Theory of art Books

Book SynopsisGiving an overview of the history of color theory from ancient and classical cultures to contemporary contexts, this book explores important critical principles and provides practical guidance on the use of color in art and design. Going beyond a simple recitation of what has historically been said about color, artist and educator Aaron Fine provides an intellectual history, critiquing prevailing Western ideas on the subject and challenging assumptions. He analyses colonialist and gendered attitudes, materialist and romanticist perspectives, spiritualist approaches to color, color in the age of reproduction, and modernist and post-modernist color strategies. Highlighted throughout are examples of the ways in which attitudes towards color have been impacted by the legacy of colonialism and are tied up with race, gender, and class. Topics covered include color models, wheels and charts, color interaction and theories of perception, with over 150 images throughout. By placing under-eTrade ReviewAlmost everyone sees color – but this might be the only general statement it is possible to make on the subject. When we begin to ask how color is seen and what it is seen to mean, what value colour has and to whom: then any notion of a consensus quickly falls apart. Aaron Fine’s rich and wide-ranging study discusses numerous theories of color, some intersecting and overlapping, others divergent and conflicting. This book is an invaluable resource for anyone interested in how different cultures have interpreted the vibrant patterns of reflected light that almost all of us see. -- David Batchelor, artist and writer, UKColor Theory is a superb book. With impeccable scholarship it spans centuries, regions and disciplines to give the reader a panoptic account of the many guises of colour in society, art and philosophy. Fine’s prose is clear and thought-provoking. Readers new to the theory of colour will have no better guide to the subject, and those already familiar will discover many new and intriguing things. -- Mazviita Chirimuuta, Senior Lecturer in Philosophy, University of Edinburgh, UKIf you are curious about learning color theory, I suggest that you experiment with some watercolor. If you are serious about color theory, I suggest you read Aaron Fine's book. This is the intelligent and active approach to the subject. Placed on a spectrum between John Gage's heady and densely academic, historical color books and the excellent ‘semester-minded’ color texts of the like of Pentak and Zelanski, Fine's book provides toothsome material for the advanced student with opportunities for practical application and testing of theory. While many color texts have slapped a ‘global color’ chapter at the last of the book, Fine squares the world and its people into the beginning perspectives in chapter 1 and works out from there. This is, I hope, the beginning of a new generation of color writing that embraces a thoughtful, world perspective -- Scott Betz, Professor of Art, Winston-Salem State University, USATable of ContentsList of Images Acknowledgements Introduction 1. Natural Resources and Trade: Color Use in Traditional Cultures 2. Knowing at a Distance: Color Problems in Ancient Greek Thought 3. Stained Glass and Illuminations: European and Islamic Color Theory before Galileo 4. Prisms, Mirrors, and Lenses: The Newtonian Revolution 5. Romanticism and Chromophobia: The Creation of Color Theory in the 19th Century 6. The Science of the Invisible: Color Classification Systems and Spiritual Color 7. High Modern: Color Use at the Bauhaus and in Abstract Expressionism 8. Postmodern: Contemporary Directions in Color Use Glossary About the Author

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Book SynopsisWhat can philosophy reveal about painting and how might it deepen our understanding of this enduring art form? Philosophy of Painting investigates the complex relationship between the painted surface and the depicted subject, opening up current debates to address questions concerning the historicality of art. Embracing contemporary painting, it examines topics such as the post-medium condition and the digital divide, and the work of artists such as Lynette Yiadom-Boakye, Amy Sillman and Katharina Grosse. Illustrated with 24 colour plates and highly readable throughout, Philosophy of Painting provides a philosophically rigorous defence of the relevance of painting in the 21st century, making an original contribution to the major ideas informing painting as an art. Here is a clear and coherent account of the contemporary significance of painting and the pressures and possibilities that distinguish it from other art forms.Trade ReviewPhilosophy of Painting fills an important void. Jason Gaiger shows why it's important to think about paintings – not only newer media such as photography or films – and what contemporary paintings offer in our own time. Beautifully and clearly written – a gem that brings theoretical issues to life. * Sonia Sedivy, Professor and Chair, Department of Philosophy, University of Toronto, Canada *This book will appeal to both experts and non-experts. It deftly combines philosophical insight and rigour with art historical substance and detail. I can’t think of a better introduction to the philosophy of painting. * Hans Maes, Senior Lecturer History and Philosophy of Art, University of Kent, UK *Table of ContentsPreface 1. Philosophical Questions 2. A Window onto the World 3. Surface and Subject 4. Resemblance and Denotation 5. The Specifically Visual 6. Modernism and the Avant-Garde 7. Contemporary Painting Bibliography Index

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Book SynopsisPaul Duncum is Professor Emeritus at the University of Illinois, USA, and Adjunct Professor at the University of Tasmania, Australia. He is the author of Picture Pedagogy (Bloomsbury, 2020).Trade Review[P]layful yet serious and will attract a large audience. * International Journal of Education through Art *From Plato to Pokémon GO, Duncum brilliantly examines the enduring entanglements between art and popular culture … This book is for everyone who wants to avoid the interminable arguments that seem to dominate all things ‘aesthetics.’ * Kevin Tavin, Aalto University, Finland *Popular Pleasures is well-researched and has flashes of brilliant insight … The book will benefit students of many visual culture disciplines, including art education, art history, graphic arts and media communications. * Kerry Freedman, Northern Illinois University, USA *Immaculately researched and eloquently written, this engaging book highlights both the irresistible sensory appeal and economic, political, and ideological interest behind popular images. * Olga Ivashkevich, University of South Carolina, USA *Table of ContentsList of Illustrations Introduction But What is Aesthetics? And What is Popular? Popular Pleasures and Politics Previous Attempts So What’s Different Here? The Mind/Body Context Scope and Outline Chapter 1: A Realistic Style What is Realism? Idolatry and Ideology The Search for Realism Painting Screen Imagery The Pleasures of Realism Making Comparisons Appreciating the Skill Evaluating Realism is Easy Pulling Back the Curtain Realism and Reality When Too Much Realism is Bad When Seeing Shouldn’t be Believing Fake versus the Bona Fide Veridical, Virtual, and Verifiable Chapter 2: The Illusionistic Illusion versus Realism Magic, Miracles and the Devil The Persistence of Illusion Trompe-l’oeil Three-Dimensional Movies Optical Illusion Devices Stage Magic Magic, Wonder and Mischief Being Deceived Being in the Know Conflating Realism with Illusion Illusion and Delusion Illusion and Life Chapter 3: The Bright and Busy Terms and Taste The Doctrine of Decorum Reason and Restraint Modernist Minimalism The Relativity of Restraint Serious versus Superficial Purpose Brightness and Business Delighting the Eye Enhancing the Ordinary Resisting Restraint Bright, Busy and Biology The Seriousness of Selling Bright, Busy and Business Chapter 4: The Highly Emotional An Empire of Emotions Emotion versus Emotionalism The Rhetoric of Emotions versus the Aesthetics of Emotions The Theory of Emotional Rhetoric The Pictorial Practice of Rhetoric The Rise of Sentiment Rejecting Rhetoric The Rise of Romanticism Expression versus Imitation Fine Art and Popular Entertainment What Arouses Emotion? Why Do Emotional Lures Work? Catharsis versus Cognitive Coping Escaping Identifying Searching for Authenticity Seeking Attachment Participating For Better or Worse Chapter 5: The Sentimental Surveying Sentimentality A Discourse of Abuse A Sentimental Journey The Sugar of Sentimentality The Comfort of an Aestheticized Sanctuary Longing for a Past as Pleasant Love and Compassion as their Own Rewards The Ironic Distance of Camp and Kitsch Social Progress Exercising Power The Sins of Sentimentality Disempowering and Harming Sentimentality’s Subjects Disempowering and Infantilizing Viewers Poor Public Policy Sense and Sentimentality Chapter 6: The Vulgar Vulgarity and its Variants Vulgarity and Fine Art A Historical Perspective Grotesques and Carnival Vulgar Porn Scatology Vulgarity and Reform Viva Vulgarity! Disgust and Delight Transgression Social Bonding Joyful Resistance Haunting and Humanness Vile Vulgarity Transgression and Suppression Ridicule and Reaction Vexing Vulgarity Chapter 7: The Violent Violence and is Variants A Violent Present A Violent Past Explaining Violent Entertaiment Excitation Transfer Simultaneous Emotional Pleasures Fear and Mastery Seeking Stimulus Everything But Violence Algorithmic Allure The Problems of Violence Purgation Does Not Work Diminishing Returns Mental Scripts of a Hostile World A Cycle of Violence An End to Violence? Chapter 8: The Horrific Horror, Terror, and Dread Sublime Terror versus Popular Horror Horror Hedonism Performative Pleasures Escape and Stimulation Transfixed Fascination Making Moral Judgments Wish Fulfillment and/or Recognition Transgressive Liberation Repetition Horror and Humor Horror, Hostility and Hate Repression Unleashing Hatred Uncanny Uncertainty Chapter 9: The Miraculous Miracles and Marvels The Skeptical Discourse An Enchanted Universe of Miracles Wonder Curiosity Creating Social Identity Finding Patterns and Purpose Debunking Absurdities Parodying Absurdities Escaping into Fantasy Being Confounded Spectacles of Wonder Miracles and Mirage Rejecting Rationality Vulnerability and Vultures The Wonder of It All Chapter 10: The Exotic Exoticism Explored The Exotic Discourse Exotic Enchantment Wonder Spice Seasoning Cultural Renewal Defining Difference Feeling Culturally Superior Taking Symbolic Possession Being Reassured Distortion, Disparagement and Denigration Selectivity and Distortion Inferiority Complexes Superiority Complexes Denial and Projection Exiting the Exotic Chapter 11: The Erotic Exploring the Erotic Sexual Discourse The High Culture Alibi Enjoying the Erotic Voyeurism Fetishism Sadism, Masochism and Sadomasochism Identification Exhibitionism Queer and Queering Prohibition, Permission, and Perfection Permissiveness and Perfection Pornification Selling Sex Sex, Sin and Suppression Chapter 12: The Spectacular Sizing Up the Spectacular The Spectacular versus Sensationalism Size Matters Wonder Thrills and Spills Immersion Ego Loss Humor When Might Makes Right Requiring Submission Failing to See/ Failing to Feel Ignoring the Unspectacular Tedium Summarizing of the Spectacular Chapter 13: The Narrative The Nature of Narrative The Modernist Rejection of Narrative Narrative Norms Narrative’s Gratifications Organizing Complexity Satisfying Curiosity Escaping into Alternative Realities Emotional Identification Everything Else The Stories We Tell The End Chapter 14: The Formulaic Recipes and Road Maps Formulaic Fine Art Formulae and Form Why Formulae Work Easy Communication Reducing Complexity Further Ongoing Comfort and Anxiety Innovation Reading Complexly Formulae and their Challenges Boredom Formulae and Falsity Finishing with Formulae Chapter 15: The Humorous Humor and Mirth Humor and the Haughty Humor versus Gravitas Why We Smile, Snigger and Snort. Feeling Superior Descending Incongruity Emotional Release Humor’s Disciplinary and Dark Side Anaesthesia of the Heart Imposing Social Discipline Ridicule and Repression Humor and Hate Humor and Hostility References Index

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Book SynopsisTable of ContentsAcknowledgements Contents List of Illustrations Preface Introduction 1. ‘Who is the Fairest?’ Skin Colour Matters, in conversation with NT 2. Beauty and the Privilege of Looking, in conversation with Marcia Michael 3. ‘What Cha Looking At?’ An Oppositional Gaze in Image-Making Practice, in conversation with Sadie Lee 4. Red Shift: Not, ‘Doing it for Daddy’, in conversation with Ajamu 5. Conclusion Bibliography

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Book SynopsisThis book considers questions of materiality and painting, focalized through the notoriously obscure work of Georges Rouault, and offers an innovative critical approach to the various questions raised by this challenging modernist. Described as a difficult and dark painter, Rouault's oeuvre is deeply experimental. Images of the circus emerge from a plethora of chaotic marks, while numerous landscapes appear as if ossified in thick paint.Rouault's work explodes the genre of painting, drawing upon the residue of Gustave Moreau's symbolism, the extremities of Fauvism, and the radical theatrical experiments of Alfred Jarry. The repetitions and re-workings at the heart of Rouault's process defy conventional chronological treatment, and place the emphasis upon the coming-into-being of the work of art. Ultimately, the book reveals the process of making as both a search for understanding and a response to the problematic world of the 20th century.Trade ReviewJennifer Johnson’s ground-breaking study offers a new, comprehensive account of the world and work of Georges Rouault. Elegant prose, rich formal description, and bold theoretical insights reveal the crucial role of materiality as a form of thought in modern art. * John R. Blakinger, Endowed Associate Professor of Contemporary Art, University of Arkansas, USA *In a narrative full to bursting with luminous visual analyses and exciting passages of contextualisation, Jennifer Johnson presents us with a new vision and understanding of Georges Rouault, an artist who has languished for too long on the outskirts of Modernism. A truly captivating book. * Karen Lang, former Editor-in-Chief, The Art Bulletin, and Slade Professor of Fine Art and Fellow of All Souls College, University of Oxford, UK *Jennifer Johnson’s book is a timely and important exploration of Rouault’s probing relationship with questions of materiality and meaning. It is a serious and powerful contribution to a central art-historical issue, the material character of making as a form of understanding. * David Peters Corbett, Professor of American Art & Director of the Centre for American Art, The Courtauld Institute of Art, University of London, UK *In Jennifer Johnson’s reading of Rouault’s surfaces, meaning accrues in a richly layered manner. Drawing upon theorists and philosophies—both contemporaneous and more recent—Johnson returns the reader to Rouault’s thick, reworked, slabs of paint with new understandings of how the artist grappled with questions at the heart of modernism through his subjects, materials, and making. * Ashley Dunn, Assistant Curator, The Metropolitan Museum of Art, USA *Table of ContentsList of Illustrations Introduction: Georges Rouault's Modernism Chapter 1: 1903-1907: Mutilation, Revivification and Imaginative Play on the Surface Chapter 2: The Interwar Years: Materiality, Theatricality, and Social Critique Chapter 3: ‘Le métier de peindre’ or Making as Thought: Bergson, Maritain, and Rouault’s landscapes Chapter 4: Light Thickens: Theology, Phenomenology and the Veronica Chapter 5: Material Imaginings: Matter, Materiality, and Modes of Being Index

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Book SynopsisEmily Hage is Associate Professor of Art History, Saint Joseph's University, USA.Trade ReviewHage’s book offers something different. It provides an introduction, a cohesive narrative, and a path through the movement from a revised perspective in which journals take center stage. ... The outstanding achievement in this book is its ability to look beyond the particulars of these journals … that have long entranced Dada scholars, in the interest of uncovering their role as an underlying system (“langue”), with myriad game-changing implications. * CAA Reviews *Magazines were the lifeblood of Dada, a movement that still resists neat pigeonholing in the history of the avant-gardes. Emily Hage’s Dada Magazines brings a fresh eye to these publications and presents new arguments and evidence for their importance, not just as the print conduits for the manifestos, art, poems, polemics, gossip, and diverse writings of the small, widely separated groups of activists who produced them, under a non-name that spread like a virus, but as active in their own right—creating networks and influencing Dada exhibitions, for example. Hage expertly lays out the ways the juxtapositions, collages, jokes, and confrontations in the magazines influenced radical methods of display in Dada exhibitions and installations. Hage’s lucid presentation, focusing on the material production, presence, and impact of the magazines, is especially valuable for the breadth of her research, bringing out the later strands of Dada in unexpected places like Zagreb and Bucharest. This excellent study of the magazines is a timely reminder of the way Dada has remained a cultural, artistic, political, and even moral irritant, whose tactics have been repeated in so many contexts over the last century: from appropriation to performance, parody to the readymade, and are still not quite laid to rest in history, as Hage’s fascinating epilogue, looking at the 'Dadazines' of the sixties and seventies, explains. * Dawn Ades, Emeritus Professor, School of Philosophy and Art History, University of Essex, UK *If we thought that we knew everything there was to know about Dada periodicals, Emily Hage’s Dada Magazines sets us right. This engaging and elegantly crafted study provides fresh approaches to the ‘active agents’ of Dada’s formation and spread. * Marius Hentea, Professor of English Literature, University of Gothenburg, Sweden *The international dissemination of its creative energy, its anarchic humor and its response to the contradictions of modernity made Dada possibly the most vital of the early twentieth-century avant-gardes. Emily Hage’s lively, meticulously researched volume tackles the issue of Dada’s geographical expansion head-on, offering the most complete study of Dada magazines, in all their inventiveness and diversity, currently available to scholars. * David Hopkins, Professor of Art History, University of Glasgow, UK *Table of ContentsList of Plates List of Figures Acknowledgements Introduction 1. An Extraordinary Opportunity to be Denounced as a Wit: How Magazines Launched ‘Dada,’ 1916-1917 2. ‘Every page must explode’: Dada Magazines as Exhibition Venues, 1918-1919 3. Printing Artworks, Exhibiting Ephemera: Dada Journals and Exhibitions, 1920-1921 4. ‘Be on your guard, Madam’: New York Dada and the Magazine as Readymade, 1921 5. Contingency and Continuity: Dada Magazines and the Expanding Network, 1922-1926 Epilogue: Magazines to Zines: Echoes of Dada in 1970s America Bibliography Index

