History of art Books

Book SynopsisTrade Review"One of The Art Newspaper's Favourite Books of 2019""[A] catalog whose attributions and speculations on who painted what will keep connoisseurs debating for years."---Jason Farago, New York Times"I am fascinated by artists like Verrocchio who work in all media and that’s shown very well in the exhibition and catalogue. He started as a jeweller and you can see the relation to his later work: something intimate and precious in the way he paints, draws and sculpts. Edited by Andrew Butterfield, who wrote the monograph on Verrocchio and has worked on the subject for so long, this catalogue proves that if you want to make a good exhibition, you also need good research."---Taco Dibbets, The Art Newspaper"This book is a necessary addition to any library of the Renaissance art of Florence."---Alexander Adams, The Jackdaw

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Book SynopsisAn insightful overview of how Millet influenced and inspired many modernist artists that followed him

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Book SynopsisMore popular than ever, the work of Eric Ravilious (1903-42) is rooted in the landscape of pre-war and early wartime England. This best-selling book by Alan Powers, the established authority on Ravilious, provides the most comprehensive overview to date of the artist's work in all media - watercolour, illustration, printmaking, graphic design, textiles and ceramics - and firmly positions Ravilious as a major figure in the history of early 20th-century British art.Now available in paperback, the accessible and engaging text, copiously illustrated with reproductions of work drawn from a range of sources, discusses the part Ravilious' work played in creating an English style, positioned between tradition and modernism, and borrowing from naive and popular art of the past. The book analyses Ravilious' different spheres of activity in turn, covering his education and formative influences, his mural painting, his printmaking and illustration, his work as leader in forming a new style of watercolour painting between the wars and his final period as an official War Artist. In a career curtailed by an early death, Ravilious also played a significant role as a designer; Powers argues that Ravilious showed how decoration and historical reference could find a place in the reform of the applied arts whilst simultaneously renewing a sense of national identity.Eric Ravilious will be welcomed by all those with an interest in an artist whose imagination was backed by great skill and a sharp eye for the unusual.Trade Review‘the most informative and well-crafted account of all aspects of this remarkable artist's achievement.’ Andrew LambirthTable of ContentsContents: Preface; 1. 'Slightly somewhere else': The formation of an artist; 2. 'A clear mental image: Books and prints; 3. 'Distilled out of the ordinary experience': Paintings in watercolour; 4. 'Frankly and happily ornamental': Eric Ravilious and design; 5. The war through artists' eyes; Conclusion: English Eden with 'a biting edge'; Chronology; Public Collections; Bibliography; Acknowledgements and Image Credits; Index.

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Book SynopsisSingle Lives is a collection of singleness studies essays from the interdisciplinary humanities that explores the last two hundred years of literature and popular media by, about, and for single women in the US and the UK. Independent women have always been a center around which social anxieties and excitement coalesced. Moving between the family home and domestic independence, between household and public labor, and between celibacy and a range of sexual relations, the single woman remains a literary and cultural focus, as she has been from the 19th to the 21st centuries. This collection offers readers the opportunity to uncover the social, political, economic, and cultural connections between the "singly blessed" women and "bachelor girls" of the 19th and early 20th century and "all the single ladies" of the 21st century. Essays read singleness across genre and field, offering new approaches to studying modern and contemporary single women in literature, film, and history. Authors engage scholarship from wide ranging fields of social history, women's studies, queer theory, and Black feminism. The collection reads familiar texts against the grain, rethinking archival resources, revisiting familiar figures, and exploring new sources: cookbooks, ephemera, personal documents, recovered film histories, and forms of domestic space and labor.This is a book for scholars of gender and sexuality, social history, feminist film and media scholars, and literary historians, and reflects the urgent contemporary interest in single women as a political, economic, and cultural force. Trade Review"Single Lives, focusing on a wide range of British and American texts from the nineteenth to the present century, makes a timely feminist intervention into ongoing critical conversations about the representation of women’s singleness. This engaging interdisciplinary collection, which foregrounds diverse embodiments of singleness, revisits familiar figures, and promotes expanded methods and sources to better understand single women’s lived experiences, promises to greatly enrich the field of singleness studies." -- Anthea Taylor * author of Celebrity and the Feminist Blockbuster *"Drawing from wide-ranging disciplines and spanning a century of British and American history, Single Lives offers an original and engrossing analysis of how the figure of the single woman stands as an implicit challenge to the norm of the patriarchal nuclear family." -- Kathleen Rowe Karlyn * author of The Unruly Woman: Gender and the Genres of Laughter *"Single Lives, focusing on a wide range of British and American texts from the nineteenth to the present century, makes a timely feminist intervention into ongoing critical conversations about the representation of women’s singleness. This engaging interdisciplinary collection, which foregrounds diverse embodiments of singleness, revisits familiar figures, and promotes expanded methods and sources to better understand single women’s lived experiences, promises to greatly enrich the field of singleness studies." -- Anthea Taylor * author of Celebrity and the Feminist Blockbuster *"Drawing from wide-ranging disciplines and spanning a century of British and American history, Single Lives offers an original and engrossing analysis of how the figure of the single woman stands as an implicit challenge to the norm of the patriarchal nuclear family." -- Kathleen Rowe Karlyn * author of The Unruly Woman: Gender and the Genres of Laughter *Table of ContentsIntroduction: Situating Single Lives by Katherine Fama and Jorie Lagerwey Part I: Singles Studies: Archives and Methods Chapter 1: Searching for Singles: Archival Approaches for Singleness Studies and Black Women’s Collections by Andreá N. Williams Chapter 2: Reclaiming Single Women’s Work: Gender, Melodrama, and the Processes of Adaptation in The Best of Everything by Jennifer S. Clark Chapter 3: Recovering Single Biography: Jane Armstrong Tucker, Illness, and the Single Life by Elizabeth DeWolfe Part II: Familiar Figures: Representing and Reforming the Single Woman Chapter 4: Becoming Single: Gidget “Betwixt and Between” by Pamela Robertson Wojcik Chapter 5: F. Scott Fitzgerald and “The Sinking Ship of Future Matrimony:” The Unmarried Flapper in Literature and on Screen by Martina Mastandrea Chapter 6: Neither Betwixt nor Between: Divorced Mothers in the United States, 1920-1965 by Kristin Celello Chapter 7: Serves One: Exploring Representations of Female Singleness in American Cookbooks by Ursula Kania Part III: Singles at Home: Domestic Labors Chapter 8: Feeling “Like a Queen:” Later-Life Single Women at Home in Modern American Short Fiction by Katherine Fama Chapter 9: “Spinsters’ Rest?”: The Discomforts of Home in British Women’s Short Stories of the 1920s to the 1940s by Emma Liggins Chapter 10: All the Single Nannies: Reforming Elite Domesticity and the Cultural Imaginary by Ann Mattis Afterword by Benjamin Kahan Acknowledgements Notes on Contributors Bibliography Index

