Material culture Books

Book SynopsisViv Golding is Director of Research Students and Senior Lecturer in the School of Museum Studies, University of Leicester. Her most recent publication is Learning at the Museum Frontiers: Identity Race and Power and she is currently working on two Arts and Humanities Research Council-funded projects 'Behind the Looking Glass: 'Other' Cultures Within Translating Cultures' and 'Mapping Faith and Place in Leicester', and a Daiwa project 'Museum Literacy'. Wayne Modest is currently Head of the Curatorial Department at the Tropenmuseum in Amsterdam. Previously he has been Keeper of Anthropology at the Horniman Museum and Director of the Museums of History and Ethnography at the Institute of Jamaica. Recent publications include 'Slavery and the (Symbolic) Politics of Memory in Jamaica: Rethinking the Bicentenary' in Laurajane Smith et al. (ed) Representing Enslavement and Abolition in Museums: Ambiguous Engagements.Trade Review[Museums and Communities] supplies the current state of the theoretical and practical activity in museum studies. It shows that museums have made efforts to open themselves to diverse groups interested in creating new systems of representation. The authors remind us that artists' interventions in museums urge curators to be more responsible and involved, allowing for effective dialogue with communities within disputed histories. * Perspective (Bloomsbury translation) *Museums and Communities thoroughly and unflinchingly interrogates the widely touted goal of collaborative museum work, providing a realistic assessment of the risks and pitfalls, but also the incredible rewards that come with a deep curatorial commitment to working collaboratively. * William Wood, Associate Professor of Anthropology, University of Wisconsin-Milwaukee, USA *All too often museums invoke the idea of “community” in naïve and uncritical ways. Here at last is an attempt to complicate this construction, unpick its politics, and explore its dynamics in the context of museum exhibition, engagement and outreach. This book has much to teach us about how museums imagine their communities and reminds us of the need to develop more sophisticated approaches to collaborative museology. * Paul Basu , University College London, UK *Table of ContentsList of Illustrations List of Contributors Acknowledgements Introduction - Viv Golding, University of Leicester, UK Part One: Community Matters? Collaborative Museums: Curators, Communities, Collections - Viv Golding, University of Leicester, UK The City, Race, and the Creation of a Common History at the Virginia Historical Society - Eric Gable, University of Mary Washington, USA Negotiating the Power of Art: Tyree Guyton and Detroit Communities - Bradley L. Taylor, University of Michigan, USA Learning to Share Knowledge: Collaborative Projects In Taiwan - Marzia Varutti, University of Leicester, UK Community Engagement, Curatorial Practice and Museum Ethos in Alberta Canada - Bryony Onciul, Newcastle University, UK Co-Curating with Teenagers at the Horniman Museum - Wayne Modest, Tropenmuseum, the Netherlands Part Two: Sharing Authority? Museums, Migrant Communities and Intercultural Dialogue in Italy - Serena Iervolino, University of Leicester, UK Community Consultation and the Redevelopment of Manchester Museum's Ancient Egypt Galleries - Karen Exell, University College London, Qatar, Doha 'Shared Authority': Collaboration, Curatorial Voice and Exhibition Design in Canberra Australia - Mary Hutchison, Humanities Research Centre, Australian National University, Australia One Voice to Many Voices?: Displaying Polyvocality in an Art Gallery - Rhiannon Mason, Chris Whitehead, and Helen Graham, Newcastle University, UK A Question of Trust: Addressing Historical Injustices with Romani-people - Åshild Andrea Brekke, Arts Council, Norway Part Three: Audiences and Social Justice? Audience Experiences? Creolising the Museum: Humour, Art and Young Audiences - Viv Golding, University of Leicester, UK Museums and Civic Engagement: Children Making a Difference - Elizabeth Wood, Indiana University-Purdue University, USA Community Consultation in the Museum: The 2007 Bicentenary of Britain's Abolition of the Slave Trade - Kalliopi Fouseki, University College London, UK and Laurajane Smith. Australian National University, Australia Interpreting the Shared Past Within the World Heritage Site of Göreme, Cappadocia Turkey - Elizabeth Carnegie, University of Sheffield, UK and Hazel Tucker, University of Otago, New Zealand Testimony, Memory and Art at the Jewish Holocaust Museum Melbourne Australia - Andrea Witcomb, Deakin University, Australia Afterword - A View from the Bridge in Conversation with Susan Pearce - Kirstin James, University of Leicester, UK, Petrina Foti, University of Leicester, UK and the Editors Index

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Book SynopsisDavid Evans is Lecturer in Sociology and Research Fellow of the Sustainable Consumption Institute at the University of Manchester, UK.Trade ReviewA short, lively and very stimulating book ... [and] an excellent example of recent research practices in the field of consumption and everyday lives. * Review of Agricultural, Food and Environmental Studies *Evans draws on studies of consumption and materials culture alongside social science perspectives on everyday life and the home to get to the bottom of why we waste food ... Simply put, food is wasted when people do not want to eat it anymore. However, Evans suggests that ‘food' becomes 'waste' through a complex and anxiety-laden process’, and therefore should not be taken as evidence of households not caring about the food that they waste ... Food Waste is aimed at social scientists and students, but could be of benefit to those in the waste industry wanting to take a different look at why we waste food. * Resource *Food Waste is both relevant and timely, offering new insights into ‘the role of material culture in shaping’ everyday practices of food consumption, and thereby, food waste production … Evans challenges normative views of wastefulness … demonstrating that households are undeniably aware of their production of (and discomfort with) food waste. Furthermore, he argues that food waste is more usefully conceptualised in relation to norms of caring that constitute feeding a family and loved ones than as an ‘end of pipe’ problem to be fixed by households, consumers and public waste management systems … Food Waste is a well-written and well-researched book, grappling with big questions about the transformation of food into waste. In it Evans provides an accessible account of the complexity of household food acquisition and disposal practices and offers a perceptive categorical framework upon which further academic work on food waste might build. * Sociological Review *Evans’ book provides a refreshingly non-judgmental exploration of the practices that lead consumers to waste food. ... A highly accessible, thought provoking and concise work, that offers a conceptual framework that will no doubt organize and position future studies of household food waste. * Cultural Sociology *David Evans has set a strong foundation for continuing research into waste scholarship ... Overall this book is at the forefront of looking into […] how home food takes steps into becoming waste in the environment. Evans’ has managed to provoke curiosity about other realms that lie undiscovered in the breadth of waste scholarship. * Journal of Agricultural and Environmental Ethics *The real-life stories in the book make the messages compelling, as the reader can easily relate to the examples that we have all lived in our own families. ... The author also presents many practical solutions to this problem [of food waste] that currently is under appreciated in the agricultural and food systems community. * Agroecology and Sustainable Food Systems *At last a book about waste that does not browbeat and blame consumers! Instead Evans asks fundamental questions that are usually buried under the moral weight of garbage and trash. His careful ethnography brings a blast of fresh air to a timeless and complex problem. -- Richard Wilk, Provost Professor of Anthropology, Indiana University, USAFood and waste are words that are seldom brought together in ways that do not involve morals and moralising. In this book, Evans shows why an understanding of food waste requires going beyond morality. This is material culture studies at its best, an important contribution to a growing body of work on divestment with profound implications for policy makers. -- Nicky Gregson, Professor of Human Geography, Durham University, UKEvans persuasively shows that problems with food 'waste' have little to do with poor planning and uninformed consumers and everything to do with the structures of daily life and ideas about 'proper' eating. This excellent book challenges conventional wisdom and opens up possibilities for rethinking consumer choice and responsible consumption. -- Melissa L. Caldwell, Professor of Anthropology, University of California, Santa Cruz, USATable of ContentsAcknowledgments Prologue: The Social Life (and Death) of Food 1. Bringing Waste to the Table 2. Ordinary Domestic Practice: Conceptualizing, Researching, Representing 3. Contextualising Household Food Consumption 4. Anxiety, Routine and Over-provisioning 5. The Gap in Disposal: From Surplus to Excess? 6. Bins and Things 7. Gifting, Re-use and Salvage Conclusion: Living with Food, Reducing Waste Notes Bibliography Index

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Book SynopsisKaren Tranberg Hansen is Professor of Anthropology at Northwestern University, USA.D. Soyini Madison is Professor of Performance Studies with affiliate appointments in the Department of Anthropology and African American Studies at Northwestern University, USA.Trade ReviewNot only does this multidisciplinary edited volume cast its geographic sweep as broad as a continent, it jumps into the centre of a conceptual Venn diagram. -- Siobhan Magee, University of Edinburgh, UK * Journal of the Royal Anthropological Institute *This book will appeal to those interested in how people in Africa use dress and fashion to engage relentlessly and innovatively with themselves and the world. Some papers, such as the one on wax-print cloths in colonial and post-colonial Togo, could be used as interesting case studies for business school students. * Textile Research Centre *Table of ContentsContents List of Illustrations List of contributors Acknowledgments Introduction. Karen Tranberg Hansen, Northwestern University, USA PART IDressed Bodies and Power 1. Dressing for Success: The Politically Performative Quality of an Igbo Woman's Attire. Misty L. Bastian, Franklin & Marshall College, USA 2. Fashionability in Colonial and Postcolonial Togo. Nina Sylvanus, Northeastern University, USA 3. Branding Festive Bodies: Corporate Logos and Chiefly Image T-shirts in Ghana. Lauren Adrover, Northwestern University, USA PART IIMaterial Culture, Visual Recognition, and Display 4. Bazin Riche in Dakar, Senegal: Altered Inception, Use, and Wear. Kelly Kirby, University of Michigan, USA 5. Fashioning People, Crafting Networks: Multiple Meanings in the Mauritanian Veil (Mala?fa). Katherine Wiley, Indiana University, USA 6. The Hijab as Moral Space in Northern Nigeria. Elisha P. Renne, University of Michigan, USA PART III. Connecting Worlds through Dress 7. Dressing the Colonial Body: Senegalese Rifleman in Uniform. Keith Rathbone, Northwestern University, USA 8. Ghana Boys in Mali: Fashion, Youth, and Travel. Victoria L. Rovine, University of Florida, USA 9. Forging Connections, Performing Distinctions: Youth, Dress, and Consumption in Niger. Adeline Masquelier, Tulane University, USA 10. Fashion, Transnationality, and Swahili Men. Tina Mangieri, SIT, USA PART IVTransculturated Bodies 11. Photography, Poetry, and the Dressed Bodies of Léopold Sédar Senghor. Leslie W. Rabine, University of California, Davis, USA 12. Transculturated Displays: International Fashion and West African Portraiture. Candace M. Keller, Michigan State University, USA 13. Spectacular Dress: Africanisms in the Fashions and Performances of Josephine Baker, 1925-1975. Bennetta Jules-Rosette, University of California, San Diego, USA 14. Dressing Out-of-Place: From Ghana to Obama Commemorative Cloth on the American Red Carpet. D. Soyini Madison, Northwestern University, USA Index

