The arts: general topics Books

Book SynopsisThis book explores American landscape painting today, its relevance in the contemporary art world, and its historic roots. This volume profiles sixty individual living artists whose contributions distinguish important aspects of the genre and address land use, nature appreciation, and ecology through landscape painting. Encompassing every style from traditional realism (with a contemporary edge) to abstraction and non-objectivity, these contemporary artists range from today's art stars to emerging or regionally recognized talent in the eastern, western, and southwestern regions of the nation. An additional chapter addresses urban landscapes nationally. The range of styles and reputations presented creates an encompassing survey of the trends and enduring elements in this genre of painting and the art market today.

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Book SynopsisA picture book about girl who accompanies her mother to get a meaningful tattoo. Includes a bonus coloring page featuring the tattoo art at the heart of the story. Mommy''s New Tattoo is the story of a young girl who visits a tattoo shop for the first time with her mother, who is getting a meaningful tattoo. The story examines the mother''s reason for the tattoo, and the lasting consequences of wearing and displaying body art. This wisdom helps the young girl later in life when she goes to a tattoo shop for her own tattoo. Written in rhyming verse and crisply illustrated with vibrant colors, Mommy''s New Tattoo is an excellent conversation starting piece for tattooed parents and their children. Complete with a bonus coloring page that features the tattoo art at the heart of the story, and can also be used as a tattoo-ready stencil.

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Book SynopsisThis beautiful and engaging book provides a stunning visual tour of the vibrant world of Boston arts. It is a testament to the creativity and nobility of the human spirit manifest in the work of artists who channel their creative energies into works that provide insight and bring joy, beauty, and light to our hearts and minds. This survey of 100 artists, including over 460 illuminating color photos, features works ranging from large-scaled installations to hand-carved figures and from holographic images to carefully choreographed moving sculptures. The text includes an introductory essay from art critic Debbie Hagan and brief statements from each of the artists about their work. These statements provide important insights and explanations concerning the artwork. The pieces and the artists who created them are as rich and varied as the unique history of Boston art. This is a valuable and enriching resource for all art enthusiasts.

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Book SynopsisIt is said that Oregonians have more body art per capita than any state in the union. Bob Baxter and his wife, Mary Gardner, have carefully vetted and selected forty-four of the best shops out of hundreds in their home state in order to expand and improve their already vast online tattoo shop directory. Spending three months on the road and traveling nearly a thousand miles, they visited each location, interviewed the owners, and photographed the shops' finest and most loyal clients. The result is the fifth installment in the Tattoo Road Trip series, a captivating, regional tattoo compendium and day-by-day account of the couple's adventures on the road in the Beaver State, from top to bottom, along the coast and inland. This one-of-a-kind collection of tattoos and tattoo artists is an essential component to the enthusiast's understanding of the tattoo scene in this majestic Pacific Northwestern state.

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Book SynopsisThe stark beauty of the Southwest mountains and deserts have attracted numerous artists working in many media. Painters, sculptors, potters, jewelers, and photographers study and work in this region, which is steeped in rich heritage and natural beauty. This eye-catching book contains a thoughtfully written foreword by Julie Sasse, Chief Curator and Curator of Modern and Contemporary Art at the Tucson Museum of Art, and over 600 compelling photos of the contemporary artwork from Arizona, New Mexico, Oklahoma, and Texas. The materials used are varied, ranging from stoneware to steel and everything in between. The subject matter includes the natural landscape, wildlife, and human life, historical scenes, and whimsical imagery, in forms both realistic and abstract. Each artist provides valuable insight into their work. The author states that the book''s intent is to take a fresh look at the magical and insightful ways the area''s artists have interpreted life in this region. That it does.

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Book SynopsisTrees come in many forms and are shaped by a huge variety of climatic and human forces. This makes them iconic vehicles for expressing human conditions and allows for commentary on deep ecology. Artists have always been arboreal fans; some artists look at trees and see them as canvases for their particular vision. Others may decide to replicate them in their favorite medium, whether it is ceramics, fabrics, paint or glass. They combine, redesign, and transform their materials into art that changes the way we perceive the world. Their creations grab our attention and give us a promise of renewal and beauty; their work with trees, roots, and leaves creates magic and mystery for us to delight in. In this striking collection, 106 international, twenty-first century artists portray their world in sculpture, glass, paint, clay, wood and other contemporary mediums, displayed in over 500 images. As Dr. Seuss suggests in The Lorax, they Speak for the trees, for the trees have no tongues.

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Book SynopsisThe verve of the South Florida graffiti art scene from the 1980s to present is captured in this landmark book. It offers unparalleled access to the most significant graffiti art works ever produced in Miami. Discover South Florida's graffiti art history throughout its various stages, dating from its classic works of the 1980s to the present influence of graffiti art at the annual Art Basel Festival. Included in the 310 full-color images are works by V05, DFC Crew, 7 UP Crew, the Ink Heads, and many more. Each image is accompanied by key caption information, making this an image archive that serves as a comprehensive catalog of Miami's greatest graffiti art. It is the ideal reference for all graffiti artists and fans of the medium.

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Book SynopsisQuilters are always looking for a reason to buy more fabric or use up some of their stash while enjoying one of their favorite things to do, and what better way is there than to celebrate a special day by making a quilt. Broken down by the month, fifty-three artists from seven states share 72 original wall-hangings that were made to celebrate some of the lesser-known holidays throughout the year: World Braille Day, National Tooth Fairy Day, National Crayon Day, Reach as High as You Can Day, Paper Clip Day, Hug Your Cat Day, National Hot Dog Day, Middle Child''s Day, National Coffee Day, It's My Party Day, Button Day, and Bathtub Party Day. Learn where the ideas came from and what techniques were used to make these amazing, inspirational quilts. The artists had a great time creating unique wall-hangings with personal connections, and you can too!

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Book SynopsisHundreds of fascinating color photos reveal the wearable artwork created by today''s top art jewelers of Europe, including one-of-a-kind necklaces, brooches, bracelets, rings, and earrings in gold, silver, mixed metals, glass, enamel work, found objects, and more. The artists are arranged alphabetically so readers may see the entire scope of their work on the page together. The artists provide personal statements about their work and its significance. These artists have created small sculptures that adorn the body and draw attention. This is the first book in the series to focus solely on the artists of Europe. Included among them are new artwork from artists readers have come to know in the previous volumes and an introduction to the work of artists whose jewelry has not been previously seen. This is a valuable guide to current trends in art jewelry design for buyers, jewelry enthusiasts, collectors, and artists alike.