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Book SynopsisValerie Cumming is currently Editor of Costume: The Journal of the Costume Society. She is a former Chairman of The Costume Society (2004-2009) and has worked with museums for many years as a curator, administrator and trustee.Trade ReviewNearly forty years on [...] the volume reappears as The Dictionary of Fashion History, skilfully enlarged and re-edited by Valerie Cumming. Given fresh life and thorough coverage from 1900 through the present day, the new dictionary is once again ready to prove itself a trustworthy guide and companion to all those interested in the absorbing study of clothing. -- Review of the first edition, Ann Saunders, Editor of Costume 1967-2007A welcome, needed update of an early landmark dictionary on dress; a must have for all who care about the A to Z of fashion. -- Review of the first edition, Joanne B. Eicher, Regents Professor Emerita at the University of MinnesotaConcise yet detailed, academic, and fabulous, it is truly a dictionary. The Dictionary of Fashion History is an essential purchase for any library serving patrons with an interest in fashion, clothing, art, history, theater, anthropology, or nearly any area of the social sciences. -- Review of the first edition, Library JournalThis new edition brings The Dictionary of Fashion History completely up date, immersing it within today's material culture approaches to fashion history. Above all, this edition is gloriously enhanced by Valerie Cumming's admirable choice of color images of precious surviving garments and accessories. -- Lou Taylor, Brighton University, UKComprehensive in range, well-illustrated in color, with helpful glossaries and a useful list of sources, this handy compendium is essential for the specialist and of interest to the general reader. An impressive achievement. -- Aileen Ribeiro, The Courtauld Institute of Art, UK.Table of ContentsIntroduction Acknowledgements Image Credits List of Illustrations Acknowledgments DICTIONARY Bibliography List of Sources

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Book SynopsisWhen African Modernism was first published in 2015, it was showered with international praise and has been sought after ever since it went out of print in 2018. Marking Park Books’ 10th anniversary, this landmark book will now be available again. Over the course of the 1950s and 1960s, most African countries gained independence from their respective colonial powers. Architecture became one of the principal means by which the newly formed states expressed their national identity. African Modernism investigates the close relationship between architecture and nation-building in Ghana, Senegal, Côte d’Ivoire, Kenya, and Zambia. It features 100 buildings with brief descriptive texts, images, site plans, selected floor plans and sections. The vast majority of images were taken by Iwan Baan and Alexia Webster especially for the book’s first edition, documenting the buildings in their present state. Each country is portrayed through an introductory text and a timeline of historic events. Additional essays on specific aspects and topics of postcolonial Africa, likewise richly illustrated with images and documents, round out this outstanding volume.

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Book SynopsisThis book considers what prints tell us about the development of the landscape garden in 18th- and early 19th- century Britain. They formed a significant part of the expanding machinery of mass communication and could thus influence taste and spread ideas. This could lead to propaganda, or at least creation of an image the owner of a property found desirable, and reality was consequently often compromised. The illusion of actuality could be achieved by adjustments and techniques employed by artists generally. Even if not entirely representational, a print may reveal much about fashions and attitudes towards the landscape garden. At their best they powerfully convey the atmosphere of a garden as well as the perception and possible idealisation of it. The book breaks new ground, including discussion of techniques of producing a print, marketing, categories of print, and studies of the greatest engravers and a few select gardens that prints illuminate particularly well. Changes can be observed both in the developments in print-making and in the journey of the landscape garden. With 220 prints of the period to illustrate the text, all aspects of the subject are brought to the reader's attention.Trade ReviewMichael Symes's book is so sumptuously designed and produced in hardback landscape format that it warrants a slip case. It teems with illustrations, many in colour, almost all from the author's collection, reflecting his considerable scholarship, its emphasis firmly centred on the 18th century. * Country Life *Table of ContentsPreface 1 Image and Propaganda 2 Printomania 3 Pattern Books 4 Royal Landscapes 5 Stowe 6 Chiswick 7 The London Pleasure Gardens 8 Nuneham Courtenay 9 William Woollett 10 Luke Sullivan, Francois Vivares and Anthony Walker 11 Horace Walpole 12 The Gazetteers 13 Sets of Seats 14 The Picturesque 15 A Miscellany of Prints Select reading Index

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Book SynopsisOften regarded as an artistic movement of interwar Paris, Surrealism comprised an international community of artists, writers, and intellectuals who have aspired to change the conditions of life itself over the course of the past century. Consisting of a wide range of dedicated case studies from the 1920s to the 1970s, this book highlights the international dimensions of the Surrealist Movement, and the radical chains of thought that linked its followers across the globe: from France to Romania, and from Canada to the former Czechoslovakia. From very early on, the surrealists approached magic as a means of bypassing, discrediting, and combatting rationalism, capitalism, and other institutionalized systems and values that they saw to be constraining influences upon modern life. Surrealist Sorcery maps out how this interest in magic developed into a major area of surrealist research that led not only to theoretical but also practical explorations of the subject. Taking an internTrade ReviewA work of extreme erudition, Atkin’s book and its transnational framework contributes powerfully to long-standing debates on modernist primitivism and ethnographic forms of Surrealism. Slowly but surely, an underground Surrealism emerges, drawing the reader especially into the catastrophic war years and their aftermath. * George Baker, Professor of Modern and Contemporary Art, UCLA, USA *Illuminating a compelling archive spanning the 1920s through to the 1970s, and covering a wide range of international sources, this book demonstrates that surrealist art had a significant investment in magical practices as a means of reanimating and redeeming certain aspects of modern existence. * Abigail Susik, author of Surrealist Sabotage and the War on Work (2021), and Associate Professor of Art History, Willamette University, USA *Table of ContentsIntroduction List of Figures List of Colour Plates 1. Of Gold, Meteors, Stones and Crystals: Alchemy and the Object in the works of André Breton, Salvador Dalí, and Ithell Colquhoun, 1929-1949 2. Satanic Sorcery: Black Magic, Demons and Vampires in the Objects and Writings of Gherasim Luca, 1939-1945 3. Cosmic Magic: Talismans and Ciphers in the Objects of Victor Brauner, 1940-1946 4. Primordial Myth and Magic in the Writings of André Breton and Benjamin Péret, 1942-1959 5. Ritual Magic in the Masks and Fetishes of Mimi Parent and Jean Benoît, 1959-1976 Conclusion Notes Index

