson ; Part III: Findings, Conclusions and Recommendations ; Conclusions – IMPART ; Recommendations – Joshua Schmidt and IMPART ; Epilogue – IMPART ; Afterword – Liora Kolska Horwitz ; Bibliography
£33.25
Archaeopress Ancient Art and its Commerce in Early
Book SynopsisAt the beginning of the 20th century, changes in taste and expectations of the public led private museums in Europe and North America to embark on large-scale acquisition of archaeological objects from the Mediterranean and the Near East. John Marshall (1862-1928) was an antiquities expert hired by the Metropolitan Museum of New York as purchasing agent in Europe on behalf of its Department of Classical Art in between 1906 and 1928. His mission was to secure for the Metropolitan a comprehensive collection of antiquities of high aesthetic standards and historical significance. During his agency, John Marshall was an attentive observer of the antiquities trade. Photographs and annotations on more than a thousand ancient objects circulating on the art market at that time have survived in his personal archive, later bequeathed to the British School at Rome and the Ashmolean Library at Oxford. This unpublished and very valuable resource shines light on the secretive world of art dealing and provides information on the history of many masterpieces of ancient and post-ancient art now in the largest museums of Europe and North America. Using information gathered by John Marshall, this book delineates how the trade of art and archaeological objects has impacted the perception of the Classical past in the modern Western world.Trade Review'The more I use the archive, the greater my appreciation for the care that has gone into creating and structuring it. The same is true of the accompanying volume, edited by Guido Petruccioli. The book introduces readers to Marshall, framing him and his activity within social, legal, and scholarly historical contexts. Readers will emerge well-prepared to engage with the Marshall Archive for their own research, but many chapters are valuable stand-alone contributions, including Francesca de Tomasi’s examination of the complex network of laws and regulations that governed the Italian antiquities market at the turn of the century (Chapter 10) and Vinnie Nørskov’s wide-ranging discussion of the use of different types of photography, from casual snapshots to painstakingly staged studio photographs, by collectors and scholars during the period (Chapter 3).' – Erin L. Thompson (2023): Bryn Mawr Classical ReviewTable of ContentsIntroduction – Guido Petruccioli ; Chapter 1 John Marshall – A Biographical Essay – Stephen Dyson ; Chapter 2 Collectors and the Agents of Ancient Art in Rome – Mette Moltesen ; Chapter 3 The Photographs in John Marshall’s Archive – Vinnie Nørskov ; Chapter 4 John Marshall, The Met and the Historiography of ‘Greek Sculpture’ – Guido Petruccioli ; Chapter 5 Faces in Stone: A Case Study of Marble Portrait Sculptures of Roman Date Purchased by The Metropolitan Museum of Art, New York via John Marshall – Susan Walker ; Chapter 6 The Bronzes in the John Marshall Archive – Beryl Barr-Sharrar ; Chapter 7 John Marshall’s Dealings with Vases and Terracottas – Vinnie Nørskov ; Chapter 8 ‘Non-antique’ Objects in the John Marshall Archive – Roberto Cobianchi ; Chapter 9 John Marshall’s Trading Network – Guido Petruccioli ; Chapter 10 Cultural Heritage Preservation during John Marshall’s Time: The Export of Antiquities from the Unification of Italy to the 1909 Law – Francesca de Tomasi ; Plates ; Abbreviations and Bibliography
£56.05
Archaeopress Abstractions Based on Circles: Papers on
Book SynopsisPresented to Stan Beckensall on his 90th birthday, this diverse and stimulating collection of papers celebrates his crucial contribution to rock art studies, and also looks to the future. It should be of value to students of prehistoric Britain and Ireland, and anyone with an interest in rock art, for many decades to come. Stan has done a phenomenal amount of work over recent decades, on an entirely amateur basis, discovering, recording and interpreting Atlantic rock art (‘cup-and-ring marks’) in his home county of Northumberland and elsewhere. Much of this work was done in the 1970s and 1980s when the subject, now increasingly regarded as mainstream within Neolithic studies, was largely shunned by professional archaeologists. Anyone with an interest in rock art is greatly indebted to Stan, not only for his work and his wisdom, so graciously shared, but also, as the contributors to this volume make clear, for the inspiration he has provided, and continues to provide, for work undertaken by others.Table of ContentsIntroduction – Paul Frodsham and Kate Sharpe ; 1. An apt response? Encounters with cup marks and ‘found rock art’ in Cumbria – Kate Sharpe ; 2. Identifying changing ideologies: rock art on and around Neolithic burial monuments in Wales – George H. Nash ; 3. Recognising Irish rock art: the people behind recent discoveries in Ireland – Aoibheann Lambe ; 4. Digging into the Ronald Morris archive: a Kilmartin Glen case-study – Kenny Brophy ; 5. Close encounters: visibility and accessibility of Atlantic rock art in Scotland – Tertia Barnett, Joana Valdez-Tullett and Linda Marie Bjerketvedt ; 6. Experiencing