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Book SynopsisIn 1728 when he was 29 years old, John Bartram (16991777), a third generation Pennsylvania Quaker, bought a 102-acre site in the Philadelphia environs and started developing it into an arboretum that became known as Bartram's Garden. He began sending seeds and plants to Peter Collinson, a London merchant, and many others after that, in wooden boxes he designed for the trans-Atlantic voyages. When a severe storm felled trees in the historic Garden in 2010, The Center for Art in Wood in Philadelphia challenged artists across the world to create works from the wood that expressed the botanist''s voice and dedication. Forty artists responded with diverse projects that keep Bartram''s spirit alive and celebrate nature, science, and design.

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Book SynopsisInitially, they were the waste product of wooden bowls turned in an ancient technique by Robin Wood of the United Kingdom, an expert pole-lathe turner and author. Known for his historical and functional objects made on a foot-powered lathe, Wood keeps the tradition of pole turning alive. The leg-powered process Wood uses results in thousands of solid, round chunks Cores that get broken out of the center of the bowl at the last moment. Wood donated 100 Cores, which ranged in size from 2 x 2 to 3 x 4 to The Center for Art in Wood in Philadelphia. The Center sent Cores to two-score artists who agreed to the challenge of reworking them into new pieces of art. These works, shown here in more than 240 color photos, formed the exhibition Robin Wood's CORES Recycled by The Center for Art in Wood.

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Book SynopsisThe pulse of today''s jewelry art is captured in 400 beautiful color photos demonstrating today''s top levels of mastery. Created by more than 70 contemporary international jewelry artists, these pieces of body-adorning sculpturerings, collars, brooches, headpieces, and other adornmentsare varied, surprising, and as multifaceted as today''s art world. The makers'' own explanations of the methods and inspirations that guide their work offer further ideas. Everyone who works in the jewelry field or who enjoys admiring or wearing jewelry will find this an invaluable reference and a sourcebook for future creativity.

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Book SynopsisMuseums are frequently sites of struggle and negotiation. They are key cultural institutions that occupy an oftentimes uncomfortable place at the crossroads of the arts, culture, various levels of government, corporate ventures, and the public. Because of this, museums are targeted by political action but can also provide support for contentious politics. Though protests at museums are understudied, they are far from anomalous. Tear Gas Epiphanies traces the as-yet-untold story of political action at museums in Canada from the early twentieth century to the present. The book looks at how museums do or do not archive protest ephemera, examining a range of responses to actions taking place at their thresholds, from active encouragement to belligerent dismissal. Drawing together extensive primary-source research and analysis, Robertson questions widespread perceptions of museums, strongly arguing for a reconsideration of their role in contemporary society that takes into account politicalTrade Review"Tear Gas Epiphanies is an excellent contribution to the field of critical museum studies in Canada and globally. Robertson highlights exhilarating moments of protest, while also offering critical analysis, paying attention to the demands of intersectionality in theory and practice." Shelley Ruth Butler, McGill Institute for the Study of Canada and co-editor of Curatorial Dreams: Critics Imagine Exhibitions"Tear Gas Epiphanies presents high-quality, well-designed, and well-examined case studies in the context of political debates around art, museums, and activism. It will be widely read by those interested in the politics of culture, national identity, and public history – its formation, models of resistance, and transformations over time." Kylie Message, Australian National University Humanities Research Centre

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Book SynopsisIn the 1980s, the Ontario Board of Censors began to subject media artists' work to the same cuts, bans, and warning labels as commercial film. Ruling Out Art reveals what happens when art and law intersect, when artists, arts exhibitors, and their anti-censorship allies enter courts of law as appellants, defendants, or expert witnesses. The administration of culture during Ontario's censor wars was not a simple top-down exercise. Members of arts communities mounted grassroots protests and engaged the province in court cases that ultimately influenced how the province interpreted freedom of expression, a fundamental and far-reaching legal right. The language of the law in turn shaped the way artists conceived of their own practices.By exploring how art practices and provincial legislation intertwined during Ontario's censor wars, this innovative book documents an important moment in the history of contemporary art and cultural activism in Canada, one that helpeTable of ContentsIntroduction1 Historicizing Censorship2 Misunderstandings between Art and Law3 Competing Anti-Censorships and Mixed Legal Outcomes4 Defining Communities with Uncertainty5 Media Artists Mobilize, Mobilizing Media ArtsConclusionAppendix: Censorship Jurisprudence and Landmark Legal ChallengesNotes; Bibliography; Index

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Book SynopsisA new kind of style book with the inspiring and empowering message that “true style is self-acceptance,” profiling stylish influencers and celebrities who defy the cookie-cutter looks of today’s fashion magazines.   The mother-daughter team behind the enormously popular websites StyleLikeU and What’s Underneath profile trendsetting artists and creatives of all ages, body types, races, and genders to embrace how self-expression and self-acceptance are the most important means of achieving personal style.   Featuring people with original and creative style such as actress Lea DeLaria, who embraces her butch style with whimsy and humor; model and Miley Cyrus–muse Melanie Gaydos, who lives with a genetic disorder and who sees beauty as a state of being that she has achieved; designer Betsey Johnson, who continues to exert creative genius into her 70s; or Tallulah Willis, who has learned to keep a positive selTrade Review"The project was born out of Ms. Goodkind and Ms. Mandelbaum’s search for authenticity in style. After over twenty years of fashion styling Ms. Goodkind was disheartened by the rise of corporate led brands and prosaic trends in the market."—New York Style Guide "Mother-and-daughter duo Elisa Goodkind and Lily Mandelbaum discuss the release of their second book and the shift in the collective consumer mind-set."—Women's Wear Daily

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Book Synopsis"A fine collection of probing and imaginative discussions on the relation between the Incarnation and the arts." --Nicholas Wolterstorff, Yale Divinity SchoolTable of ContentsList of IllustrationsContributorsIntroduction--Jeremy Begbie1. Through The Arts:Hearing, Seeing and Touching the Truth Trevor Hart2. Through Literature:Christ and the Redemption of LanguageMalcolm Guite3. Through Poetry:Particularity and the Call to AttentionAndrew Rumsey4. Through Dance:Fully Human, Fully AliveSara B. Savage5. Through Icons:Word and Image TogetherJim Forest6. Through Sculpture:What's the Matter with Matter?Lynn Aldrich7. Through Popular Music:'Wholy Holy'Graham Cray8. Through Music:Sound MixJeremy Begbie