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Book SynopsisDr Rachel Conroy is a Senior National Curator at the National Trust and loves telling stories through objects. She has worked as a curator specialising in British decorative arts since 2004, curating many exhibitions and displays. Having contributed articles to numerous specialist journals, Rachel recently co-authored a book on historic Welsh ceramics. Sandi Toksvig OBE is a comedian, broadcaster, campaigner and author. Her broadcasting career has included QI, The Great British Bake Off, The News Quiz and Call My Bluff. An activist for gender equality, Sandi co-founded the Women's Equality Party in 2015. She is a Bye-Fellow of Christ's College, Cambridge, where she has delivered lectures on women in art.

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Book SynopsisPEPIN Gift & Creative Paper Books all contain 4 introductory pages and 12 large sheets of very high-quality paper. These sheets can be easily removed from the books by tearing them along the perforated line. The sheets are folded to fit into the book; when removed and opened they measure about 50 cm x 70 cm (19½ inch x 27½ inch; a standard size for gift wrapping papers). PEPIN papers will make your gift package look special. In addition, our papers are suitable many forms of paper craft.

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Book SynopsisPlatinum Jubilee editionFull of gems Angela Kelly is a jewel in the crown'Daily TelegraphEntertaining and beautifully illustrated'The Sunday TimesFor real intel, [The Crown] can't come close to The Other Side of the Coin by Angela Kelly'The New York TimesWhen Angela Kelly and The Queen are together, laughter echoes through the corridors of Buckingham Palace.'Angela worked with The Queen and walked the corridors of the Royal Household for twenty-eight years, initially as Her Majesty's Senior Dresser and then latterly as Her Majesty's Personal Advisor, Curator, Wardrobe and In-house Designer. As the first person in history to hold this title, she shared a uniquely close working relationship with The Queen.Her Majesty personally gave Angela her blessing to share their extraordinary bond with the world. Whether it was preparing for a formal occasion or brightening Her Majesty's day with a playful joke, Angela's priority was to serve and support. Sharing never-before-seen photographs manyTrade Review‘For the nearly seven decades of her reign, Her Majesty The Queen has used clothing to create a powerful visual identity that transcends fashion and has made her perhaps the most readily identifiable person on the planet. Angela Kelly, building on the work of the great designers and milliners who have worked with Her Majesty through the years – including couturiers Sir Norman Hartnell, Sir Hardy Amies, and Ian Thomas, and milliners such as Simone Mirman and Freddy Fox – brings her own imagination to bear on an iconic ‘uniform’ that suggests continuity and tradition, and ensures that the wearer is always the most visible person in a room or a crowd.’– Anna Wintour,Vogue ‘The book documents the unique working relationship between Her Majesty The Queen and the woman who has been her Personal Assistant and Senior Dresser for more than two decades: Angela Kelly. It gives a rare insight into the demands of the job of supporting the Monarch, and we gain privileged insight into a successful working relationship, characterised by humour, creativity, hard work, and a mutual commitment to service and duty. Angela is a talented and inspiring woman, who has captured the highlights of her long career with The Queen for us all to share.’ – Samantha Cohen, Assistant Private Secretary to The Queen (2011–2018) ‘Fascinating book’– HELLO! ‘The book is a trove of warm and insightful anecdotes’– Daily Mail ‘Angela Kelly shares fascinating and charming anecdotes’– Good Housekeeping ‘Life with the Queen uncloaked. It is the Queen, and Angela’s photographs of her, that make this anecdotal book unique. The pages are full of small pranks and light-hearted fun. The Other Side of the Coin lifts the royal curtain without offending anyone. *****’– Daily Express

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Book SynopsisNineteenth-century stoneware by enslaved and free potters living in Edgefield, South Carolina, highlights the central role of Black artists in the region’s long-standing pottery traditions Recentering the development of industrially scaled Southern pottery traditions around enslaved and free Black potters working in the mid-nineteenth century, this catalogue presents groundbreaking scholarship and new perspectives on stoneware made in and around Edgefield, South Carolina. Among the remarkable works included are a selection of regional face vessels as well as masterpieces by enslaved potter and poet David Drake, who signed, dated, and incised verses on many of his jars, even though literacy among enslaved people was criminalized at the time. Essays on the production, collection, dispersal, and reception of stoneware from Edgefield offer a critical look at what it means to collect, exhibit, and interpret objects made by enslaved artisans. Several featured contemporary works inspired by or related to Edgefield stoneware attest to the cultural and historical significance of this body of work, and an interview with acclaimed contemporary artist Simone Leigh illuminates its continued relevance.Published by The Metropolitan Museum of Art/Distributed by Yale University PressExhibition Schedule:The Metropolitan Museum of Art, New York (September 9, 2022–February 5, 2023) Museum of Fine Arts, Boston (March 6–July 9, 2023) University of Michigan Museum of Art, Ann Arbor (August 26, 2023–January 7, 2024) High Museum of Art, Atlanta (February 16–May 12, 2024)

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Book SynopsisAn in-depth look at the transformative influence of Mexican artists on their U.S. counterparts during a period of social change The first half of the 20th century saw prolific cultural exchange between the United States and Mexico, as artists and intellectuals traversed the countries' shared border in both directions. For U.S. artists, Mexico's monumental public murals portraying social and political subject matter offered an alternative aesthetic at a time when artists were seeking to connect with a public deeply affected by the Great Depression. The Mexican influence grew as the artists José Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros traveled to the United States to exhibit, sell their work, and make large-scale murals, working side-by-side with local artists, who often served as their assistants, and teaching them the fresco technique. Vida Americana examines the impact of their work on more than70 artists, including Marion Greenwood, Philip Guston, Isamu Noguchi, JacTrade Review“If you aren’t in New York to see the show, the beautifully illustrated catalog, published by Yale University Press, offers great consolation.”—Carolina A. Miranda, Los Angeles Times

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Book SynopsisYorkshire by birth, resident of St Ives, Cornwall, for more than 30 years, scholarship student at the Royal College of Art at the age of 16, mother of triplets, Honorary Doctor of Letters of five universities, Cornish bard, Dame Commander of the Order of the British Empire, and world-famous sculptor: such was Barbara Hepworth, whose life always revolved around the demands of her creative work. This book presents a pictorial record of her life, work and writings over 40 years, from her childhood years to her first marriage to the sculptor John Skeaping and her second marriage to Ben Nicholson; and from figuration through geometric and organic abstraction to the internationally acclaimed grandeur of her large-scale, post-war work.Table of ContentsChildhood and youth; years with Ben Nicholson; St Ives; a new decade; the final years.