Achnabreck: a rock art site in Kilmartin Glen, Scotland – Aaron Watson ; 7. Solar panels – Richard Bradley ; 8. Cup-marked stones in Bronze Age cairns. Excavations on Fawdon Hill (Redesdale) and other sites in north-east England – Richard Carlton ; 9. Blawearie: a cairnfield excavation in a rock art landscape – Iain Hewitt and Irene Hewitt ; 10. The strange story of the Swastika Stone on Ilkley Moor – Keith Boughey ; 11. Emblems of eternity? Cup-and-ring marks: context and connotation – Paul Frodsham ; 12. Some thoughts on future fieldwork at open-air rock art sites – Clive Waddington ; 13. ‘The site chose me’ - carved rocks and so much more – Aron Mazel ; 14. The Lord of the Rings – Paul G. Bahn ; 15. An inspiration for community archaeology volunteers – Phil Bowyer and Andy Curtis ; A Beckensall bibliography
£36.10
Archaeopress (Trans)Missions: Monasteries as Sites of Cultural
Book Synopsis(Trans)missions: Monasteries as Sites of Cultural Transfers focuses on the Catholic tradition of consecrated life (vita religiosa) from the High Middle Ages to the present. It gathers papers by authors from various disciplinary backgrounds, in particular art history, history, anthropology and translation studies. Finally, it includes two short reports on Czech projects on monastic topics. The chronological and geographical scope of the book is focused on the Western tradition from the High Middle Ages up to the present, specifically in the territory of Central Europe and Spain along with its overseas colonies. The region of Central Europe was interconnected with the Spanish Empire through the Austrian and Spanish Habsburgs, allowing the given topic to be studied in a broader international context, and to involve the Central European and Spanish territories in the global flow of information, thus incorporating the regional and national histories of individual European countries into global history. This involvement is also enabled by the study of interconnecting themes, such as cultural transfers within and between the Old and the New World, information flows between the Spanish and Austrian Habsburgs, the processes of individual and social identity formation, representation and othering of women, and the missionary activities of mendicant orders in the New World, together with their translation practices; and by the contextualization of monastic history and related themes within the processes of European internal and external colonization and evangelization.
£56.20
Archaeopress A Comprehensive Survey of Rock Art in Upper
Book SynopsisFocusing on the eastern part of the region, this is the first in a series of five volumes that comprehensively document rock art in Upper Tibet. It examines a panoply of graphic evidence found on stone surfaces, supplying an unprecedented view of the long-term development of culture and religion on a large swathe of the Tibetan Plateau. The pictographs (rock paintings) and petroglyphs (rock carvings), host sites, and descriptions and analyses presented are the direct result of intensive fieldwork conducted by the author in Upper Tibet between 1995 and 2016. Information on rock art production techniques, subject identification, thematic class, mode of presentation, physical condition, estimated age, and relative location are supplied for each piece of rock art. In addition to the datasets, the book offers rock art site descriptions and assesses the cultural, religious and artistic development of these locations.Table of ContentsPrecis General Introduction About this Rock Art Inventory Rock Art and Associated Sites of Lake Gnam mtsho (S1–S12) Inventoried Rock Art Sites Bkra shis do chen (S1) Bkra shis do chung (S2) Rta mchog ngang pa do (S3) Innominate (S4) Innominate (S5) Innominate (S6) Lug do (S7) Ra ma do (S8) Stong shong phug (S9) Se mo do (S10) Rigs lnga do (S11) Lce do (S12) Sha ba brag (S13) Kong chung (S14) Gnam g.yang phug (S15) Lha ris sgrub phug (S16) Slob dpon phug (S17) Sho lo phug (S18) Lha ’dre phug (S19) Gzims phug btsan khang (S20) Dpal gzims phug (S21) Rdo ’khor phug pa (S22) Dgon ro dmar lding (S23) Lha ’dre tshogs khang (S24) Dar lung phug pa (S25) Skyid sgrom sgo gru bzhi (S26) Sgar gsol brag phug (S27) Chu ro (S28) O rtsal phug (S29) Bibliography Catalogue of Images
£134.61
Archaeopress A Comprehensive Survey of Rock Art in Upper
Book SynopsisFocusing on the central and western parts of the region, this is the second in a series of five volumes that comprehensively document rock art in Upper Tibet. It examines a panoply of graphic evidence found on stone surfaces, supplying an unprecedented view of the long-term development of culture and religion on a large swathe of the Tibetan Plateau. The pictographs (rock paintings) and petroglyphs (rock carvings), host sites, and descriptions and analyses presented are the direct result of intensive fieldwork conducted by the author in Upper Tibet between 1995 and 2016. Information on rock art production techniques, subject identification, thematic class, mode of presentation, physical condition, estimated age, and relative location are supplied for each piece of rock art. In addition to the datasets, the book offers rock art site descriptions and assesses the cultural, religious and artistic development of these locations.
