There has never been a display like it. This is the catalogue to an ambitious exhibition at the Goldsmiths' Hall, London, which will comprise 250 gold and silver objects and sets of objects spanning the history of the Church from the earliest possible times to the present day. A foreword by the Rt Revd Rowan Williams, Archbishop of Canterbury, and twelve essays by distinguished authorities will illustrate aspects of evolving liturgy and Church history such as the medieval Mass, Church patronage in the Middle Ages, and the English Reformation. Historical themes from post-Reformation centuries will include Catholic recusancy, the 17th- and 18th-century altar service and the medieval revivals that mirrored the Victorian Tractarian movement. Important commissions from the 1980s and 1990s for Lichfield Cathedral and York Minster will also be discussed. Essays will be accompanied by new photography of key objects, many of them the'secret' treasure of individual parish churches. The guiding principle of the exhibition is that all loans be in the possession of the Church or other religious foundations. Objects have been selected from cathedrals, Oxford colleges and'royal peculiars' such as St George's Chapel at Windsor. The majority are from parish churches great and small up and down the country.

This absorbing book explores the crown jewel of the Isabella Stewart Gardner Museum's collection of rare books and manuscripts: Jean Bourdichon's Boston Hours. As court artist to King Francois I of France, Bourdichon produced paintings, books and even parade floats for the sovereign and his entourage. This publication accompanies the museum's first ever exhibition dedicated to this spectacular illuminated manuscript. Painter to two kings, Jean Bourdichon remains today one of the most celebrated artists of the French Renaissance. By age twenty-four, he was already serving as "peintre du roy," a title which Bourdichon held for the rest of his life. His illustrious career at the French royal court led to a wide range of commissions - from portraits to wall maps to stained glass - but he is remembered principally for astonishing illuminated manuscripts. The peerless Grandes Heures for Queen Anne of Brittany remains the touchstone of this group which includes some of the most lavishly painted books of hours ever produced. One of these masterpieces - Bourdichon's Boston Hours - in the collection of the Isabella Stewart Gardner Museum is the subject of this book. Bourdichon's only intact book of hours in the United States was acquired by Isabella Stewart Gardner in 1890 and became the crown jewel of her collection of rare books and manuscripts. Leading scholars Nicholas Herman and Anne-Marie Eze explore its history in depth, shedding new light on the book's patronage and provenance - from the shelves of a wealthy Catholic landowner in Lincolnshire to the shop of a Venetian art and antiques dealer. This book is the latest in the Gardner's Close Up series, each installment focusing on an individual, outstanding work of art in the collection. This publication is the first dedicated to this rare treasure, and precedes an exhibition opening in summer 2022.

The Royal Pavilion and Museums Trust cares for five venues in Brighton and Hove, including the spectacular Royal Pavilion, a royal palace created by George IV as his summer retreat, designed in its final form by John Nash in a Moghul Indian style and set in landscaped picturesque gardens. The Trust's other venues are Brighton Museum and Art Gallery that holds important local history and archaeology, world art, and decorative art collections; Preston Manor a large house preserved in the Edwardian style with a beautiful walled garden; The Booth Museum of natural history; and Hove Museum and Art Gallery. The Trust cares for around one million objects, many of international importance and covering a wide range of subjects and types. In this enjoyable and richly illustrated guide, Hedley Swain, the Trust's CEO, shares highlights from The Trust's vast collections.

This vibrant reference guide profiles 50 major artists alongside their representative works. The entries are presented in an eye-catching format that includes brief biographies and critical analyses, alongside illustrations of the artists' most famous works. Featuring 200 full colour illustrations this book also includes a glossary of important terms, information about relevant movements and techniques, and a timeline that puts the artists in context. Arranged chronologically, the selection of artists includes every major artistic movement and development since the Gothic period, giving readers a clear understanding of the evolution of the visual arts. Perfect for casual reading or easy reference, this accessible overview is a fun and practical art history lesson that everyone can enjoy.

The Historical Dictionary of Contemporary Art illuminates important artists, styles, and movements of the past 70 years. Beginning with the immediate post-World War II period, it encompasses earlier 20th century masters, including Pablo Picasso, Henri Matisse, Henry Moore, Alberto Giacometti, Joan Miro, