The arts: general topics Books

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Book SynopsisThe art of George Kastriotis moves against a background of a Greek-inspired symbolism. It is dominated by the female form in its various manifestations, serving as an allegory for natural phenomena, though busts and other subjects are also found. Inheriting the Archaising tradition from his master, Bourdelle, Kastriotis went on to create a personal version of Academic realism, which he combined with his invention of a new material, his special plaster, a cement of his own devising that he used to perfect his compositions. His sculptures are now to be found in several Museums, Galleries and Collections, as well as in public areas in Greece and Cyprus. Greek and English text. 121 black and white illustrations.Table of ContentsPROLOGUE Mary G. Kastriotou A GIFTED PUPIL OF ÉMILE-ANTOINE BOURDELLE Paolo Moreno THE ANCIENT AND THE MODERN IN GEORGIOS KASTRIOTIS ILLUSTRATIONS 1910-1930 1930-1940 1940-1950 1950-1960 1960-1969 CATALOGUE OF SCULPTURES SELECTED BIBLIOGRAPHY INDEX

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Book SynopsisWhat is the relation of art to the practice of radical politics today? Strike Art explores this question through the historical lens of Occupy, an event that had artists at its core. Precarious, indebted, and radicalized, artists redirected their creativity from servicing the artworld into an expanded field of organizing in order to construct of a new-if internally fraught-political imaginary set off against the common enemy of the 1%. In the process, they called the bluff of a contemporary art system torn between ideals of radical critique, on the one hand, and an increasing proximity to Wall Street on the other-oftentimes directly targeting major art institutions themselves as sites of action.Tracking the work of groups including MTL, Not an Alternative, the Illuminator, the Rolling Jubilee, and G.U.L.F, Strike Art shows how Occupy ushered in a new era of artistically-oriented direct action that continues to ramify far beyond the initial act of occupation itself into ongoing struggles surrounding labor, debt, and climate justice, concluding with a consideration of the overlaps between such work and the aesthetic practices of the Black Lives Matter movement.Art after Occupy, McKee suggests, contains great potentials of imagination and action for a renewed left project that are still only beginning to ripen, at once shaking up and taking flight from the art system as we know it.Trade ReviewThis irrepressibly vibrant page-turner is the first art historical reading of Occupy Wall Street, and a canny account of politically engaged art before, during and after the events of 2011. I'm tempted to call it the sequel to Artificial Hells, but this would do a disservice to its enthusiastic approach to activism. No left melancholia here-just a powerful commitment to the liberatory horizon of both progressive art and politics. -- Claire Bishop, author of Artificial Hells: Participatory Art and the Politics of SpectatorshipStrike Art is, above all, a book of cultural documentation, one that relives the events and "ethical spectacle" of a radical political moment that seems to be giving way, in the usual manner, to a pursuit of electoral success rather than wholesale reform. The art that McKee discusses is often transient by design, produced by collectives or anonymous bodies, and distributed freely or slyly entered into the circulation systems of the culture at large. * Harper's *Strike Art is written by someone who was directly involved in the day-to-day organizing work of [Occupy Wall Street], and who continues to participate in the movement's afterlife. McKee's book is therefore replete with granular information about the ambitious, and sometimes ambiguous, revolt of the 99%, details that other commentators can only address in a second-hand manner. In this sense he aligns his writing with Walter Benjamin's well-known directive that authors become producers with a 'tendentious' tilt towards working class struggles. * E-flux *

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Book SynopsisTed Turnau introduces readers to the major themes of his in-depth Oasis of Imagination by collaborating with Ruth Naomi Floyd. Floyd brings her distinctive experience as a Christian artist to make this a practical guide that distils the "why" and "how" of embracing Christian creative cultural engagement. Why does the church need to pay more attention to the imagination? How can we, in this day and age, best enter our cultural conversations for the common good? How can the local church better support its creatives, enriching its own imaginative life and building bridges to their neighbours and the wider culture? Whether you are a Christian artist or creative yourself, or an everyday Christian searching for a path beyond the culture wars and Christian bubble, Imagination Manifesto will give you biblical foundations, practical pointers, discussion starters, and inspiration for "planting oases" in today's culture.Trade Review"This is the imaginative manifesto the church needs! For creatives struggling with feeling misunderstood and invisible. For churches who want to engage with their creative folk and culture but feel afraid or out of their depth. This book is it! Funny, self deprecating, insightful and something I wish the younger me had been able to read, when I was fresh out of an environment which saw pop culture as something to be feared and protected from. It can act as guide to parents, on why we want to equip, not shrink wrap our young people. It shows the value of sitting with the discomfort and weight of the questions that art can bring. It also has great practical tips for churches and individuals on supporting their creatives, because as Ted and Ruth so clearly show: The church and creatives. We need each other." -- Sophie Killingley, artistFor many years, I have been deeply grieved that conservative Christians in the English-speaking world have tended to undervalue, or even disdain, the arts and artists. This book is the most engaging and persuasive argument I’ve encountered for why the church needs artists and why artists need the church. Reading this was a total joy. -- Tony Watkins, Fellow for Public Engagement, Tyndale House