£104.50
The History Press Ltd Sir John Vanbrugh and Landscape Architecture in
Book Synopsis
£15.29
Verso Books With and Against: the Situationist International
Book SynopsisNo other art movement has so profoundly influenced radical politics as the Situationist International. But beyond the clichés about its purported leader Guy Debord, the "society of the spectacle," détournement and dérive, lies a more complex story about key historical shifts in the composition of capital, work, labor, art, and revolutionary theory during the 1950s and 60s.With and Against reframes the history of the Situationist International as a struggle to come to terms with the then-emerging ideologies of cybernetics and automation. Through each of the book's four chapters, Dominique Routhier dissects Situationist pamphlets, documents, artworks, and objects that refract elements of a "cybernetic hypothesis": the theoretically hyperbolic belief that technological progress, computers and automation make class struggle and the idea of revolution obsolete. With equal attention to aesthetic detail and to the broader contours of political economy, this book serves as a critical intervention in art history as well a call to reconsider, more broadly, the contemporary lessons of the most political of all artistic avantgardes.Trade ReviewEvincing a breathtaking command of the broader historical context that informed the rise of the Situationist International during the age of automation and the birth of cybernetics, Dominique Routhier's innovative analysis transcends the discipline of art history, allowing us to link early 20thcentury avant-garde struggles against the alienated separation of art and labour with all the nuances of the SI imperative. Given our anxieties today about the impact of Artificial Intelligence on labour and art, Routhier's study could not be more timely. -- Abigail Susik, Willamette University, author of Surrealist Sabotage and the War on WorkThe situationists once described themselves as racing against the police for control of the technologies of modern conditioning. In With and Against, Dominique Routhier provides us with a stunningly insightful commentary on that race's progress over the course of the 1950s and '60s, from the rooftop of Le Corbusier's apartment block in Marseille to the classrooms of Nanterre's university. Drawing our attention to the SI's previously neglected struggle over the postwar world's latest "science of control and communications," cybernetics, he argues persuasively that this last avant-garde of the 20th century was precociously engaged with a key technology of the 21st. With and Against is a vital contribution, not only to our understanding of the SI, but also of our own moment as it has been shaped by the "cybernetic hypothesis." -- Tom McDonough, Professor of Art History at Binghamton University, Author of "The Beautiful Language of My Century": Reinventing the Language of Contestation in Postwar France, 1945–1968Dominique Routhier has written a hugely important work of historical retrieval combining theoretical finesse with important archival findings supplying us with a new understanding of the Situationists' anti-artistic and anti-political endeavor. With and Against maps the emergence of the cybernetic paradigm and a whole new ensemble of forms of domination the Situationists fought fiercely against. These forms of domination have only been further augmented and we have unfinished revolutionary business to do. Routhier's book is both a pivotal contribution to the historical analysis of the Situationist project as well as a necessary tool in the coming struggles against an ever-refined architecture of separation. -- Mikkel Bolt Rasmussen, Professor of Political Aesthetics, University of CopenhagenRouthier's freshly researched account of the beginnings and elaboration of the SI across Europe offers detailed insight at amolecular level into the last and most radical iteration of the avant-garde, setting it into dialectical relation with the emergence of a technocratic society of control. Attending to the co emergence of automation and computing as forms of capitalist social subsumption, With and Against proposes a sense of what motivated the SI's specific gestures, tactics and language. This is no simple social context, but a historicist theory of forms of real resistance against the runaway autonomy and indifference of capital to social relations in a proto digitalized world hostile to human human freedom. -- Jaleh Mansoor, University of British Columbia, author of Marshall Plan Modernism: Italian Postwar Abstraction and the Beginnings of Autonomia, published by Duke University Press (September 2016)Table of ContentsIntroduction1 Refusal and Withdrawal: Histoire marseillaise2 Secret Fascination: Unitary Urbanism3 With and Against: Fin de Copenhague4 Rage Against the Machine: L'Opération robot and May '68Conclusion
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