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Book SynopsisPoets have long been drawn to the images and techniques of still life. Artists and poets alike present intimate worlds where time is suspended in the play of form and color and where history disappears amid everyday things. The genre of still life...Trade ReviewBonnie Costello argues for still life as a mode of juxtaposition that can hold contrary ideas at a standstill without merging or synthesizing them. Far from being a minor genre, still life becomes, for the author, the aesthetic end of the more politicized modernism of the 1930s (a point that is qualitatively different from the argument that still life was deliberately aesthetic). In Costello's modeling, still life is not restricted to its material components but can include radio waves, foreign news, technology, cinema, even the artist's vocation.... She concentrates on one visual artist, Joseph Cornell, juxtaposing him to canonical American poets Wallace Stevens, William Carlos Williams, Elizabeth Bishop, and the academically undertreated Richard Wilbur. In so doing, she virtually wipes out the past generation's distinction between the subjective Stevens and the quasi-objective Williams—a fruitful side effect of her inventive exploration of intermedial crossings. * Choice *

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Book SynopsisIn this sweeping portrait of the political culture of the early People''s Republic of China (PRC), Chang-tai Hung mines newly available sources to vividly reconstruct how the Chinese Communist Party (CCP) tightened its rule after taking power in 1949. With political-cultural projects such as reconstructing Tiananmen Square to celebrate the Communist Revolution; staging national parades; rewriting official histories; mounting a visual propaganda campaign, including oil paintings, cartoons, and New Year prints; and establishing a national cemetery for heroes of the Revolution, the CCP built up nationalistic fervor in the people and affirmed its legitimacy. These projects came under strong Soviet influence, but the nationalistic Chinese Communists sought an independent road of nation building; for example, they decided that the reconstructed Tiananmen Square should surpass Red Square in size and significance, against the advice of Soviet experts sent from Moscow.Combining historTrade ReviewMao's New World is a series of illuminating essays on the culture of the early People’s Republic. * New York Review of Books *Chang-tai Hung's study of political culture in China in the 1950s is rich in detailed insights that complement his earlier treatment of the entwined subjects of politics and culture in War and Popular Culture: Resistance in Modern China, 1937–1945. * China Journal *Hung's meticulous research reveals the struggles over values and power behind the granite surface of revolutionary China’s new look. * Foreign Affairs *The book contains much comparison of Mao's China with Joseph Stalin’s Russia, Adolf Hitler’s Germany, and the early years of the French Revolution. This authoritative survey of an important subject will be welcome to students of the period. * Journal of Interdisciplinary History *The book makes a definite contribution to our understanding of the dynamics of cultural politics and political culture during the PRC's formative era. * American Historical Review *This study of the newly established regime in China in the early 1950s will appeal to a wide range of readers. Hung is particularly good at delineating the contested areas of modernity and tradition that were crucial in creating a new national identity. * China Quarterly *Table of ContentsIntroductionI. Space1. Tiananmen Square: Space and Politics2. Ten Monumental Buildings: Architecture of PowerII. Celebrations3. Yangge: The Dance of Revolution4. ParadesIII. History5. The Red Line: The Museum of the Chinese Revolution6. Oil Paintings and HistoryIV. Visual Images7. Devils in the Drawings8. New Year Prints and Peasant ResistanceV. Commemoration9. The Cult of the Red Martyr10. The Monument to the People's HeroesConclusionNotesGlossaryBibliographyIndex

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Book SynopsisWhat art isits very natureis the subject of this book by one of the most distinguished continental theorists writing today. Informed by the aesthetics of Nelson Goodman and referring to a wide range of cultures, contexts, and media, The Work of Art seeks to discover, explain, and define how art exists and how it works. To this end, Gérard Genette explores the distinction between a work of art''s immanenceits physical presenceand transcendencethe experience it induces. That experience may go far beyond the object itself.Genette situates art within the broad realm of human practices, extending from the fine arts of music, painting, sculpture, and literature to humbler but no less fertile fields such as haute couture and the culinary arts. His discussion touches on a rich array of examples and is bolstered by an extensive knowledge of the technology involved in producing and disseminating a work of art, regardless of whether that dissemination is by performance, reproduction, printing,Trade Review"One must admire these books for their interesting and well-chosen examples, drawn from a wide-ranging experience in practically all the arts, and for their well-informed thoughtfulness. . . .Those interested in an aesthetic theory applicable to all the arts will find these volumes informative, provocative, challenging, and quite rewarding."—Harold F. Mosher, Style, Summer 1999"The lucidity, elegance, and sophistication that have always characterized Genette's writing are present in his new study as well."—Eyal Segal, Poetics Today, Summer 2002"Genette's exploration of the ontology of art builds a bridge between poststructuralist and analytic work on the theory of the arts. I see Genette's move in the direction of a sophisticated fusion of continental and analytic sources as a highly promising event."—Paisley Livingston, McGill University

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Book SynopsisIn the domain of visual images, those of fine art form a tiny minority. This original and brilliant book calls upon art historians to look beyond their traditional subjects—painting, drawing, photography, and printmaking—to the vast array of "nonart"...Trade ReviewFor whatever reason, some of the most daring, experimental writing in the field of art history is now coming out of Chicago.... Purely in terms of output, Elkins is phenomenal.... His work is about 'art history on the edge,' about aspects of art and design that defy categorization and that easily fall through the cracks. * Ballast Quarterly Review *James Elkins will deliver more pleasurable reflections per square image than you ever dreamed possible from an art historian. * Toronto Globe and Mail *