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Book SynopsisThis volume celebrates the 10th anniversary of Museo Jumex, Mexico City’s most important contemporary art museum, and its unique collection.Located in the vibrant Polanco neighborhood of Mexico City, Museo Jumex opened its doors to the public in 2013 as a one-of-a-kind museum devoted to the production and discussion of contemporary art.Founded by Eugenio López Alonso, a pioneer in the realm of contemporary art collecting in Mexico, and designed by Sir David Chipperfield, 2023 winner of the Pritzker Architecture award, Museo Jumex has achieved international recognition for its dual mission of bringing works of renowned international artists to Mexico for the first time and elevating the work of today’s Mexican and Latin American artists.  This book invites us through a visual journey to revisit the most remarkable exhibitions of the last 10 years and to discover Latin America’s most important art collection, Colecci&oacut

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Book SynopsisA new approach to the notion of ecology emphasizing its relevance for art and design. The notion of ecology not only figures centrally in current debates around climate change, but also traverses contemporary discourses in the arts, the humanities, and the social and techno sciences. In this present form, ecology refers to the multilayered and multidimensional nexus of living processes and technological and media practices—that is, to the complex relations of human and nonhuman agents. Hybrid Ecologies understands ecology as an ambivalent notion, whose very broadness simultaneously opens up new fields of action and raises provocative questions, not least concerning its genealogy. This interdisciplinary volume explores the political and social effects of rethinking community in ecological terms, with a particular emphasis on what the contemporary notion of ecology might mean for artistic and design practices. The result of the fifth annual program of the cx centre for interdisciplinary studies, which was conceived in cooperation with the Chair of Philosophy Aesthetic Theory at the Academy of Fine Arts in Munich, Hybrid Ecologies is a timely and thought-provoking study of one of the most important themes of our time.

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Book SynopsisAccompanying the exhibition curated by artists Ginsburg and Hughes, this book brings together artwork and writing by torture survivors, artists, and scholars. Remaking the Exceptional: Tea, Torture, & Reparations Chicago to Guantánamo, published on the occasion of the exhibition at DePaul Art Museum, brings together activists, artists, poets, and torture survivors to investigate and resist the ecosystems of violence that connect Chicago to the US military prison in Guantánamo Bay, Cuba. Edited by artists and co-curators Amber Ginsburg and Aaron Hughes with Aliya Hussain (Center for Constitutional Rights) and Audrey Petty (Illinois Humanities), Remaking the Exceptionalfeatures new pieces of investigative journalism on the connections between military and police torture by Kari Lydersen (Medill School of Journalism) and Maira Khwaja (Invisible Institute), Spencer Ackerman's 2015 Guardianexposé Bad Lieutenant, reflections on struggles for justice and reparations by Aliya Hussain, Alice Kim, and Aislinn Pulley, essays on art and resistance by Mansoor Adayfi, Marc Falkoff, and Tempestt Hazel, as well as interviews with Chicago and Guantánamo torture survivors. The richly illustrated catalogue is interspersed with poetry and artwork pairings by former and current imprisoned artists creating a virtual dialogue across carceral systems. The aim of the publication is to uncover moments of beauty, poetry, and shared humanity within and despite the traumas of state violence.

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Book Synopsis‘Art is theft,’ Picasso once proclaimed, and much of the best and most ‘original’ new art involves an act or two of unequivocal, overt theft. Paradoxically, the law relating to artistic borrowing has grown more restrictive. ‘The plagiarism and copyright trials of the twenty-first century are what the obscenity trials were to the twentieth century’, Kenneth Goldsmith, has observed. ‘These are really the issues of our time.’ Beg, Steal and Borrow offers a comprehensive and provocative survey of a complex subject that is destined to grow in relevance and importance. It traces an artistic lineage of appropriation from Michelangelo to Jeff Koons, and examines the history of its legality from the sixteenth century to now.