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Book SynopsisAmanda Ravetz is Senior Research Fellow at MIRIAD, Manchester Metropolitan University, UK. Alice Kettle is Senior Research Fellow at MIRIAD, Manchester Metropolitan University, UK. Helen Felcey is Programme Leader for MA Design at Manchester School of Art, Manchester Metropolitan University, UK.Trade ReviewCollaboration Through Craft is a ground-breaking book. It sets out what we have known for some time but nobody has yet articulated – that the crafts are distinguished by their collaborative nature and the willingness of makers to share experience, knowledge and skills. From its insightful introduction, which eloquently sets the context for craft as a collaborative process and experience, this book’s collection of essays maps the hugely diverse territory of contemporary crafts via the framing mechanism of collaboration. -- Matthew Partington, V&A Museum Senior Research Fellow, University of West England, UKNothing is ever made without collaboration. Yet we continue to believe that every work is the product of a single hand. This book turns the belief in single-handed creation on its head. It shows that collaboration is not incidental to the crafting of things but the very power that drives it forward. Together, the contributors succeed in raising craft from its backward-looking association with traditional skills to where it belongs, as a dynamic, generative principle at the core of social and cultural life. -- Tim Ingold, University of Aberdeen, UKThis book is a compelling critical appraisal of the friction and risk in collaboration, posing new forms of collaborative expertise through craft that are both challenging and immensely productive. These 16 chapters have deep relevance to makers in art, design, and craft as well as educators and practitioners within any field where working together is essential. This is an extraordinary resource! -- Anne Wilson, Professor Department of Fiber and Material Studies, School of the Art Institute of Chicago, USACollaboration through Craft adds to the growing number of publications that investigate and describe contemporary craft theory and practice […] This book would be a good acquisition for institutions or individuals wanting an overview of the breadth of contemporary ideas in collaborative craft and for artists who are interested in exploring collaborative possibilities. Summing Up: Recommended. Lower-level undergraduates and above; general readers. -- L. L. Kriner, Berea College * CHOICE *Table of Contents1. Collaboration Tthrough Craft: An Introduction Amanda Ravetz, Alice Kettle and Helen Felcey Part 1: Modes of collaborating 2. Collaboration: A Creative Journey or a Means to an End? Lesley Millar 3. Making Anew... Collaboration and Dynamic Change Helen Carnac 4. Triangulation Theory, Working as Three Jane Webb, David Gates, Alice Kettle 5. The Creation of a Collective Voice Brass Art: Chara Lewis, Kristin Mojsiewicz, Anneké Pettican Part 2: The Generative Power of Craft 6. Catalytic Clothing and Tactility Factory: Crafted Collaborative Connections Trish Belford 7. The Aesthetic of Waste: Exploring the Creative Potential of Re-cycled Ceramic Waste David Binns 8. Designing Collaboration: Evoking Dr Johnson Through Craft and Interdisciplinarity Jason Cleverly, Tim Shear 9. Skinship: An Exchange of Material Understanding Between Plastic Surgery and Pattern Cutting Rhian Solomon Part 3: Institutional Collaborations 10. Department 21: The Craft of Discomfort Stephen Knott 11. Skills in the Making Simon Taylor, Rachel Payne 12. Project Dialogue Barbara Hawkins and Brett Wilson 13. A Question of Value: Re-thinking the Mary Greg Collection Sharon Blakey and Liz Mitchell Part 4: Collaboration in an Emerging World 14. Expanded Battle Fields Allison Smith 15. Crafts and the Contemporary in South Asia Barney Hare Duke & Jeremy Theophilus 16. Circling Back Into That Thing We Cast Forward Judith Leemann and Shannon Stratton 17. Craft Knowledge and the Craft of Human Life: A South Asian Residency CJ O'Neill and Amanda Ravetz 18. Epilogue: A Response Glenn Adamson

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Book SynopsisVanessa Brown is a Senior Lecturer responsible for Design Culture and Context in the School of Art and Design (Department of Fashion, Knit and Textiles) at Nottingham Trent University, UK.Trade ReviewBrown delivers a fascinating explication of an iconic fashion accoutrement: sunglasses. She discusses how they have served as a popular cultural signifier, particularly since the 1920s, and explains their purportedly ‘cool’ quality … This short but insightful volume explores the influence of urban developments, the early turn to goggles and then eventually to Ray-Ban aviators, and the ultimate evolution of ‘modern cool.’ … According to Brown, sunglasses also were linked with African Americans, the femme fatale, white hipsters, the Beats, and late modernity … Likening shades to Breton’s top hat and Robinson’s bowler, Brown offers that they stand as ‘the ultimate symbol of the age.’ A thoroughly intriguing account. Summing Up: Highly recommended. All levels/libraries. -- R. C. Cottrell, California State University, Chico * CHOICE *An original contribution to the field ... The book gives an effective discussion of the various meanings of sunglasses as signifiers and draws some interesting examples from film and photography. * Journal of Design History *Table of Contents1. Introduction 2. Sunglasses and Modernity: Why do Modern Eyes Need Shading? 3. Sunglasses and Speed 4. Sunglasses and the Hi-tech Body 5. From Sunlight to Fashbulbs: Sunglasses, Success, Celebrity and Glamour 6. Sunglasses and the Other – Race, Gender, the Blind and the Outlaw 7. The Spread of Outsider Cool: 1950s – Present 8. Sunglasses and the Absence of Meaning 9. Conclusion 10. Timeline (1750 to 1960s) Bibliography Index

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Book SynopsisChristina Riggs is a Senior Lecturer in the department of Art History and World Art Studies, University of East Anglia, UK.Trade ReviewEach chapter of this book represents one lecture from a series delivered in 2012 at All Souls College, Oxford …With 79 pages of notes and bibliography, the extensive research behind this book is well documented … The issues discussed go beyond the art historical. Riggs covers the psychology of entombing, hiding, and revealing in artistic, religious, and political contexts. Summing Up: Recommended. Upper-division undergraduates through researchers/faculty; general readers. -- N. J. Mactague, Aurora University * CHOICE *This is a work of passion, poetically written and convincingly argued, which highlights the crucial role played by textiles, wrapping and concealment in the structuring of ancient Egyptian society. -- Sarah Griffiths * Ancient Egypt *An original and powerful volume ... Riggs provides a (very) critical history of Egyptology and related curatorial practices. The result is a book that not only wears its erudition lightly, but also challenges the legitimacy and apparent exceptionality of what it is that Egyptologists do. Opening Egyptology’s “black box,” Riggs makes a major contribution to understanding what that box might contain, in addition to how this understanding might change our perceptions of “ancient Egypt” and scholarly practices related to it. -- William Carruthers * Museum Anthropology Review *Dr Riggs’ book contains much of interest, presented in an ingenious way that raises issues that might not otherwise have easily sprung to mind and which should indeed be considered by anyone dealing with the study of the ancient world. -- Aidan Dodson * ASTENE Bulletin 63 *Riggs is, undeniably, spot-on with many of her observations. She is deliberately provocative and hopefully this book – an affordable paperback that [could] reach a wide audience – will not simply be dismissed as ‘trendy’ by the Establishment she critiques ... it should please the author that the book – perhaps the single most important on the subject of ‘Egyptology’ as a discipline of the last ten years – is already on the set reading list of archaeology students at Manchester University. -- Campbell Price * Egyptian Archaeology *Unwrapping Ancient Egypt is a riveting review and critique of Egyptological scholarship, studying a time-honored subject against a critical analysis of traditional western scientific approaches. Christina Riggs’ masterful intertwining of critical theory and thorough analysis provides important new insights. -- Willeke Wendrich, Professor of Egyptian Archeology, UCLA, USAChristina Riggs takes us on a lively exploration of Egyptology's prize finds and ably offers a fresh approach to familiar mummies and their textile bindings. As a means by which the dead and objects were sanctified and transformed, textile wrappings are presented as a structuring principle in ancient Egyptian society and discourse. -- Susanna Harris, ERC Research Associate, PROCON Project, UCL, UKThrough its focus on concealment and revelation, this beautifully written book raises ‘mummification’ from the realms of obscurity and curiosity, relocating it within a politics of the body that sheds light on both the deep past and contemporary practices of collection and display. It is an important contribution that cuts across the fields of art history, Egyptology, archaeology, anthropology, cultural heritage, material culture, and museum studies. -- David Wengrow, Professor of Comparative Archaeology, University College London, UKMore poetry than prose, embroidered with details gleaned from her extensive knowledge and experience as an Egyptologist and museum curator, Riggs’ interwoven tale of two Egypts skillfully employs the metaphor of wrapping, the past (wrapped/concealed) and the perceived past (unwrapped/revealed), as a common thread that binds both worlds. -- Lorelei H. Corcoran, Professor and Director of the Institute of Egyptian Art & Archeology, University of Memphis, USAThis book is a distinctive and significant contribution to the fields of Egyptology, anthropology, art history, and cultural studies. It is simultaneously a study of ancient Egypt and modern Western culture. In particular, the author examines the ancient Egyptian mortuary practices of wrapping and shrouding bodies, and the modern archaeological and museological practices of unwrapping bodies. -- Robert Preucel, Director of the Haffenreffer Museum of Anthropology and Professor of Anthropology at Brown University, USATable of ContentsList of Illustrations Acknowledgments Preface Desecration Revelation Mummification Linen Secrecy Sanctity Afterword Notes References Index