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Book SynopsisThe paintings of contemporary Thai artist Pichai Nirand (b. 1936) are a vivid exploration of the interplay between Thailand’s Buddhist roots and its modern aspirations and struggles. Pichai engages fully with the world and belief system around him. Accompanying the full-color paintings is an incisive examination of the Thai moral and social themes of Pichai’s paintings in terms of the Buddhist cycle of life. Philip Constable’s sensitive analysis of the social, political, economic, and moral dimensions affecting the artist, coupled with careful reference to other contemporary Thai artists, illuminates the deep meaning and expression behind each painting. This book showcases a celebrated Thai artist who has spent a lifetime providing a Thai Buddhist perspective on the dilemmas and contradictions of the late twentieth and early twenty-first centuries.

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Book SynopsisLet the spooky citizens of Halloween Town guide your tarot practice with this sumptuously illustrated tarot deck inspired by Tim Burton’s classic animated film The Nightmare Before Christmas.Disney’s iconic holiday film The Nightmare Before Christmas is now an enchanting tarot set, offering a frightful-but-friendly take on the traditional 78-card deck. This set features all your favorite characters from Jack Skellington to Mr. Oogie Boogie to Sandy Claws himself in gorgeous original illustrations based on classic tarot iconography. Featuring both major and minor arcana, the set also comes with a helpful guidebook explaining each card’s meaning, as well as simple spreads for easy readings. Packaged in a sturdy, decorative gift box, this hauntingly charming tarot deck is the perfect gift for the The Nightmare Before Christmas fan or tarot enthusiast in your life.

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Book SynopsisPresented in very clear and accessible language, "Roman Art" offers new and fascinating insights into the evolution of the forms and meanings of Roman art. Traditional studies of Roman art have sought to identify an indigenous style distinct from Greek art and in the process have neglected the large body of Roman work that creatively recycled Greek artworks. In this fresh assessment the author offers instead a cultural history of the functions of the visual arts, the messages that these images carried, and the values that they affirmed in late Republican Rome and the Empire. The analysis begins at the point at which the characteristic features of Roman art started to emerge, when the Romans were exposed to Hellenistic culture through their conquest of Greek lands in the third century BCE. As a result, the values and social and political structure of Roman society changed, as did the functions and characters of the images it generated.

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Book SynopsisTrade Review"An absorbing and rigorously researched new book. . . .Kee does more than provide a recent history of collisions between art and the law. She overlays developments in the two fields, and argues that each one can help us better understand the other. . . . Models of Integrity reads as a compelling call for artists, arts professionals, and viewers to work more ambitiously, and to think with more nuance." -- Andrew Russeth, * ARTnews *"Kee’s book is a welcome primer on the myriad ways artists have engaged with the law over the past fifty years. What sets it apart from earlier literature is the intricacy with which Kee weaves together art and legal history as mutually informative, arguing that it is because artists are legal subjects within society at large that they have been able to so adroitly critique and illuminate law’s logics. . . It also inspires us to pursue Kee’s revelatory art-historical inquiry into how, when, and why legal conditions influence art." * Burlington Magazine *“This wide-ranging volume offers insights into issues (of certification and distribution, for instance) that shaped Conceptual art.” * ArtReview *"Meticulously researched and lucidly written, Models of Integrity demands that we take the law seriously as one of many structural factors that impact art in complex ways. Kee’s interdisciplinary approach often yields a fresh perspective on her objects of study, assessing them through an underexplored lens and situating them firmly within an expanded social context. And while many people view the law as a dispassionate arbiter of clearly defined rules, Kee reminds us that ambiguity and inconsistency are deeply embedded in the American legal system. Although as a practical matter these uncertainties can chill what may in fact be perfectly legal creative acts, Models of Integrity provides an engaging account of a disparate group of artists who jumped wholeheartedly into the fray." * Panorama: Journal of the Association of Historians of American Art *"The ‘models of integrity’ in Kee's fascinating account are articulated in the intersection of individual codes of conduct, art world conventions, and the range of activities that are both facilitated and enjoined by legal protocols. Taking full advantage of her double background, as a practising lawyer who subsequently turned her attention to art history, Kee examines many telling points of comparison between the two fields while also drawing on a wealth of archival research." * Art History *"Adds a novel perspective on art law, highlighting how both law and art can serve as sources of creative thinking. Illustrations and scholarship form an integral part of the book, and constitute an unconventional and much needed artistic take on the law [putting] six post-sixties artworks in their legal, historical, political, and artistic contexts." * Center for Art Law Blog *"Brushing with critical intersections of law and contemporary art, this book explores concepts of integrity as mediated and represented through artworks of the 1960s and onwards. Dancing fuidly between historical context, art theory, and legal theory, each piece of art is grounded in the legal developments of the time: questions of integrity for law and artists, the creation of artistic ownership rights, the constitutive power of property, and the emergence of art forms not yet recognised as art. Through art, Kee opens up vital spaces of legal discussion through depictions of (and participation in) authority, power, disobedience and other possibilities beyond compliance and consensus." * Journal for the Semiotics of Law *“The book speaks to a variety of audiences: those interested in post-1960s art of the United States; in the intersection of art and law; in the history of law and its intersections with art; in art triggering negative accountability and what is now referred to as moral outrage and call-out culture; and in art and its broader connections to social, political, and cultural moments in history. It also gestures toward a neglected field of art historical research that is ripe for development: an art history informed by legal analysis. . . . the strength of Models of Integrity is not just its integration of legal analysis into art history, it is also how the book lays the groundwork for (or one might say: operates as a model for) future scholarship examining the intersection of art and law.” * Law & Literature *"A perceptive and sophisticated book that brings remarkable insight to the complex entanglements of law and art. It deftly and incisively explores the connections between art and law at a time in history during which there was “a crisis of citizenship." Rather than advocating a particular ideological agenda in response to this crisis, through her compelling interpretations of a series of case studies Kee illuminates how the relationships between the art and law invite critical engagement with “politics in need of accounting.” * Law, Culture, and the Humanities *"An exceptional and commanding work of scholarship. Despite the author’s qualification that the book might fall short of the visual analysis expected in an art history text, Kee’s book is vividly illustrative, and boldly leads the reader through the oft- fraught liminal space between art and law. The book’s achievements extend far beyond effectively bearing legal concepts on art or narrating the logistical relations between art and law. To be exact, its real feats lie in its rumination on not only the plasticity of the law, but also on art as an extralegal machination that structures our society. In this way, Kee’s work will serve as a model for future scholarship in this emerging interdisciplinary field." * Journal of Visual Culture *"Joan Kee’s Models of Integrity is a fascinating book that makes a valuable contribution to interdisciplinary legal scholarship." * Edinburgh Law Review *'Models of Integrity offers a provocative account of art that 'messes with' the law.'' * Art Journal *