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Book SynopsisFormerly a British colony, the island of Cyprus is now a divided country, where histories of political and cultural conflicts, as well as competing identities, are still contested. Cyprus provides the ideal case study for this innovative exploration, extensively illustrated, of how the practice of photography in relation to its political, cultural and economic contexts both contributes and responds to the formation of identity. Contributors from Cyprus, Greece, the UK and the USA, representing diverse disciplines, draw from photography theory, art history, anthropology and sociology to explore how the island and its people have been represented photographically. They reveal how the different gazes- colonial, political, gendered, and within art photography- contribute to the creation of individual and national identities and, by extension, to the creation and re-creation of imagery of Cyprus as place. While Photography and Cyprus focuses on one geographical and cultural territory, the questions this book asks and the themes and arguments it follows apply also to other places characterized by their colonial heritage. The intriguing example of Cyprus thus serves as a fitting test-ground for current debates relating to photography, place and identity.Table of ContentsIntroduction, Liz Wells, Theopisti Stylianou-Lambert & Nicos PhilippouThe Political Gaze: Memory, Politics & the Construction of National 2.Pride And Prejudice: Photography and Memory in Cyprus, Yiannis Toumazis3.“Imagining Cyprus”: Exhibitions of Cypriot Photography and their Reception in Greece, 1950-1980, Iro Katsaridou4.Developing identities: the history of the Turkish Cypriot photographic subject, Alev Adil5.Beyond Nostalgia, Stephanos StephanidesThe Colonial Gaze: Colonial Views, Postcolonial 6.John Thomson: Through Cyprus with a Camera, Between Beautifying and Bountiful Nature, Hercules Papaioannou7.The National Geographic and Half Oriental Cyprus, Nicos PhilippouThe Gendered Gaze: Framing Gender & Other 8.En-gendering Cypriots: from Colonial Images to Postcolonial Identities, Stavros Stavrou Karayanni 9.Tourists’ Photographic Conventions and the Rock of Aphrodite, Theopisti Stylianou-Lambert10.The Photographic Pieta: A Model of Gender, Protest and Spatial - Temporal Dislocation in Modern Cyprus, Elizabeth Hoak-DoeringThe Art Gaze: Contemporary Art 11.Defying “Cypriotness” in the work of Haris Epaminonda and Christodoulos Panayiotou, Elena Stylianou12.Tracey Emin’s Photographs and Videos of Cyprus and Turkey, Jennifer Way13.Walking Narratives, Haris PellapaisiotisIndex

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Book SynopsisIn the mid-1860s Arthur J Munby began to collect the first mass-produced photographic images of working-class women in England, recording fascinating details about the women, the places he purchased the photographs and the raging debates on this new commercial practice of photography, in accompanying diaries. Many of these images – not to mention Munby’s fascinating diaries - have never been published before. This book examines this previously un-investigated archive, offering a fresh and arresting perspective on the interrelationships between photographic representations of working-class women, the creation of new identities of class and gender and the evolution of popular conceptions of photography itself.Trade ReviewReading this book, I experienced the same astonishment that I have felt reading previous studies of Munby ... The notes, records, sketches, and photographs brought together in the archive are of the utmost importance to historians of nineteenth-century society and culture and, as we now also appreciate, to historians of photography. - Victorian StudiesTable of ContentsIntroduction: The Munby Archive 1 Academically Locating the Archive: History and Theory of Photography – The Nineteenth Century 2 What is a Photograph? 3 Th e City, Photography and Relations of Looking 4 Who was Munby? Useful Readings of the Munby Archive 5 Munby and the Turn to Photography: Hannah, the Private Urban Collection and the Search for Phot, 7 Dressing Above Your Station and Making it Work for Him: Domestic Photographs of the Urban Working-C lass Woman 8 Under the Skin: Munby’s Photographs of Facially Disfigured Women – Th e Real and the Symbolic, Appendix: Th e Photographic Archiveographic Truth 6 Starting to Collect: Munby and his Turn to Commercially Produced Photographs of Working-C lass Women