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Book Synopsis"This book is about the obsessive strategies people use to keep the arbitrary out of their lives; it is about the fanaticism and intolerance linked to their ideas of perfection and permanence.... Those readers who have brushed against the dangers...Trade Review"As we turn these learned pages on modernist fanaticism, obsession, compulsion, and idées fixes, we come to recognize the figure in the mirror: the monomaniac is us. Marina van Zuylen's gentle irony and dry wit make this richly written book a delight to read." -- Janet Beizer, Harvard University"In the same way as Rene Girard analyzed the structure of mimetic desire in his groundbreaking Deceit, Desire and the Novel of 1965, Marina van Zuylen constructs the history of what seems at first an obsolete psychological affliction by ordering a series of case studies into a teleological march through time—from Flaubert's to ours. She reactivates notions that had fallen into oblivion and in so doing proposes an entirely new reading of monomania as a symptom, or rather a coherent set of symptoms, of modern life." -- Yve-Alain Bois, Harvard University"Monomania is a rich and compelling study of an often misunderstood condition.... Marina van Zuylen's interest lies in analyzing monomania as an all-too-common yearning for absolutes that transcends the nineteenth century and permeates literature, art, and life even today. Her book offers a fascinating philosophical and psychological consideration of the desire to organize one's existence around a stable ideal, and the corresponding anxiety that life is otherwise meaningless or empty. Drawing on various sources—case studies, letters, and biographies in addition to fiction, philosophy, and art—van Zuylen illuminates monomania's role in a range of practices and predilections. Myriad idées fixes coalesce around the drive to establish the coherence that life lived freely fails to provide. The desire unites the artist fleeing reality for abstraction, the nineteenth-century housewife seeking a master in her mate, the hypochondriac focusing ever inward on his or her body, and even the academic obsessed with productivity." -- Laura Spagnoli, French Forum, Fall 2007"Monomania is highly original, deeply learned, intelligent, and thoughtful. It is also engagingly and agreeably written. Marina van Zuylen fruitfully combines psychological and literary issues, achieving a balance between attention to specific authors and a strong central argument. She successfully brings together the inner problematics of literature-the act of writing, the choice of the writing life, the investment in form and style-and the literary imagination of the psychology of human thought and behavior." -- William Paulson, author of Literary Culture in a World Transformed: A Future for the Humanities"This intriguing book is finally about our relationship to time—plain time that is at once too dull and too rich for us to bear—and how it invests modern art with esthetic urgency. Marina van Zuylen's case studies of notable modernist monomaniacs are poignant in their precise appreciation of the risks and riches of the idée fixe. We come to feel we understand these characters all too well! A dim but haunting awareness of one's own susceptibility to the 'fear of everyday life' grows in the reader, engendering a kind of double reading that performs the very ambiguity of monomania so precisely revealed by van Zuylen's analysis. I read this beautifully written book monomaniacally." -- Suzanne Guerlac, University of California, Berkeley"This is an enthralling book—I found myself monomaniacally lecturing anyone who came near about its ideas. Marina van Zuylen revives a concept of obsession broader than that currently used in psychiatry, and in doing so makes it easier to see what the urge to create literature can have in common with such states as obsessive grief, hypochondriasis, and perfectionism. Monomania is not only a theory-rich delight for students of literature and culture, it has practical implications for clinicians—and for any general reader who has felt the seductive tug of being a jealous lover, a tchotchke collector, or a workaholic." -- Alice Flaherty MD, PhD, Director, Movement Disorders Fellowship, Department of Neurology, Massachusetts General Hospital, and author of The Midnight Disease: The Drive to Write, Writer's Block, and the Creative Brain

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Book SynopsisOriginally published in 1766, the Laocoon has been called the first extended attempt in modern times to define the distinctive spheres of art and poetry.Table of ContentsForeword to The Johns Hopkins EditionTranslator's IntroductionNote on the TextPrefaceChapter's 1-29Appendix NotesBiographical Notes

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Book SynopsisImages and Enterprise vividly portrays the emergence of cinematography in its relationship to traditional photography and reveals the growing importance of institutionalized research, as Eastman Kodak and the other American and European photographic materials manufacturers strove to develop commercially practical color photography.Trade ReviewA superb case study of the institutional response of American business to the coming of modern markets and modern technology. This book should be required reading for all historians concerned with the institutional development of the American economy and all economists interested in industrial organization and the theory of modern business enterprise. -- Alfred D. Chandler, Jr. Technology and Culture Reese V. Jenkins has ably and probably definitively captured the technical and business history of [the photographic] industry... Images and Enterprise is lavishly and cleverly illustrated with the pictures needed to understand the technology and enjoy the flavor of the enterprise. -- Carroll Pursell American Historical Review

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Book SynopsisTrade ReviewCollects some of the outstanding writings on the city by Gottmann since 1961, many of them out of print in English . . . The book is a minor masterpiece, a sympathetic but emphatic rebuttal of the presumptions of those who would plan our lives.—New ScientistTable of ContentsPrefaceAcknowledgmentsIntroduction. The Opening of the Oyster ShellPart I. Urban OriginsChapter 1. Orbits: The Ancient Mediterranean Tradition of Urban NetworksPart II. Urban CentralityChapter 2. Urban Centrality and the Interweaving of Quaternary ActivitiesChapter 3. Capital CitiesChapter 4. The Study of Former CapitalsPart III. City and MetropolisChapter 5. Economics, Esthetics, and Ethics in Modern UrbanizationChapter 6. The Growing City as a Social and Political ProcessPart IV. MegalopolisChapter 7. How Large Can Cities Grow?Chapter 8. Megalopolitan Systems around the WorldChapter 9. Planning and Metamorphosis in JapanPart V. The Transactional CityChapter 10. Office Work and the Evolution of CitiesChapter 11. Urban Settlements and TelecommunicationsChapter 12. The Recent Evolution of OxfordPart VI. Living in the Modern MetropolisChapter 13. The Ethics of Living at High DensitiesChapter 14. Urbanization and Employment: Toward a General TheoryChapter 15. The Metamorphosis of the Modern MetropolisPart VII. ImplicationsChapter 16. Transatlantic Orbits: The Interplay in the Evolution of CitiesUrban Publications by Jean GottmannIndex

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Book SynopsisTrade ReviewThe newest and best of the vade mecums... Mr. Shivers lays out about a dozen tours, stretching from Patterson Park to Federal Hill to Bolton Hill... Whoever reads this guide and follows these routes will know a lot more about downtown than most natives do. Baltimore Sun Wander where pianist Eubie Blake pounded out ragtime, and pub crawl where filmmaker John Waters found inspiration. It's history, alive and vibrant, readable even for those whose shoes may never see a Baltimore street. Baltimore MagazineTable of ContentsPrefaceIntroduction to BaltimorePart I: ToursChapter 1. Inner Harbor Promenade and Vistas From Federal Hill ParkChapter 2. Fells PointChapter 3. CantonChapter 4. Little Italy and Old TownChapter 5. Downtown, the Burnt DistrictChapter 6. Federal Hill, Little Montgomery, and OtterbeinChapter 7. Downtown, the Unburnt DistrictChapter 8. Cathedral Hill and Charles StreetChapter 9. Seton Hill, Park Avenue, and Antique RowChapter 10. Mount Vernon Place and Washington PlaceChapter 11. The Cultural CenterChapter 12. Bolton HillPart II: Places To Go To Indulge Special InterestsInformation for Out-of-TownersAcknowledgmentsFor Further ReadingIndex