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Book SynopsisAesthetic Life is a study of modern Japan, engaging the fields of art history, literature, and cultural studies, seeking to understand how the “beautiful woman” (bijin) emerged as a symbol of Japanese culture during the Meiji period (1868–1912).Trade ReviewPossibly the most conceptually innovative and ambitious book on Meiji aesthetics and art to have been published in English in recent years…Without doubt, a major scholarly contribution to the understanding of Meiji culture. It sets a high benchmark for all future studies on the subject of modern Japanese aesthetics…Lippit has reenergized the subject of beauty as an important topic that has far-reaching cultural, social, and even political implications. -- Noriko Murai * Monumenta Nipponica *Aesthetic Life is the result of extended and extensive scholarly research into the formation of the image of the bijin in modern Japanese art. -- Janice Brown * Pacific Affairs *

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Book SynopsisThis edited collection examines conflicting assumptions, expectations, and perceptions of maternity in artistic, cultural, and institutional contexts. Over the past two decades, the maternal body has gained currency in popular culture and the contemporary art world, with many books and exhibitions foregrounding artists’ experiences and art historical explorations of maternity that previously were marginalized or dismissed. In too many instances, however, the maternal potential of female bodies—whether realized or not—still causes them to be stigmatized, censored, or otherwise treated as inappropriate: cultural expectations of maternity create one set of prejudices against women whose bodies or experiences do align with those same expectations, and another set of prejudices against those who do not. Support for mothers in the paid workforce remains woefully inadequate, yet in many cultural contexts, social norms continue to ask what is “wrong” with women who do not have children. In these essays and conversations, artists and writers discuss how maternal expectations shape creative work and designed environments, and highlight alternative ways of existing in relation to those expectations.

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Book SynopsisEduardo Staszowski is Associate Professor of Design Strategies at Parsons School of Design, USA, and Director/co-founder of the Parsons DESIS Lab, USA. Working to enhance participation in policy development and civic design, he studies design as a method and language, and its role as an intermediary, creating, and orienting processes of social innovation and sustainability.Virginia Tassinari is Assistant Professor at LUCA School of Arts, Belgium, where she also founded the LUCA DESIS Lab; Visiting Professor at Politecnico di Milano, Italy, and a design researcher for Pantopicon, an Antwerp-based foresight and design studio. Her research areas are design and philosophy, with a specific focus on design for social innovation, participatory design and design activism.Trade ReviewThe conception of "designing in dark times" developed in this admirable and interesting project is in harmony with the Arendt's thinking and writing. It makes a welcome and practical addition to the large and growing literature on Arendt. * Jerome Kohn, a Trustee of the Hannah Arendt Bluecher Literary Trust, teaches at The New School, USA and has published several volumes of Arendt’s published and unpublished writings, the most recent is Thinking Without a Bannister: Essays in Understanding 1953-1975 (2018) *A provocative and timely intervention into the politics of design, this is the first book to bring Hannah Arendt’s ideas directly into critical conversation with the urgent questions of designing today: a vital tool for every designer and design scholar’. * Alison Clarke is a University Professor, Chair of Design History & Theory and Director of the Papanek Foundation at the University of Applied Arts, Austria *Table of ContentsSeries Foreword: The Urgency of the Possible Preface: On Hannah Arendt Kenneth Frampton Acknowledgements Introduction: Eduardo Staszowski and Virginia Tassinari I: Hannah Arendt & Designing in Dark Times II: The Lexicon A Action, Activism, Alienation, Animal Laborans, Animal rationale, Anthropocentrism B Beginnings, Bourgeois, Bureaucracy C Citizenship, Common good, Common interests, Common world, Comprehension, Courage, Creativity D Democracy E Equality, Evil F Fabrication, Freedom H History, Homo Faber, Human rights, Humanity I Imagination (by Hannah Arendt), Imperialism Insert: Martha Rosler, Reading Hannah Arendt (Politically, for an American in the 21st Century) In-between, Instrumentality L Labor, Law M Metabolism, Mortality N Natality O Objectivity P Pariah, Play, Plurality, Power, Private realm, Public R Reification S Solitude, Speech, Spontaneity, Stories, Superfluity T Technology, Thought, Thoughtlessness, Togetherness, Totalitarianism V Violence, Vita Activa, Vita Contemplativa Afterword: Richard J. Bernstein, The Illuminations of Hannah Arendt List of Contributors