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Book SynopsisThe book offers unprecedented access to primary sources that have been unavailable in English, or which lay unknown on archival shelves. Music and Soviet Power offers cultural history told through documents - both colourfuland representative - with an extensive commentary and annotation throughout. The October Revolution of 1917 tore the fabric of Russian musical life: institutions collapsed, and leading composers emigrated or fell into silence. But in 1932, at the outset of the 'socialist realist' period, a new Stalinist music culture was emerging. Between these two dates lies a turbulent period of change which this book charts year by year. It sheds light on the vicious power struggles and ideological wars, the birth of new aesthetic credos, and the gradual increase of Party and state control over music, in the opera houses, the concert halls, the workers' clubs, and on the streets. The book not only provides a detailed and nuanced depiction of the early Soviet musical landscape, but brings it to life by giving voice to the leading actors and commentators of the day. The vibrant public discourse on music is presented through a selection of press articles, reviews and manifestos, all suppliedwith ample commentary. These myriad sources offer a new context for our understanding of Shostakovich, Prokofiev and Myaskovsky, while also showing how Western music was received in the USSR. This, however, is only half the story.The other half emerges from the private dimension of this cultural upheaval, traced through the letters, diaries and memoirs left by composers and other major players in the music world. These materials address the beliefs, motivations and actions of the Russian musical intelligentsia during the painful period of their adjustment to the changing demands of the new state. While following the twists and turns of official policies on music, the authors also offer their own explanations for the outcomes. The book offers unprecedented access to primary sources that have been unavailable in English, or which lay unknown on archival shelves. Music and Soviet Power offers cultural history told through documents - both colourful and representative - with an extensive commentary and annotation throughout. MARINA FROLOVA-WALKER is Professor in Music History at the University of Cambridge anda Fellow of Clare College, Cambridge. JONATHAN WALKER, who has a PhD in Musicology, is a freelance writer, teacher and pianist.Trade Review[A] valuable source for both students and specialists of Soviet history and music. * INT'L JOURNAL OF RUSSIAN STUDIES *Frolova-Walker and Walker have done an admirable job of selecting documents that shed new light on the time period. This is an invaluable source for students of Soviet history and music, and even specialists will find much new material in the range of articles presented here. * REVOLUTIONARY RUSSIA *Highly recommended to those with a specialist or general interest in music [...] or, more broadly, in cultural politics or just politics. * JCES *[A] fascinating and invaluable book [...] It navigates an absorbing way through this difficult and complex period, and presents fresh material that should be made available beyond the confines of academic libraries and their scholars. * MUSICAL TIMES *Few will penetrate the archives as comprehensively as the authors, and the riches they have brought back will help to change and deepen our understanding of early Soviet music. * SCRSS NEWSLETTER *Frolova [sic] and Walker describe these years of relative but tightly circumscribed freedom through the great number of documents they have translated, with excellent introductions and annotations. Some of the authors of these texts are already known, but their work appears here for the first time in a Western language and shows how fiercely the battle was waged on both sides * NRC HANDELSBLAD *[T]o immerse oneself in this collection of manifestos and other cultural polemics is revealing. [...] The apparatus [...] supplies invaluable guideposts. [...] Highly recommended. * CHOICE *Enrich[es] the developing sense of how Soviet artists worked with and against the official dictates of their time, and how they responded to the incidental squabbles and long-term preoccupations with which they had to contend. * TLS *[A] subtly nuanced and painstakingly annotated account of this period unearthing a wealth of documentary information [...] The resulting narrative is extraordinarily vivid, bringing to light much significant material that alters long-established historical preconceptions. * BBC MUSIC MAGAZINE *This is an important book and one that makes compelling reading. With their careful selection and commentary, the authors have brought a level gaze to bear upon dark and difficult times in which optimism and torment seemed to alternate unpredictably. * GRAMOPHONE *

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Book SynopsisThis volume is the first publication to examine in detail the phenomenon of collective art practice in the continental Western Europe of the late 1950s and of the 1960s. The book elaborates a comparative perspective, engaging with a cultural history of art deeply concerned with political ideas and geopolitical conflicts. Groups of artists and activists including Equipo 57, Equipo Cronica, Equipo Realidad, N, GRAV, Spur, Geflecht and Kommune I, have often been neglected in the English-speaking world. This happened partly because they were active in allegedly minor art centres such as Valencia, Padua, Cordoba, West-Berlin and Munich. However, their works, debates and intellectual networks cast new light on both the art produced during the Cold War and the heightened interest in participatory and collaborative art practices that has characterised the art world of the 2000s and 2010s. Individuals against Individualism tells the stories of these artists and activists, and focuses on their attempts to depict and embody forms of egalitarianism opposing the Eastern bloc authoritarianism as much as the Free world’s ethos. By setting their political use of collective authorship, resistance to institutional co-optation and attack on the 'ideology of freedom, against the backdrop of the Cold War, the book largely speaks to the present.Trade ReviewReviews 'An invaluable, critical work that provides a wealth of information.' Dr Angela Dimitrakaki, University of Edinburgh'The transnational approach proposed by the author is something to celebrate because it allows us to demonstrate, in the framework of the new models of collective production developed in Western Europe, the contemporaneity of this work and to emphasize the relations between collectives operating in France, Germany, Spain and Italy. In addition, the originality of the research on groups little known and treated by the English bibliography is to be welcomed. This analysis makes it possible to leave the hegemonic centralism on which studies on modern art have been based until recently, and to challenge the conception of Europe in monolithic terms. In the book, the connected and networked structure of artistic practices clearly evokes a decentralized and multicentric modernity.Individuals against Individualism is undoubtedly an important and necessary reading to delve into the contributions of the cited artistic collectives and their contexts, as well as to arrive at a complex interpretation of the structures and artistic interrelations established in Western Europe during the 1960s.'Paula Barreiro López, Critique D'ArtTable of Contents List of Illustrations Acknowledgements Introduction 1 The Re-emergence of Collective Art Practice, 1956–1962 2 The Controversial Success of Collective Art Practice, 1960–1965 3 The Moment of Collective Painting, 1963–1968 4 Collective Art Practice and Protest, 1967–1969 Conclusion Index