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Book SynopsisThe third edition of Crusader Archaeology updates previous editions to include coverage of important recent work in the field. It examines what life was like for European settlers and travellers to the crusader states during the centuries of Latin rule.Examining past, recent and ongoing archaeological discoveries, and research in the field from Israel, Jordan, Syria, Turkey and Cyprus, this volume includes recent findings and approaches including new exploration work in urban sites such as Jerusalem, Acre and Caesarea, new work on industrial sites and new discoveries in research including DNA studies, the field of weaponry and many other topics. It covers such topics as settlement types, fortification, daily life, day-to-day activities, warfare, religious life, arts, industry, leisure pursuits, building technology, agriculture, medicine, death and burial. It considers, in all these fields, the manner in which the Frankish population was influenced by the local and neigTable of Contents1 Background: The Crusades and Outremer; 2 The city and urban life; 3 The rural landscape; 4 The defence of the Latin East; 5 Frankish ecclesiastical architecture; 6 Frankish domestic architecture; 7 Crafts and minor arts; 8 The fine arts; 9 Building techniques and materials; 10 Medicine; 11 Burials; Postcript

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Book SynopsisPart materialist manifesto, part empirical case study, and part methodological guide, The Matter of History develops a radical new post-anthropocentric understanding of the past that explains how powerful organisms and things pushed diverse nations and cultures towards a global 'Great Convergence'.Trade Review'In this original, important, and beautifully written book, LeCain develops a neo-materialist theory of history to illuminate the environmental histories of seemingly disparate subjects: copper mines, silkworms, and longhorn cattle. Using insights from evolutionary theory, animal studies, and the anthropocene, LeCain shows how the cultural and the material are deeply interwoven in every aspect of resource extraction.' Nancy Langston, Michigan Technological University'By putting things front and center, LeCain challenges us to rethink our most basic assumptions about how we write history in the twenty-first century. He offers us both a lucid guide to a wide range of materialist theories and a set of fascinating examples.' Linda Nash, University of Washington'The Matter of History constitutes the first successful attempt to create an historical narrative truly grounded in a non-anthropocentric ethos, both in terms of its theoretical premises and of its methodological choices … a valuable example of an historical research able to interpret past events in order to read the present time.' Claudio de Majo, Global Environment'[A] profound and provocative book … thoughtful critique of antimaterialist history with an equally thoughtful summary of recent scholarship … [LeCain] argues convincingly that giving animals, plants, and minerals credit for shaping the world will allow us to write a more accurate and interesting history.' Steven Lubar, Technology and Culture'[The Matter of History] easily counts among the ten most fascinating books that I have read over the last decade.' Stefan Berger, Journal of Social History and the History of Social Movements'A fresh, provocative, and profound book … [The Matter of History] pushes environmental-history methodology to a new level of engagement with all actors of the material world.' Anne Norton Greene, Journal of Interdisciplinary History'The Matter of History constitutes the first successful attempt to create an historical narrative truly grounded in a non-anthropocentric ethos, both in terms of its theoretical premises and of its methodological choices.' Caludio de Majo, Global EnvironmentTable of Contents1. Fellow travelers: the non-human things that make us human; 2. We never left Eden: the religious and secular marginalization of matter; 3. Natural born humans: a neo-materialist theory and method of history; 4. The longhorn: the animal intelligence behind American open range ranching; 5. The silkworm: the innovative insects behind Japanese modernization; 6. The copper atom: conductivity and the great convergence of Japan and the West; 7. The matter of humans: beyond the Anthropocene and towards a new humanism.

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Book SynopsisRazzall offers close readings of literary texts alongside artefacts from chests to book-bindings and reliquaries, to reveal the importance of the box as object and idea in early modern culture. This book is for students and researchers in English Literature, History, and Art History, as well as book historians and librarians.Table of Contents1. Chests of the Mind in Early Modern England; 2. The Renaissance of the Box: Metaphors of Interpretation; 3. The Word in a Box: Reforming the Book; 4. How to Read a Reliquary; 5. 'Because This Box We Know': Embodying the Box.

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Book SynopsisOrigination: The Geographies of Brands and Branding offers innovative theoretical and conceptual frameworks relating to the ways that actors create meaning and value in commodity brands and branding through processes of geographical association. Provides innovative conceptualization and theorization to facilitate an understanding of the geographical dimensions of brands and branding Challenges current interpretations of brands as vehicles of homogenization in globalization Establishes the theoretical and conceptual foundations of a more geographically sensitive approach through rigorous empirical examination of the under-researched geographical differentiation of commodity brands and branding Presents innovative new research and analysis of the socio-spatial biographies of the Newcastle Brown Ale, Burberry and Apple brands Forges strong new connections between political and cultural economy approaches within geography Trade Review“Overall, Origination presents a promising conceptual and research framework capable of revealing the multiple facets of brand geographies.” (Consumption Markets & Culture, 1 December 2015) Table of ContentsSeries Editor Preface viii Acknowledgements ix Permissions x List of Tables xi List of Figures xii 1 Introduction 1 2 The Geographies of Brands and Branding 23 3 Origination 59 4 ‘Local’ Origination … Newcastle Brown Ale 88 5 ‘National’ Origination … Burberry 112 6 ‘Global’ Origination … Apple 139 7 Territorial Development 171 8 Conclusions 194 References 207 Index 224

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Book SynopsisJohn and Elizabeth Newson were well known for their studies of child rearing, which have combined a rigorous research methodology with sympathetic insights into family life and a lively approach to scientific reporting. Path-breaking', brilliant', seminal', outstanding', fascinating', enthralling' and enchanting' are some of the adjectives used by critics to describe their previous books. They now turn their attention to toys, the pegs on which children hang their play', a study for which they are uniquely qualified. Not only had they long experience in normal child development: they had been actively involved for many years in research and training in remedial play for disabled children, their research unit was a major influence in the phenomenal development of the toy libraries self-help movement, they designed for and advised the toy industry, and they had their own family-run specialist toyshop. With this background, it is not surprising that their book on toys andTable of ContentsAcknowledgements. 1. Why Toys? 2. People as Playthings: Lap and Cradle Play 3. Toys for the First Two Years: A Developmental Progression 4. Some Timeless Toys and Play Equipment 5. Props for Fantasy 6. Miniature Worlds 7. Play and Playthings for the Handicapped Child 8. Using Toys for Developmental Assessment 9. Using Toys and Play Remedially 10. Toys and Play for the Sick Child 11. Toys Through Time and Space. Notes. List of Suppliers. Further Reading. Index.

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Book SynopsisIn this volume Anthi Andronikou explores the social, cultural, religious and trade encounters between Italy and Cyprus during the late Middle Ages, from ca. 1200 -1400, and situates them within several Mediterranean contexts. Revealing the complex artistic exchange between the two regions for the first time, she probes the rich but neglected cultural interaction through comparison of the intriguing thirteenth-century wall paintings in rock-cut churches of Apulia and Basilicata, the puzzling panels of the Madonna della Madia and the Madonna di Andria, and painted chapels in Cyprus, Lebanon, and Syria. Andronikou also investigates fourteenth-century cross-currents that have not been adequately studied, notably the cult of Saint Aquinas in Cyprus, Crusader propaganda in Santa Maria Novella in Florence, and a unique series of icons crafted by Venetian painters working in Cyprus. Offering new insights into Italian and Byzantine visual cultures, her book contributes to a broader understandinTable of Contents1. A prosopography of encounters; 2. Southern Italy, Cyprus and the Holy Land: a tale of parallel aesthetics?; 3. Deconstructing myths: transmutations of Madonna and Panagia between Italy and Cyprus; 4. Thomas Aquinas, the Dominicans and artistic patronage in trecento Cyprus; 5. The peregrinations of a Cypriot king in Italian material culture, 1362-1368; 6. Art in the interstices: hybrid Italian panels and Cypriot nobility.

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Book SynopsisRitual has long been a central concept in anthropological theories of religious transmission. Ritual, Performance and the Senses offers a new understanding of how ritual enables religious representations - ideas, beliefs, values - to be shared among participants.Focusing on the body and the experiential nature of ritual, the book brings together insights from three distinct areas of study: cognitive/neuroanthropology, performance studies and the anthropology of the senses. Eight chapters by scholars from each of these sub-disciplines investigate different aspects of embodied religious practice, ranging from philosophical discussions of belief to explorations of the biological processes taking place in the brain itself. Case studies range from miracles and visionary activity in Catholic Malta to meditative practices in theatrical performance and include three pilgrimage sites: the Church of the Holy Sepulchre in Jerusalem, the festival of Ramlila in Ramnagar, India and the mountain shriTrade Review"Bull and Mitchell provide a truly thought-provoking collection of essays by renowned authors widely influential in the fields of performance studies, sensory/sound studies, and cognitive neuroscience/neurophysics. It is a must-read for all interested in ritual plain and simple as well as for all interested in the complex interplay of cognition, senses, and performance. - Reading Religion This is an excellent collection of articles that are both theoretically and empirically rich and offer innovative approaches to long-standing concepts. - Religion and Society: Advances in Research The book is highly recommendable to anthropologists working on all fields ... It provides a productive entry into debates that will probably shape the future of our discipline as it moves beyond the constraints of a 'science of culture'. - Anthropos [This] book has been carefully curated to ensure that the points of interest ... speak to readers from across the fields of performance studies, anthropology, neuroanthropology and beyond. - HARTS & Minds"Table of ContentsIntroductionJon P. Mitchell and Michael Bull, University of Sussex, UKRitual Action Shapes Our Brains: an Essay in NeuroanthropologyRobert Turner, Max Planck Institute for Human Cognitive and Brain Sciences, Leipzig, GermanyPlace-making in the 'Holy of Holies': the Church of the Holy Sepulchre, JerusalemTrevor Marchand, School of Oriental and African Studies, UKThe Importance of Repetition: Ritual as Extension of MindGreg Downey, Macquarie University, AustraliaDivine Intervention: Ontology, Cognition and Performance in Maltese Visionary PhenomenaJon P. Mitchell, University of Sussex, UKMaking 'Sense' in Embodied/Enactive Modes of Actor Training and PerformancePhilip Zarrili, University of Exeter, UKRamlila and SpaceRichard Schechner, Tisch School of the Arts, NYU, USAExploring the Andean Sensory Model: Knowledge, Memory and the Experience of PilgrimageZoila Mendoza, University of California, Davis, USASensation and TransmissionDavid Howes, Concordia University, CanadaAfterwordSarah Pink, Loughborough University, UKBibliographyIndex