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Book SynopsisDonald Rodney (1961-1998) was one of the most gifted, perceptive, and innovative contemporary British artists of his time. A protagonist from the first generation of Black British-born art students in the early 1980s, Rodney and his peers brought a new dynamic to British art a hitherto unseen interplay between aesthetics, politics, humour and Black consciousness. Donald Rodney: Art, Race and the Body Politic is the first book-length study of a protean practice which spanned the early 1980s to the late 1990s and included a prodigious output of work across painting, photography, collage, assemblage, sculpture, installation, and new technologies.Across eight meticulously researched chapters, the book examines the social and cultural events which inspired Rodney''s artwork and the responses it elicited. From his formative years in the West Midlands as a leading exponent of Black Art', to a subsequent decade of unbridled visual innovation and social critique, the book venture

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Book SynopsisGriselda Pollock is Professor of Social and Critical Histories of Art and Director of the Centre for Cultural Analysis, Theory and History at the University of Leeds, UK. She is Editor, with Anthony Bryant, of Digital and Other Virtualities: Renegotiating the Image and of Visual Politics of Psychoanalysis: Art and the Image in Post-Traumatic Cultures (both I.B. Tauris) and is Series Editor of Tauris' New Encounters Series. Max Silverman is Professor of Modern French Studies at the University of Leeds. His recent publications include Palimpsestic Memory: the Holocaust and Colonialism in French and Francophone Fiction and Film (Berghahn, 2013). Griselda Pollock and Max Silverman are joint authors of Concentrationary Cinema: Aesthetics as Political Resistance in Alain Resnais's 'Night and Fog', which won the Kraszna-Krausz Award for Best Book on the Moving Image, 2011.Trade ReviewConcentrationary Memories rests on a provocative, carefully theorized consideration of the nature of the ‘concentrationary’ universe, extending and reframing terms and ideas introduced by Hannah Arendt, on the one hand, and lesser known but significant figures in the French context such as David Rousset, Robert Antelme and Jean Cayrol. As its editors note, the first word of their title is unfamiliar in English, and this is perhaps a sign of the need for renewed and close attention to the phenomenon named by the French writer Rousset in 1946. The volume answers this need with care and a justly high level of critical vigilance. Without deflecting the importance attached to the term holocaust and to the issues and concerns of the racial genocides of the twentieth-century, the volume shifts attention towards the politics of deportation and internment, and pursues vital questions about the adequacy and nature of aesthetic responses, questions which bear upon the nature and concept of representation. A crucial emphasis of the volume is on the ‘permanent presence’ of the concentrationary, since its inception; the volume thus includes powerful and essential analyses of the phenomenon across examples in literature, film and photography since the liberation of the camps, and in varying global contexts. The 11 essays in the volume are supported by an extensive introduction by the editors, a contribution in its own right to ongoing debates about politics and representation, and the politics of representation. Given this focus, the meticulous attention to the presentation of the substantial number of images which feature in the volume is unsurprising, and deserves special recognition. This is a unique project, insofar as it breaks new ground in the establishment of a new object of enquiry and research, and goes some way into the exploration of this territory. The volume makes a substantial contribution to research on the legacies of the political evils of the last century and will be essential reading for anyone concerned with it and by it. The book makes a clear case that this includes all of us. * Patrick ffrench, King’s College, University of London, UK *Table of ContentsConcentrationary Memories Series Preface Griselda Pollock & Max Silverman Table of Contents List of Illustrations Acknowledgements Introduction The Politics of Memory: From Concentrationary Memory to Concentrationary Memories Griselda Pollock & Max Silverman: Part 1: Theorising the Political Space and Beyond Chapter 1 The Memory of Politics: Hannah Arendt, Carl Schmitt and the Possibility of Encounter John Wolfe Ackerman Part 2: Mediations of Memory Chapter 2 Migration and Motif: the (Parapractic) Memories of an Image Thomas Elsaesser Chapter 3 The Two Stages of the Eichmann Trial Sylvie Lindeperg & Annette Wieviorka Chapter 4 Brushing the Film Against the Grain: Locating Jean Cayrol’s Lazarean Figure in Alain Resnais’s Muriel ou le temps d’un retour Matthew John Part 3: Camp Visions Chapter 5 Symbol Re-formation: Concentrationary Memory in Charlotte Delbo’s Auschwitz and After Nicholas Chare Chapter 6 A New Visual Structure for the Unthinkable: The Surrealist Aesthetic and the Concentrationary Sublime in Lee Miller’s Photographs of Buchenwald and Dachau Isabelle de le Court Chapter 7 Muselmann: a distilled image of the Lager? Glenn Sujo Chapter 8 Nameless before the Concentrationary Void: Charlotte Salomon’s Leben? oder Theater? 1941–42 after Gurs Griselda Pollock Part 4: Beyond the Limits Chapter 9 Animated Memory: Ari Folman’s Waltz with Bashir Claire Launchbury Chapter 10 Isn’t this where…? Projections on Pink Floyd The Wall: Tracing the Concentrationary Image Benjamin Hannavy Cousen Chapter 11 Memory Work in Argentina 1976-2006 Laura Malosetti Costa Notes on Contributors Bibliography Index

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Book SynopsisSharon Hecker is an art historian and curator of Italian art. She is the author of A Moment's Monument: Medardo Rosso and the International Origins of Modern Sculpture (2017), and co-editor of Postwar Italian Art History: Untying the Knot' (2018) and Lead in Modern and Contemporary Art (2021).Raffaele Bedarida is Associate Professor of Art History at Cooper Union, USA. He is the author of Corrado Cagli: La pittura, l'esilio, L'America (2018; English edition forthcoming) and Exhibiting Italian Art in the United States from Futurism to Arte Povera (2022).Trade ReviewFifty years going since Susan Sontag’s Fascinating Fascism, we have in this marvellous volume a fascinating kaleidoscope of historical and critical perspectives on the art world of Fascism. Grounded in rigorous questions about aesthetics and contexts, the volume brings into lively conversation successive generations of curators, critics and historians from all over the Atlantic World—Italy, Brazil, the USA, Canada. It is in itself like the opening of an exciting exhibition, curated with empathy, loaded with striking and beautiful images, and, above all, guided by a strong, critical collective eye for the many diverse, often controversial ways of looking at the art and artefacts that have yielded the fascist aesthetic, itself so varied, elusive and insidious. * Victoria de Grazia, Moore Collegiate Professor of History, Columbia University, USA *What ethical debts do museums owe to their objects of study—particularly those inextricable from a totalitarian regime? At every turn, this exciting volume unsettles the presumed neutrality of curatorial selection and display, underscoring the often unwitting political contingencies attendant upon seemingly straightforward exhibition strategies. * Ara H. Merjian, Professor of Italian, New York University, USA *In confronting a critical lacuna in our understanding of postwar history and memory in Italy – the complex and problematic ways in which the art of the Fascist era was displayed after the fall of the regime – Curating Fascism presents an insightful and disturbing picture of a past that has yet to be faced. * Marla Stone, Andrew W. Mellon Professor of the Humanities, American Academy in Rome, Italy *A pivotal and fresh reconsideration of cultural politics in the fascist era, through the lens of a selection of historical and recent exhibitions that have shaped the interpretation of the ventennio over time. * Ester Coen, Professor of Art History, Università degli Studi dell’Aquila, Italy *This masterly book provides an extraordinary in-depth look at the untold story of postwar exhibitions on fascism. An international and interdisciplinary group of scholars, raisesd the fundamental question of how these exhibitions have shaped historical narratives and collective memory in Italy and abroad. Subverting the usual categories, historical studies and direct accounts guide us in understanding the peculiar difficulties in exhibiting the works of the fascist era, the related curatorial responsibilities, and the legacy of fascism in the current historical moment. * Laura Iamurri, Professor of Art History, Università degli Studi Roma Tre, Italy *Table of ContentsList of Figures Notes on Contributors Acknowledgments Introduction Part One: Rethinking Historical Exhibitions in Italy 1. Exhibiting Art of the Fascist Ventennio: Curatorial Choices, Installation Strategies, and Critical Reception from Arte Moderna in Italia 1915–1935 (Florence, 1967) to Annitrenta (Milan, 1982), Luca Quattrocchi, University of Siena, Italy 2. Pluralism as Revisionism: Annitrenta at Palazzo Reale, Milan, 1982, Denis Viva, the University of Trento, Italy 3. Interview with Renato Barilli, Curator of Annitrenta Exhibition at Palazzo Reale (Milan, 1982), Raffaele Bedarida, Cooper Union, New York, USA 4. Art, Life, Politics, and the Seductiveness of Italian Fascism: Post Zang Tumb Tuuum at Fondazione Prada (Milan, 2018), Sharon Hecker and Raffaele Bedarida, Art historian and Curator, Italy; Cooper Union, New York, USA 5. Italy’s Holocaust on Display: From Carpi-Fossoli to Auschwitz (to Florence), Robert S. C. Gordon, Cambridge University, UK 6. Umbertino Umbertino: The Many Masks of Rome’s Palazzo delle Esposizioni, Romy Golan, the Graduate Center, CUNY, USA Part Two: Exhibitions of Fascism Around the World 7. Exhibiting and Collecting the F-word in Britain, Rosalind McKever, Curator, the Victoria and Albert Museum, London, UK 8. Novecento Brasiliano: Margherita Sarfatti, Ciccillo Matarazzo, and the Italian Collection of MAC USP, Ana Gonçalves Magalhães, University of São Paulo (MAC USP), Brazil 9. Contextualizing Razionalismo in the exhibition Photographic Recall (2019): Fascist Spaces in Contemporary German Photography, Miriam Paeslack, University at Buffalo (SUNY), New York, USA 10. Feeling at Home: Exhibiting Design, Blurring Fascism, Elena Dellapiana and Jonathan Mekinda, the Politecnico di Torino, Italy; University of Illinois at Chicago (UIC), USA 11. Italian Jewish Artists and Fascist Cultural Politics: on Gardens and Ghettos at the Jewish Museum in New York (1989), Emily Braun, Hunter College and the Graduate Center, CUNY, USA, interviewed by Raffaele Bedarida and Sharon Hecker Part Three: Absences 12. Exhibiting the Homoerotic Body, the Queer Afterlife of Ventennio Male Nudes, John Champagne Penn State Erie, the Behrend College, USA 13. “Partigiano Portami Via”: Exhibiting Antifascism and the Resistance in Post-Fascist Italy, Raffaele Bedarida, Cooper Union, New York, USA 14. Looking at Women and Mental Illness in Fascist Italy: An Exhibition’s Dialogical and Feminist Approach, Lucia Re, University of California, Los Angeles, USA 15. Silencing the Colonial Past: The 1993 Exhibition Architettura italiana d’oltremare 1870-1940 in Bologna, Nicola Labanca, University of Siena, Italy 16. Recharting Landscapes in the Exhibition Roma Negata: Postcolonial Routes of the City (2014) and the Digital Project Postcolonial Italy: Mapping Colonial Heritage, Shelleen Greene University of California, Los Angeles, USA Part Four: Curatorial Practices 17. From MRF to Post Zang Tumb Tuuum: The Responsibilities of the Re-hang, Vanessa Rocco, Southern New Hampshire University, Manchester, USA 18. The Final Ramp: Addressing Fascism in Italian Futurism at the Guggenheim Museum, Vivien Greene and Susan Thompson, the Solomon R. Guggenheim Museum, USA; Curator and Writer, Brooklyn, USA 19. The Making of MART and the Archivio del Novecento: Interview with Gabriella Belli, Director of the Foundation from the Municipal Museums of Venice 20. Now You See It, Now You Don’t: Reconstructing Artists’ Studios in Exhibitions on Fascist-Era Art, Sharon Hecker, Art Historian and Curator, Italy 21. Interview with Maaza Mengiste on Project 3541: A Photographic Archive of the 1935-41 Italo-Ethiopian War, Raffaele Bedarida and Sharon Hecker, Art historian and Curator, Italy; Cooper Union, New York, USA Index

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Book SynopsisMarsha Morton is Professor of Art History at Pratt Institute, USA. A specialist in German and Austrian cultural history with a focus on interdisciplinary topics of art, anthropology, science, and music, her books include Max Klinger and Wilhelmine Culture (2014) and the co-edited anthology The Arts Entwined (2000). She is also a co-editor and contributing author to Visual Culture and Pandemic Disease Since 1750: Capturing Contagion (2023).Barbara Larson is Professor of Modern European Art History in the Art and Design Department of the University of West Florida, USA. She is author of The Dark Side of Nature: Science, Society and the Fantastic in the Work of Odilon Redon (2005) and lead editor of The Art of Evolution: Darwin, Darwinisms, and Visual Culture (2009) and Darwin and Theories of Aesthetics and Cultural History (2013).Trade Review[T]he narrow focus of each chapter essay builds both a satisfyingly comprehensive and very specific picture of the social and cultural histories of countries at the Continental margins. * Visual Culture *[T]his edited volume offers a number of very rich case studies from different geographies within Europe. The chapters merge primary and secondary sources and open up possibilities for a critical interpretation of visual materials through the history of ethnography and anthropology. As such, the edited volume should be of interest to an interdisciplinary readership interested in the construction of the other through visual depictions. * German Studies Review *The uniqueness of the book and its fascinating contents lies [...] in the skilful juxtaposition of textual and visual sources in [the editors'] analyses. * Mosse Program Blog *Focusing our attention on the often contested and frequently porous "borders of Europe", this essential collection of essays complicates our understanding of how race, ethnicity, and national identity have been constructed and operationalized through art, design, and visual culture. * Allison Morehead, Associate Professor of Art History, Queen’s University, Canada *A compelling and timely collection of essays based on immaculate research that will alter the reader’s critical understanding of the complex cultural-political engagement with subordinate ethnic groups in parts of Europe that have too long been marginalised by postcolonial discourse. * Sabine Wieber, Lecturer in History of Art, University of Glasgow, UK *Table of ContentsList of Plates List of Figures List of Contributors Introduction, Marsha Morton (Pratt Institute, USA) 1. From Folk to a Folk Race: Carl Arbo and National Romantic Anthropology in Norway, Patricia G. Berman (Wellesley College, USA) 2. From “Northern Dweller” to “Distinguished Among His Race”: The Transformation of the Nordic Colonial Subject, 1900-1935, Bart Pushaw (University of Maryland, USA) 3. Decolonizing the Archive: Pia Arke and Stories from Scoresbysund, Alison Chang (Independent Curator, USA) 4. Brigands and Virtuous Musicians: Representations of Roma (“Gypsies”) as Oriental Other in the Eastern Part of the Habsburg Monarchy during the Eighteenth and Nineteenth Centuries, Robert Born (University of Leipzig, Germany) and Dirk Suckow (University of Leipzig, Germany) 5. Leopold Carl Müller’s Scenes from Egyptian Life: Ethnography, Race, and Orientalism in Habsburg Vienna, Marsha Morton (Pratt Institute, USA) 6. A Hungarian Treasure Chest: The Art Colony at Gödöllo in Critical Perspective, Rebecca Houze (Northern Illinois University, USA) 7. The Journey West: Gauguin, Philology, And the Celts of Brittany, Barbara Larson (The University of West Florida, USA) 8. In the Beginning was the Image: Russian Ethnography and Colonial Photography in Turkestan, 1860s–1870s, Margaret Dikovitskaya (Independent Scholar, USA) 9. “Children of the Narod: Early Soviet Children’s Books’ Racialization of Childhood”, Marie Gasper-Hulvat (Kent State University, USA) 10. From Sideshow to Portrait: The Ethnographic Vision of Christian Schad, Kristin Schroeder (University of Virginia, USA) 11. Anthropological Histories and Techniques in Philip Scheffner’s Films, Priyanka Basu (University of Minnesota, USA) Index