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Book SynopsisEveryday Architecture of the Mid-Atlantic gives proof to the insights architecture offers into who we are culturally as a community, a region, and a nation.Trade ReviewIt won't fit in your glove compartment, but Everyday Architecture in the Mid-Atlanticis a book you ought to have along as you drive... It's a serious book but it is aimed at nonprofessionals who enjoy historic buildings and landscapes. Potomac Review A first-rate book... Profusely illustrated with an excellent selection of drawings and photographs... It will be of great use to everyone interested in our built environment. Maryland Historical Magazine Everyday Architecture of the Mid-Atlantic departs from well-traveled roads to explore the less-celebrated architecture of New Jersey, Deleware, and coastal Maryland and Virginia. The authors use more than 300 illustrations to show readers how to date buildings such as suburban houses that have been through many redesigns and expansions. Richmond Times-Dispatch Finally, a guidebook of historic architecture that treats whole country, not a particular state, but a natural geographical division-a region. -- M. Ruth Little Journal of the Society of Architectural Historians This book is important new scholarship for those interested in material culture and vernacular architecture. -- Judith K. Major American Historical Review 2006Table of ContentsAcknowledgementsChapter 1. IntroductionChapter 2. House Forms and House LotsChapter 3. Construction: Underpinnings, Walling, and RoofingChapter 4. Popular Architectural StylesChapter 5. Farm Outbuildings and PlansChapter 6. Commercial, Industrial, and Institutional ArchitectureChapter 7. Landscape Ensembles: The Example of Port Penn, DelawareChapter 8. Recording Historic BuildingsAppendix: Directory of ResourcesNotesGlossary BibliographyIndex

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Book SynopsisIn their dependence on late-Victorian models, the cultural narratives of 1990s America imply a crisis of storylessnessdeeply implicated in the sense of injury that haunts the close of the twentieth century.Table of ContentsPrefaceAcknowledgementsIntroduction: Trauma as Interpretation of InjuryPart I: The Sorrows of the Gay NinetiesChapter 1. Traumatic HeroismChapter 2. Empty Treasure: Sherlock Holmes in ShockChapter 3. Post-Traumatic Mourning: Rider Haggard in the Underworld Chapter 4. Traumatic Prophecy: H.G.Wells at the End of TimeChapter 5. Post-Traumatic Style: Oscar Wilde in PrisonPart II: Trauma as Story in the 1990sChapter 6. Thinking Through Others: Prosthetic Fantasy and TraumaChapter 7. Abuse as a Prosthetic SystemChapter 8. Traumatic Triumph in a Black ChildhoodChapter 9. Traumatic Economies in Schindler's ListChapter 10. Traumatic Romance / Romantic TraumaChapter 11. Berserk in BabylonChapter 12. Amok at the ApocalypseEpilogueNotesIndex

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Book SynopsisHandsomely illustrated and engagingly written, New York Modern documents the impressive collective legacy of New York's artists in capturing the energy and emotions of the urban experience.Trade ReviewThis history is as lively as its subject, clarifying the genealogy of the successive rebellions that marked the unfolding of modernism. It pays particular attention to the contributions of African Americans, helping us see, for example, the link between bebop and Abstract Expressionism. New Yorker New York Modern mirrors the bewildering welter of its subject-zigzagging through time to cover the evolution of different neighborhoods... expand[ing] our understanding of the city as the primary muse, site, and subject of 20th-century creative activity. The authors make this argument convincingly, through an accretion of innumerable details. -- Leslie Camhi VLS This is a wonderful survey of the artistic life of a great and complex city. It is like a panorama, a sweeping history of a century of artistic production, of cultural pretension and achievement. -- Serge Guilbaut Journal of American History Scott and Rutkoff explore the energy and vitality of the city from Greenwich Village to Harlem as a supportive (and destructive) environment for the arts. Like a nonfiction Ragtime, the book presents a cast of characters that is remarkable, from Robert Henri and his school of art at the beginning of the century through Steiglitz and O'Keefe to the happenings of Cunningham and Cage in the 1960s. While solidly based in scholarship, the lively, well-organized prose provides enough colorful detail to keep the pages turning. Library Journal (starred review) Scott and Rutkoff... distill an enormous range of scholarly work... The authors' clear vision of New York as the center of a plurality of modern arts, particularly after WWII, is bolstered by their minute attention to the social structures and political ideals that undergirded the polis and supported the artistic community. They are particularly astute in their scathing indictment of 1950 and '60s urban renewal, and in their documentation of Harlem's central role in all the arts. Publishers Weekly A demanding, spirited study of New York's engagement with Modernism... All students of New York City's artistic achievements will have to start with this book. -- Joel Schwartz New York History In their exceptionally well-researched study, William Scott and Peter Rutkoff explore the centrality of New York City in the development of a vibrant, modern American culture... Their's is a rich and satisfying chronicle of the seemingly impossible, a thorough account of New York cultural life between 1876 and 1976... Scott and Rutkoff capture the vitality of the city as well as the individuals and institutions that made possible a modern, democratic American culture by focusing on the multiple roles that New York City played in the lives of the artists and institutions they investigate. -- A. Joan Saab H-Urban, H-Net ReviewsTable of ContentsContents: List of Illustrations Acknowledgments Introduction Prologue: Before the Modern: The New York Renaissance 1. Times Square: Urban Realism for a New New York 2. Paris and New York: From Cubism to Dada 3. Bohemian Ecstasy: Modern Art and Culture 4. New York Modern: Art in the Jazz Age 5. Rhapsody in Black: New York Modern in Harlem 6. Modernism versus New York Modern: MoMA and the Whitney 7. True Believers on Union Square: Politics and Art in the 1930s 8. Behind the American Scene: Music, Dance, and the Second Harlem Renaissance 9. New York Blues: The Bebop Revolution 10. Homage to the Spanish Republic: Abstract Expressionism and the New York Avant-Garde 11. Life without Father: Postwar New York Drama 12. Renovating the Modern: Monuments and Insurgents Notes Index

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Book SynopsisAs England's faithful began to worry less about everlasting felicity in heaven and more about life on earth, these diverse artists provided them with new ways of thinking about both their spiritual and their social existence.Trade ReviewThis remarkably learned work argues that... readers need to understand the technicalities of atonement, incarnation, redemption, and mediation to appreciate the parodia sacra of Hogarth's famous series, The Harlot's Progress. Choice 2004 This book is everywhere inventive and suggestive, a pleasure to read through but also to use discontinuously for its erudite commentary on particular texts, prints and paintings. -- Steven N. Zwicker Studies in English Literature 2004 An incomparably rich and suggestive book... It should be required reading for all those scholars of the eighteenth century-from whatever discipline of the humanities-who are interested in ideas and the widening of horizons. -- Min Wild Cercles Even as it advances a provocative argument, Hogarth's Harlot enlarges our enjoyment of Hogarth and his rowdy times. -- Clement Hawes Modern Philology 2005Table of ContentsIntroduction - the sacrament of the Eucharist; Blasphemy and belief - the case of a Harlot's progress; Redemption; Mediation; The end of days; Smart - the Magnificat and Jubilate agno; Blake - the harlot and the Lamb.