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Book SynopsisTextile design inhabits a liminal space spanning art, design and craft. This book explores how textile design bridges the decorative and the functional, and takes us from handcrafting to industrial manufacture. In doing so, it distinguishes textiles as a distinctive design discipline, against the backdrop of today's emerging design issues.With commentaries from a range of international design scholars, the book demonstrates how design theory is now being employed in diverse scenarios to encourage innovation beyond the field of design itself. Positioning textiles within contemporary design research, Textile Design Theory in the Making reveals how the theory and practice of textile design exist in a synergistic, creative relationship.Drawing on qualitative research methods, including auto-ethnography and feminist critique, the book provides a theoretical underpinning for textile designers working in interdisciplinary scenarios, uniting theory and texts from the fields of anthropolTrade ReviewDelving into the interstices of textile design and textile making, Igoe’s richly conceived and generously formed text offers a new paradigm for textile design practices … suggesting an oscillating space that is as rich as it is discursive as it is rigorous. * Catherine Dormor, Royal College of Art, UK *Igoe has partnered her voice with a refreshingly original set of contributors who each move the discourse of textile design beyond generic design vocabulary through unapologetic narration of the personal and particular. * Jessica Hemmings, University of Gothenburg, Sweden *Igoe poetically layers the too-long unspoken words which locate the impulses that have driven generations of textile researchers and makers. The next generation can draw on this brilliant book to confidently amplify their political and personal matrixial voices. * Rebecca Earley, University of the Arts London, UK *Table of ContentsList of Figures List of Contributors Acknowledgements Introduction Chapter 1: Too much to tell Chapter 2: Matrixial meaning Chapter 3: Talking textiles: A story Chapter 4: Design, thinking and textile thinking Mesh One Chapter 5: Translating and transforming Chapter 6: The translation paradigm for design culture (Elena Caratti and Daniela Calabi) Mesh Two Chapter 7: A story of hard and soft; Modernism and textiles as design Chapter 8: The gendered textile design discipline Chapter 9: Taking on textile thinking (Marion Lean) Chapter 10: Tracing back to trace forwards: what does it mean/take to be a Black textile designer (Rose Sinclair) Mesh Three Chapter 11: Paraphernalia and playing for design Chapter 12: Patterns of objects (Tom Fisher) Mesh Four Chapter 13: Design problems and designing pleasure Chapter 14: Design does not solve problems (Mark Roxburgh) Chapter 15: Elevated Surfaces Epilogue: Toing and Froing: on creating an oscillation-based practice (Marianne Fairbanks) Glossary of terms Contributors References References Index

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

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Book SynopsisAlison Slater is Senior Lecturer in Design History at Manchester School of Art, Dept. of Art & Performance, Manchester Metropolitan University, UK. She has contributed to the journal Critical Studies in Fashion and Beauty and her PhD research features in the BBC Radio 4 documentary Rags to Riches.Susan Atkin is Deputy Division Head for Fashion Design at Manchester Fashion Institute, Manchester Metropolitan University, UK. She was previously the designer-owner of womenswear label Electricity.Elizabeth Kealy-Morris is Senior Lecturer in Dress and Belonging at Manchester Fashion Institute, Manchester Metropolitan University, UK. Her research into body dressing work has featured in The Guardian.Trade ReviewThis exciting and interdisciplinary collection of new essays pursues and develops a neglected theme: the presence, role, and importance of individual and cultural memory in the tings we wear ... The essays are individual, substantial, and represent a serious and valuable contribution to the critical theorization and practice of remembrance in and through fashion, clothing, and textiles. * Malcom Barnard, Loughborough University, UK *A diverse and insightful set of perspectives, this anthology reinforces the relevance of auto/biographical memories as a method to explore the motivations and meanings of everyday garments. Profound and poignant insights unfold as the past reverberates in the present through material engagement with clothes. * Hazel Clark, Parsons School of Design, New York, USA *Table of ContentsList of Illustrations List of Contributors Acknowledgements Introduction by Alison Slater, Susan Atkin, and Elizabeth Kealy-Morris Concepts 1. Personal Objects and Dress as Instruments for Anchoring the Self, Remembering the Past, and Enhancing Well-Being by Soljana Çili Histories 2. Remembering Respectability: Collective Memories of Working-Class Dress in Wartime Lancashire by Alison Slater 3. Memories of Making: Home Sewing in Socialist Hungary by Zsofia Juhasz 4. Nostalgia, Myth and Memories of Dress: The Cultural Memory of Madchester by Susan Atkin Objects 5. Wardrobes and Soundtracks: Resources for Memories of Youth by Jo Jenkinson 6. Ken Tynan’s Tommy Nutter Jacket as ‘Materialized Memory’ by Ben Whyman 7. Soft Murmurings: Sensing Memories in Collections of Dress by Jane Webb Practices 8. ‘The American Look’: Memories of Not Fitting In by Elizabeth Kealy-Morris 9. Black/White/Yellow by Elizabeth Chin 10. Cloth(ing) Memories: Rituals of Grieving by Lesley Beale References Index

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Book SynopsisHow does our understanding of early modern performance, culture and identity change when we decentre Shakespeare? And how might a more inclusive approach to early modern drama help enable students to discuss a range of issues, including race and gender, in more productive ways?Underpinned by these questions, this collection offers a wide-ranging, authoritative guide to research on drama in Shakespeare's England, mapping the variety of approaches to the context and work of Shakespeare and his contemporaries. By paying attention to repertory, performance in and beyond playhouses, modes of performance, and lost and less-studied plays, the handbook reshapes our critical narratives about early modern drama. Chapters explore early modern drama through a range of cultural contexts and approaches, from material culture and emotion studies to early modern race work and new directions in disability and trans studies, as well as contemporary performance. Running through the collection is a sharedTrade ReviewThe volume offers a very valiant and successful attempt to solve perhaps the biggest problem facing people who write about early modern drama today: now we know so much how do we distil it? There is not a weak essay to be seen. The book will prove an invaluable resource. * Lisa Hopkins, Sheffield Hallam University, UK *Table of ContentsList of Illustrations Notes on Contributors Series Preface Acknowledgements Note on the Text 1 Introduction Michelle M. Dowd (University of Alabama, USA) and Tom Rutter (University of Sheffield, UK) 2 Material and Institutional Contexts of Early Modern Drama: an A-Z Edward Gieskes (University of South Carolina, USA) RESEARCH METHODS AND PROBLEMS 3.1 Did Early Modern Drama Actually Happen? Kurt Schreyer (University of Missouri, USA) 3.2 Drama and Society in Shakespeare’s England Jean E. Howard (Columbia University, USA) CURRENT RESEARCH AND ISSUES 4.1 Ancient and Early Modern European Contexts of Early Modern English Drama Ton Hoenselaars (Utrecht University, Netherlands) 4.2 Playing Companies and Repertories Elizabeth E. Tavares (University of Alabama, USA) 4.3 Playhouses and Performance Laurie Johnson (University of Southern Queensland, Australia) 4.4 Drama Beyond the Playhouses Tracey Hill (Bath Spa University, UK) 4.5 Material Culture Chloe Porter (University of Sussex, UK) 4.6 Engendering the Stage: Women and Dramatic Culture Clare McManus (University of Roehampton, UK) and Lucy Munro (King’s College, London, UK) 4.7 Matter, Nature, Cosmos: the Scientific Art of the Early Modern English Stage Jean Feerick (John Carroll University, USA) 4.8 Early Modern Race-work: History, Methodology and Politics Jane Hwang Degenhardt (University of Massachusetts, USA) 4.9 Sexualities, Emotions and Embodiment Holly Dugan (George Washington University, USA) 4.10 Religion and Religious Cultures Benedict S. Robinson (Stony Brook University, USA) NEW DIRECTIONS 5.1 Diversifying Early Modern Drama Part One: Early Modern Disability Studies and Trans Studies Genevieve Love (Colorado College, USA) Part Two: Gaining Perspective: Race, Diversity and Early Modern Studies Farah Karim-Cooper (King's College, London, UK) 5.2 Performing Shakespeare’s Contemporaries Harry McCarthy (Jesus College, University of Cambridge, UK) CHRONOLOGY AND RESOURCES 6 Rethinking the Early Years of the London Playhouses: An Essay in Chronology Andy Kesson (University of Roehampton, UK) 7 Resources Catherine Evans (University of Manchester, UK) and Amy Lidster (Jesus College, University of Oxford, UK) 8 Further Reading Michelle M. Dowd (University of Alabama, USA) and Tom Rutter (University of Sheffield, UK) Index

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

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Book SynopsisArt, Borders and Belonging: On Home and Migration investigates how three associated conceptshouse, home and homelandare represented in contemporary global art. The volume brings together essays which explore the conditions of global migration as a process that is always both about departures and homecomings, indeed, home-makings, through which the construction of migratory narratives are made possible. Although centrally concerned with how recent and contemporary works of art can materialize the migratory experience of movement and (re)settlement, the contributions to this book also explore how curating and exhibition practices, at both local and global levels, can extend and challenge conventional narratives of art, borders and belonging. A growing number of artists migrate; some for better job opportunities and for the experience of different cultures, others not by choice but as a consequence of forced displacement caused economic or environmental collapse, or by poliTrade ReviewThis is a wonderfully curated collection of essays. The range of artistic material is rich, and the thematic focus on art’s unique potential to weave together experiences of migration, borders, homemaking and belonging is remarkably consistent, as is the authors’ innovative use of feminist and transnational perspectives to foreground female artists and engage with their works in close readings that are both intimate and trenchant. * Anne Ring Petersen, Professor of Modern Culture & Contemporary Art at the Department of Arts & Cultural Studies, University of Copenhagen, Denmark *Whether they are from Cyprus, Palestine, Spain, Kazakhstan or elsewhere, artists who have relocated often make works that not only invoke the idea of a lost home but also an impetus to achieve a sense of belonging in their new places of abode. This orientation, so important in contemporary art, is explored eloquently and compellingly in Art, Borders and Belonging. * Brenda Schmahmann, Professor and SARChI Chair in South African Art & Visual Culture, University of Johannesburg, South Africa *Table of ContentsList of Figures List of Contributors Introduction: Art, Borders and Belonging: On Home and Migration, Maria Photiou (University of Derby, UK) and Marsha Meskimmon (Loughborough University, UK) 1. Weaving Together: Narratives of Home, Exile and Belonging, Maria Photiou (University of Derby, UK) 2. Parastou Forouhar: Materialising Pain and Beauty, Lydia Wooldridge (Bristol School of Art and University of the West of England, UK) 3. Deciphering Home Through Hajra Waheed’s Archival Investigations, Sarah Fox (Carleton University, Canada) 4. Re-creating the Place of Home in Remedios Varo’s La creación de las aves, Nadia Garcia (University College Cork, Ireland) 5. Identity and (Not) Belonging: Art and the Politics of British-ness in 1980s Britain, Imogen Racz (Coventry University, UK) 6. Aftershocks and (Un)belongings: Reflecting on Home Strike, Alexandra Kokoli (Middlesex University London, UK) and Basia Sliwinska (University of the Arts London, UK) 7. Crossing literal and conceptual borders: Nepantla practices of the borderlands in performance projects by Guillermo Gomez-Peña, Eva Zetterman (University of Gothenburg, Sweden) 8. Boundaries and belonging in Kazakh art: a case study of Red Butterfly by Almagul Menlibayeva, Aliya de Tiesenhausen (Independent Scholar, UK) 9. 'Arrival city' versus 'dysfunctional nation': Exhibiting the 'migration crisis' at the 2016 Venice Architectural Biennale, Joel Robinson (The Open University, UK) Bibliography Index