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Book SynopsisHighlighting intersections of gender, race, and class and their explosive encounters with Pop Art during the Long Sixties, this book offers a new critical reading of Pop for the 21st century. ''a brilliant and important corrective to much writing on Pop art'' - Jo Applin, The Courtauld Institute of Art, LondonFeaturing an array of rigorous chapters that examine the work of over 20 artists from 5 continents, Pop Art and Beyond transcends the borders of individual and national contexts, and suspends hierarchies to create a space for the work of artists like Andy Warhol and the women of the Black Arts Movement to converse. Casting an inclusive look at the intersectional complexities of difference in Pop at a moment that gave rise to a plethora of radical social movements and identity politics, it contributes bold new perspectives on Pop's heterogeneity.While this book introduces revelatory non-canonical artists into the Pop context orTrade ReviewPop Art and Beyond: Gender Race and Class in the Global Sixties is the perfect response to today’s urgent calling for ever more credible art histories that center recognition of artists and practices that have tended to be erased or downplayed within the dominant canon. The range of texts in the volume will prove indispensable in further building on scholarship that unsettles and challenges stale, hegemonic readings of Pop Art. As such, this book makes an invaluable contribution to art history and decisively signals the direction of progressive academic study. The global reach of this volume, together with the erudition of its contributors, ensure that scholars now have access to new, rigorous, and persuasive research into important aspects of modern art. * Eddie Chambers, David Bruton, Jr. Centennial Professor in Art History, University of Texas at Austin *This book is a brilliant and important corrective to much writing on Pop art. It offers an urgent analysis and expansion of the material, geographic, and political framing of Pop art. Each of the fifteen original and exhaustively researched chapters shed important new and critical light on the raced, gendered, and classed aspects of Pop art and its artists. * Jo Applin, The Courtauld Institute of Art, London *The authors in this ground-breaking collection make vital, incisive and deeply energising interventions into debates on Pop art, together achieving a major intersectional re-examination of Pop which attends to gender, race, class and sexuality, while illuminating and complicating formulations of ‘global’ Pop. Required reading for scholars, curators and students alike. * Catherine Spencer, University of St Andrews, UK *Hadler rethinks the very idea of the “revolutionary icon” within Pop Art history in writing about the interconnections between groundbreaking stand-up comedians like Richard Pryor, Jackie “Moms” Mabley, and Lenny Bruce, and the feminist, anti-racist Pop Art of the era. * Maria Elena Buszek, Woman’s Art Journal *Table of ContentsAcknowledgments List of Illustrations Notes on Contributors Introduction by Mona Hadler and Kalliopi Minioudaki 1. Cults or Subcultures? Reckoning with Collective Creation in the English Pop World by Thomas Crow 2. The 1960s in Bamako: Malick Sidibé and James Brown by Manthia Diawara 3. Yugoslav Pop, Female Artists, and the Emergence of Feminist Agency by Lina Džuverovic 4. “Everything for Money”: Warhol, Kant, and Class by Anthony E. Grudin 5. Pop Art’s Comic Turn and the Stand-Up Revolution by Mona Hadler 6. Tom Max’s “Okinawan Inferno”: Reversion and After by Hiroko Ikegami 7. Following the Traces of Yemanjá: Pop Art, Cultura Popular, and Printmaking in Brazil by Giulia Lamoni 8. Facing the Maid: Gendered Shades of Labor in American Pop by Kalliopi Minioudaki 9. The Commonwealth of British Pop: Race, Labor, and Postcolonial Politics in Frank Bowling’s Mother’s House Series by Maryam Ohadi-Hamadani 10. Market Wares and Trade Marks: Painting Pop in Indian Country, 1964 by Kristine K. Ronan 11. Entangled Mythologies: Race and Class in Hervé Télémaque’s Pop (1963-5) by Marine Schütz 12. Snap! Crackle! Pow!: Robert Colescott and Pop Art by Lowery Stokes Sims 13. Against the Heroes: Revolution, Repression, and Raúl Martínez’s Cuban Pop Art by Mercedes Trelles Hernández 14. Myriam Bat-Yosef: World Citizen, Artist of the Pop Era by Sarah Wilson 15. Free Your Mind and Your Ass Will Follow: Feminism and the (Pop) “Image” in Chicago’s Black Arts Movement by Rebecca Zorach Index

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Book SynopsisBringing together a fascinatingly diverse yet closely related group of subjects, Where Words and Images Meet asks us to rethink what we know about words and images and how they interact. From 19th-century frontispieces to Soviet photo albums, from the relationships between portraits and biographies to museum labels, the book''s richly illustrated chapters open up historically specific connections between word and image to collective examination and fruitful analysis. Written by both established and emerging scholars in a range of interrelated fields, the chapters deliberately foreground previously overlooked topics as well as unfamiliar disciplinary approaches, to offer a stimulating and carefully developed framework for looking at these ubiquitous phenomena afresh.Where Words and Images Meet opens up for analysis and reflection the forms of attention, practices, skills and assumptions that underlie visual interpretation and meaning-making in the

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Book SynopsisPolitical Illustration introduces students of illustration, visual communication, art, and political science to how political illustration works, when it's used and why. Through a variety of examples from the coins of Julius Caesar to contemporary art challenging Indigenous American stereotypes the book covers propaganda, the impact of media, censorship, and taboo, and the role of contentious politics and dissent art. A wide range of contemporary illustration mediums are included, including street art, the graphic novel, and mixed assemblage illustration, in order to examine the role of media and technique in political messaging. The book features breakout interviews and case studies on prominent global political illustrators (like Edel Rodriguez, Anita Kunz and Fabian Williams) and full color examples. The authors include an introduction to semiotics, visual grammar, and visual communication theory, and how these approaches contribute to the decoding of political messa

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Book SynopsisUroš Cvoro is Associate Professor in Art Theory at UNSW Australia, Arts, Design & Architecture. His research interests include contemporary art and politics, cultural representations of nationalism, post-socialist and post-conflict art. His books include Transitional Aesthetics: Art at The Edge of Europe (2018) and Turbo-folk Music and Cultural Representations of National Identity in Former Yugoslavia (2014). With Kit Messham-Muir, he is co-author of Images of War in Contemporary Art: Terror and Conflict in the Mass Media (Bloomsbury, 2021).Kit Messham-Muir is Professor in Art in the School of Media, Creative Arts and Social Inquiry at Curtin University in Perth, Australia. His research interests include the art and visual culture of war, as well as the studio practice of contemporary artists. With Uroš Cvoro, he is co-author of Images of War in Contemporary Art: Terror and Conflict in the Mass Media (Bloomsbury, 2021) and author of Trade ReviewThis book analyses the linked world view and aesthetics of the resurgent far right, including the 'paranoid epistemology' of QAnon and the 'gamification' of its propaganda, along with provocative readings about the relation of contemporary art to a consciously performative politics--among leaders and followers alike. * Julian Stallabrass, Professor of Art History at the Courtauld Institute of Art, UK *Messham-Muir and Cvoro provide a very useful and highly original contribution to the analysis of the new fascist tendencies and the way these simultaneously contest and uphold a torn democratic public sphere. * Mikkel Bolt Rasmussen, Professor of Political Aesthetics, University of Copenhagen, Denmark *An urgent analysis of the Trump effect as a global and American phenomenon. Its unique focus on the power of contemporary aesthetics in social media to mobilise the Right makes for chilling reading in understanding how Trump’s followers almost succeeded in the Capitol Hill Riot of 6 January 2021. * Catherine Speck, Emerita Professor of Art History and Curatorship, University of Adelaide, Australia, and author of Beyond the Battlefield: Women Artists of the Two World Wars (2014) *Table of ContentsList of Illustrations Acknowledgements Introduction: The Trump Effect Chapter 1: QAnon: ‘Shall We Play a Game?’ Chapter 2: The Critical Race Theory Moral Panic: Dana Schutz’s Open Casket and the Evergreen Affair Chapter 3: #cancel #woke #universities: ‘burn them down and start it all over again!’ Chapter 4: Our Past But Not Our Past: ‘Statue Wars’ and Contemporary Art Chapter 5: Overidentifying with the Strongman: Trump and the Capitol Hill Riot Chapter 6: Delegated Insurrection Conclusion Bibliography Index

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Book SynopsisDesign Studies: A Reader is the ideal entry point for any student who wants to understand the many complex roles of design - as process, product, function, symbol, and use. Reflecting the diverse range of perspectives on design, the reader brings together over seventy key texts. The essays are presented in themed sections covering history, methods, theory, visuality, identity, consumption, labor, industrialization, new technology, sustainability, and globalization. Each section is separately introduced and each concludes with a guide to further reading. In addition, a final section of specially commissioned essays analyzes ten seminal designs of the twentieth century, from Helvetica to the cell phone. Bringing together the best classic and contemporary writing, Design Studies: A Reader will be invaluable to all students of Design as well as to students of Architecture, Art, Material Culture, and Sociology. Authors include: Theodor Adorno, Arjun Appadurai, Reyner Banham, JTrade ReviewIncredibly inclusive, this is essential reading for students and teachers of Design Studies in any context. A superlative collection of authoritative contributions from many of the most influential writers on design, past and present. * Paul Atkinson, Sheffield Hallam University, UK *A book that works for students or anyone else with the slightest interest in design. * New York Daily News *A critical snapshot of what's vital now in global comparative critical thinking on Design. The clearly structured and framed sets of key essays disclose the full reach and power of the myriad acts of designing that create our realities and, increasingly, narrow our future options. * Lisa Norton, School of the Art Institute of Chicago, USA *The Reader combines new interpretations with influential texts that have shaped Design thinking over the last thirty years. It shows how Design is becoming more complex and how the emerging discipline of Design Studies has risen to this challenge. It will be an essential resource for students. * Suzette Worden, Curtin University of Technology, Australia *The Reader will become a standard reference for the subject. It establishes the field for all those interested in Design and its impact on the contemporary world. The Reader offers an informed overview of ways of engaging with the central themes of Design such as ethics, globalization, identity and gender. * Jeremy Aynsley, Royal College of Art, UK *An extraordinarily valuable resource for students in all areas of Design. It opens up endless fields of inquiry and also affirms 'Design Studies' as the only theoretical framework which encompasses all the richness and multiplicity of Design both conceptually and globally. * Eduardo Corte-Real, IADE Design School, Portugal *A wonderful and richly engaging book that would be invaluable to any student both at undergraduate and postgraduate levels of study to draw upon as a one-stop companion and reliable point of reference. * The Design Journal *As a design educator, I've been waiting for a smart compilation of design essays for my graduate 3D design students. Until now, I've used my own mix of 'greatest hits' essays to inform our reading seminars. This year I began using this compilation with my graduate students. I like the way the book is structured by contemporary topics. The content is smart, contemporary and concise - excerpting the most relevant reading from each essay. I'd recommend this book to any student with an interest in the intellectual-big-picture of design. * Amazon.com - Scott Klinker (Cranbook Academy of Art, USA) *If you're looking to do a little self-education this fall, this just might be the book for you. * Amy Azzarito, Apartment Therapy Blog *Provides a great deal of food for thought for beginning design students from numerous subdisciplines and is also a good refresher for more advanced scholars. * Design Issues *In totality [Design Studies is] more than just a teaching or study resource. As [it] advocate[s] that the production, consumption and mediation of designed objects and images affect everyone, [it] will be of interest to both informed and general readerships... [A great strength of Design Studies is] the effective demonstration that design analysis and history is not an elitist, purely academic pursuit, but essential to consideration of society and its cultural expressions in the very broadest sense. -- Linda King, The Institute of Art, Design and Technology, Ireland * Artefact - Journal of the Irish Association of Art Historians *Table of ContentsGeneral Introduction, Hazel Clark and David Brody SECTION I: HISTORY OF DESIGN Section Introduction I.1: DESIGN HISTORIES Part Introduction 1. Nikolaus Pevsner, Pioneers of Modern Design 2. Adrian Forty, Design, Designers and the Literature of Design 3. Matthew Turner, Early Modern Design in Hong Kong 4. Lucila Fernández Uriate, Modernity and Postmodernity from Cuba I.2: DESIGN HISTORY AS A DISCIPLINE Part Introduction 5. Victor Margolin, Design History and Design Studies 6. John Walker, Defining the Object of Study 7. Judy Attfield, FORM/female FOLLOWS FUNCTION/male 8. Denise Whitehouse, The State of Design History as a Discipline Annotated Guide to Further Reading SECTION II: DESIGN THINKING Section Introduction II.1: DESIGN PHILOSOPHIES AND THEORIES Part Introduction 9. Buckminster Fuller, Speculative Prehistory of Humanity 10. John Chris Jones, What is Designing? 11. Louis Bucciarelli, Designing Engineers 12. Henry Petroski, Success and Failure in Design 13. Richard Buchanan, Wicked Problems in Design Thinking II.2: DESIGN RESEARCH Part Introduction 14. Herbert Simon, Understanding the Natural and Artificial Worlds 15. Donald Schön, Designing; Rules, Types and Worlds 16. Susan Squires, Discovery Research II: 3 DESIGN COMMUNICATIONS Part Introduction 17. Eric van Schaak, The Division of Pictorial Publicity in World War I 18. D.J Huppatz, Globalizing Corporate Identity in Hong Kong 19. Shirley Teresa Wajda, Kmartha Annotated Guide to Further Reading SECTION III: THEORIZING DESIGN AND VISUALITY Section Introduction III.1: AESTHETICS Part Introduction 20. Arthur C. Danto, Aesthetics and the Work of Art 21. Jean Baudrillard, Design and Environment 22. Reyner Banham, Taking it with You III.2: ETHICS Part Introduction 23. Zygmunt Bauman, In the Beginning was Design 24. Susan Szenasy, Ethical Design Education 25. AIGA/Rick Poyner, First Things First 2000 26. Clive Dilnot, Ethics in Design: 10 Questions III.3: POLITICS Part Introduction 27. Karl Marx, The Fetishism of Commodities and the Secret Thereof 28. Pierre Bourdieu, The Aesthetic Sense and the Sense of Distinction 29. Naomi Klein, No Logo 30. Dick Hebdige, Subculture and Style 31. John Stones, Incendiary Devices 32. Gui Bonsiepe, Design and Democracy III.4 MATERIAL CULTURE AND SOCIAL INTERACTIONS Part Introduction 33. Jules Prown , Mind in Matter 34. Daniel Miller , The Artefact as Manufactured Object 35. Michel Foucault, Panopticism 36. Michel de Certeau, Walking in the City 37. Erving Goffman, The Presentation of Self in Everyday Life Annotated Guide to Further Reading SECTION IV: IDENTITY AND CONSUMPTION Section Introduction IV.1: VIRTUAL IDENTITY AND DESIGN Part Introduction 38. Donna Haraway, A Cyborg Manifesto 39. Katie Salen and Eric Zimmerman, Introducing Cybernetic Systems 40. Justin Clark, Get a Life 41. Gavin O'Malley, American Apparel IV.2: GENDER AND DESIGN Part Introduction 42. Cheryl Buckley, Made in Patriarchy 43. Barbara Ehrenreich and Annette Fuentes, Life on the Global Assembly Line 44. Hazel Clark The Difference of Female Design IV.3: CONSUMPTION Part Introduction 45. Mary Douglas and Baron Isherwood, Technology and Consumption 46. Daniel Harris, Quaintness 47. Sarah Lichtman, Do-It-Yourself Security 48. W.F. Haug, Critique of Commodity Aesthetics 49. Heike Jenß, Fashioning Uniqueness: Mass-Customization and Commodization of Identity Annotated Guide to Further Reading SECTION V: LABOR, INDUSTRIALIZATION AND NEW TECHNOLOGY Section Introduction V.1: LABOR AND THE PRODUCTION OF DESIGN Part Introduction 50. John Styles, Manufacturing Consumption and Design 51. Paul du Gay, et al, The Sony Walkman 52. Stuart Walker, Integration of Scale V.2: INDUSTRIALIZATION AND POST INDUSTRIALIZATION Part Introduction 53. David Brett, Drawing and the Ideology of Industrialization 54. Margaret Crawford, The 'New' Company Town 55. Frederick Winslow Taylor, The Principles of Scientific Management 56. Abraham Moles, Design and Immateriality V.3: NEW DESIGN AND NEW TECHNOLOGIES Part Introduction 57. Bradley Quinn, Hussein Chalayan, Fashion and Technology 58. Donald Norman, What's Wrong with the PC? 59. Vicente Rafael, The Cell Phone and the Crowd 60. Theodor Adorno, Do Not Knock Annotated Guide to Further Reading SECTION VI: DESIGN AND GLOBAL ISSUES Section Introduction VI.1: GLOBALIZATION Part Introduction 61. Arjun Appadurai, Modernity at Large 62. Hugh Aldersey-Williams, Globalism, Nationalism, and Design 63. Guy Julier, Responses to Globalisation VI.2: EQUALITY AND SOCIAL JUSTICE Part Introduction 64. Kate Stohr, Self-Help and Sites-and Services Programs 65. John Hockenberry, The Re-Education of Michael Graves 66. Ezio Manzini, A Cosmopolitan Localism 67. Earl Tai, Design Justice VI.3: SUSTAINABILITY Part Introduction 68. William McDonough and Michael Braungart, A Question of Design 69. Victor Papanek, Designing for a Safe Future 70. Trish Lorenz, British Designers Accused of Creating Throw-Away Culture Annotated Guide to Further Reading SECTION VII: DESIGN THINGS Section Introduction 71. Wava Carpenter, The Eames Lounge: The Difference between a Design Icon and Mere Furniture 72. Dipti Bhagat, The Tube Map (The London Underground Map) 73. Susan Yelavich, Swatch 74. Catherine Walsh, Architecture and Cultural Identity: The Case of the Petronas Towers in Kuala Lumpur 75. R. Roger Remington, Helvetica: Love it or Leave it 76. Shirley Teresa Wajda, The Architect and the Teakettle 77. Greg Votolato, Bullets and Beyond (The Shinkanzen) 78. Alison Gill, Sneakers 79. Bess Williamson, The Bicycle: Considering Design in Use 80. Gerard Goggin, Cell Phone Annotated Guide to Further Reading Bibliography