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Book SynopsisA collection of thirty texts written by the internationally renowned conceptual and performance artist Suzanne Lacy between 1974 and 2007.Trade Review“For nearly 40 years Ms. Lacy’s collaborative, community-based art projects, some involving hundreds of people, have been grappling with matters of race, class and possible social change with a hands-on audacity that few artists can match. This book, with a persuasive introduction by the artist-historian Moira Roth, at last puts Ms. Lacy’s own fluent accounts of her life and work between covers. The result is a moving and feisty document of a committed life, one that students of the art of our time will be grateful for in the years ahead.” - Holland Cotter, New York Times“Reflection in and on the present moment–rather than a concern for prestige or posterity–defines and sets apart Lacy’s experimental documents as in some way ‘live’ themselves, making Leaving Art a strong resource for public and live artists working now.” - Becky Hunter, Whitehot Magazine“The book, then, performs best as an archive of methods. One text explicitlyoutlines how to develop a media strategy for a feminist campaign, with excellent practical tips on structuring an event and how to convey its meaning to the media. But, more subliminally, we can gauge throughout how certainty wavers and how uncertainty, when viewed in retrospect, is ultimately productive.” - Sally O’Reilly, Art Monthly“Lacy remains close in spirit to the feminism that emerged in the late '60s. Many of her most significant performances directly addressed women's issues, especially rape, prostitution, pornography and physical aging. With a canny understanding of mass communications. Lacy calibrated her staged actions to garner media attention, and to be readily comprehensible to those outside the art world. One of the most consistent elements of her activity is its emphasis on forming multiracial alliances under the banner of ‘Women.’” - Abigail Solomon-Godeau, Art in America“As both artist and theorist, Suzanne Lacy has pioneered the field of collaborative and socially engaged art. Over the past several decades, she has refigured artistic practice as a means for the production of new publics. This book is an incomparable toolbox for anyone seeking a renewal of art’s social and political potential today.”—Hans Ulrich Obrist, Co-Director of Exhibitions and Programmes and Director of International Projects at the Serpentine Gallery, London“Suzanne Lacy is the most important public artist working today, in part because she is also an inspired organizer, writer, and public intellectual. Multicultural and multicentered, and devoted to civic dialogue, she balances esthetics and politics, pragmatics and imagination, while collaborating with those living inside the issues. Her feminist energy infuses this book. It will turn many heads.”—Lucy R. Lippard, author of The Pink Glass Swan: Selected Feminist Essays on Art“Suzanne Lacy’s work is a communal improvisation inviting life to happen in all its drama, absurdity, pain, and danger. At its best, it has the passion and complexity of Action Painting.”—Eleanor Antin, artist and Professor Emeritus, University of California, San Diego“For nearly 40 years Ms. Lacy’s collaborative, community-based art projects, some involving hundreds of people, have been grappling with matters of race, class and possible social change with a hands-on audacity that few artists can match. This book, with a persuasive introduction by the artist-historian Moira Roth, at last puts Ms. Lacy’s own fluent accounts of her life and work between covers. The result is a moving and feisty document of a committed life, one that students of the art of our time will be grateful for in the years ahead.” -- Holland Cotter * New York Times *“Lacy remains close in spirit to the feminism that emerged in the late '60s. Many of her most significant performances directly addressed women's issues, especially rape, prostitution, pornography and physical aging. With a canny understanding of mass communications. Lacy calibrated her staged actions to garner media attention, and to be readily comprehensible to those outside the art world. One of the most consistent elements of her activity is its emphasis on forming multiracial alliances under the banner of ‘Women.’” -- Abigail Solomon-Godeau * Art in America *“Reflection in and on the present moment–rather than a concern for prestige or posterity–defines and sets apart Lacy’s experimental documents as in some way ‘live’ themselves, making Leaving Art a strong resource for public and live artists working now.” -- Becky Hunter * Whitehot Magazine *“The book, then, performs best as an archive of methods. One text explicitlyoutlines how to develop a media strategy for a feminist campaign, with excellent practical tips on structuring an event and how to convey its meaning to the media. But, more subliminally, we can gauge throughout how certainty wavers and how uncertainty, when viewed in retrospect, is ultimately productive.” -- Sally O’Reilly * Art Monthly *Table of ContentsIllustrations ix Preface xiii Acknowledgments xv Introduction. Suzanne Lacy: Three Decades of Performing and Writing/Writing and Performing / Moira Roth xvii Part 1. Learning to Look: The Seventies Introduction 2 1. Prostitution Notes (1974) 5 2. Falling Apart (1980) 20 3. Body Contract (1974) 30 Photo Essay. Learn Where the Meat Comes From (1976) 43 4. Cinderella in a Dragster (1977) 48 5. The Bag Lady: On Memory (1982) 52 6. The Life and Times of Donaldina Cameron (with Linda Palumbo and Kathleen Chang) (1978) 57 7. In Mourning and In Rage (With Analysis Aforethought) (1978) 64 8. Learning to Look: The Relationship between Art and Popular Culture Images (with Leslie Labowitz) (1970) 72 9. Feminist Artists: Developing a Media Strategy for the Movement (with Leslie Labowitz) (1981) 83 10. Time, Bones, and Art: Anatomy of a Decade (1995) 92 Part 2. Political Performance Art: The Eighties Introduction 108 11. Broomsticks and Banners: The Winds of Change (1980) 109 12. The Greening of California Performance: Art of Social Change—A Case Study (1982) 114 13. Made for TV: California Performance in Mass Media (1982) 120 14. Battle of New Orleans (1980) 126 15. Beneath the Seams (1982) 137 16. In the Shadows: An Analysis of The Dark Madonna (1990) 144 17. Political Performance Art: A Discussion by Suzanne Lacy and Lucy R. Lippard (1985) 151 Part 3. Debated Territory: The Nineties Introduction 160 18. The Name of the Game (1991) 161 19. Debated Territory: Toward a Critical Language for Public Art (1994) 172 20. Affinities: Thoughts on an Incomplete History (1994) 185 21. Love, Cancer, Memory: A Few Stories (1996) 194 22. Cancer Notes (with Leslie Becker) (1995) 211 23. What It Takes (with Ann Wettrich) (2002) 222 Part 4. Leaving Art: After 2000 Introduction 236 24. The Skin of Memory/La Piel de la Memoria (with Pilar Riaño-Alcalá) (2006) 237 25. Seeking an American Identity (Working Inward from the Margins) (2003) 250 26. Cop in the Head, Cop in the Street (2006) 267 27. Having It Good: Reflections on Engaged Art and Engaged Buddhism (2005) 284 28. Hard Work in a Working-Class Town (2006) 300 29. Tracing Allan Kaprow (2007) 319 Afterword: In|ter|ceptions and In|tensions—Situating Suzanne Lacy's Practice / Kerstin Mey 327 Appendix. Chronology and Selected Performances and Installations 339 Notes 343 Index 369