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Book SynopsisIn 1939, a ten-year-old Igor Golomstock accompanied his mother, a medical doctor, to the vast network of labour camps in the Russian Far East. While she tended patients, he was minded by assorted 'trusty' prisoners – hardened criminals – and returned to Moscow an almost feral adolescent, fluent in obscene prison jargon but intellectually ignorant. Despite this dubious start he became a leading art historian and co-author (with his close friend Andrey Sinyavsky) of the first, deeply controversial, monograph on Picasso published in the Soviet Union. His writings on his 43 years in the Soviet Union offer a rare insight into life as a quietly subversive art historian and the post-Stalin dissident community. In vivid prose Golomstock shows the difficulties of publishing, curating and talking about Western art in Soviet Russia and, with self-deprecating humour, the absurd tragicomedy of life for the Moscow intelligentsia during Khruschev's thaw and Brezhnev's stagnation. He also offers a unique personal perspective on the 1966 trial of Sinyavsky and Yuri Daniel, widely considered the end of Khruschev's liberalism and the spark that ignited the Soviet dissident movement. In 1972 he was given ‘permission’ to leave the Soviet Union, but only after paying a ‘ransom’ of more than 25 years’ salary, nominally intended to reimburse the state for his education. A remarkable collection of artists, scholars and intellectuals in Russia and the West, including Roland Penrose, came together to help him pay this astronomical sum. His memoirs of life once in the UK offer an insider's view of the BBC Russian Service and a penetrating analysis of the notorious feud between Sinyavsky and Aleksandr Solzhenitsyn. Nominated for the Russian Booker Prize on its publication in Russian in 2014, The Ransomed Dissident opens a window onto the life of a remarkable man: a dissident of uncompromising moral integrity and with an outstanding gift for friendship.Trade ReviewWritten in brisk, engaging prose, with a salutary dash of gallows humour … So rich is it in detail of key institutions and figures that it stands in its own right as a singularly valuable record of the era and milieu … An apt companion to Golomstock’s own critical work. * Times Literary Supplement *‘Igor Golomstock was a talented critic of Russian and Western art and he had an extraordinary biography, from childhood in Kolyma to dissident years in Moscow, followed by emigration to Britain. He writes about all this like a Solzhenitsyn character come to life, and the result is gripping, sad and often very funny. A must for anyone who wants to understand Russia and Russian culture.’ -- Catriona Kelly, Professor of Russian, University of Oxford and author of St Petersburg: Shadows of the Past‘Golomstock recounts in lively style his life in three separate communities: the Moscow art world of the 1960s, the human rights movement and the post-1970s émigré milieu of London, Paris and Munich. He is an observer with strong but discriminating opinions; seldom have the personalities who inhabited these worlds – and who in many cases hated each other – been so vividly portrayed. This is an essential study for those who wish to understand the cultural and political conflicts of the late Soviet Union and the Russian emigration.’ -- Geoffrey Hosking, Emeritus Professor of Russian History, University College London and author of Russia and the Russians: From Earliest Times to the Present‘A Ransomed Dissident is Igor Golomstock’s most personal book and a perfect companion to his encyclopedic study Totalitarian Art (2012). In the past, some critics have argued that the term ‘Totalitarian Art’ was too vague and that its very vagueness made it too easy to apply the term to such different countries as Russia, Germany, Italy and China. Following Golomstock’s dramatic journey through the circles of the Soviet totalitarian art and culture, however, readers of A Ransomed Dissident will see how the supposedly vague term acquired a very real existential meaning. This is important reading for anyone with an interest in the history and politics of Russian art.’ -- Vladimir Paperny, Adjunct Professor of Slavic Languages and Literatures, UCLATable of ContentsList of Illustrations Translator’s Note Acknowledgements Turning Point Part I. Russia 1. My Father’s Arrest 2. Kolyma 3. Moscow 4. Finances and Romances 5. The Pushkin Museum of Fine Arts Comrade Novikov Abram Efros and Andre´ Gide The Museum of New Western Art 6. The International Festival and Artists 7. The Sinyavskys, Khlebny Lane, the Far North 8. Dancing Around Picasso 9. The Museum Again 10. VNIITE 11. Great Expectations 12. The Sinyavsky-Daniel Trial 13. Dissidents 14. Pen Portraits of My Friends 15. Questions of Faith 16. A Waiting Game 17. Departure: An Obstacle Race Part II. Emigration Translator’s Note to Part II 18. The Journal Kontinent 19. The Anthony Blunt Affair 20. Radio Liberty, Galich 21. At the BBC 22. The Second Trial of Andrey Sinyavsky 23. Politics versus Aesthetics 24. Sinyavsky’s Last Years 25. Perestroika 26. Family Matters Instead of a Conclusion The Benefits of Pessimism Afterword Notes Dramatis Personae Appendix I Appendix II Select Bibliography Index