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Book SynopsisSelected and introduced by Juli Carson, this book presents a collection of essential essays, interviews, and never-before published archival materials that trace the development of the teaching of major artist and thinker Mary Kelly, from 1980-2017.As an artist and a theorist, Kelly is known for her foundational contributions to Feminism and Conceptual Art; she is also revered for her innovative pedagogy, which has influenced countless artists, writers and teachers within the international art community. Her description of a feminist practice of concentric pedagogy, centred on the artwork rather the mastery of the teacher, radically changed teaching practice in art studios.Detailing Kelly's innovative pedagogical program, the essays are split into three sections: The Method, which focuses on Kelly's renowned method of ethical observation within studio critique; The Project, which explores her notion of what constitutes an artistic project; and Project and Meth

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Book Synopsis

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Book SynopsisA ground-breaking new anthology in the Art in Theoryseries, offering an examination of the changing relationships between the West and the wider world in the field of art and material culture Art in Theory: The West in the Worldis a ground-breaking anthology that comprehensively examines the relationship of Western art to the art and material culture of the wider world. EditorsPaul Wood and Leon Wainwright have included 370 texts, some of which appear in English for the first time. The anthologized texts are presented in eight chronological parts, which are then subdivided into key themes appropriate to each historical era. The majority of the texts are representations of changing ideas about the cultures of the world by European artists and intellectuals, but increasingly, as the modern period develops, and especially as colonialism is challenged, a variety of dissenting voices begin to claim their space, and a counter narrative to western hegemonTable of ContentsAcknowledgements xxvii A Note on the Presentation and Editing of Texts xxviii General Introduction xxxi I Encountering the World 1 Introduction 1 IA Figures of Wealth and Power 9 1 Robert of Clari from The Conquest of Constantinople 1204/1216 9 2 Giovanni di Pian de Carpini (‘John of Carpini’) from his Journey to the Court of Kuyuk Khan 1245–7 11 3 Marco Polo from The Travels c.1299 13 4 ‘Sir John Mandeville’ from his Travels c.1356 16 5 Various authors on artistic and cultural relations between Italian city states and the Ottoman and Mamluk empires during the late fifteenth and early sixteenth centuries 18 5 (i) Sigismondo Malatesta of Rimini Letter of introduction for Matteo de’ Pasti to Mehmed II 1461 19 5 (ii) Marin Sanudo from his diary for 1 August 1479 20 5 (iii) Mehmed II to the Venetian Senate 1480 20 5 (iv) The Venetian Senate Letter to Mehmed II 1480 21 5 (v) Luca Landucci from his Florentine diary 1487 21 5 (vi) Leonardo da Vinci from a letter to Sultan Bayezid II before 1512 22 5 (vii) Tommaso di Tolfo from a letter to Michelangelo 1519 22 6 Giovanni da Empoli On India, Ceylon and the Spice Islands 1514 23 7 João de Castro from Roteiro de Goa até Dio 1540s 24 8 Simão de Melo from an inventory of his goods 1570s 26 9 Johann Huyghen van Linschoten On Indian religious art 1596 29 10 Duarte de Sande from ‘An Excellent Treatise of the Kingdom of China’ c.1590 32 11 Matteo Ricci from his journal c.1582–1610/1615 34 12 Jean‐Baptiste Tavernier On the Peacock Throne 38 IB Across the Ocean Sea 40 1 Christopher Columbus Two texts from his first voyage to America 1492 40 2 Amerigo Vespucci Letter to Lorenzo Pietro Franco de Medici 1503 43 3 Hernán Cortés Two letters from Mexico 1519 and 1520 45 4 Bartolomé de Las Casas from Apologetic History of the Indies c.1542–52 48 5 Toribio de Benavente (‘Motolinía’) from History of the Indians of New Spain 1536 51 6 First Provincial Council in Lima 1551–2 On the destruction of Indian sacred sites 52 7 Jean de Léry from History of a Voyage to the Land of Brazil c.1563–80 53 8 Thomas Harriot from A Briefe and True Report of the New Found Land of Virginia 1590 54 9 Bernardo de Balbuena from Grandeza Mexicana 1604 57 10 Juan Rodriguez Freile On the legend of El Dorado 1636 60 11 John Lok A Voyage to Guinea in the year 1554 61 12 Olfert Dapper On the city of Benin 1668 62 13 William Dampier The first encounter with Indigenous Australian people c.1688/99 64 IC Scholarly Responses 66 1 Anon. from the Inventory of the Palazzo Medici 1492 66 2 Albrecht Dürer from his diary of his journey to the Netherlands 1520 70 3 Thomas Platter On Mr Cope’s cabinet of curiosities 1599 71 4 Michel de Montaigne ‘On the Cannibals’ c.1580s 74 5 Christopher Marlowe from Tamburlaine the Great c.1590 76 6 Francis Bacon ‘Of Plantations’ c.1597–1625 77 7 Francis Bacon from New Atlantis c.1620–5 79 8 Martin de Charmois from his Petition to the King and to the Lords of his Council 1648 81 9 Dorothy Osborne from letters to Sir William Temple 1653 82 10 Thomas Hobbes ‘Of the Naturall Condition of Mankind’ 1651 83 11 John Tradescant from the Museum Tradescantianum, or A Collection of Rarities 1656 83 12 John Dryden on the ‘Noble Savage’ 1670–2 91 13 Aphra Behn from Oroonoko, or The Royal Slave c.1663–4/1688 91 14 Charles Perrault from Parallel of the Ancients and Moderns 1688 93 15 William Temple On the distinctiveness of Chinese gardens 1690 94 16 Gottfried Wilhelm Leibniz from ‘Preface’ to Novissima Sinica c.1690 96 17 John Locke ‘Of Property’, from Two Treatises of Government c.1690 98 II Enlightenment and Expansion 101 Introduction 101 IIA The Orient in Fact and Fancy 109 1 Antoine Galland Preface to d’Herbelot’s Bibliothèque Orientale 1697 109 2 Anon. from The Arabian Nights Entertainments 1713 111 3 Lady Mary Wortley Montagu Letters from the Turkish Empire c.1716–18 114 4 Charles‐Louis de Secondat, Baron de Montesquieu from Persian Letters 1721 119 5 Joseph Addison from ‘The Pleasures of the Imagination’ 1712 120 6 John Shebbeare ‘The taste of England at present …’ 1756 121 7 Oliver Goldsmith from The Citizen of the World 1765 122 8 Sir William Chambers from A Dissertation on Oriental Gardening 1772 124 9 Sir William Jones from his Discourses to the Asiatick Society of Bengal 1784 and 1785 127 10 William Beckford of Fonthill from Vathek 1786 130 11 Sir George Staunton from his account of the Macartney embassy to China 1797 133 IIB Curiosities and Colonies 137 1 Hans Sloane from The Natural History of Jamaica c.1690/1707 137 2 Jonathan Swift from Gulliver’s Travels 1726 138 3 Louis Antoine de Bougainville On Tahiti 1768/72 140 4 A selection of texts from the Cook voyages to the Pacific 1768–80 143 4 (i) Joseph Banks On two figures and a Marae, or temple precinct, in Tahiti June 1769 145 4 (ii) James Cook Two accounts of the practice of tattooing 147 (a) in Tahiti July 1769 (b) in New Zealand March 1770 4 (iii) James Cook On the people of Australia April to August 1770 148 4 (iv) William Wales An account of music and dancing in Tahiti 1773 150 4 (v) George Forster An account of artefacts at Tonga October 1773 152 4 (vi) George Forster On the stone statues and wood carvings of Easter Island March 1774 153 5 Ignatius Sancho and Laurence Sterne An exchange of letters 1766 155 6 Manuel Amat y Junyent, Viceroy of Peru Letter on ‘Casta’ paintings 1770 157 7 Ignatius Sancho Letter to Jack Wingrave 1778 158 8 William Hodges from Travels in India 1780–3/1794 159 9 Thomas Jefferson from Notes on the State of Virginia 1787 162 10 Olaudah Equiano On the Middle Passage 1789 164 11 William Beckford of Somerley from A Descriptive Account of the Island of Jamaica 1790 167 12 Erasmus Darwin (1731–1802) On revolution, slavery and the Wedgwood medallion 1791 170 IIC Changing Ideas and Values 172 1 David Hume from ‘Of National Characters’ 1748 172 2 Jean‐Jacques Rousseau from ‘A Discourse on the Moral Effects of the Arts and Sciences’ 1750 174 3 Comte de Caylus from A Collection of the Antiquities of Egypt 1752 177 4 Voltaire (François‐Marie Arouet) from Essay on the Manners and Spirit of Nations 1756/9 180 5 Voltaire (François‐Marie Arouet) from ‘Essay on Taste’ 1759 184 6 Immanuel Kant from Observations on the Feeling of the Beautiful and the Sublime 1763 185 7 Johann Joachim Winckelmann from The History of Ancient Art 1764 188 8 John Millar Notes on the ‘Four Stages’ theory of human development 1760s 190 9 Denis Diderot ‘Supplement to the Voyage of Bougainville’ 1772 191 10 Johann Gottfried Herder from A Monument to Johann Winckelmann 1778 194 11 Samuel Johnson On the state of nature 1766–84 197 12 Antoine Quatremère de Quincy from Egyptian Architecture 1785 199 13 Joshua Reynolds from his Discourses 1776 and 1786 202 14 Edward Gibbon Reflections on civilization and barbarism 1788 205 III Revolution, Romanticism, Reaction 209 Introduction 209 IIIA History: Between Spirit and Science 215 1 Johann Gottfried Herder from Outlines of a Philosophy of the History of Man 1790 215 2 Charles Bell from Essays on the Anatomy of Expression in Painting 1806 218 3 Friedrich Schlegel ‘On the Language and Philosophy of the Indians’ 1808 221 4 Joseph Fourier from ‘Historical Preface’ to the Description of Egypt 1809 224 5 Edward Moor from The Hindu Pantheon 1810 226 6 Richard Payne Knight from An Inquiry into the Symbolical Language of Ancient Art and Mythology 1818 230 7 John Flaxman ‘Style’ c.1810–26 233 8 Georg Wilhelm Friedrich Hegel from Aesthetics: Lectures on Fine Art 1823–9 235 9 Georg Wilhelm Friedrich Hegel from Lectures on the Philosophy of World History 1830–1 241 10 John L. Stephens from Incidents of Travel in Yucatan 1843 244 11 Arthur Schopenhauer ‘On Human Nature’ c.1845–50 247 12 Gottfried Semper from The Four Elements of Architecture 1851 249 IIIB Visions of the Exotic 253 1 Samuel Taylor Coleridge ‘Kubla Khan’ 1798 253 2 Maria Edgeworth from The Absentee 1812 255 3 George Gordon, Lord Byron from The Giaour 1813 256 4 Thomas De Quincey from Confessions of an English Opium‐Eater 1821 261 5 Johann Wolfgang Goethe from the West‐Eastern Divan c.1814–19 264 6 Giacomo Leopardi from Zibaldone 1820–3 268 7 Alfred, Lord Tennyson from ‘Timbuctoo’ 1829 271 8 Eugène Delacroix Letters and notes on his journey to North Africa 1832 274 9 George Catlin ‘Letter from the Mouth of the Yellowstone River’ 1832 279 10 John Constable from ‘Discourses’ 1836 281 11 David Roberts From his travels to Egypt and the Middle East 1838–9 282 12 Jean Auguste Dominique Ingres Notes on the Turkish Baths n.d. 285 IIIC Missionaries, Managers and Resistance 289 1 Thomas Paine from Rights of Man 1792 289 2 William Blake from America, a Prophecy 1793 292 3 Mirza Abu Talib (or Taleb) Khan from his Travels 1799/1800 293 4 Lady Maria Nugent from her journal 1801–5 297 5 William Wordsworth To Toussaint L’Ouverture 1802 299 6 James Mill from The History of British India 1817 300 7 Percy Bysshe Shelley ‘Ozymandias’ 1817 305 8 Henry Salt and Joseph Banks Two letters 1818–19 306 9 John Davy from An Account of the Interior of Ceylon 1821 307 10 William Ellis from Polynesian Researches 1829 309 11 Ram Raz from Essay on the Architecture of the Hindús 1834 313 12 Thomas Babington Macaulay, Lord Macaulay Minute on Indian Education 1835 317 13 James Mallord William Turner, William Makepeace Thackeray and John Ruskin Three texts relating to J. M. W. Turner’s Slave Ship 1840 and 1843 320 IV Modernity and Empire 325 Introduction 325 IVA Enduring Fictions and Transformed Spaces 329 1 Théophile Gautier from ‘Art in 1848’ 1848 329 2 Théophile Gautier On Gérôme and Artistic Orientalism 1856 330 3 Théophile Thoré, writing as William Bürger, from ‘New Tendencies in Art’ 1857 332 4 Edmond and Jules de Goncourt on Japanese art 1861–4 334 5 Various authors on Japanese art and the ‘painting of modern life’ 336 5 (i) Charles Baudelaire from a letter to Arsène Houssaye 1861 336 5 (ii) Émile Zola On Manet 1867 337 5 (iii) Edmond Duranty On ‘the new painting’ 1876 338 5 (iv) Stéphane Mallarmé from ‘The Impressionists and Edouard Manet’ 1876 339 5 (v) Théodore Duret On Japan 1878 340 5 (vi) Félix Fénéon from ‘The Impressionists in 1886’ 1886 340 5 (vii) Vincent Van Gogh On Japan 1888 341 6 Philippe Burty ‘Ancient Japan and Modern Japan’ 1878 342 7 Joris-Karl Huysmans from A Rebours 1884 345 8 Pierre Loti from The Marriage of Loti 1872/1878–9 345 9 A cluster of texts on Gauguin and Oceania 347 9 (i) Paul Gauguin from three letters written before leaving for Polynesia 1890 348 9 (ii) Paul Gauguin from Noa Noa c.1894 349 9 (iii) August Strindberg and Paul Gauguin from an exchange of letters 1895 352 9 (iv) Paul Gauguin from Avant et après, Atuona, Hiva‐Oa 1903 353 10 Hermann Bahr Review of the Japanese exhibition at the sixth exhibition of the Vienna secession 1900 354 IVB Society, Evolution and the Idea of ‘Race’ 357 1 Robert Knox from The Races of Men 1850 357 2 Joseph‐Arthur, Comte de Gobineau from The Inequality of Human Races 1853–5 361 3 Solomon Northup from Twelve Years a Slave 1854 364 4 John Ruskin from The Two Paths 1858–9 366 5 Ernest Renan from ‘The Position of the Shemitic Nations in the History of Civilization’ 1862 369 6 Karl Marx and Friedrich Engels On the emergence of the world system 1848 372 7 Karl Marx On the ‘Asiatic mode of production’ and modern capitalism 1853 373 8 The First International Address to the people of the United States of America 1865 376 9 Edmond de Goncourt from the Goncourt Journal 1871 377 10 Charles Darwin from The Descent of Man 1871/1874 378 11 Friedrich Nietzsche ‘Signs of Higher and Lower Culture’ 1878 381 12 Encyclopaedia Britannica Ninth edition: ‘Negro’ 1884 384 13 