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

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Book SynopsisWinner of the Association of Dress Historians Book of the Year Award, 2022Traditionally associated with rural ways of life in England, often hand-crafted and held up as one of the only items of English folk dress to survive into the 20th century, the smock frock is an object of curiosity in many museum collections. Drawing on a wide variety of sources from surviving garments to newspapers and photographs, this book reveals the hidden history of the smock frock to present new social histories.Discussing the smock frock in its widest contexts, Alison Toplis explores how garments were handmade and manufactured by the ready-made clothing industry, and bought by men of different trades. She traces the smock frock's usage across England as well as in export markets such as Australia. Following the garment's decline in the late 19th century, the book investigates how this essentially utilitarian style of workwear came to be held up as an example of disappearing peasaTrade ReviewA fascinating read. * Embroidery Magazine *Table of ContentsList of Illustrations Acknowledgements Introduction: Form and Definition 1. The Smock and Rural England 2. Histories of the Smock Frock 3. Making 4. Selling and Buying 5. Appearances 6. Into the Twentieth Century Conclusion Bibliography Index

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

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Book SynopsisThings change. Broken and restored, reused and remade, objects transcend their earliest functions, locations, and appearances. While every era witnesses change, the eighteenth century experienced artistic, economic, and demographic transformations that exerted unique pressures on material cultures around the world. Locating material objects at the heart of such phenomena, Material Cultures of the Global Eighteenth Century expands beyond Eurocentric perspectives to discover the mobile, transcultural nature of eighteenth-century art worlds. From porcelain to betel leaves, Chumash hats to natural history cabinets, this book examines how objects embody imperialism, knowledge, and resistance in various ways. By embracing things both elite and everyday, this volume investigates physical and technological manipulations of objects while attending to the human agents who shaped them in an era of accelerating global contact and conquest. Featuring ten essays, the volume foregrounds diverTrade ReviewWith ten vibrant studies that treat a striking array of media across an ambitious geographic scope, this volume charts some of the liveliest directions in today’s eighteenth-century art history, which has decisively embraced the everyday object and the dynamism of change as a generative critical lens. * Nancy Um, Associate Director for Research and Knowledge Creation, Getty Research Institute, USA *A new history of eighteenth-century art is being written in books like Material Cultures of the Global Eighteenth Century. Ten highly original, meticulously researched, and conceptually exciting essays encourage us to think expansively about material culture’s role in shaping global history. * Stacey Sloboda, Paul H. Tucker Professor of Art History, University of Massachusetts Boston, USA *This important volume puts material culture and its protean meaning-making at the center of eighteenth-century art history. Bellion's and Smentek's lucid introduction, and the innovative scholars they bring into conversation, are united by their admirable attentiveness to objects and voices from around the globe. * Amy Freund, Associate Professor and The Kleinheinz Family Endowed Chair in Art History, Southern Methodist University, USA *Table of ContentsList of Illustrations Notes on Contributors Acknowledgements Introduction, “Things Change”, Wendy Bellion, University of Delaware, USA; Kristel Smentek, MIT, USA 1. ‘A Sort of Picture or Image of my Self’: Amoy Chinqua’s Almost Ancestral Portrait of Joseph Collet, Winnie Wong, University of California, Berkeley, USA 2. Shooting for Freedom: Examining the Material World of Self-Emancipated Persons, Tiffany Momon, Sewanee: The University of the South, USA 3. Something Old, Something New: Repurposing and the Production of Ephemeral Festival Architecture in 18th-Century Paris, Matthew Gin, University of North Carolina at Charlotte, USA 4. Botanical Fantasy in Silk: Transformations of A Rococo Floral Design from England to China, Mei Mei Rado, Los Angeles County Museum of Art, USA 5. Making Marble Edible: Madame de Pompadour, Friendship, and the Multiple Lives of Porcelain, Susan M. Wager, University of New Hampshire, Durham, USA 6. The Sovereign Betel in Eighteenth-Century Bengal and Bihar, Zirwat Chowdhury, University of California, Los Angeles, USA 7. Isaiah Thomas’s Stamp Acts at the Halifax Gazette: Printers and Tacit Protest in Revolutionary America, Jennifer Y. Chuong, Humboldt-Universität zu Berlin, Germany 8. Between Art and Nature: The Dauphin’s Treasure at the Royal Cabinet of Natural History in Madrid, Tara Zanardi, Hunter College, CUNY, USA 9. California Indian Basket Weavers, Spanish Imperialism, and Eighteenth-Century Global Networks, Yve Chavez, University of California, Santa Cruz, USA 10. British Prints between Caricature and Ethnography, Douglas Fordham, University of Virginia, USA Index

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

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Book SynopsisNicola Laneri is Director of the Museum of Archeology and Professor of Archeology and Art History of the Ancient Near East at the University of Catania, Italy. He is also Director of the School of Religious Studies at CAMNES, Italy.Sharon R. Steadman is SUNY Distinguished Professor of Anthropology and Director of the Rozanne Brooks Museum at SUNY Cortland, USA.Trade ReviewThis original, ambitious, and fascinating handbook utilizes the archaeological and textual record to materialize ancient Near Eastern and Egyptian religious beliefs through the entangled and co-dependent elements of the human body, architecture, written word, animals, and landscape. The 35 contributors to this volume convincingly argue for the essential importance of a material approach for reconstructing the diverse forms of religiosity practiced over millennia by these ancient communities. * Ann E. Killebrew, Associate Professor of Classics and Ancient Mediterranean Studies, Jewish Studies, and Anthropology, The Pennsylvania State University, USA *This volume will be an invaluable read for students and scholars interested in the ancient Near East and Egypt or the history and nature of religion more generally. * Douglas Baird, Chair of Archaeology, University of Liverpool, UK *Table of ContentsIntroduction, Nicola Laneri (University of Catania, Italy) and Sharon R. Steadman (SUNY Cortland, USA) Part I: Material Religion 1. Chance and Lived Religion: The Material Culture of Transforming Randomness into Purpose, David Morgan (Duke University, USA) Part II: The Human Body 2. Material Religion and the Body in the Ancient Near East, Brenna Hassert (University College London, UK) 3. Jewelry as a Powerful Tool in the Ritual Discourse between Humans and the Supernatural in the Ancient Near East, Zuzanna Wygnanska (Polish Academy of Sciences, Poland) 4. Body Politic: Body-Objects and Necropolitics Past and Present, Melissa S. Cradic (Badé Museum of Biblical Archaeology at Pacific School of Religion, USA) 5. Behind the Cultic Statue: The Materiality of Religion in Ancient Mesopotamia, Davide Nadali (Sapienza University of Rome, Italy) and Lorenzo Verderame (Sapienza University of Rome, Italy) 6. Meanings and Practices in the Design of Objects: What Does Design Reveal about Experiences?, Michael S. Chen 7. The Brief but Spectacular Lives of Figurines in Hittite Ritual, Billie Jean Collins (Emory University, USA) Part III: Architecture 8. Religious Life, Urban Fabric and Regeneration Processes in Mari During the Second Half of the Third Millennium BCE, Pascal Butterlin (Sorbonne University, France) 9. Sacred Space and Immigrant Identity in the Middle Bronze Age: The Case of Tell el Dab’a, Danielle Candelora (SUNY Cortland, USA) 10. Evidence for an Urartian Belief System: The Institutionalization of Religion in the Mountainous Eastern Anatolian Highland––The Case of Ayanis, Mehmet Isikli 11. The Price of Devotion: Costly Signals in Neolithic and Chalcolithic Architecture on the Anatolian Plateau, Sharon R. Steadman (SUNY Cortland, USA) 12. Building Temples in the Northern Levant, Stefania Mazzoni (University of Florence, Italy) 13. Sacred Architecture in Iron II Southern Levant, Ido Koch (Tel Aviv University, Israel) Part IV: The Written Word 14. Scribes in the Temple: Materializing Missing Monuments in Mesopotamia, Jennifer C. Ross (Hood College, USA) 15. The Heraldry of Early Iranian Religion, Jacob Dahl 16. The Materials of Hittite Magic and Religion, Gregory McMahon (University of New Hampshire, USA) 17. Experiencing Ancient Egyptian the Book of the Dead: A Funerary Text Corpus as a Material Object, Christina Geisen (University of Cambridge, UK) 18. Pottery and Magic. A Glimpse into Late-Antique Mesopotamian Religious Tradition and its Materiality, Marco Moriggi 19. The Biblical Priestly Tradition as Material Religion: A Comparative Ancient Mediterranean Approach , Seth Sanders (University of California, Davis, USA) Part V: The Animals 20. Man, Animal, and Gods: Animal Remains as Indicators of Beliefs in the Ancient Near East, Jwana Chahoud (CNRS, Lebanese University, Lebanon) and Emmanuelle Vila (Lebanese University, Lebanon) 21. Resting on Strong Shoulders: The Power of Animal Scapulae in the Near Eastern Neolithic, Nerissa Russell (Cornell University, USA) 22. Animals and Ideology in the Pre-Pottery Neolithic B of the Southern Levant, Max Price (Massachusetts Institute of Technology, USA) and Jaqcueline Meier 23. Sharing Animals: Animal Imagery as Late Antique Intercultural Dialogue, Marica Cassis, Sydney Burton, and Sanaz Safari 24. The Theriomorphic Images of the Hittite Gods, Stefano de Martino (University of Torino, Italy) Part VI: The Landscape 25. Material Religion and the Perception of the Sacred Landscape in Ancient Mesopotamia, Anna Perdibon (Independent Scholar) 26. Imagining the Supernatural: The Landscape of Kura-Araxes Sacred Funerary Mounds, Nicola Laneri (University of Catania, Italy) and Chiara Pappalardo (University of Catania, Italy) 27. Cult Aspects of the Egyptian Desert, Laurel D. Hackley (University of North Carolina, Chapel Hill, USA) 28. Deconstructing the Shrine: An Essay in Understanding Desert Cult, Steven A. Rosen (Ben-Gurion University of the Negev, Israel) 29. Maritime Viewscapes and the Material Religion of Levantine Seafarers, Aaron Brody (Pacific School of Religion, USA) Bibliography Index