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Book SynopsisHarvey, Strolling Players in Albany, Montreal, and Quebec City, 1797 and 1810: Performance, Class, and EmpireWoodruff D. Smith, Corruption and Eighteenth-Century Social Science: Mapping the Space of Political Economy

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Book SynopsisIncludes essays that represent scholarship on the Enlightenment in Britain, Europe, and North America.Table of ContentsRichard Barney, The Splenetic Sublime: Anne Finch, Melancholic Physiology, and Post/Modernity; Sarah Cohen, Animal Performance in Oudry's Illustrations to the Fables of La Fontaine; JoLynn Edwards, The Conti Sales of 1777 and 1779 and their Impact on the Parisian Art Market; Ingrid Tague, Companions, Servants, or Slaves?: Considering Animals in Eighteenth Century Britain; Matthieu P. Raillard, Deism, the Sublime and the Formulation of Early Romanticism in Juan Melendez Valdes and Jose Cadalso; Romira Worvill, From Prose peinture to Dramatic tableau: Diderot, Fenelon and the Emergence of the Pictorial Aesthetic in France; Julie Candler Hayes, Friendship and the Female Moralist; Teresa Michals, "Like a Spoiled Actress off the Stage": Anti-Theatricality, Nature, and the Novel; Adam Beach, Behn's Oroonoko, the Gold Coast, and Slavery in the Early-Modern Atlantic World; Eric Gidal, "A gross and barbarous composition": Melancholy, National Character, and the Critical Reception of Hamlet in the Eighteenth Century Character; Nicole von Germeten, Prostitution and the Captain's Wife: A Public and Notorious Scandal in Eighteenth-Century Cartagena de Indias; Margaret Boyle, Chronicling Women's Containment in Bartolome Arzans de Orsua y Vela's History of Potsi.

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Book SynopsisSuch diverse perspectives can only stimulate debate in the academy and beyond about the history of the Gesamtkunstwerk and open up paths that may be followed in its future.Table of ContentsAcknowledgmentsChapter 1. Dynamiting the Gesamtkunstwerk: An Introduction to the Aesthetics of the Total ArtworkPart I: Aesthetic Considerations: Fragment, Unity, Chance, IdeaChapter 2. Variations on Totality: Romanticism and the Total Work of ArtChapter 3. Tendency, Disintegration, Decay: Stages of the Aesthetics of the Fragment from Friedrich Schlegel to Thomas BernhardChapter 4. "The Completed Work Is a Rejection of Disintegration and Destruction": A Plea for Aesthetic UnityChapter 5. Tout et N'importe Quoi: The Total Artwork and the Aesthetics of ChanceChapter 6. Idea/Imagination/Dialogue: The Total Artwork and Conceptual ArtChapter 7. "And a Loose Community Assembles": An Interview with Molly NesbitChapter 8. Form and Reform: An Interview with Mark AlizartPart II: On Defining and Defying Borders: Genres and DisciplinesChapter 9. The Gesamtkunstwerk and Interactive MultimediaChapter 10. Invisible WagnerChapter 11. Music as Imminent Gesamtkunstwerk: Absolute Music, Synesthesia, and The Lucky HandChapter 12. Avant-Garde Theater as Total Artwork? Media-Theoretical Reflections on the Historical Development of Performing Art FormsChapter 13. The Drawing as Total Artwork? Image Totality in Carl Einstein and Paul KleeChapter 14. Total Artwork vs. Revolution: Art, Politics, and Temporalities in the Expressionist Architectural Utopias and the MerzbauChapter 15. The Sorcerer's Apprentice: László Moholy-Nagy and His Light Prop for an Electrical StageChapter 16. Polyglot Poetry: Multilingualism and the Aesthetics of the GesamtkunstwerkChapter 17. Singin' in the Marxist RainChapter 18. Gesamtkunstwerk and Formelkomposition: The Formal Principles of the Multiple Work-Totality in Karlheinz Stockhausen's LightNotesList of Contributors Index

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Book SynopsisSpotlights the visual arts, vision, and blindness during the Enlightenment in France, Britain, and Germany. This volume includes essays that range from exploring the musical and cultural impact of an eighteenth-century virtuoso violinist to analyzing lotteries as romance in eighteenth-century England.Table of ContentsMary Sheriff, The King, the Trickster and the Gorgon: On the Illusions of Rococo Art; Beverly Wilcox, The Hissing of Monsieur Pagin; Jessica Richard, Lotteries and the Romance of Chance in Eighteenth-Century England; Emrys D. Jones, 'Friendship like mine / Throws all Respects behind it': Male Companionship and the Cult of Frederick, Prince of Wales; David Hagan, Threading the Needle: Problems in Reading Dennis Diderot's La lettre sur les aveugles; Josephine Touma, From the Playhouse to the Page: Some Visual Sources for Watteau's Theatrical Universe; Daniel O'Quinn, Diversionary Tactics and Coercive Acts: John Burgoyne's Fete Champetre; Shelley King, Portrait of a Marriage: John and Amelia Opie and the Sister Arts; David Fairer, Where Fuming Trees Refresh the Thirsty Air; Dorothea Von Mucke, Iconic Turn and the Power of Images: Goethe's Elective Affinities; Laure Marcellesi, Louis-Sebastien Mercier: Prophet, Abolitionist, Colonialist.