W. T. Stead ‘To All English‐speaking Folk’ 1891 387 14 R. H. Bacon from Benin: The City of Blood 1897 388 15 Rudyard Kipling ‘The White Man’s Burden’ 1899 390 IVC Anthropology, Museums and the Origins of Art 393 1 Owen Jones from The Grammar of Ornament 1856 393 2 Edward Tylor from Primitive Culture 1871 398 3 Augustus Lane‐Fox Pitt‐Rivers ‘Principles of Classification’ 1874 401 4 J. G. Frazer from The Golden Bough 1890 404 5 Ernst Grosse ‘Ethnology and Aesthetics’ 1891 407 6 Henry Balfour from The Evolution of Decorative Art 1893 410 7 Alfred Haddon from Evolution in Art 1895 414 8 Alois Riegl from Problems of Style 1893 417 9 Alois Riegl ‘The Place of the Vapheio Cups in the History of Art’ 1900 423 10 George Birdwood ‘Conventionalism in Primitive Art’ 1903 425 IVD The World in View: Travellers and Teachers 428 1 Gérard de Nerval from Scenes of Life in the Orient 1843/6–7 428 2 Gustave Flaubert On the pyramids 1850 430 3 Hiram Bingham from A Residence of Twenty‐One Years in the Sandwich Islands 1847 431 4 Sir Colin Campbell Letter to Lord Stanley 1846 434 5 Andrew Nicoll ‘A Sketching Tour of Five Weeks in the Forests of Ceylon’ 1848/52 436 6 Robert Fortune from A Residence Among the Chinese 1857 438 7 James Fergusson from History of Indian Architecture 1876 442 8 Rajendralal Mitra from Indo‐Aryans 1881 447 9 Robert Louis Stevenson On the South Seas 1889–90 451 10 C. H. Read and O. M. Dalton ‘Works of Art from Benin City’ 1898 452 11 Henry Ling Roth ‘Primitive Art from Benin’ 1899 456 12 Mary Kingsley from West African Studies 1899/1901 458 V The Significance of the ‘Primitive’ 463 Introduction 463 VA Authenticity, Form and Feeling 467 1 A cluster of short texts on the initial encounter of the European avant‐garde with African art in 1906–7 467 1 (i) André Derain Letter to Maurice de Vlaminck, March 1906 468 1 (ii) Maurice de Vlaminck On his ‘discovery’ of African art in 1906 469 1 (iii) Henri Matisse On his encounter with African Art in 1906 470 1 (iv) Pablo Picasso On his visit to the Trocadero museum in 1907 471 2 Wilhelm Worringer from Abstraction and Empathy 1908 473 3 Roger Fry ‘The Art of the Bushmen’ 1910 476 4 Guillaume Apollinaire ‘Exoticism and Ethnography’ 1912 480 5 Franz Marc Letter to August Macke 1911 482 6 Franz Marc ‘The Savages of Germany’ 1912 483 7 August Macke ‘Masks’ 1912 484 8 Emil Nolde ‘On Primitive Art’ 1912 485 9 Alexander Shevchenko ‘Neo‐Primitivism’ 1913 486 10 Henri Matisse On his visits to North Africa 1913 489 11 Paul Klee On his visit to Tunisia 1914 491 12 Hermann Bahr from Expressionism 1916 492 VB The Reach of Empire 494 1 James A. Hobson from Imperialism 1902 494 2 Charles Augustus Stoddard from Cruising Among the Caribbees 1895/1903 496 3 Edward Wilmot Blyden ‘West Africa Before Europe’ 1903 499 4 Kakuso Okakura from The Ideals of the East 1903 502 5 Sister Nivedita ‘Introduction’ to Okakura’s The Ideals of the East 1903 504 6 W. E. B. Du Bois from The Souls of Black Folk 1903 505 7 from the Harmsworth History of the World On the ‘degeneration’ of indigenous Australians 1908 508 8 Ananda Coomaraswamy ‘The Aims of Indian Art’ 1908 509 9 E. B. Havell ‘The New Indian School of Painting’ 1908 512 10 Lucien Lévy‐Bruhl from How Natives Think 1910/26 514 11 Leo Frobenius from The Voice of Africa 1913 519 12 Sigmund Freud from Totem and Taboo 1913 523 VI In a World of Colonies 529 Introduction 529 VIA Modern, Primitive, Universal 535 1 Guillaume Apollinaire ‘On the Art of the Blacks’ 1917 535 2 Guillaume Apollinaire On African and Oceanic sculptures 1918 537 3 Roger Fry ‘Negro Sculpture’ 1920 538 4 Florent Fels et al. ‘Opinions on Negro Art’ 1920 541 5 Herbert Read from Art Now 1933 544 6 James Johnson Sweeney ‘The Art of Negro Africa’ 1935 545 7 Alain Locke ‘African Art: Classic Style’ 1935 549 8 Robert Goldwater ‘A Definition of Primitivism’ 1938 551 9 Margaret Preston ‘Paintings in Arnhem Land’ 1940 554 10 Henry Moore ‘Primitive Art’ 1941 556 11 A cluster of short texts by American painters of the 1940s on primitive art and myth 557 11 (i) Adolph Gottlieb and Mark Rothko Statement 1943 558 11 (ii) Adolph Gottlieb and Mark Rothko from ‘The Portrait and the Modern Artist’ 1943 559 11 (iii) Jackson Pollock Answers to a questionnaire 1944 560 11 (iv) Barnett Newman ‘Pre‐Columbian Stone Sculpture’ 1944 560 11 (v) Barnett Newman ‘Art of the South Seas’ 1946 561 11 (vi) Barnett Newman ‘Northwest Coast Indian Painting’ 1946 562 11 (vii) Jackson Pollock Statement 1947/8 563 11 (viii) Mark Rothko from ‘The Romantics were prompted …’ 1947/8 563 VIB Western Civilization: For and Against 565 1 Rosa Luxemburg from The Accumulation of Capital – an Anti‐Critique 1915 565 2 Hermann Hesse ‘The European’ 1918 566 3 Ezra Pound from Hugh Selwyn Mauberley 1919 569 4 Oswald Spengler from The Decline of the West 1918 571 5 Rabindranath Tagore from Creative Unity 1922 574 6 The Third International ‘The Black Question’ 1922 577 7 W. E. B. Du Bois ‘Criteria of Negro Art’ 1926 579 8 Franz Boas from Primitive Art 1927 581 9 Alain Locke ‘Art or Propaganda’ 1928 584 10 Sigmund Freud from Civilization and Its Discontents 1930 586 11 Alfred Rosenberg from The Myth of the Twentieth Century 1930 589 12 Leo Frobenius ‘Reflections on African Art’ 1931 591 13 Walter Benjamin ‘Experience and Poverty’ 1933 595 14 Narranyeri (attributed to David Unaipon) ‘A Blackfellow’s Appeal to White Australia’ 1934 597 15 Edmund Husserl from ‘The Vienna Lecture’ 1935 599 16 Julius Lips from The Savage Hits Back 1937 603 17 Fernando Ortiz ‘The Social Phenomenon of “Transculturation”’ 1940 606 18 Eric Williams from Capitalism and Slavery 1944 609 VIC The Challenge of the Avant‐Garde 612 1 Voldemārs Matvejas/‘Vladimir Markov’ ‘Negro Art’ 1912–14/19 612 2 Carl Einstein from Negerplastik 1915 615 Contents xxi 3 Tristan Tzara ‘Chanson du serpent’/‘Song of the Snake’ 1917 619 4 Oswald de Andrade ‘Cannibalist Manifesto’ 1928 621 5 Sergei Eisenstein ‘The Cinematographic Principle and the Ideogram’ 1929 624 6 Len Lye Two letters 1929/30 629 7 The Surrealist group in Paris ‘Don’t Visit the Colonial Exhibition’ 1931 631 8 The Surrealist group at the Sorbonne from Legitimate Defence 1932 633 9 The Surrealist group in Paris ‘Murderous Humanitarianism’ 1934 635 10 Michel Leiris from L’Afrique fantôme/Phantom Africa 1934 637 11 Antonin Artaud ‘What I Came to Mexico to Do’ 1936 641 12 Josef Albers ‘Truthfulness in Art’ 1937 643 13 Art et Liberté group, Cairo ‘Long Live Degenerate Art’ 1938 647 14 Aimé Césaire from Notebook of a Return to My Native Land 1939 648 15 Claude Lévi‐Strauss ‘The Art of the Northwest Coast’ 1943 653 16 Pierre Mabille ‘The Jungle’ 1945 656 VII Independence and the Post-colonial 661 Introduction 661 VIIA Resituating Theory and Politics 667 1 Jean‐Paul Sartre from Black Orpheus 1948 667 2 Aimé Césaire from Discourse on Colonialism 1950/5 670 3 Claude Lévi‐Strauss from Tristes Tropiques 1955 675 4 Roland Barthes ‘African Grammar’ 1955/7 679 5 Frantz Fanon from ‘On National Culture’ 1959 683 6 George Kubler from The Shape of Time 1962 686 7 Michel Foucault from The Order of Things 1966 690 8 Edward Said from Orientalism 1978 694 9 Gilles Deleuze and Félix Guattari from Mille plateaux 1980 698 10 Johannes Fabian from Time and the Other 1983 702 VIIB Exhibitions, Museums and Histories Reimagined 706 1 André Malraux from ‘Museum Without Walls’ 1954 706 2 Aimé Césaire On the institution of the museum 1955 709 3 Carl Sandburg and Edward Steichen from The Family of Man 1955 710 4 Roland Barthes ‘The Great Family of Man’ 1956/7 713 5 Georges Bataille ‘The Cradle of Humanity’ 1959 715 6 Léopold Sédar Senghor from the First World Festival of Black Arts 1966 719 7 Robert Farris Thompson ‘Yoruba Artistic Criticism’ 1973 722 8 Ian Burn ‘Art is what we do, culture is what we do to other artists’ 1973 725 9 Linda Nochlin from ‘The Imaginary Orient’ 1982 729 10 Luis Camnitzer ‘Report from Havana: The First Biennial of Latin American Art’ 1984 731 11 William Rubin from ‘Primitivism’ in 20th Century Art 1984 734 12 James Clifford ‘Histories of the Tribal and the Modern’ 1985 738 13 Martin Bernal from Black Athena 1987 742 VIIC Beyond Modernism 746 1 David A. Siqueiros ‘Towards a New Integral Art’ 1948 746 2 Kazuo Shiraga ‘The Shaping of the Individual’ 1956 748 3 Ad Reinhardt ‘Timeless in Asia’ 1960 750 4 George Maciunas Fluxus Manifesto 1962 751 5 Anni Albers ‘Tapestry’ 1965 752 6 Hélio Oiticica from ‘General Scheme of the New Objectivity’ 1967 and ‘Tropicália’ 1968 754 7 María Teresa Gramuglio and Nicolás Rosa Tucumán Burns 1968 758 8 Marshall McLuhan and Quentin Fiore from War and Peace in the Global Village 1968 761 9 Robert Smithson ‘Incidents of Mirror‐Travel in the Yucatan’ 1969 764 10 Nam June Paik ‘Global Groove and the Video Common Market’ 1970 767 11 Joseph Beuys ‘Manifesto on the Foundation of a “Free International School for Creativity and Interdisciplinary Research”’ 1973 770 12 Terry Smith ‘The Provincialism Problem’ 1974 773 13 Robert Morris ‘Aligned with Nazca’ 1975 776 14 Lothar Baumgarten from ‘Conquering the Southern Continent in the Haze of a Sixpenny Cigar’ 1978/2010 780 15 Alfredo Jaar Statement 1984 783 VIID Asserting Identity 785 1 F. N. Souza ‘Nirvana of a Maggot’ 1955 785 2 James Baldwin ‘Princes and Powers’ 1957 788 3 Uche Okeke ‘Growth of an Idea’ 1959 and ‘Natural Synthesis’ 1960 792 4 Aubrey Williams ‘The Predicament Of The Artist In The Caribbean’ 1968 794 5 Larry Neal from ‘The Black Arts Movement’ 1968 796 6 Frank Bowling ‘It’s Not Enough to Say Black is Beautiful’ 1971 798 7 Faith Ringgold Interview on For The Women’s House 1972 802 8 Papa Ibra Tall ‘Negritude and Contemporary Plastic Art’ 1972 806 9 Edward ‘Kamau’ Brathwaite from Contradictory Omens 1974 808 10 Rasheed Araeen ‘Preliminary Notes for a Black Manifesto’ 1978 813 11 Ana Mendieta ‘Introduction’ to Dialectics of Isolation 1980 816 12 Isaac Julien and Kobena Mercer ‘De Margin and De Centre’ 1988 817 VIII The Global Turn 821 Introduction 821 VIIIA Critical Revisions: Theory and History 827 1 Rasheed Araeen ‘Why Third Text?’ 1987 827 2 Peter Wollen ‘Tourism, Language and Art’ 1990 830 3 Homi K. Bhabha ‘The Postcolonial and the Postmodern’ 1992/4 833 4 Arjun Appadurai from Modernity at Large 1996 836 5 Michael Hardt and Antonio Negri from Empire 2000 840 6 Irit Rogoff On visual culture 2000 844 7 Richard Bell ‘Bell’s Theorem: Aboriginal Art – It’s a White Thing’ 2003 847 8 Dipesh Chakrabarty from Provincializing Europe 2000 852 9 Immanuel Wallerstein from World‐Systems Analysis 2004 855 10 James Elkins from is Art History Global? 2007 858 11 Partha Mitter ‘Decentering Modernism’ 2008 862 12 Fredric Jameson from A Singular Modernity 2012 865 13 Aruna D’Souza Introduction to In the Wake of the Global Turn 2014 869 14 Peter Weibel ‘Modernity Reset: Renaissance 2.0’ 2016 872 VIIIB Diversity, Translation, Creolization and Identity 876 1 Stuart Hall ‘New Ethnicities’ 1988 876 2 Édouard Glissant ‘Creolisation and the Americas’ 1992 880 3 Sonia Boyce and Manthia Diawara ‘The Art of Identity: A Conversation’ 1996 883 4 Paul Gilroy from The Black Atlantic 1993 888 5 Coco Fusco and Guillermo Gómez‐Peña Interview with Anna Johnson 1993 891 6 Sarat Maharaj ‘Perfidious Fidelity; the Untranslatability of the Other’ 1994 894 7 Gordon Bennett Letter to Jean‐Michel Basquiat 1998 897 8 Antonio Benítez‐Rojo ‘Three Words toward Creolization’ 1998 899 9 Edward Said ‘The Art of Displacement’ 2000 902 10 Fred Wilson and Kwame Anthony Appiah ‘Fragments of a Conversation’ 2006 905 11 Homi K. Bhabha ‘Another Country’ 2006 909 12 Yinka Shonibare Interview with Bernard Müller 2007 913 13 Fiona Tan ‘Other Facets of the Same Globe’ 2009 916 14 Lubaina Himid ‘We are Us not Other’ 2012 919 15 Kara Walker ‘A Sonorous Subtlety’: an interview with Kara Rooney 2014 922 16 Fred Moten On the art of Chris Ofili, from ‘Blue Vespers’ 2017 925 VIIIC Global Art and the Museum 930 1 Jean‐Hubert Martin Preface to Magiciens de la terre 1989 930 2 Rasheed Araeen from The Other Story 1989 933 3 Llilian Llanes Godoy ‘Introduction’ to the Third Havana Biennial 1989 937 4 Luis Camnitzer, Jane Farver and Rachel Weiss ‘Foreword’ to Global Conceptualism 1999 941 5 Salah M. Hassan and Olu Oguibe from Authentic/Ex‐Centric 2002 945 6 Okwui Enwezor ‘The Black Box’ 2002 948 7 Artforum Roundtable discussion on ‘Global Tendencies’ 2003 953 8 Kwame Anthony Appiah ‘Whose Culture is It Anyway?’ 2006 957 9 Chin‐Tao Wu ‘Biennials Without Borders?’ 2009 961 10 Gayatri Chakravorty Spivak 2012 ‘Sign and Trace’ 965 11 Hans Belting and Andrea Buddensieg ‘From Art World to Art Worlds’ 2013 969 12 Clémentine Deliss ‘Stored Code’ and ‘Foreign Exchange’ 2012/14 972 VIIID Concerning the Contemporary 976 1 Geeta Kapur ‘Contemporary Cultural Practice: Some Polemical Categories’ 1990 976 2 Slavoj Žižek ‘Multiculturalism, or, the Cultural Logic of Multinational Capitalism’ 1997 979 3 Nicolas Bourriaud from Relational Aesthetics 1998/2002 982 4 William Kentridge Interview with Dan Cameron 2000/1 987 5 Grant Kester ‘A Critical Framework for Dialogical Practice’ 2004 990 6 Terry Smith from What is Contemporary Art? 2009 994 7 Hal Foster, Miwon Kwon, Chika Okeke‐Agulu, Alexander Alberro, Christopher P. Heuer, Matthew Jesse Jackson and Andrew Perchuk, Responses to a questionnaire on ‘The Contemporary’ 2009 998 8 Ai Weiwei ‘Epilogue’ to his blog 2006–9 1005 9 Francis Alÿs ‘Francis Alÿs: A to Z’ 2010 1008 10 Romuald Hazoumè Cargoland 2012 1011 11 Gerardo Mosquera ‘Beyond Anthropophagy’ 2013 1013 12 Xu Bing ‘On Holding a Retrospective’ 2014 1017 13 Doris Salcedo ‘A Work in Mourning’ 2014/15 1018 14 Hito Steyerl ‘If You Don’t Have Bread, Eat Art!’ 2017 1021 15 Art & Language from Flags for Organisations 2018 1025 Bibliography 1028 Copyright Acknowledgements 1058 Index 1086