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Book SynopsisFaegheh Shirazi is a Professor in the Department of Middle Eastern Studies at The University of Texas at Austin, USA. She is the author of Brand Islam: The Marketing and Commodification of Piety (2016), Velvet Jihad: Muslim Women's Quiet Resistance to Islamic Fundamentalism (2009), The Veil Unveiled: Hijab in Modern Culture (2001) and the Editor of Muslim Women in War and Crisis: From Reality to Representation(2010). Her research interests include textiles, dress, gender identity discourse, and material culture in the Middle East; the meanings of veiling; rituals and rites of passage as they relate to material culture.Trade ReviewReflects Islam’s wide-ranging and profound impact on fabric, fashion and ritual beyond the Middle East. Stunning images illuminate every chapter and with detailed analysis, this book shifts and deepens our understanding of what the West understands of Islamic textiles and cultures. Essential reading. -- Janis Jefferies, Goldsmiths, University of London, UKThis book illuminates fascinating aspects of cultural and religious signifiers in textiles and dress with themed chapters, linking together local practices with broader traditions throughout the Islamic world. An excellent addition to reference library collections and reading lists for graduate seminars in global dress. -- Nazanin Hedayat Munroe, Director of Textile Technology and Assistant Professor, Business and Technology of Fashion, NYC College of Technology, City University of New YorkTable of ContentsIntroduction 1. Textiles and Symbols: A Mélange of Cultural Signifiers Kanga: Cloth with a Message Lion of Persia: pre-Islamic to Contemporary Iran Felt and Fabrics under Domination: Central Asia Ram’s Horn: Central Asia and Iran 2. Talismanic Textiles: Gender, Status, and the Supernatural Protecting Fiber and Livelihood: the Ladakh Blessed Looms, Blessed Fibers Sacred Colors: Red, White, and Light Blue Beyond the Loom Amulets: Protection Against the Unseen Inscribed Talismanic Shirts Gendered Looms 3. The Politicization of Textiles: Colonialism to the Present India and Cotton: Rejecting Colonial Rule United We Stand: India’s Muslim Weavers West African Wax Cloth Calico: the Forbidden Indian Cotton Indian Cloth in Southeast Asia Keffiyeh: from Functional to Symbolic The Russian Colonial Effect on Central Asian Textiles Russian Political Symbolism on Woven Carpets 4. Textiles and Crisis: Displacement & Occupation Rohingya of Burma Syria Iraq Afghanistan Siddis, Afro Indians Pakistan/India separation: Becoming two nations Indonesia Palestine 5. Textiles and Death Rituals in Islamicate Societies Burial Garment for Muslims: the Kafan Piecing Together the Past: Tiraz and Halaqa Tomb Covers for the Prophet Muhammed: Kiswa Tomb Covers: Signifiers of Status Indian and South Asian Tomb Covers Haji Ali Dargah Ajmer Sharif Dargah Egyptian Funeral Tents: The Art of Khayamiya Conclusion

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

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Book SynopsisThe Material Culture of Tableware is a fascinating and authoritative study of patterned tableware in the USA. This book undertakes a visual analysis of Johnson Brothers patterns of tableware pottery, with reference to comparable designs by other British companies, such as Spode and Adams. It examines how this practical genre reflected the aesthetic values, sense of identity and aspirations of the American consumers who purchased its products. The study also sheds light on British opinions and understandings of American culture. The book's chronological organization shows how tableware designs reflected the cultural developments of American society during the long 20th century. From status-seeking 1890s beaux-arts patterns and the nostalgic historical scenes of the 1930s, to whimsical 1960s patterns and the contemporary motifs of the 1970s, The Material Culture of Tableware tells a compelling story about who 20th-century middle-class Americans were and wanted toTrade ReviewA welcome addition to the existing body of literature ... Succeeds in expanding on the fact-based approach that such books usually boast. * Journal of Design History *Zarucchi serves up wonderful insights into the transatlantic tableware trade, which celebrates the influence of British design on American culture. * Rob Kesseler, Professor of Art, Design and Science at Central Saint Martins, UK *A rigorous survey of Staffordshire printed tableware and its export to America, across three centuries of this special cultural relationship. * Stephen Dixon, Professor of Contemporary Crafts at Manchester School of Art, UK *If you ever wondered where your dinnerware or antique souvenir plate was produced, this fascinating book is sure to inform you. * Anna Calluori Holcombe, Professor of Art at the University of Florida, USA *Table of ContentsIntroduction: The “Picture” in the Shop Window 1. Old World Style for the New World 2. Allies in War and Trade 3. American History (the British Version) 4. Commemoratives and Souvenirs 5. Prosperity and Nostalgia 6. Modern Style, New Traditions Conclusion: Endings and Beginnings References Index

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Book SynopsisMoving Objects deals with emotive design: designed objects that demand to be engaged with rather than simply used. If postmodernism depended upon ironic distance, and Critical Design is all about questions, then emotive design runs hotter than this, confronting how designers are using feelings in what they make. Damon Taylor's original study considers these emotionally laden, highly authored works, often produced in limited editions and sold like art objects such as a chair made from cuddly toys, a leather sofa that resembles a cow, and a jewellery box fashioned from human hair. Tracing the phenomenon back to the Dutch inflection' that began with Droog designers like Jurgen Bey and Hella Jongerius, Taylor conducts an analysis of the development of Design Art and looks for its origins in the uncanny explorations of surrealism. Offering a critique of Speculative Design, and an examination of the work of designers such as Mathias Bengtsson, whose work involves gTrade ReviewMoving Objects offers an innovative framework for measuring value in design. Taylor touts examples that recall our humanity and heighten our awareness of everyday objects we take for granted ... If our emotions project onto our surroundings and into our work as Taylor suggests, Moving Objects provides a robust roadmap for using those emotions to shape – and view – our world more intentional. * Design and Culture *Moving Objects is a unique book. The study uses unexpected insights and connects previously separate disciplines and different types of design. Damon Taylor shows himself to be a brilliant researcher who enriches the design world with a great knowledge of design history, an original analysis of how design works and also thinks along with us about the future possibilities in design. -- Timo de Rijk, Director of the Design Museum Den Bosch, NetherlandsTable of ContentsList of Figures Acknowledgements Introduction 1. Droog: the Dry and the Moist 2. Framing Design Art 3. Viscerealities 4. Valuing Emotive Design 5. Rhetorical Devices and Lyrical Things 6. To the Ends of the Earth Notes Select Bibliography

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Book SynopsisIn 2010, the BBC and the British Museum embarked on an ambitious project: to tell the story of two million years of human history using one hundred objects selected from the Museum''s vast and renowned collection. Presented by the British Museum''s Director Neil MacGregor, each episode focuses on a single object - from a Stone Age tool to a solar-powered lamp - and explains its significance in human history. Music, interviews with specialists and quotations from written texts enrich the listener''s experience. On each CD, objects from a similar period of history are grouped together to explore a common theme and make connections across the world. Seen in this way, history is a kaleidoscope: shifting, interlinked, constantly surprising and shaping our world in ways that most of us have never imagined. This box set also includes an illustrated booklet with additional background information and photographs, and each CD includes PDF images of the featured objects.20 CDs. 25 hrs.Trade Reviewa broadcasting phenomenon -- Maev Kennedy * The Guardian *perfect radio -- Philip Hensher * The Independent *deserves to take its place alongside television classics such as Kenneth Clark's Civilisation and Jacob Bronowski's The Ascent of Man. -- Dominic Sandbrook * The Telegraph *