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Book SynopsisIn this volume a baker's dozen of creative Canadians make personal responses to the state of the arts in Canada: Northrop Frye and Guy Rocher write on general cultural trends; Hugh MacLennan and Gérard Bessette on fiction; Ralph Gustafson and Michèle Lalonde on poetry; Robertson Davies and Gratien Gélinas on drama; George Woodcock and Jacques Allard on non-fiction prose; Godfrey Ridout on music, and Aba Bayefsky and Humphrey N. Milnes on art.The essays were written to mark the fiftieth anniversary of the University of Toronto Quarterly. The contributors were invited to discuss the changes, problems, challenges, and achievements in the arts in the last fifty years. Since all the authors had personal experience of at least a large section of the period surveyed, the editors welcomed personal reminiscence as well as description and assessment. The result is a varied group of essays in each of which the character of the individual artist is clearly evident; together, the

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Book SynopsisBloomsbury, wrote E.M. Forster in 1929, 'is the only genuine movement in English civilization.' By this time the group's influence had been extended from fiction, biography, economics, and painting through literary, social, and art criticism to publishing and journalism. Partly as a result of its influence, Bloomsbury has been widely misunderstood as a cultural, social, and even sexual phenomenon by both its friends and its detractors. As S.P. Rosenbaum observes in the foreword to this revised and expanded edition, Bloomsbury cannot be reduced to a creed or argued away because of its complexity. 'What Bloomsbury stood for is what they were and what they did,' he writes, 'That is why a collection of descriptions of the Bloomsbury's lives and works may be the only wholly satisfactory way of defining the Bloomsbury Group.'The first section of the volume, Bloomsbury on Bloomsbury, contains the basic memoirs and discussions of the Group itself by the original members, VirTrade Review'This is the most affordable and useful collection on Bloomsbury currently available, a welcome addition to anyone's library.' English Literature in Transition 1880-1920

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Book SynopsisExamines the role of Christian evangelical movements in shaping American identity in the eighteenth and nineteenth centuries. Focusing on Christianity's fervent pursuit of Native American salvation, Hayes Peter Mauro discusses Anglo American artists influenced by Christian millenarianism, natural history, and racial science in America.Trade Review“With numerous illustrations Messianic Fulfillments offers an important contribution to art history with interpretations of paintings and images of Native peoples and other ‘subaltern groups.’ It examines the vicissitudes of ideas and artistic renderings about race from colonial America to the present as presented in the epilogue. Mauro’s writing style will engage general readers, undergraduates, and more advanced scholars alike.”—Julius H. Rubin, professor emeritus of sociology at the University of Saint Joseph“The subject of how evangelical notions of ‘Otherness,’ race, American national identity, and evangelical Christianity are woven throughout American culture and history, and how visual representations of these notions are deployed to further their wider cultural adoption, is very important, especially so given the current political climate. Messianic Fulfillments makes a substantial contribution to the fields of race, religion, and American history and studies and also contributes to work in visual and material religious culture.”—Jennifer Snead, University of New Mexico Health Sciences CenterTable of ContentsList of Illustrations Acknowledgments Introduction 1. Puritanism and Fidelity 2. Quakerism, Skulls, and Sanctity 3. Mormonism, Light and Dark 4. The Social Gospel, Christ’s Kingdom on Earth Epilogue Notes Bibliography Index

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Book SynopsisThis book examines the ways in which the literary genre of hagiography and the hermeneutical paradigm of Biblical typology together entered into the construction of "the Renaissance" as a canon and period.

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Book SynopsisSpeaking to the ongoing debate over the development of urban space and culture, this book demonstrates the centrality of the physical and social being of cities to American literature and other arts in the twentieth century.

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Book SynopsisThis book analyzes the relation of public memory to history, forgetting, and selective memory in three late-twentieth-century cities that have confronted major social or political traumas—Berlin, Buenos Aires, and New York.Trade Review"Fascinating reading, this is a profound, original, and timely book about the world's current obsession with the past, as well as the form which this obsession has taken: memory. Huyssen considers what our obsession with memory means, and examines a number of material forms that it has taken, as well as the social, cultural, and aesthetic functions they have served." -Kaja Silverman, University of California, BerkeleyTable of ContentsPresent pasts - media, politics, amnesia; monumental seduction - Christo in Berlin; the voids of Berlin; after the war - Berlin as palimpsest; fear of mice - the Times Square redevelopment; memory sites in an expanded field - the Memory Park in Buenos Aires; Doris Salcedo's memory sculpture unland - the Orphan's Tunic; of mice and mimesis - reading Spiegelman's Maus with Adorno; rewritings and new beginnings - W.G. Sebald and the literature on the air war; twin memories - after-images of 9/11.