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Book SynopsisThe first of its kind, A Companion to Ancient Aesthetics presents a synoptic view of the arts, which crosses traditional boundaries and explores the aesthetic experience of the ancients across a range of media oral, aural, visual, and literary.Trade Review"The editors conceive of “ancient aesthetics” broadly, as encompassing “the multifarious ways in which the arts were experienced and conceptualized in the ancient world” (p. 1). The thirty-three chapters that make up the volume are similarly wide-ranging in focus and disciplinary approach, while the insights afforded by their interconnections show the value of treating ancient aesthetics as a unified field of inquiry. Most of the essays would serve as excellent starting points for research on their topics, and several make important new contributions to scholarship. This book is now the most comprehensive resource available for helping us understand how the Greeks and Romans thought about art." Christopher C. Raymond, Bryn Mawr Classical Review 2017Table of ContentsIllustrations viii Notes on Contributors ix Acknowledgments xiv Introduction 1Pierre Destrée and Penelope Murray Part I Art in Context 15 1 Greece 17Richard P. Martin 2 Figures of the Poet in Greek Epic and Lyric 31Deborah Steiner 3 The Hellenistic World 47Graham Zanker 4 Rome 68Thomas Habinek 5 Music and Dance in Greece and Rome 81Eleonora Rocconi 6 Greek Sculpture 94Rosemary Barrow 7 Painting and Private Art Collections in Rome 109Agnès Rouveret 8 Architecture and Society 128Catherine Saliou Part II Reflecting on Art 141 9 Literary Criticism and the Poet’s Autonomy 143Andrew Ford 10 Poetic Inspiration 158Penelope Murray 11 The Canons of Style 175Jeffrey Walker 12 Sense and Sensation in Music 188Armand D’Angour 13 Dance and Aesthetic Perception 204Anastasia]Erasmia Peponi 14 Greek Painting and the Challenge of Mimes̄ is 218Hariclia Brecoulaki 15 Ways of Looking at Greek Vases 237François Lissarrague 16 Displaying Sculpture in Rome 248Thea Ravasi 17 Perceiving Colors 262M. Michela Sassi 18 The Beauties of Architecture 274Edmund Thomas 19 Stylistic Landscapes 291Nancy Worman 20 Conceptualizing the (Visual) “Arts” 307Michael Squire Part III Aesthetic Issues 327 21 Mimesis 329Paul Woodruff 22 Fiction 341Stephen Halliwell 23 Imagination 354Anne Sheppard 24 Beauty 366David Konstan 25 Unity, Wholeness, and Proportion 381Malcolm Heath 26 The Sublime 393James I. Porter 27 Poikilia 406Adeline Grand]Clément 28 Wonder 422Christine Hunzinger 29 Tragic Emotions 438Christof Rapp 30 Laughter 455Ralph M. Rosen 31 Pleasure 472Pierre Destrée 32 Art and Morality 486Elizabeth Asmis 33 Art and Value 505Michael Silk Index of Subjects 518 Index of Ancient Texts Discussed 527

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Book SynopsisSix authors two fine artists, a dancer, a creative writer, a designer and a philosopher participate in the first systematic reading of Gilles Deleuze's mature philosophy through the lens of creative practice. It is focused around five key aspects of creative production: forming, framing, experiencing, encountering and practising.

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Book SynopsisThis collection of essays from a range of philosophers and art practitioners offers tools through which we can action change across art and philosophy, across a range of media and across the theory/practice divide.

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Book SynopsisGilane Tawadros is a writer and curator. She was the founding Director of the Institute of International Visual Arts (Iniva) in London which, over a decade, achieved an international reputation as a ground-breaking cultural agency at the leading edge of artistic and cultural debates nationally and internationally. She has written extensively on contemporary art and curated a number of important exhibitions in the UK and internationally. In 2012, she was the first art historian to be appointed to the prestigious Blanche, Edith and Irving Laurie Chair in Women's Studies, Rutgers, the State University of New Jersey. She is Chair of the Stuart Hall Foundation.Trade ReviewAmongst pioneering rethink of the art history-culture status quo, Gilane’s writings illuminate the struggle to forge conceptual tackle for today’s diverse art world and cultural difference – critical voicing that emerges less from theorising than from “thinking through art practices”. * Sarat Maharaj, Professor of Visual Arts and Knowledge Systems, Malmö Art Academy, Lund University, Sweden *Based on the author’s profound knowledge of the global contemporary art scene … this book provides a new art historical narrative, one that is more global, more inclusive and nuanced … A must read for students of contemporary art and visual culture, race, and the postcolonial body. * Salah M Hassan, Goldwin Smith Professor, Cornell University, USA *Richly illustrated, Gilane Tawadros’ beautifully observed book is a timely and prescient account of how representation remains a pivotal question for artists and society at large. Peppered with many delightful intercultural and intertextual references, The Sphinx Contemplating Napoleon is a must read in our de-colonising times. * Sonia Boyce, artist and Professor of Black Art and Design, University of the Arts London, UK *The Sphinx Contemplating Napoleon: Global Perspectives on Contemporary Art and Difference strikes a balance between seeing contemporary art on its own terms and understanding art within the terms set forth for it. When the latter is at odds with the former, Gilane Tawadros makes her greatest observations in a set of clear and evocative essays on a range of artists. All are superbly written, carefully argued down to the details and compelling to the end. Though the stated focus of “post-independence Egypt and post-war Britain” is maintained throughout, larger concerns of the value that art draws internationally is lucidly presented. This book continues Tawadros’ decades long project of internationalism in art. * Courtney J. Martin, Yale Center for British Art, USA *Table of ContentsList of Illustrations Acknowledgements Introduction Part I: The Leftovers of Translation 1. But What is the Question? Art, Research and the Production of Knowledge 2. Extra-Extra: Interview with Raul Ortega Ayala 3. Dissonant Chorus 4. Shen Yuan: The Leftovers of Translation 5. Voices Off: Interview with Susan Hiller Part II: The Banality of Difference 6. ‘We are the Martians…’ 7. Van Leo: Self-Portraits 8. Shirani Shahbazi: The Banality of Difference 9. A Case of Mistaken Identity: Notes from the Scene of the Crime 10. Electrifying Eve Part III: Re-siting the City 11. The Real Me 12. Vladimir and Estragon are still waiting 13. Alfred’s Favourite Tree 14. The Leopard 15. Maps of Desire Part IV: Studies in a Post-colonial body 16. The Revolution Stripped Bare 17. Studies in a Post-colonial Body 18. Veil: Veiling, Representation and Contemporary Art Part V: Relocating the Remains: History and Representation 19. Strangers and Barbarians: Representing Ourselves and Others 20. Telling Tales: Keith Piper’s Relocating the Remains 21. Sweet Oblivion 22. Godville: Interview with Omer Fast Part VI: Going Global 23. Going Global: 4th International Istanbul Biennial 24. Detonations: Jonathan Hernández and the Rongwrong series 25. Modern Europeans 26. Slipping Away (or Uncompliant Cartographies) Part VII: Transmission Interrupted 27. Interruption in Four Acts, or Disappearing Irises, Broken-down Buses and Ceramic Citroens 28. Egypt at the Venice Biennale: 1967 and The Year That Changed Everything 29. From Zero to Infinity: The Work of Adel Abdessemed 30. Reading (and Curating) from Right to Left 31. Dissonant Divas: Sonia Boyce, Sound and Collaboration 32. A Thousand and One Index

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Book SynopsisThe dry, wrinkled skin, crow's feet and rheumy eyes of old women can be seen universally; yet the actual images and their meaning differ widely, and the very absence of these old women in certain settings also reveals both a discomfort with the aged and an ease in their invisibility. This is true in writing about art and often in the art itself. The physical markers of aging, even implications of death or the nearness of death, make many of these images of old women, haunting; in the 16th and 17th centuries, they become emblems of anger and avarice, though portraits of known elderly women are often created with a sense of awe, and in some cases, authority. This book provides a frank examination of old women, from medieval old wives to contemporary reimaginations of shamans and witches and empowering self-portraits. Works from medieval Europe to colonial-time Polynesia, present West Africa, Japan, and the Americas, in a multiplicity of media are explored. These studies of varied represeTrade ReviewIt reveals as much insight into the at times conflicting and contrasting approaches to art historical method as it provides material for comparative analysis from a global and largely decolonized perspective. * Woman's Art Journal *Drawing on innovative new research, the authors fearlessly tackle controversial issues, find humor in surprising places, and convincingly argue that aged women can, and should, be viewed as wise, powerful, creative, and—yes, beautiful. * Nancy G. Heller, Professor of Art History, University of the Arts, Philadelphia, USA *A fascinating exploration of a little discussed subject … The book is a revelation, one that opens up new vistas for both art history and age studies. * Julia Twigg, Professor of Social Policy & Sociology, University of Kent, UK *Table of ContentsIntroduction Frima Fox Hofrichter (Pratt Institute, USA) and Midori Yoshimoto (Jersey City University, USA) 1. Alchemy’s Old Wives M.E. Warlick (University of Colorado at Denver, USA) 2. Anger, Avarice and Aging: Transgressive Old Women Jane Kromm (State University of New York at Purchase, USA) 3. Silenced, Sidelined, and Even Undressed: Old Women in Seventeenth-Century Religious Art Zirka Filipczak (Williams College, USA) 4. Frans Hals’s Portrait of an Older Judith Leyster Paul Crenshaw (Providence College, USA) 5. Old Maids: Images of Elderly Servants in Early Modern Europe Diane Wolfthal (Rice University, USA) 6. Paetini and Vaekehu: Change and Aging in the Portraits of Two Nineteenth-Century Marquesan Matriarchs Carol Ivory (Oregon State University, USA) 7. Portraits of Power: Depictions of Nineteenth-Century Northwest Coast Matriarchs Megan A. Smetzer (University of British Columbia, Canada) 8. Old Women/New Vision: Lucia Moholy’s Photographs of Clara Zetkin Vanessa Rocco (University of New Hampshire, USA) 9. Sculptor, Hostess, Witch: Unpacking Louise Nevelson’s Boxes Johanna Ruth Epstein (Independent Scholar, USA) 10. To Honor or Condemn: Museums and the Women of Sande Susan Kart (Lehigh University, USA) 11. Women and Aging in Contemporary Japanese Art: The Case of Yanagi Miwa Midori Yoshimoto (Jersey City University, USA) 12. Aging and Feminist Art: Semmel’s Visible Bodies Rachel Middleman (University of California at San Diego, USA) List of Contributors Bibliography Index

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Book SynopsisWe have long accepted the face as the most natural and self-evident thing, believing that in it we could read, as if on a screen, our emotions and our doubts, our anger and joy. We have decorated them, made them up, designed them, as if the face were the true calling card of our personality, the public manifestation of our inner being. Nothing could be further from the truth. Rather than a window opening onto our inner nature, the face has always been a technical artefact—a construction that owes as much to artificiality as to our genetic inheritance. From the origins of humanity to the triumph of the selfie, Marion Zilio charts the history of the technical, economic, political, legal, and artistic fabrication of the face. Her account of this history culminates in a radical new interrogation of what is too often denounced as our contemporary narcissism. In fact, argues Zilio, the “narcissism” of the selfie may well reconnect us to the deepest sources of the human manufacture of faces—a reconnection that would also be a chance for us to come to terms with the non-human part of ourselves. This highly original reflection on the fabrication of the face will be of great value to students and scholars of media and culture and to anyone interested in the pervasiveness of the face in our contemporary age of the selfie.Trade Review'highly convincing'Aesthetica'Fascinating'Art Quarterly