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Book SynopsisStephen Knott is Director of the Crafts Study Centre in Farnham, a museum and research centre that is part of the University of the Creative Arts, UK. As a writer, researcher and lecturer in craft theory, design history and material culture, he has taught at Kingston University, UK and the Royal College of Art, UK and is one of the editors of The Journal of Modern Craft. He is author of Amateur Craft: History and Theory (Bloomsbury, 2015), and has written articles and reviews for Design and Culture, Performance Research, West 86th, Crafts and Craft Research. In 2018 he curated Tendenser at Galleri F15 in Moss, Norway, a showcase of contemporary craft and edited the accompanying catalogue, and was co-curator for Presence and Absence at the Crafts Study Centre (2021-22), an exhibition which responds to the lack of diversity within the Centre's collections.Trade ReviewAmateur Craft is one of several craft-related titles published by Bloomsbury. Knott (independent scholar) strives to show how amateur and professional crafters can thrive in the same space and how their work can feed off the thoughts and processes of each other. Specifically, Amateur Craft is written to demonstrate that amateur need not indicate ‘inadequacy or shoddy work.’ The book is organized into three well-illustrated chapters. Chapter 1, "Surface," discusses the agents needed for amateur surface intervention—‘bases, carriers, and arbiters.’ Bases are the objects that provide the blank surface. Carriers are the goods that make intervention—or the craft making—possible. Finally, arbiters, e.g., handbooks and encyclopedias, provide guidance. Chapter 2, "Space," focuses on the role of space in everyday life, the organization of space, and aesthetics. The design and organization of space is essential for crafting of any type. Chapter 3, "Time," looks at amateur time, or free time, and its uses and benefits. Some amateur craft is derived from workplace time; at other times, it comes about because of nostalgia, desire, and sociability. Extensive endnotes and a detailed index support the text. Overall, this is a worthy resource for historians, artists, or amateur hobbyists interested in studying the development and breadth of amateur crafting. Summing Up: Recommended. Upper-division undergraduates and above; general readers. * CHOICE *Knott (who is undoubtedly an important up-and-coming voice in the world of craft criticism) does produce some fascinating stuff. He makes a number of salient points about the often-neglected value of amateur making while at the same time investigating arcane subjects ... Ultimately what Knott proves, in this politely disruptive book, is that the amateur and professional don't exist in separate silos. Instead, their practices bleeds into one another - one couldn't survive without the other ... Knott's book is a timely reminder of craft's breadth and everyday importance. -- Grant Gibson * Crafts Magazine *This book is a very interesting 'take' on amateur craft and the model railway hobby ... [and] potentially a standard reference for future social history students and researchers. -- Grahame Hedges * N Gauge Society Journal *Amateur Craft is an erudite and entertaining account of the foundations of craft practice. It tackles a subject too often ignored as lowbrow. Stephen Knott’s clear, resonant voice marks him out at the forefront of new craft writing. He makes us look at craft in the round. It is a fine, lucid study. -- Simon Olding, Director, Crafts Study Centre, University for the Creative Arts, UKStephen Knott casts his net wide for examples of the intelligence, wildness and, yes, professionalism possible in the realm of amateur making. His thorough, thoughtful history and analyses make the case for the significance of “the amateur” in modern cultural history. -- Maria Elena Buszek, University of Colorado Denver, USAThoughtful, sustained and multifaceted... a welcome addition to existing academic literature on the topic. Rarely has craft practice been considered with the same intellectual weight as either fine art or design, and Amateur Craft demonstrates that its namesake practices are deserving of the rigorous analysis it delivers. * Anya Kurennaya, part-time art and design lecturer at Parsons School of Design, USA *Table of ContentsAcknowledgements List of Illustrations Introduction 1. Surface 2. Space 3. Time Bibliography Index

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Book SynopsisHeike Jenss is Associate Professor of Fashion Studies, Parsons School of Design, The New School, New York, USA. Foreword by Christopher Breward, Principal of Edinburgh College of Art, UK and Vice Principal for the Creative and Performing Arts at the University of Edinburgh, UK.Trade ReviewWith an emphasis on material culture and ethnographic approaches in fashion studies, this groundbreaking volume offers fascinating insights into the complex dynamics of research and fashion. * ADDRESS: Journal for Fashion Criticism *For anyone teaching fashion from practice and theory perspectives, as well as those actively engaged in research and reflecting on their own research journeys and projects, this book is an invaluable addition to their library shelves. * Costume *Never before has the diverse panorama of research methods in fashion studies been brought together in one volume. From object to image and from design to consumer, our field’s leading scholars thoughtfully share the unique ways in which they collect and theorize data in fashion. This is the essential text for all fashion studies research methods courses and the latest addition to all of our personal reference libraries. * Ben Barry, Associate Professor of Equity, Diversity and Inclusion, School of Fashion, Ryerson University, Canada *Heike Jenss has done an outstanding job in compiling an insightful and inspiring book that covers a range of important research on fashion as a material object and a practice. This book demonstrates the depth and the richness of the discipline and its creative methodological strategies. It is an invaluable contribution to the field and a must-read for all fashion scholars, practitioners, and students. * Yuniya Kawamura, Professor of Sociology at the Fashion Institute of Technology, New York, USA *Focusing on research methods and practices in fashion studies, and demonstrating how both fashion and research are in fact situated practices, this much welcome collection will prove a necessity for anyone teaching fashion studies and/or doing fashion research. The rich array of case studies all elegantly manage to bridge theory and practice, and while outlining and exemplifying a variety of methodologies, they also ultimately prove the interdisciplinarity of fashion studies as a field. * Louise Wallenberg, Associate Professor and Establishing Director of the Centre for Fashion Studies at Stockholm University, Sweden *Table of ContentsForeword, Christopher Breward, Edinburgh College of Art, UK Introduction - Locating Fashion/Studies: Research Methods, Sites and Practices, Heike Jenss, Parsons School of Design, The New School, USA SECTION ONE: APPROACHING FASHION AND DRESS AS MATERIAL CULTURE Introduction, Heike Jenss, Parsons School of Design, The New School, USA 1. In Search of the Everyday: Museums, Collections and Representations of Fashion in London and New York, Cheryl Buckley, University of Brighton, UK, and Hazel Clark, Parsons School of Design, The New School, USA 2. ‘Humble’ Blue Jeans: Material Culture Approaches to Understanding the Ordinary, Global, and the Personal, Sophie Woodward, University of Manchester, UK SECTION TWO: EXPLORING FASHION PRACTICES THROUGH ETHNOGRAPHY Introduction, Heike Jenss, Parsons School of Design, The New School, USA 3. Ethnographic Entanglements: Memory and Narrative in the Global Fashion Industry, Christina Moon, Parsons School of Design, The New School, USA 4. Urban Fieldnotes: An Auto-Ethnography of Street Style Blogging, Brent Luvaas, Drexel University, USA 5. Recasting Fashion Image Production: An Ethnographic and Practice-Based Approach to Investigating Bodies as Media, Stephanie Sadre-Orafai, University of Cincinnati, USA 6. Exploring Creativity: An Ethnographic Approach to Studying Fashion Design Pedagogy, Todd Nicewonger, University of Gothenburg, Sweden SECTION THREE: MIXED METHODS Introduction, Heike Jenss, Parsons School of Design, The New School, USA 7. Fitting Sources – Tailoring Methods: A Case-Study of Martin Margiela and the Temporalities of Fashion, Francesca Granata, Parsons School of Design, The New School, USA 8. Mixing Qualitative and Quantitative Methods in Fashion Studies: Philosophical Underpinnings and Multiple Masculinities, Susan B. Kaiser, University of California, Davis, USA, and Denise N. Green, Cornell University, USA 9. Action! Or, Exploring Diffractive Methods for Fashion Research, Otto von Busch, Konstfack University College of Arts, Crafts and Design, Sweden 10. Editing Fashion Studies: Reflections on Methodology and Interdisciplinarity in The Encyclopedia of World Dress and Fashion, Joanne B. Eicher, University of Minnesota, USA Index

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Book SynopsisFrom Oaxacan wood carvings to dessert kitchens in provincial France, Critical Craft presents thirteen ethnographies which examine what defines and makes craft' in a wide variety of practices from around the world. Challenging the conventional understanding of craft as a survival, a revival, or something that resists capitalism, the book turns instead to the designers, DIY enthusiasts, traditional artisans, and technical programmers who consider their labor to be craft, in order to comprehend how they make sense of it. The authors' ethnographic studies focus on the individuals and communities who claim a practice as their own, bypassing the question of craft survival to ask how and why activities termed craft are mobilized and reproduced. Moving beyond regional studies of heritage artisanship, the authors suggest that ideas of craft are by definition part of a larger cosmopolitan dialogue of power and identity. By paying careful attention to these sometimes conflicting voices, this collTrade Review"Critical Craft is an effective contribution to the anthropology of craft, of work, and of 'thing' or objects. It clearly demonstrates that there is more to crafts of all sorts than 'tradition,' expertise, and 'authenticity.' Anthropologists and others must be wary of assumptions about who does what kind of work or possesses what kind of knowledge, and we must be, like the authors of these quality essays, aware of the (unequal) agency of individuals and groups as they struggle within the field of any particular craft industry. - Anthropology Review Database - Jack David Eller [The book] has extended my understanding of craft as an integral part of contemporary global change ... It puts forward a convincing case for craft as a fruitful topic of study for social science scholars. - International Journal of Education Through Art"Table of Contents1: Introduction: Taking Stock of Craft in AnthropologyAlicia Ory DeNicola, Oxford College of Emory University, USA and Clare M. Wilkinson-Weber, Washington State University Vancouver, USAPart I: Contentions2: Who Authors Crafts? Producing Woodcarvings and Authorship in Oaxaca, MexicoAlanna Cant, University of Oslo, Norway3: Forging Source: Considering the Craft of Computer Programming Lane DeNicola, Emory University, USA4: American Beauty: The Middle Class Arts and Crafts Revival in the United States Frances E. Mascia-Lees, Rutgers University, USA5: Designs on Craft: Negotiating Artisanal Knowledge and Identity in IndiaClare M. Wilkinson-Weber, Washington State University Vancouver, USA and Alicia Ory DeNicola, Oxford College of Emory University, USA6: Nomadic Artisans in Central America: Building Plurilocal Communities through Craft Millaray Villalobos, Dirección General de Migración y Extranjería, Costa RicaPart II: Conundrums7: Number in Craft: Situated Numbering Practices in Do-It-Yourself Sensor SystemsDawn Nafus and Richard Beckwith, Intel Corporation, USA8: Crafting Good Chocolate in France and the US Susan Terrio, Georgetown University, USA9: Creativity, Critique and Conservatism: Keeping Craft Alive among Moroccan Carpet Weavers and French Organic Farmers Myriem Naji, University College London, UK10: Refashioning a Global Craft Commodity Flow from the Central PhilippinesB. Lynne Milgram, OCAD University, CanadaPart III: Conflicts11: ConflictingIdeologiesof the DigitalHand: Locating the Material in a Digital AgeDaniela Rosner, University of Washington, USA12: Materials, the Nation and the Self: Division of Labor in a Taiwanese CraftGeoffrey Gowlland, University of Oslo, Norway13: Craft, Memory and Loss: Hand-Embroidery in Zaria City, NigeriaElisha Renne, University of Michigan, USA14: Crafting Muslim Artisans: Agency and Exclusion in India’s Urban Craft CommunitiesMira Mohsini, Kalamazoo College, USANotesReferencesIndex