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Book SynopsisCollected articles on Iranian art from the Qajar dynasty. The thirteen articles in this volume were originally given as presentations at the symposium of the same name organized in June 2018 by the Musee du Louvre and the Musee du Louvre-Lens in conjunction with the exhibition The Empire of Roses: Masterpieces of 19th Century Persian Art. The exhibition explored the art of Iran in the nineteenth and early twentieth centuries, while the nation was under the rule of the Qajar dynasty. The symposium set out to present research on previously unknown and unpublished objects from this rich period of art history. This volume, published with the Louvre Museum in France, is divided into four sections. The first, "Transitions and Transmissions," is dedicated to the arts of painting, illumination, and lithography. The focus of the second section, entitled "The Image Revealed," also considers works on paper, looking at new themes and techniques. "The Material World" examines the use of materials such as textiles, carpets, and armor. The articles in the final section discuss the history of two groups of artifacts acquired by their respective museums.Trade Review"Beautifully presented, this new book expands the current scholarship on Qajar art in many valuable directions." -- Moya Carey, Curator of Islamic Collections, Chester Beatty Library, DublinTable of ContentsBoozari, Ali Mirza Hassan bin Aqa Seyyed Mirza Isfahani: A Bridge Between the Elite and Popular Art in the Qajar Period Diba, Layla Alternative Art Histories, Qajar Photography and Contemporary Iranian Art Gruber, Christiane Without Pen, Without Ink: The Practice of Khatt-i Nakhuni in the Qajar Period. Fellinger, Gwenaelle Shimmering mirages: 19th-century ikat velvets Maury, Charlotte et Guillaume, Carol Artists and patrons: comments about the 1644 album from the Golestan palace and the painter Mu?ammad Baqir Maktabi Hadi Power and Wealth: Carpets as Diplomatic Gifts & Feudal Tribute under the Qajars Phillip, Filiz C. Chahar Ayna: Form, Function, and Decoration of an Enigmatic Iranian Armour Rettig, Simon The Ezzat-Malek Soudavar Shahnama of Firdawsi: An early Qajar illustrated manuscript from Isfahan Stanley, Tim Razi Taliqani and the struggle to keep illumination alive Szanto Ivan Pearls of Persian Painting at Random Strung in Eastern Europe Vasilyeva Daria Iranian diplomatic gifts and trophies of 1820's in the State Hermitage Museum Voigt Friedericke For close observation: imagery in the architecture of Qajar Iran

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Book SynopsisSeen as a step toward addressing this gap, this catalogue seeks to position Mohidin within Berlin art circles of the 1960s, and unravel what could be contingently described as painting from within the tradition. The catalogue also explores the formative role of Mohidin’s Pago Pago series not only in his oeuvre, but also in our very ability to write about Southeast Asian history.

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Book SynopsisThe Victorian age was one of the most exciting and complex periods of history, an era of rapid change and great contrasts, in which dress reflected the times with extraordinary vibrancy. This book features many previously-unpublished images and drawing on private journals. It offers original insights on this subject.Trade ReviewVictorian Fashion is amazingly comprehensive… Anyone writing Victorian fiction will appreciate a copy. Anyone interested in day-to-day Victorian life will thoroughly enjoy dipping in and out. * Your Family History *Table of ContentsIntroduction / Female Fashions / Menswear / Children’s Clothes / Assembling a Wardrobe / Evening Dress / Sportswear / Bridal Style / Mourning Costume / Further Reading / Places to Visit / Index

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Book SynopsisPresents an account of the Italian Baroque painter Michelangelo Merisi da Caravaggio (1573-1610) and the artist's revolutionary achievement. This book focuses on the emergence of the full-blown 'gallery picture' in Rome during the last decade of the sixteenth century and the first decades of the seventeenth.Trade ReviewOne of Choice's Outstanding Academic Titles for 2011 Winner of the 2010 PROSE Award in in Art History & Criticism, Association of American Publishers A ARTFORUM T. J. Clark Best Book of the Year for 2010 "[B]ased on the A. W. Mellon Lectures in Fine Arts that Mr. Fried delivered in Washington in 2004, is a knotty, episodic, infinitely erudite investigation of, among other things, the pervasiveness of violence in Caravaggio's painting."--Holland Cotter, New York Times "Fried is a persistent spectator, and his careful eye produces remarkable analysis that make for a thrilling read... [H]is process of looking should be an inspiration to students of art history at many levels, and his observations about how viewers respond to paintings are thought-provoking. Finally, the extensive and outstanding illustrations in this handsome book are a perfect complement to Fried's interpretations."--Choice "In this exquisitely illustrated volume, art historian Michael Fried binds Michelangelo Caravaggio's short life (1571-1610) and tumultuous times to the stirring innovations in his art, especially with regard to portraiture, violence and realism. With a little help from the master, Fried encapsulates Caravaggio's tempestuous personality, his place within the religious and political intrigues of the Baroque era, and his primary significance as an artist."--Globe & Mail "No great surprise about my book of the year. I had been waiting for Michael Fried's The Moment of Caravaggio (Princeton University Press) ever since hearing an early version of its opening ideas in Berkeley years ago, and when the volume arrived it took me by storm. So The Moment of Caravaggio stands or falls, as art history mostly should, by the intensity and detail of its accounts of specific works: by its ability to extract a painting from the ordinary round of 'formal analysis,' iconography, and 'contextualization' and put the reader/viewer almost physically in a new kind of contact with it. This happens repeatedly in Fried's new study. The book's key analyses are beautiful and, pace the critics, often profoundly surprising. I found that as the book went on they more and more offered me a way--this is regularly the case with the arc of a Fried argument--to think about questions the author himself did not quite pose, or did not pose as I might want to... In a manner typical of the writer at his best (and maybe this is what so gets up the nose of normal art history about him) his book has robbed me of the common-sensical ground on which and from which I thought I could see--could 'place'--a major artist. It made me aware of what Caravaggio's excessiveness might have been about. And it reminded me of the sheer strangeness--the preposterousness--of European painting's commitment to the real."--T. J. Clark, ArtForum "So much has been written about the High Renaissance artist Caravaggio, it is hard to believe more could be said. But the illustrious Michael Fried, of Johns Hopkins University, manages to say considerably more in his trenchant re-examination of the dynamic painter's art... Fried astounds the reader with thoughts about Caravaggio's use of the mirror in art, his fascination with the 'immersive' or 'specular' moment... The book is lavishly illustrated and intellectually demanding, but given the greatness of the subject and the perspicacity of the author, both are certainly to be expected."--Tracey O'Shaughnessy, Republican-American "Specifically, Fried's concern is with the 'coming into prominence of the autonomous and independent gallery picture in the Roman art world of the 1590s and early 1600s and the internal mechanisms by which such pictures seek 'crucially to establish the supreme fiction of ontological illusion that the beholder does not exist, that there is no one standing before the canvas'. In this context, Fried's study argues across radically different artistic periods ... the better to construct an argument that is as big as it is granular."--Angus Trumble, TLS