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Book SynopsisThis is the first full-length biography of Dorothy Morland (1906–99), to date the only female director of the Institute of Contemporary Arts (ICA) in London. Based on unpublished letters and other archival sources, as well as interviews and personal recollections, this book traces her busy private and public life from the 1930s up until the 1990s. It tells the story of one of the unacknowledged contributors to the success of the ICA and to the understanding of the international avant garde in post-war Britain. As a female arts administrator, Dorothy Morland’s work has been largely overlooked, and this book aims to highlight her significant contribution to the public understanding of modernism. She was part of a network which included the Surrealist Roland Penrose, art critic Herbert Read, architect Jane Drew and wealthy philanthropists, Peter Gregory and Peter Watson. She was also the protector and advocate for the Independent Group. Dorothy Morland always mixed business with pleasure (dancing with Picasso in Antibes while there on ICA business), and tirelessly oversaw the chaotic organisation that was the ICA in Dover Street from 1950 until 1968. After leaving the ICA she worked hard on assembly the organisation’s archives and securing their safekeeping at Tate.Trade Review'With her characteristic sensitivity to socioeconomic context and questions of gender and class, Massey seeks to intercept the male-dominated narratives that have come to frame the formation of the ICA. In her new book, she again takes the patrilineage of art history to task by drawing attention to an overlooked – but highly influential – female administrator and director. [...] In fact, it is this layering of the author’s academic career with the professional life of her protagonist that truly animates the text ' Rosie Ram, Art History'The book is remarkable for the way in which it interweaves a detailed account of Morland’s life with the early history of the ICA and a broad network of artists and art professionals... [Dorothy Morland Making ICA History] provides a welcome and captivating history of one of the most intriguing chapters in modern British art.'Elena Crippa, The Burlington Magazine ‘This reflective period can be the right time to take stock of postwar history, of incomplete and inaccurate histories and narratives, and to recognize previously downplayed contributions. Morland’s status as a female curator needs to be emphasized, as does her place in British art history… This book is the culmination of decades of research and is enriched by different forms of visual representation that combine elements of the personal memoir with scholarship of the highest order.’ Rina Arya, Journal of Curatorial Studies