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Book SynopsisDavid Machin, Department of Media and Communication Studies, Örebro Unversity, Sweden. His books include Global Media Discourse (2007), Introduction to Multimodal Analysis (2007) Analysing Popular Music (2010) and The Language of Crime and Deviance (2012). He is co-editor of the journal Social Semiotics. Gill Abousnnouga works in the School of Journalism, Media and Cultural Studies at Cardiff University, UK. She has published numerous papers in international peer reviewed journals on war memorials using a multimodal approach.Trade ReviewFew studies in multimodality have a social critical edge. Few studies in critical discourse analysis tackle multimodal discourse. This book shows how to bridge the gap. -- Theo van Leeuwen, Dean of the Faculty of Arts and Social Sciences, University of Technology, Sydney, AustraliaThanks to Abousnnouga and Machin, we can no longer keep our eyes wide shut. Their sophisticated yet accessible theoretical framework brings war memorials to life for us like no other study. And like all good books about war should, it makes a timely and indisputable case against it. Highly recommended. -- Adam Jaworski, Professor of Language and Communication, The University of Hong Kong, Hong KongI can't speak highly enough of this book. The Language of War Monuments is a rare thing in that it represents a true advance in semiotic and discourse analysis. Abousnnouga and Machin demonstrate the theoretical rigour and analytic vitality of Multimodal Critical Discourse Analysis and - most importantly - offer a thorough empirical examination of commemorative war monuments, the ways they cover over or ignore appalling effects of war, and so the ways they function to legitimise war discourses. Packed with contextual and comparative detail throughout, Abousnnouga and Machin's systematic analysis simultaneously demystifies the features and materials of war memorials (and whose interests they support) and offers a toolbox we can apply when examining the semiotics of material objects more generally. Readers will not be able to view war memorials in the same way ever again. -- John Richardson, Senior Lecturer in Communication and Media Studies, Loughborough University, UKTable of Contents1. Introduction 2. Researching Monuments 3. A Social Semiotic Approach to Three Dimensional Objects 4. The Social Goings on Behind Monuments 5. The Iconography of the War Monument 6. Form and Materials 7. Roles and Actions: the Case of Women 8. Word, Image and Materiality: The Role of the Inscription Conclusion Bibliography Index

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Book SynopsisCraft Communities addresses the social groups, old and new, which have developed around craft production and consumption, exploring the social and cultural impact of contemporary practices of making. Addressing a wide range of crafting practice, from yarnbombs to Shetlands shawls, brassware to paper crafting, in a variety of regional and national contexts, the contributors consider how craft practices operate collectively in the home, communities, businesses, workshops, schools, social enterprises, and online. It further identifies how social media has emerged as a key driver of the ''Third Wave'' of craft. From Etsy to Instagram, Twitter to Pinterest, online communities of the handmade are changing the way people buy and sell, make and meet.Trade ReviewCraft Communities brings together an exciting and international array of writers whose ideas and examples are of central importance for thinking about craft as a collective, generative experience. The themes and chapters provide much-needed explorations and insights to help readers think through and unravel some of the complexities of decolonising craft. * Professor Juliette MacDonald, Director of Faculty at Edinburgh College of Art, Scotland *Craft Communities gathers in one publication is a breadth of particular case studies that reveal the dynamism, but also the sheer complexity, of craft’s place in contemporary community building. * Jessica Hemmings. University of Gothenburg, Professor of Craft, Sweden *Table of ContentsIntroduction - Craft Communites: Continuity and discontinuity across time and place, Susan Luckman. The commercial entanglements of craft communities 1. Do it yourself, with me: Workshops as a site of interaction between professional and amateur makers, Amy Twigger Holroyd. 2. ‘Out of time and out of money’: How handicraft tourism micro-entrepreneurs in Greece negotiate gender and economic roles in an economic crisis, Fiona Bakas 3. The Pleasures of Feminine Paper Crafting, Kathleen McCollough 4. Commodification, collection and community: Negotiating craft consumption and craft capitalism, Richard Yarwood Craft communities in place 5. Innovation or preservation?: Craft’s post-capitalist identity crisis, Joanna Mann 6. A place-based approach to regional fiber economies, Oona Morrow 7. Walking as sisters: The social dimension of group-based craft production in the Peruvian Andes, Kathrin Forstner 8. Sri Lankan artistic brassware industry: A manifestation of local community values, Sri Rohana Rathnayake and Carl Grodach 9. Recognising craft and creativity as political governance innovation: Activating people and place through civic activism and creative enterprise, Clare Mouat and Bronwyn Adams 10. Make, do and mend: A patchwork economy of UK crafting for health, Sarah Desmarais Activist craft communities 11. Better together: Co-creating living heritage, community assets and enterprise, Fiona Hackney, Deirdre Figueiredo and Mary Loveday 12. Material girls: The intangible and tangible of women’s weaving groups in Australia, Kirsten McGavin and Hannah Swee 13. Crafting employment for marginalized women: The remaking of social enterprise, Mia Hunt 14. The craft of reuse: Making communities at charity secondhand shops, Melisa Duque and Aneta Podkalicka 15. Crafting asylum: Text, textiles and asylum seekers in detention, Margaret Mayhew Craft communities online 16. Disposition and taste: DIY craft's star system, cultural intermediaries and the influence of Etsy, Jacqueline Wallace 17. New geographies of domesticity: Work, space and community in the virtual arts and crafts, Shannon Black, Chloe Fox Miller and Deborah Leslie 18. Media practices and social arrangements on DaWanda: Reflections on the appropriation of a social commerce platform, Dagmar Hoffmann and Wolfgang Reißmann List of Figures List of Contributors

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Book SynopsisWhat happens when objects behave unexpectedly or fail to do what they should'? Who defines failure? Is failure always bad? Rather than viewing concepts such as failure, incoherence or incompetence as antithetical to social life, this innovative new book examines the unexpected and surprising ways in which failure can lead to positive and creative results. Combining both theoretical and ethnographic approaches to failure, The Material Culture of Failure explores how failure manifests itself and operates in a variety of contexts. The editors present ten ethnographic encounters of failure from areas as diverse as design, textiles, religion, beauty, and physical failure covering Europe, North America, Asia, Africa, and the Arabian Gulf. Identifying common themes such as interpersonal, national and religious articulations of power and identity, the book shows some of the underlying assumptions that are revealed when materials fail, designs crumble, or things develop unexpectedly.The firstTrade Review"At last, we have here a thoughtful and provocative series of essays, along with an excellent theoretical introduction, on how failures illuminate the contexts that produce and define them. Noting that failure is everywhere, both in traditional and contemporary societies, the authors reveal how failures in technology, ritual, politics and design are always productive, though usually not in the ways that we anticipate. - Arjun Appadurai, New York University, USA Material failure is disappointing, sometimes grotesque, always inevitable. But as the contributors to this diverse and engaging anthology suggest, material failure can open creative space for subjects on the ground and productive ruminations for the anthropologists who witness them, claiming fresh ground for the study of material culture. - Laurel Kendall, American Museum of Natural History, USA This inspiring book is essential reading for all researchers and students interested in material culture. What happens when we take failure seriously? What happens when things go wrong? From these simple questions the contributors to this volume open up an entrancing new world for us all to explore. - Oliver Harris, University of Leicester, UK"Table of ContentsList of IllustrationsNotes on ContributorsAcknowledgmentsForeword: Failure and Fragility: Towards a Material Culture of the End of the World as We Knew ItDimitris Dalakoglu, Vrije University Amsterdam, Netherlands1. Introduction: Toward a General Theory of FailureTimothy Carroll, David Jeevendrampillai, and Aaron Parkhurst, University College London, UK2. Miracles and Crushed Dreams: Material Disillusions in the Design IndustryCamilla Sundwall, University College London, UK3. When Krishna Wore a Kimono: Deity Clothing as Rupture and InefficacyUrmila Mohan, University College London, UK4. Whitened Anxiety: Bottled Identity in the EmiratesAaron Lee Parkhurst, University College London, UK5. Holy Water, Healing and the Sacredness of KnowledgeAlexandra Antohin, Institute of Orthodox Christian Studies, UK6. Haredi (Material) Cultures of Health at the 'Hard to Reach' Margins of the StateBen Kasstan, Durham University, UK7. Failure as Constructive Participation? Being Stupid in the SuburbsDavid Jeevendrampillai, University College London, UK8. Destruction of Locality: On Heritage and Failure in 'Crisis Syria'Julie Shackelford, University College London, UK9. Axis of Incoherence: Engagement and Failure Between Two Material Regimes of ChristianityTimothy Carroll, University College London, UK10. The Materiality of Silence: Assembling the Absence of Sound and the Memory of 9/11Pwyll ap Stifin, University College London, UKAfterwordVictor Buchli, University College London, UKIndex

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Book SynopsisPeter Fine''s innovative study traces the development of a mass visual culture in the United States, focusing on how new visual technologies played a part in embedding racialized ideas about African Americans, and how whiteness was privileged within modernist ideals of visual form. Fine considers the visual and material manifestations of this process through the history of three important technologies of the art of mechanical reproduction typography, lithography, and photography, and then moves on to consider how racialized representation has been configured and contested within contemporary film and television, fine art and digital design.Trade ReviewThis profound, arresting, and beautiful study makes us see things differently. Made for graphic designers and accessible to fascinated readers far beyond that field, it demonstrates how deeply influenced by embedded relationships of race and power that creative and commercial work in design has long been. The resulting familiarities with images of racial hierarchies become less so as we read, look, and come to view matters through the brilliant critiques provided by contemporary Black artists. -- David Roediger, Foundation Distinguished Professor of American Studies at the University of Kansas, USATo really understand how race shapes US culture past and present, we must get to grips with the ways it patterns everyday life. Peter Claver Fine demonstrates the centrality of race to US graphic design, and the ways in which the visual language of commercial culture remains a key site for the reproduction - and the contestation - of racism. The Design of Race will be of great value to students of design, fine art, and popular culture. -- Ben Pitcher, Reader in the Sociology of Race at the University of Westminster, UKFine’s book is a ground-breaking analysis of the power of graphic design and its culpability in the constructions of race in America. The Design of Race is a timely and well-researched work that eloquently unpacks the complexities of visual culture, racial identity and the affordances of race as a designed object for consumption. -- John Jennings, Critical race design scholar and Professor of Media and Cultural Studies, UC Riverside, USATable of ContentsAcknowledgements Preface Introduction 1. Vestiges in Word and Image 2. Typography and Type 3. First Impressions: Lithography and the Packaging of Race 4. Photography by Design 5. Racialized Play, Caught in Real Time Conclusion

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Book SynopsisUlrich Lehmann brings together methods and ideas from social sciences and material production to give us a new political reading of fashion in today's post-democracy. Accessing rare source material across a wide range of European languages and cultures, he gives us insight into new working structures in the manufacture of garments and textiles.

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