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Book SynopsisHighlighting the roles and functions of three essential players—creators, producers, and intermediaries—this book leads readers to better understand the nature of creative industries and the impact that they have on business and culture.Trade Review"This remarkable book bridges the gap between art and business. It lucidly and convincingly reveals the structure and functioning of creativity in the marketplace. Probing key notions like artistic value, innovation, and circulation, Khaire throws light on how novelty is accepted and made intelligible." -- Diana Sorensen * Harvard University *"Full of fascinating cases that span art, food, and fashion, this book teaches us how creative industries tick. With measured analysis, Khaire lucidly lays bare the cultural value chain, demonstrating how entrepreneurship thrives—even in the notoriously unpredictable realm of art." -- Ashley Mears * Boston University, author of Pricing Beauty: The Making of a Fashion Model *"Culture and Commerce speaks in particular to the field's interest in 'valuation' and the role of 'market intermediaries' in creative industries. Khaire gives us profound insight into these markets—their particularities, structures, dynamics, and processes." -- Jesper Strandgaard * Copenhagen Business School, co-editor of Negotiating Values in the Creative Industries *"In this wonderful and intellectually ambitious book, Mukti Khaire re-thinks culture at the intersection of economics and sociology. With carefully instantiated case studies, she leavens our understanding of how art and culture have worked, should work, and will work." -- Rohit Deshpande * Harvard Business School *"Mukti Khaire's study illuminates how culture and commerce interact while it analyzes the ways that entrepreneurship—a word frequently misused in the creative industries—enables positive social change. An invaluable tool for artists, managers, producers—anyone who works in or with the creative sector." -- —Ravi Rajan, President * California Institute of the Arts (CalArts) *"[C]lever examples illustrate important lessons about effective market organization, particularly for students of both entrepreneurship and creativity. This book will be a useful pedagogical guide for these topics across audiences and broader course themes....[S]cholars of creative industries will find the book full of great examples of how some fundamental themes play out in the contemporary digital world." -- Stephen Mezias * Administrative Science Quarterly *"The strength of the book is in its careful delineation of different categories of intermediaries and producers. This allows an impressive array of illustrative examples from across the diversity of the creative industries....[This book] is likely to be of use to students in applied social scientific, business-oriented forms of inquiry in outlining the persistent tensions between culture and commerce in artistic production. It also provides a useful reminder that the sociology of culture has some well-developed tools for, and an important role in, elaborating and deepening our understanding of these tensions." -- David Wright * American Journal of Sociology *Table of ContentsContents and Abstracts1The Business of Culture chapter abstractThe worlds of business and culture are seen as unrelated, even opposing. This chapter describes why and how the two are related. Creators, producers, and intermediaries constitute a value chain in markets formed at the intersection of commerce (where producers, with goods for sale, reside), commentary (discourse generated by intermediaries as well as producers that contributes to construction of value of goods), culture (beliefs about value, influenced by the commentary), and consumption (acquiring goods aligned with cultural norms and therefore valued). Markets for symbolic and new products require higher levels of commentary than those for utilitarian and well-understood products, given the greater need to assess and construct the value of these products. Pioneer entrepreneurs create markets for new cultural goods by first establishing them as appropriate and valuable to induce their consumption. This requires changing conventions of appropriateness and value, which in turn can effect cultural change. 2Pioneer Entrepreneurs: Creating Markets and Changing Minds chapter abstractThis chapter describes pioneer entrepreneurs and their cultural impact. Because market creation is influenced by commentary as well as commerce, pioneer entrepreneurs may be new or established producers or intermediaries in the value chain of their industries. This is a unique conception of the entrepreneur. Consumption of cultural goods (more than other kinds of goods) is influenced by cultural norms that define individuals' core beliefs about appropriateness and value, as well as their sense of identity. Therefore, pioneer entrepreneurs in creative industries face a formidable challenge when introducing new cultural goods; often, such new goods may not align with prevailing cultural norms, making it difficult to create a market for them. The same challenge also gives pioneers a significant opportunity to influence and change culture by creating a market for new goods through generating discourse that changes cultural norms, optimal framing, and generating consensus about the value of the good. 3Intermediaries: Constructing Meaning and Value for Markets chapter abstractIntermediaries are entities—individuals or organizations—that do not have a direct economic stake in the value of goods. Intermediaries can either reinforce and confirm prevailing conventions of appropriateness and value or challenge and change them. The second option results in market creation as value conventions and norms are changed. Pioneer intermediaries may have the greatest potential to effect cultural change; because they are evaluators and endorsers with no economic incentive in the market, their discourse is more credible than that of producers and therefore more influential in changing culture. However, doing business as an intermediary is difficult because, by definition, they cannot capture the value they construct. Intermediaries have to adopt complex two-sided business models and face challenges in balancing revenues with relevance and managing a dual identity. Despite this, the potential for broad cultural impact is an attractive aspect of being an intermediary. 4Doing Their Job: The Functions of Intermediaries chapter abstractThis chapter systematically explicates how intermediaries construct the value of cultural goods to better understand the entrepreneurial implications of their functions. Three key properties of cultural goods—high symbolism, proliferation, and subjectivity—juxtaposed against three key valuation elements—categories, criteria, and standards—define the specific functions that intermediaries perform. Intermediaries make cultural goods visible through introduction, the sharing of information. They also instruct consumers, that is, they decode the symbolic meaning and value of the good. Finally, intermediaries perform the inclusion function, selectively validating the quality of certain cultural goods. These functions, although neither sharply demarcated nor linearly executed, result in a value pyramid, where goods at the highest apex of quality fetch either very high aggregate sales or individual prices. Operating as an entrepreneurial intermediary—pioneering or otherwise—that performs one or more of these functions brings different sets of challenges and has different implications for effective market creation. 5Maximizing Influence: The Features of Intermediaries chapter abstractThis chapter describes the prerequisites—independence and expertise—that intermediaries must possess to perform their crucial functions, exert power over producers and consumers, and influence the market. Independence has structural, economic, and cognitive dimensions. An intermediary perceived as or known to be corrupted or co-opted by creators or producers would have no, or worse, a negative influence on value construction and market creation for a cultural good. Intermediaries accordingly develop ways of demonstrating their independence. For their discourse to be credible and influential, intermediaries must also possess and demonstrate expertise. Both prerequisites are assets of intermediaries and play a role in maintaining their financial viability, but neither can be actively managed nor speedily built. This has significant implications, examined in detail in this chapter, for new intermediary ventures as well as pioneer intermediaries. 6Creators and Producers: Making Art, Making Markets chapter abstractProducers are firms that have a direct economic stake in the value of the goods they bring to market. These are distinct from the individuals who create the good: creators, such as artists, musicians, and writers. Creators rarely take their creations directly to market; in most cases, a third-party firm—a producer firm—vets and collates many different creations to present to the consumer. Elsewhere, fashion designers and chefs often start their own firms—creator firms—that sell only their own creations. All producers must bridge the worlds of art and business, which entails three challenges: market making, building and maintaining trust between managers and creators, and reputation building. Creator firms may be more likely to introduce content innovations, and producer firms may introduce delivery innovations, while some innovations may combine both. Inducing consumption of these innovations requires changing beliefs, making it the most challenging kind of pioneer entrepreneurship. 7Power and Unpredictability: Key Challenges Facing Producers chapter abstractBecause they operate at the cusp of culture and commerce, which are two very different worlds, producers face significant operational challenges that increase the uncertainty they face and decrease their power balance in the ecosystem. In particular, producers—both creator firms and producer firms, albeit to varying degrees—are constrained by the power wielded over them by cultural norms, by intermediaries, and by creators. The locus of these tensions is the product that producers bring to the market and about which they can neither create nor harbor illusions. Entrepreneurship—pioneer entrepreneurship and otherwise—as a producer is therefore exceedingly difficult and should be undertaken only by highly motivated, dedicated individuals. 8Purpose and Profit: Strategies for Balancing Cultural and Financial Imperatives chapter abstractThis chapter explores the strategies adopted by producers, who must balance financial and cultural imperatives to maintain viability and standing in both the artistic and the business worlds, each of which has a different, sometimes contradictory institutional logic. Mirroring the strategies used by individual creators, producers attempt to balance both worlds by maintaining varying degrees of separation between the two worlds—blending (no separation), loose coupling or portfolio (some separation, maintained through the production of multiple product lines), and decoupling (complete separation through production of unrelated products or by adopting a not-for-profit business model). Each of these strategies is differentially appropriate for creator firms versus producer firms, and each has specific implications for pioneer producers and new producer ventures, all of which are explored. 9New World, Old Rules: Creative Industries in the Age of Digitalization and Globalization chapter abstractGlobalization and digitalization—the opening of economies across the globe and the advent and spread of the digital medium, respectively—have made the world smaller today. Although this new world has had positive implications for entrepreneurs and pioneer entrepreneurs, it has had negative impacts for incumbents in the creative industries. This chapter addresses the question of whether rules governing the structure and functioning of creative industries are relevant in the current context. Although globalization has typically generated market creation opportunities for pioneer producers and pioneer intermediaries, digitalization has not significantly affected the creation of new categories but has instead provided a new medium for commentary as well as commerce. Understanding how these developments affect creators, producers, and intermediaries suggests that the "old" rules, being foundational, are still applicable and should be followed by firms, creators, and consumers desirous of living in a civil society capable of rejuvenation and change.

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