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Book SynopsisWhat should the church's cultural witness be? Too often, it has been marked by political strong-arming or fearful withdrawal into the "Christian bubble." There is another way: creative cultural engagement, using our imaginations to plant oases in the desert, breathable spaces that refresh, challenge, and draw together Christians and non-Christians alike. Oases refresh the soul, provoke discussion, challenge assumptions, and lead the imagination to a new place. In Oasis of Imagination, Ted Turnau lays out the Biblical mandate for engaging culture, and why the imaginative path holds promise. He explores the nature of the imagination from both Scripture and nature. He asks, "What makes a Christian imagination that resonates with non-Christians different?" He explores examples of Christian creativity done well from video games to movies to music to The Lord of the Rings. He challenges the church, artist and non-artist alike, to be intentional about their own imaginative lives, how artists and non-artists can support each other, as they together engage in building bridges and being cultural ambassadors to the wider community. In-depth and wide-ranging, Oasis of Imagination equips and encourages Christians, whatever their calling, to consider how to imaginatively enter into the broader cultural conversation, beyond the culture-warring and Christian bubbles. It seeks to provoke a conversation within the church between its artists and non-artists about how best to unleash our God-given creativity to shine light into the broader culture.Trade ReviewWe have waited a long time for a biblical theology of the imagination, and Ted Turnau has given us a deep, thirst-quenching drink. Here you will find a sure-footed guide, who avoids both cultural indifference and culture wars, plants a dagger in heart of Christian kitsch, and then encourages us onwards, without nostalgia, not to be satisfied with merely consuming, or even intelligently critiquing our culture, but to decide to contribute. You’ll be taken into territory that is unfamiliar, thrilling, and occasionally disturbing. You’ll be shown how the gospel is provocative, unsettling, and yet deeply compelling to a lost world. Above all Ted has laid down a challenge for artists, churches, pastors, creatives of all kinds, to ‘plant oases’, where we can begin to imagine what it’s like to inhabit the glory of the kingdom-yet-to-come, and make it so attractive that even as we worship here, we long to be home, bringing many others with us. -- Rev Chris Green, vicar at St James, Muswell Hill and author of The Gift.This is a wonderful book. Above all it is full of … imagination. It combines solid theoretical foundations with lively examples. It’s all very rich, but Part IV holds a special interest for me. I have been personally invested in several of personages here. Few if any studies that I know of join together this company under the theme "subversive, hopeful protest." The section on Blind Willie Johnson is worth the price of the book. Non-Christians ought to read this book, if only to disabuse them of the bromides about evangelicals. Christians must read this book in order greatly to enhance their lives. -- William Edgar, Professor Emeritus of Apologetics, Westminster Theological SeminaryOasis of Imagination offers a refreshing and much-needed vision for the church to engage with the wider culture in a way that is neither shrill nor shallow. His passionate call to cherish the creative arts as God himself does provides fresh, compelling ways for the church to connect with and bless the world. Whether you consider yourself a creative or not, Ted Turnau's insights will inspire you to imagine a church faithful to its own imaginative calling and how you can play your own part in offering hospitality and hope to a weary world. This book is a must-read for anyone seeking to deepen their relationships and influence beyond the walls of the church. -- Peter Dray, Director of Creative Evangelism, The Universities and Colleges Christian Fellowship (UK)I don't know of a more comprehensive, more inviting, or more compelling case for a Christian understanding of the imagination than the one offered in this book. Oasis of Imagination belongs in every church library, every seminary, every Christian classroom, and on every believer's shelf. I wish I'd had this book years ago. I will be using it for years to come. -- Karen Swallow Prior, author of The Evangelical Imagination: How Stories, Images, and Metaphors Created a Culture in Crisis

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Book SynopsisChinese Longquan ( ) celadon, a type of green-glazed ceramic, is one of the most famous branded and trade products, particularly during the 13th and 14th centuries. Its archaeological and historical materials possess multiple attributes with plentiful cultural information. The objective of the present book is to vivify these materials and provide readers and researchers a broader perspective and additional methodologies to review and gain a new and more profound understanding of Longquan celadon. The first part of this book focuses on elite Longquan celadon in Chinas Southern Song (SS) (11271278) and Yuan (12711368) periods and sets out to answer unresolved questions. How did Longquan potters elevate their products artistic quality from regional and popular acclaim to elite art, and create their products brand and successful marketing? What was the ceramics technological particularity that brought about its achievement as the commercial version of SS Guan (Imperial) ware? Why did its style change, and why did the production center shift after the end of the Southern Song period? In addressing these issues, the author explores the contemporary social atmosphere and local ecological environment. The second part focuses on elite Longquan celadon products as imports in medieval Japan. Beginning with the late Kamakura period (11921333) via the Muromachi shogunate (13921573) to the Edo (16031868) periods an extensive time span elite Longquan celadon ware circulated widely within elite class communities and Zen temples. These products played a crucial role in shaping medieval Japanese culture, bringing to the fore issues such as the Japanese manner of adopting Chinese Song and Yuan culture, and more generally cross-cultural transmission from China to Japan.

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Book SynopsisOn 29 January 2020, as the United Kingdom departed the European Union (EU) and as a final gesture of farewell, Members of the European Parliament (MEPs) took to their feet in Brussels, held hands and sang Robert Burns? Auld Lang Syne ? a song which has come to represent solidarity, friendship and open doors. The following week, Nigerian artist Emeka Ogboh stood in the Robert Burns Monument in Edinburgh and conceived of Song of the Union, a sound installation featuring singers from all 27 EU member states living in Scotland today, as well as one from the recently departed UK. The resulting polyphonic choir gives voice to those who were unable to vote in the 2016 Brexit referendum, and has been created at a time when the post-Brexit reality is still far from resolved.Song of the Union includes scores of Auld Lang Syne translated into the 27 languages of the EU. Musicologist M. J. Grant provides the historical context of the song Auld Lang Syne, its connection to Robert Burns, and how the song came to be sung by communities across the world from the 19th century onwards. Berlin based curator and author Bonaventure Soh Bejeng Ndikung?s reflects on the capacity that language has for possession and negotiating language and translation in Ogboh?s work and Kirsty Hughes, Director of the Scottish Centre on European Relations, explores how Brexit happened and what may be next for Scotland and the UK.