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Book SynopsisThis book addresses a topic of increasing importance to artists, art historians and scholars of cultural studies, migration studies and international relations: migration as a profoundly transforming force that has remodelled artistic and art institutional practices across the world. It explores contemporary art’s critical engagement with migration and globalisation as a key source for improving our understanding of how these processes transform identities, cultures, institutions and geopolitics. The author explores three interwoven issues of enduring interest: identity and belonging, institutional visibility and recognition of migrant artists, and the interrelations between aesthetics and politics, including the balancing of aesthetics, politics and ethics in representations of forced migration.Trade Review‘[…] an interesting view on the phenomenon of migration, which is not examined primarily through the prism of its current economic, social, political or security implications, but with regards to contemporary art. Despite this, the issue is embedded in a broader historical and theoretical framework – Petersen points out the so-called “mobility turn”, for instance. In the clarification of the concept of migration, she primarily refers to the book by T. J. Demos – The Migrant Image: The Art and Politics of Documentary During Global Crisis (2013), containing the definitions of the main types of migration (diaspora, refugees, nomadism), which she further specifies (circular migration). Regarding the analysis of specific works, she deals with the concept of “migratory aesthetics”, referring to Mieke Bal and Griselda Pollock and, to the correlations of aesthetics, politics and ethics.’Jana Geržová, Profile / Contemporary Art Magazine, No. 4 (2018) -- .Table of ContentsIntroduction1 Globalisation-from-above and globalisation-from-below2 The politics of identity and recognition in the 'global art world'3 The artist as migrant worker4 Mining the museum in an age of migration5 Identification, disidentification and the imaginative reconfiguration of identity6 Migrant geographies and European politics of irregular migrationConclusionIndex

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Book SynopsisThe ABC of the projectariat contributes new thinking on and practical responses to the widespread problem of precarious labour in the field of contemporary art. It works as both a critical analysis and a practical handbook, speaking to and about the vast cohort of artistic freelancers worldwide.In an accessible ABC format, the book strikes a unique balance between the practical and the theoretical: the analysis is backed up by lived experience, the arguments are rooted in concrete examples and there are suggestions for constructive action. Roughly half of the entries expose the structural underpinnings of projects and circulation, isolating traits such as opportunism, neoliberalism, inequality, fear and cynicism at the root of the condition of the projectariat. This discussion is paired with a practical account of different modes of action, such as art strikes, productive withdrawals, political struggles and better social time machines. Just as proletarians had nothing to lose but their chains, the projectarians have nothing to miss but their deadlines.Trade Review‘The ABC of the projectariat delivers an essential contribution for examining artistic work in relation to political-theoretically, sociologically and art-theoretically informed perspectives, in order to expose the internal contradictions that have shaped the art world.’Christoph Chwatal, Springerin'The ABC of the projectariat lays out starkly the labor that sustains cultural production, and the daily conundrums, mundane and existential, inherent to navigating the many intersecting art worlds ... The book offers a historicized trajectory of care for labor in all its forms, but also allows projectarians a bit of insurgent optimism, in proposing new ways to reconceive our privileged precarity.'iLiana Fokianaki, Art Agenda'The text feels like a chat with a trusted friend who understands what actually happens rather than what the P.R. wants you to believe. It gives you the real deal, revealing what theory obscures through its need to make pure architectures.'Marc Herbst, transversal texts'Kuba Szreder’s ABC of the projectariat asks searching questions of an international art world that promised to change dramatically at the beginning of the COVID-19 pandemic... [It] shows the possibility of a different art culture, in a way that’s practical and pragmatic, and far more concrete than certain institutions’ empty rhetoric around (say) COVID-19 or Black Lives Matter.'Juliet Jacques, Tribune'Will we ever go back to “normal” again? Should we, even? Hell no, says Kuba Szreder! But during the current interim period in which Gramsci's monsters dwell old certainties shrivel and evaporate. Old power structures suddenly look brittle while new ones are created and vanish as if in a crazy political particle accelerator. In this kind of mayhem Szreder goes back to the A and O of any philosophical thinking – an alphabetical list – trusting that the mess will sort itself out once articulated aloud. From A for "antifascism" to Y for "you are not alone", this is an essential compendium to recalibrate orientations amid the meteoric impacts of current history.'Hito Steyerl, author of Duty Free Art: Art in the Age of Planetary Civil War‘A radical dictionary of key terms, Kuba Szreder’s The ABC of the projectariat critically diagnoses what it means to live and work in the precarious art world. Organised alphabetically into incisive, readable elaborations, the book unpacks timely concepts of domination – neoliberalism, NGOisation, co-optation, entrepreneurs of the self, precarity – and with other vital selections – art strike, interdependence, productive withdrawal and instituting the commons – offers a crucial vocabulary for anti-capitalist transformation. For a more egalitarian, democratic and inclusive world, it’s urgent that we learn this language together.’T. J. Demos, author of Beyond the World’s End: Arts of Living at the Crossing‘Kuba Szreda’s book is a bracing exposé of the lives and concerns of people who do projects for a living. Yes, it is based on the artist projectariat, but this book will speak to all workers across the world who “run on the fumes” of the recognised economy. This ABC offers critical insight into matters of individual survival, but more importantly it is a primer on strategies for recognising interdependence and living and working otherwise.’ J. K. Gibson-Graham, authors of Take Back the Economy: An Ethical Guide for Transforming our Communities'The ABC is more than a glossary; it examines the political economies of the global art world, centring on the structural conditions of the projecteriat, its entanglements and interminable uncertainty. Szreder connects the theoretical corpus developed over the last two decades to material reality and lived experience. Looking at everything from the fatigue of hustling to the banality of speed-working and the extractionist practices it leads to, he provides an overview of "the field of contemporary art in the process of its decomposition".'Vasif Kortun, curator and author‘A long-awaited alphabet, spelling out the real conditions of artistic and creative labour in the age of networks and circulation, but also borders, The ABC of the projectariat is a must-read for anyone studying, and possibly living in, the contemporary art field. A curator and critic known for his imaginative and daring propositions, Kuba Szreder has managed to write the most structurally innovative and (perversely) enjoyable book on the formidable subject of the production of the art field as such. The book’s sixty-six entries are sharp, lucid and full of remarkable insights about the life and work of art projectarians – that is, those who create through the ubiquitous project-form. The entries are also incredibly informative, honest and attentive to geopolitics. They combine hands-on experience, theoretical rigour and political situatedness. Insofar as it is almost impossible to think of anyone not working from project to project, and therefore living out as personal burden the social consequences of the global project hegemony (with precarity chief among them), this study is about a way of life as much as about what governs work – our life and our work. Committed to practices of social transformation towards an end of the socio-economic injustice that rules our life and work, The ABC of the projectariat is a unique encounter that will move you – forward.’Angela Dimitrakaki, author of ECONOMY: Art, Production and the Subject in the Twenty-First Century'Kuba Szreder's projectarians are a vanguard part of the precariat. We need a new subversive vocabulary for a new progressive politics, and this book provides much of what is needed.'Guy Standing, author of The Precariat: The New Dangerous Class'This is an urgent and accessible anatomy of the conditions of art-making today. It vividly conveys the crushing impacts of "the cruel economy of contemporary art" on the material and creative lives of artists while mapping a network of imaginative paths out of it.'Josh Cohen, author of Not Working: Why We Have to Stop'From his innovative research with the Free/Slow University of Warsaw to his breakthrough concept of the artistic projectariat, Szreder tenaciously levels our collective attention towards the paradoxes of a cultural economy in crisis, without abandoning hopes for its radical transformation.'Gregory Sholette, author of Dark Matter and The Artist as Activist'This book is a weapon for anyone who wants to resist the dominant economy of art. Its voice is situated in the semi-periphery of Europe and resonates with the projectariat from all over the world.'Zdenka Badovinac, curator and author -- .Table of ContentsA is for aftermath (COVID-19 as a forced suspension)A is for Anti-fascist Year A is for applicationA is for ArtyzolA is for assemblage or apparatusA is for art strikes (lessons to be taken)A is for art workersB is for belt-tighteningB is for (no) bordersB is for burn-outs (and other pathologies of responsibility)C is for capital (economic, social, and symbolic)C is for captureC is for circulationC is for controlC is for co-opetitionC is for co-optationC is for curatorial mode of production / revolutionC is for cynicism and cliquesD is for dark matterD is for deadlineD is for demonstration of paintingsE is for enthusiasmE is for entrepreneurs of the selfE is for exclusionE is for exodusE is for expanded field (of art)F is for fear F is for Free/Slow (University of Warsaw)F is for footprint (or carbon miles)G is for generosity G is for grant art (NGO-isation)H is for herding catsH is for home (office)I is for independenceI is for instituting the commonsI is for interdependenceK is for (no) kidsL is for labour of loveM is for mutualising (risks and economies)N is for neoliberalismN is for networkerN is for numbers and measuresO is for one percentO is for opportunismP is for patainstitutionsP is for pollinationP is for poor (artists)P is for precarityP is for productive withdrawalsP is for projectP is for projectariatR is for radical pragmatismR is for repurposingS is for seeing everything twice, or the catch 22 of the projectariatS is for semi-peripheriesS is for sprintS is for squabblesS is for strugglesT is for time machinesT is for trawlingT is for turns, or on the vicious cycleT is for twilight or support structures against exclusionV is for visibilityW is for wages (for artwork)W is for winner takes it allY is for you are not alone

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Book SynopsisPhilosopher and art historian Georges Didi-Huberman is one of the most innovative and influential critical thinkers writing today. This book is the first English-language study of his writing on images. An image is a form of representation, but what are the philosophical frameworks supporting it? The book considers how Didi-Huberman takes up this question repeatedly over the course of his career. Placing his project in relation to major historical and intellectual contexts, it shows not only how he modifies dominant disciplinary traditions, but also how the study of images is central to a new way of thinking about poststructuralist-inspired art history.Trade Review'Larsson’s book is a wonderful entrée into the complexities of [Didi-Huberman's] discourse, and its legibility is a testament to the author, who has ordered and presented Didi-Huberman’s often dazzling agenda for art history today.'Giles Fielke, Australian and New Zealand Journal of Art 'Given the fact that Didi-Huberman has written over fifty books in a career spanning four decades and that he is one of the most well-known French theorists of images, such a study is long overdue... scholars studying his work now have a well-researched and very helpful monograph to help them find their way through the labyrinthine oeuvre of Didi-Huberman.'Stijn De Cauwer, CAA Reviews -- .Table of ContentsIntroduction1 The archaeological art historian2 The materiality of images3 Timely anachronisms4 The empreinte5 Making monsters6 Thinking imagesConclusionBibliographyIndex

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Book SynopsisThis ground-breaking book presents a critical study of pictorial narrative in nineteenth-century European painting. Covering works from France, Germany, Britain, Italy and elsewhere, it traces the ways in which immensely popular artists like Jean-Léon Gérôme, Karl von Piloty and William Quiller Orchardson used unique visual strategies to tell thrilling and engaging stories. Regardless of genre, content or national context, these paintings share a fundamental modern narrative mode. Unlike traditional art, they do not rely on textual sources; nor do they tell stories through the human body alone. Instead, they experiment with objects, spaces, cause-and-effect relations and open-ended ambiguity, prompting viewers and reviewers to read for clues in order to weave their own elaborate tales.Trade Review'Narrative Painting in Nineteenth-Century Europe provides a new lens through which to appreciatively view works that might not have previously seemed worthy of close analysis. It reveals the impressive ingenuity with which artists and critics of the second half of the nineteenth century sought to bring pleasure to viewers and readers hungering for engaging stories. Given that pleasure is not prominent in the earnest academic discourse of the early twenty-first century, it is refreshing to see its pursuit treated as a legitimate topic of research. This is one more reason to be grateful for Nina Lübbren’s well-crafted book.'Nineteenth-Century Art Worldwide, Volume 22, Issue 2 | Autumn 2023, Jonathan P. Ribner -- .Table of Contents1 The terms of narrative2 Eloquent objects3 Patterns of reception4 Stories in paint5 Epilogue: Into the twentieth centuryIndex

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Book SynopsisWhy have some of the most interesting artists of our time committed themselves to some of the most devastating conflicts on Earth? Why are some of the most interesting artists of our time committed to engaging with conflict and exploitation around the world? Beautiful, Gruesome, and True tells the stories of three of them: Amar Kanwar makes riveting films about the destruction of rural India in the drive to extract natural resources. Teresa Margolles creates haunting installations from the traces of crime scenes and drug-related violence in Mexico. The anonymous collective Abounaddara has produced more than four hundred short films chronicling the uprising and civil war in Syria. Drawing on years of research and extensive reporting, Kaelen Wilson-Goldie vividly recounts how a group of “political” artists found ways to produce remarkable works of art that demand deliberate and methodical ways of thinking—works that are contemplative, thoughtful, even redemptive. Named one of the best art books of the year by Holland Cotter of the New York Times “A gifted critic and a compelling journalist, Wilson-Goldie offers many important insights into the challenges these artists face in their confrontation with authority, repressive regimes, death, and violence. The story she tells could not be more timely.” —Glenn D. Lowry, David Rockefeller Director, Museum of Modern ArtTrade ReviewNamed one of the best art books of the year by Holland Cotter of the New York Times “Far from solving the world's problems with art, as Wilson-Goldie illustrates in her crystalline analysis of their practices, these artists have impacts in their worlds and ours, and that might just be enough to make a difference.” —Art Asia Pacific “Wilson-Goldie has chosen to write about artists working in places where governmental institutions have collapsed or capitulated to outside forces, allowing criminality and violence to flourish. In such circumstances, Wilson-Goldie argues, art may operate as a proxy for political discourse that has otherwise been suppressed.” —Art in America “Wilson-Goldie’s act of paying attention is a practical, sensitive, and proximate way of thinking about what is often represented from a distance. Her writing in this book is a kind of faith—in art, in the importance of the stories it tells, in how we meet through it, and recognize each other.” —art-agenda “Kaelen Wilson-Goldie writes with clarity and great knowledge about the artists Amar Kanwar, Teresa Margolles, and the Syrian collective Abounaddara. A gifted critic and a compelling journalist, she offers many important insights into their art, and the challenges they each face in their confrontation with authority, repressive regimes, death, and violence. The story she tells is one of persistence and dedication, contingency and tragedy, and the ability of art to transcend the horrors of murder, violence, war and repression. It could not be more timely.” —Glenn D. Lowry, David Rockefeller Director, Museum of Modern Art “Without cynicism or naïveté, Kaelen Wilson-Goldie finds and engages deeply with artists who maintain unflinching contact with the violence of the present. No one can know whether real social change will ever arrive, but without doubt the art of Kanwar, Margolles, and Abounaddara, as beautifully unfolded in this book, will stand as a passionate, imaginative, and scrupulous history of those who refused to turn away.” —Katy Siegel, Eugene V. and Clare E. Thaw Endowed Chair in Modern American Art, Stony Brook University; and Senior Curator, Baltimore Museum of Art “Kaelen Wilson-Goldie writes with depth, nuance, and empathy about three artists who have dedicated their lives to grappling with violence, conflict, and war. She shows that it’s both possible and essential to produce politically engaged art that truly matters, without fear or compromise. This book is an important contribution to contemporary debates over journalism, misinformation, and the nature of truth.” —Mohamad Bazzi, director, Hagop Kevorkian Center for Near Eastern Studies, New York University

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Book SynopsisWhat is contemporary art, and how did art come to be what it is today? How can we understand what a work of art means; and can't just about anything be called art these days?Contemporary Art Decoded takes ten key questions about contemporary art and uses them to what you're looking at, how it works, and why it matters. Steering clear of jargon, this book digs deep into the core ideas and concepts behind the art. It features some work you'll recognise, and some you won't, from some of the most exciting artists working today, such as Olafur Eliasson, Anish Kapoor, Yayoi Kusama and Zanele Muholi.This book is guaranteed to make your next trip to a gallery more rewarding.Chapters include:- What is contemporary art?- Where did it come from?- Where do you draw the line?- Does it matter who makes it?- Does it have to mean something?- Can anything be art?- What about art for art's sake? - Has it all been done before?- Does it have to be so serious?- What's next?

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Book SynopsisBestelling author and art critic Jerry Saltz is back, with an ambitious and enlightening survey of the art world over the past twenty years.