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Book SynopsisBorn in Bern, Switzerland in 1933, Harald Szeemann was a crucial force in identifying, exhibiting, and writing about the important new movements in postwar contemporary art. This collection of seventy-four texts from the curator's vast body of written work-which includes essays, lectures, studio notes, reviews, interviews, correspondence, and transcripts-introduces the depth of his method, insight, and inclusive artistic interests. The pieces have been translated from German and French and collected in an informed, authoritative edition, making this the first time Szeemann's work is accessible in English. The first two sections of this volume republish Szeemann's anthologies "Museum der Obsessionen" (1981) and "Individuelle Mythologien" (1985). The final part assembles important writing from 1986 until his death in 2005 to represent the later years of his career and round out a record of his contribution to and dialogue with later twentieth century art and artists. The book's publication coincides with the opening of the Getty Research Institute's exhibition Harald Szeemann: Museum of Obsessions, as well as a satellite show that recreates on Szeemann's "Grandfather exhibition" at the Institute of Contempoary Art, Los Angeles.

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Book SynopsisThe modern artist strives to be independent of the publicness taste - and yet depends on the public for a living. This book argues that the French Realist Gustave Courbet (1819-1877) understood this dilemma perhaps better than any painter before him.Trade Review"Chu details the rise, the fall, and the tireless machinations of art's first recognizably modern careerist... In Chu's telling, Courbet seems to have done nothing without an eye to the main chance. He took pains to advertise his prominence in republican literary and artistic circles--the distinguished as well as the delectably louche. He made much of knowing the celebrated anarchist philosopher Pierre-Joseph Proudhon ('Property is theft!'), upon whose death, in 1865, he made a nostalgic portrait that was not only splendid but pantingly opportunistic... Chu's most original analysis of Courbet's reputation in his day concerns its mixed effects on a newly 'bi-gendered' public."--Peter Schjeldahl, New Yorker "Will surely become essential for all future Courbet studies...The title of Chu's book is self-explanatory, but in the exploration of her theme, she inevitably casts light on the artist's character."--John Golding, New York Review of Books "[Chu's] enjoyable account shows how little we know about Courbet's intentions and procedures...[Her] richly illustrated study suggests a mind whose curious complexities were expressed only in paint."--Graham Robb, Times Literary Supplement "In this insightful book, Chu (who edited and translated Gustave Courbet's letters) examines how the painter (1819-1877) used the press to market his work... Chu's brilliant study of Courbet's paintings and marketing strategies sheds much light on his work and the artistic milieu of the 19th century."--Publishers Weekly "A study of how Courbet wisely perceived himself to be witnessing new technologies that could, if properly integrated and exploited, further rather than threaten his vision."--George Fetherling, Seven Oaks Magazine "In The Most Arrogant Man in France Petra Ten-Doesschate Chu takes up Courbet's relationship with the growing number of newspapers and journals of 19th-century France, and he shows how this clever artist made use of a very willing media to make his name a household word in France and elsewhere in Europe, and to increase the sales of his paintings...The best part of Ms. Chu's amply illustrated book deals with Courbet's strongest work. In his series of self-portraits...she traces Courbet's shedding of the Romantic conventions of his youth and his development (in his own words) into 'a man confident in his principles, a free man.'"--Stephen Goode, Washington Times "Petra Chu, a renowned expert on Courbet and editor of the Letters of Gustave Courbet (1992), presents a fascinating portrait of the media-conscious young artist...Chu's well-illustrated book offers readers not only a deeper understanding of this extraordinarily versatile activist-artist but also of the complex social and economic milieus in which he worked."--Peter Skinner, ForeWord "With this book, Chu adds to her reputation as a leading scholar of Courbet and of 19th-century French art in general...Well illustrated and a pleasure to read, Chu's book is sure to inspire further research on the role of the popular press in the development of modern art."--D.E. Gliem, Choice "[Chu] seeks to replace the long-standing image of the artist as a heroic artiste engage with a more complicated picture of the man and his art ... Chu's book holds out the promise of a fascinating rereading of the artist and his work... What we are left with, by the end of Chu's book, is a picture of Courbet as a cynical operator, ready to exploit the press and the burgeoning audience for provocative, antiestablishment art, and who pursues fame for fame's sake."--Aruna D'Souza, Art Bulletin "[W]ell-researched, perceptive, and beautifully illustrated text... Chu's book is an important new contribution to the field of nineteenth-century art. It will undoubtedly become a key text for scholars grappling with the mysteries and ambiguities at the heart of Courbet's work."--Gretchen Sinnett, CAA ReviewsTable of ContentsAcknowledgments ix Introduction 1 Chapter 1: Courbet and the Press 5 Chapter 2: Posing 17 Chapter 3: Courbet's Pantheon 45 Chapter 4: Salon Rhetoric 75 Chapter 5: Bisextuality 114 Chapter 6: Packaging and Marketing Nature 138 Epilogue 170 Notes 175 Bibliography 215 Photography Credits 229 Index 231

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First published in 1951 Arnold Hausers commanding work presents an account of the development and meaning of art from its origins in the Stone Age through to the Film Age. Exploring the interaction between art and society, Hauser effectively details social and historical movements and sketches the frameworks in which visual art is produced.This new edition provides an excellent introduction to the work of Arnold Hauser. In his general introduction to The Social History of Art, Jonathan Harris asseses the importance of the work for contemporary art history and visual culture. In addition, an introduction to each volume provides a synopsis of Hausers narrative and serves as a critical guide to the text, identifying major themes, trends and arguments.

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