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Book SynopsisMore than 70 works of Hogarth include musical references, and Jeremy Barlow's book is the first full-length work devoted to this aspect of his imagery. The first two chapters examine the evidence for Hogarth's interest in music and the problems of assessing accuracy, realism and symbolic meaning in his musical representations. Subsequent chapters show how musical details in his works may often be interpreted as part of his satirical weaponry; the starting point seems to have been his illustrations of the clamorous 'rough music' protest in Samuel Butler's immensely popular poem Hudibras. Hogarth's use of music for satirical purposes also has connections with a particular type of burlesque music in 18th-century England. It may be seen too in the roles played by his humiliated fiddlers or abject ballad singers. Each of the final two chapters focuses on a particular Hogarth subject: his paintings of a scene from a theatrical satire of music and society, The Beggar's Opera, and the print The Enraged Musician itself. The latter work draws together uses of musical imagery discussed previously and the book concludes with an analysis of its internal relations from a musical perspective. The book is lavishly illustrated with Hogarth's drawings, prints and paintings. Many other images are reproduced to provide contextual background. Several indices and appendices enhance the book's value as a reference tool: these include an annotated index of Hogarth's instruments, with photographs or other representations of the instruments he depicts; a detailed index of Hogarth's works with musical imagery; the texts and music for broadside ballads and single-sheet songs related to Hogarth's titles; 18th-century texts and street cries related to Hogarth's The Enraged Musician, and other musical examples indicated in the text. Also included is a facsimile of Bonnell Thornton's burlesque Ode on St Cæcilia's Day.Trade Review'It is extraordinary that this is the first book on Hogarth and music, when, as Jeremy Barlow points out, his art is filled with music and musicians. What Barlow is able to demonstrate is that the tensions in Hogarth's own art between morality and freedom, high art and the popular, and the life of the street and of the academy, are played out with powerful effect in his representations of music in all its forms. Barlow meticulously avoids the fallacy of assuming the 'truth' of Hogarth's views of London to show that music engaged the artist's intellect fully. This is a really important book and one of the most original to appear on the artist for a long time.' Professor David Bindman, Durning-Lawrence Professor of the History of Art, University College London, UK 'The principal readership will be from those whose interests lie in the works of Hogarth, relevant connected areas of art history, 18th-century London political and social history, and musicians with an interest in 18th-century London performance and repertory. The book makes an important contribution to the literature about 18th-century musical instruments and the evidence for their manner of performance. Particularly original is the treatment of 'popular' instruments in Chapter 3, which has not previously been covered in this way, or with this degree of scholarly seriousness. As well as containing substantial new material, the book examines previously explored topics from new perspectives and in greater depth.' Professor Donald Burrows, Music Department, The Open University, UK 'Barlow is familiar with the worlds of the musicologist (and musician), the historian and the art historian and draws on them with aplomb and skill.' Early Music Review 'For the first time this obviously important feature of Hogarth's work becomes the subject of a book-length study... the book will not only be of interest to Hogarth enthusiasts bu also to students of the history of music and popular culture.' Arlis '... AshgatTable of ContentsContents: Preface; Chronology; Five Hogarth series summarized; Hogarth and the musical scene; Music in Hogarth's scenes; Rough music; Burlesque music; Solo fiddlers; Ballad singers and ballads; The Beggar's Opera and Italian opera; Hogarth's The Enraged Musician; Annotated index of Hogarth's instruments and musical scores; Appendices; Bibliography; Indexes.

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Book SynopsisClay is universally recognized as a medium of creative expression, and it also has great potential for therapeutic application. These two properties of clay are celebrated together in a book that explores the history, theory and techniques of claywork in eliciting therapeutic outcomes. Vignettes and case material explain and expand the text, which interweaves an appreciation of clay in art with many practical suggestions for its use in therapy.By according equal status to aesthetic outcomes and artistic integrity, the author offers a new and holistic approach to claywork. Practitioners and educators in the fields of therapy and art will find his book to be an essential source of information and ideas.Table of ContentsPreface. 1. Devising the claywork experience. 2. Methodology. 3. Clay and its processes. 4. Alternative clays. 5. Ceramic techniques and processes. 6. Techniques in figurative sculpture. 7. Developmental considerations in clayworks. 8. Figurative sculpture case material. 9. Claywork and group therapy. 10. Claywork in the community. 11. The ceramic vessel. 12. The functional form in art therapy. 13. The culminating fire. References. Appendices. Index.

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