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Book SynopsisColour Psychology Today reveals new colour psychology information that comes from the author's pioneering research and studies on colour. The book discloses unique knowledge on how colour psychology impacts on the business world and the individual, borne out of the author's extensive work as a colour consultant and trainer that spans more than thirty years. Colour Psychology Today is unlike any other colour psychology book available. It is a 'must have' for colour enthusiasts, branding experts, marketeers, advertising execs, graphic designers, and anyone who would like to expand and develop the application of colour in their field of work.

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Book SynopsisA Western Marxist reading of contemporary art, focusing on the question of the continued presence (or absence) of the avant-garde’s transgressive impulse. Taking art’s ability to contribute to radical social transformation as its point of departure, Mikkel Bolt Rasmussen's new title from Zero Books analyses the relationship between the current neoliberal hegemony and contemporary art, including relational aesthetics and interventionist art, new institutionalism and post-modern architecture. '...a trenchant critique of neoliberal domination of contemporary art.' Gene Ray, author of Terror and the Sublime in Art and Critical Theory

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Book SynopsisContemporary art is obsessed with the politics of identity. Visit any contemporary gallery, museum or theatre, and chances are the art on offer will be principally concerned with race, gender, sexuality, power and privilege.The quest for truth, freedom and the sacred has been thrust aside to make room for identity politics. Mystery, individuality and beauty are out; radical feminism, racial grievance and queer theory are in. The result is a drearily predictable culture and the narrowing of the space for creative self-expression and honest criticism.Sohrab Ahmari's book is a passionate cri de coeur against this state of affairs. The New Philistines takes readers deep inside a cultural scene where all manner of ugly, inept art is celebrated so long as it toes the ideological line, and where the artistic glories of the Western world are revised and disfigured to fit the rigid doctrines of identity politics.The degree of politicisation means that art no longer performs its historical function, as a mirror and repository of the human spirit - something that should alarm not just art lovers but anyone who cares about the future of liberal civilisation.Trade Review"Sohrab Ahmari's polemic against the contemporary art world is angry, witty, uncompromising, and utterly unanswerable... Tremendously entertaining and thought-provoking." - Andrew Roberts, Commentary; "An elegant and necessary salvo in a new culture war." - Quillette; "An ambitious new series that tackles the controversy of the topics explored with a mixture of intelligence and forthright argument from some excellent writers." The Observer; "This short book is reminiscent of pre-novelist Tom Wolfe books like The Painted Word and From Bauhaus to Our House, which told amusing but depressing tales about lefty politics making their way into the art world, making both art and politics worse in the process." - National Review

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Book SynopsisThrough a carefully curated selection of quotations, images and interviews, Artists on Art reveals what matters most to the masters. You'll discover how the giants of the different artistic genres developed their distinctive visual styles, the core ideas that underpin their practice and, most importantly, what art means to you.

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Book SynopsisJohn Berger was one of the most influential thinkers and writers of postwar Europe. As a novelist, he won the Booker Prize in 1972, donating half his prize money to the Black Panthers; as a TV presenter he changed the way we looked at art in Ways of Seeing; as a storyteller and political activist he defended the rights and dignity of workers, migrants and the oppressed around the world. In 1953 he wrote: "Far from dragging politics into art, art has dragged me into politics." He remained a revolutionary up to his death in January, 2017. In A Writer of Our Time, Joshua Sperling places Berger's life and works within the historical narrative of postwar Britain and beyond. The book also explores, through the work, the larger questions that vexed a generation: the purpose of art, the nature of creative freedom, the meaning of commitment. Drawing on extensive interviews, close readings and a wealth of archival sources only recently made available, the book brings the many different faces of John Berger together and shows him as one of the most vital, and brilliant, thinkers and storytellers of our time.Trade ReviewThe remarkable John Berger has gotten the thoughtful, sensitive study he deserves. Joshua Sperling is at ease in every aspect of this extraordinarily multifaceted writer's life: his art criticism, his fiction, his passionate political commitment, his immersion in the lives of Alpine villagers, and more. Lovers of Berger's work will find a rich array of background here, and those who don't yet know Berger will, I hope, be inspired to read him -- Adam Hochschild, author of King Leopold’s GhostThe author of G., A Seventh Man and Ways of Seeing was of course a lifelong controversialist and revolutionary. But, ultimately, he was a man 'defined less by what he was against than by what he loved.' Occasionally critical, always passionate, Joshua Sperling's study of John Berger is as observant, rigorous, profound and as surprisingly entertaining as its subject. -- David Edgar, author of Written on the HeartAcross the 90 years of John Berger's life, he was by turns, and sometimes at the same time, an art critic and novelist, documentarian and screenwriter, farm laborer and historian, poet and polemicist...Does this mass of apparent contradictions add up to anything? The trick for any would-be biographer of John Berger is to find the unity in variety. Joshua Sperling is up to the task. -- Robert Minto * LARB *With sophistication and passion to match his subject, Sperling unfolds a chronological and thematic assessment of Berger...[A Writer of Our Time] is a lively and astute contribution to the writing on Berger, as well as to scholarship on the last 50 years of the cultural left in general. * Publishers Weekly *This engaging intellectual biography traces Berger's creative evolution, analyzes highlights from his vast output ... and situates them within his empathetic Marxism. * The New Yorker *A Writer of Our Time, switches expertly from the political to the personal and back, mapping the highs and lows of an eventful-and sometimes turbulent-life. * Sunday Guardian Live *Switches expertly from the political to the personal and back, mapping the highs and lows of an eventful-and sometimes turbulent-life. * Sunday Guardian *Excellent ... Sperling writes crisply as a Berger fan without hagiography. * Sydney Morning Herald *An excellent introduction not only to Berger but also to the aesthetic and political issues of his era. Sperling is a clear and elegant writer, and the book is very well researched. * Choice *A first-order intellectual biography of John Berger . . . Sperling explores the context of Berger's development with reference to the rapidly evolving social and political climate. * Choice, editor's picks *Sharp, moving, and immensely readable -- Bruce Robbins * The Nation *Sperling provides context for the art and political movements of Berger's years such that we now have a full context for the evolution of his ideas and style-and the remarkable variety of his sustained output. ... There is no question that Berger is one of the most influential arts and culture intellectuals of the past 50 years. -- Ron Slate * On the Seawall *An extraordinary and analytical biography of an extraordinary and influential life, A Writer of Our Time: The Life and Work of John Berger is an especially and unreservedly recommended addition to both community and academic library Contemporary Biography collections in general, and John Berger supplemental studies reading lists in particular * Midwest Book Review *

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Book SynopsisIconoclasm, Identity Politics and the Erasure of History surveys the origins, uses and manifestations of iconoclasm in history, art and public culture. It examines the various causes and uses of image/property defacement as a tool of political, national, religious and artistic process. This is one of the first books to examine the outbreak of iconoclasm in Europe and North America in the summer of 2020 in the context of previous outbreaks, and it examines the implications of iconoclasm as a form of control, censorship and expression.

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Book SynopsisIn The Future of the Image, Jacques Rancière develops a fascinating new concept of the image in contemporary art, showing how art and politics have always been intrinsically intertwined. He argues that there is a stark political choice in art: it can either reinforce a radical democracy or create a new reactionary mysticism. For Rancière there is never a pure art: the aesthetic revolution must always embrace egalitarian ideals.Trade ReviewLike all of Jacques Rancière's texts, The Future of the Image is vertiginously precise. * Les Cahiers du Cinema *Ranciere's writings offer one of the few conceptualizations of how we are to continue to resist. -- Slavoj ZizekWhat we see here is Ranciere developing a unique voice as a political theorist. * Bookforum *French philosopher Jacques Ranciere is a refreshing read for anyone concerned with what art has to do with politics and society. * Art Review *It's clear that Jacques Ranciere is relighting the flame that was extinguished for many--that is why he serves as such a signal reference today. -- Thomas HirschhornA series of gratifyingly knotty and close discussions of nineteenth and twentieth century literature, film and painting. * Guardian *"Much of the value of Rancière's writings on art and aesthetics arises from his initial refusal of terms that are self-evident to the point of invisibility. " -- Frieze"It is too simplistic to say that Jacques Rancière is the anti-Bourdieu. But it is not inaccurate. Robustly conceptual where Bourdieu is empirical, abstractly philosophical where Bourdieu was sociologically precise, he offers a recasting of aesthetic questions that attempts implicitly to rescue the category of the aesthetic from the learned helplessness, or cynical reason, in which Bourdieu left it." -- Nicholas Dames * n+1 *

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Book SynopsisEveryone is a designer. But while many practitioners may be looking for solutions or ideological certainties, Easterling argues that solutions are mistakes and ideologies are unreliable markers. Instead, Medium Design speaks to anyone looking for alternative approaches to the world's unresponsive or intractable dilemmas-from climate cataclysm to inequality to concentrations of authoritarian power. Such an approach joins many disciplines in considering not only separate objects, ideas and events but also the space between them.In case studies dealing with everything from automation and migration to explosive urban growth and atmospheric changes, Medium Design looks not to new innovations but rather to sophisticated relationships between emergent and incumbent technologies. It does not try to eliminate problems but put them together into productive combinations. And it offers forms of activism for modulating power and temperament in organization of all kindsTrade ReviewEstablishes Keller Easterling's growing reputation as the savviest student of post-national spatial and infrastructural forms. -- Arjun Appadurai, author of The Future as Cultural Fact * [for Extrastatecraft] *An essential text for anyone with a stake in the built environment, architect and citizen alike, in articulating the forces that shape our nation-states, and cataloguing-in a precise and readable style-the strategies of an otherwise unaccountable global order. -- Architectural Review * [for Extrastatecraft] *I have long admired Keller Easterling's talent for extracting a space, a shape, a marking, from mixes of elements rarely brought together-whether materially or conceptually. In Extrastatecraft she does it at a grand scale, cutting across fields of meaning and of practice. A must read. -- Saskia Sassen, author of Expulsions * [for Extrastatecraft] *This is a remarkable work. Keller Easterling has written one of the most original works about the American environment I've ever read. -- Michael Sorkin * [on Enduring Innocence] *Easterling is one of our most provocative theorists of infrastructures and the critical actions that might make them better. Here she gives us ways to remix, radically, their ingredients. Who else could parse the "canine mind" of the canny designer and city-dweller to show that we already know how to break the deadlock formed by binaries and manipulative media loops? Read this immensely engaging book to find a new toolkit for infiltrating, occupying, and recasting the mediated and material world. -- Caroline A. Jones, Professor in the Department of Architecture, MITEasterling wants designers and architects and urbanists to think less about designing discrete things and more about "parameters for how things interact with each other. -- Hari Kunzru * Harper's Magazine *Medium Design actively works against popular culture's hunger for simple solutions. While embracing a diversity of tactics for a diversity of crises, Easterling puts forward an expansive definition of "design" that includes examples of systemic hacks like community land trusts and tactical refusals of market norms like social capital credits. -- Ingrid Burrington * OneZero *An insurgent energy and imagination crackle beneath the surface ... this a hopeful and thrilling text. -- David Terrien * ArtReview *Keller Easterling is a thinker intent on peering behind the veil to inquire into the forces and conditions that give rise to forms and spatial formations: the infrastructural, political, and financial milieux that softly but surely govern the production of architectural objects. -- Kearon Roy Taylor * Archinect *Easterling's work turns reason's cunning - and therefore the indirect acts of history - into a vibrant political theater for our age. -- Michael Osman * Los Angeles Review of Books *At its best, Medium Design reads a bit like Sun Tzu. It is calm and distant from the fray of disasters and conflicts that define our collective action or inaction in the midst of climate crises and failed globalization. Easterling's voice tends toward the wise and poetic. -- V. Mitch Mcewen * The Avery Review *

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Book SynopsisProdigies, revolutionaries, defiers of the patriarchy; drunks, rebels and impassioned immigrants; queer pioneers, paint-spattered punks and proto-feminists: there have always been artists in London. Some were celebrated in their lifetime, others were out-of-step with the spirit of their age: too radical, too subversive, too modest, too female, too foreign. Art London is more than a guidebook. It will accompany you on a journey through this great city, telling stories, uncovering histories, sharing insights into those who have made, collected and influenced art past and present. Moving neighbourhood by neighbourhood, Art London travels the streets with you, revealing art in museums, galleries and beyond, from palace to pub to studio. Anish Kapoor, Grayson Perry, Mona Hatoum, John Akomfra, Rasheed Araeen, Sunil Gupta, Tracey Emin and Yinka Shonibare were among the artists who agreed to have their portraits taken for this book, while at work in their studios. Alex Schneiderman's exclusive photographs reveal the human element behind contemporary art, while pictures of streetside galleries place London's art scene within an ever-expanding cosmopolitan world. Fascinating, entertaining, full of anecdote and insights, Art London reflects the city itself: energetic, diverse, resilient, occasionally outrageous, and never short of fresh ideas. Also in the series: Vinyl London ISBN 9781788840156 Rock 'n' Roll London ISBN 9781788840163 London Peculiars ISBN 9781851499182Trade Review"Art London: A Guide to Places, Artists And Events is an indispensable volume for both art-world insiders familiar with the city and those who are new to it" - artnet news; "I love that you can stand in Mason's Yard where White Cube now is and know it is where Lennon and Ono first met. I wanted to capture London's layers of history, which go back hundreds of years." - Hettie Judah. "What really separates this from just a guidebook, however, is the inclusion of potted histories of art figures or movements that have shaped the artistic life of an area."-- V & A Winter 2019 Magazine

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Book SynopsisWhen is a work of art finished? Can it be complete in a mental sense? And who decides? In this highly original and wide-ranging study, Carel Blotkamp explores the concept and manifestations of 'the end' in art. From the idea of a mortal end to the notion of completeness, Blotkamp describes a fascinating array of historical facts and myths as well as novels on art and artists. He examines the value of the last works of artists, considering how a particular end came about and how that might affect our perception of the work; the difference in the styles of artists in old age; unfinished last works and those completed by another's hand; and the mythology inherent in the reception of last works, taking the last works of Raphael and Mondrian as prime examples. For students, artists and art enthusiasts looking for a new perspective on modern art, The End is the perfect place to start.

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Book SynopsisFor Romans, genius loci was literally 'the genius of the place', the presiding divinity who inhabited a site and gave it meaning; while we are less attuned to divinity today, we still sense that a place has significance. In this book, eminent garden historian John Dixon Hunt explores genius loci in many settings, including contemporary land art, the paintings of Paul and John Nash, the work of the travel writers such as Henry James, Paul Theroux and Lawrence Durrell on Provence, Mexico and Cyprus, and landscape architects who invent new meanings for a site. This is a nuanced, thoughtful exploration of how places become more significant to us through the myriad ways we see, talk about and remember them.

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Book SynopsisThe ‘other’ is a topic of great interest within and across contemporary photographic practice and theory, yet it remains neglected outside the now well-established field of postcolonial studies. This volume brings together photography and written essays that relate to aspects of otherness and visual work. Presented together, the images and critical writings work in concert to construct a new social perspective on questions of otherness and alterity and to highlight photography as a form of critical practice. In a departure from existing conceptions of otherness in postcolonial discourse, Photography as Critical Practice places emphasis on the human condition not as a liberal concept, but as something formed and framed by a broader dimension of social, sexual and cultural otherness. Including contributions by Elina Ruka, Katrin Kivimaa, Parveen Adams and Liz Wells, the book provides a fascinating new vista on the otherness of photography.Table of ContentsIntroduction Critical Practice PART 1: SPATIAL STORIES Perfect Harmony Discovery (1998) Photography as Colonial Vision Train up a Child European Letters Strangers Baroque Space and Boredom Politics of Friendship (1998) The Digital Age Zero Culture (2000) Interview: Elīna Ruka - Art Without Coincidences PART 2: OTHER SPACES Places of Memories, Places to Change, Katrin Kivimaa Zone The Other Side of Seeing Syntax of a Photowork Beauty of the Horrid Notes on Beauty and Landscape De-Realization (2005) Space of the Other (2006) Parveen Adams - The Broken Image Bungled Memories AFTERWORD The Uncanny Observed, Liz Wells

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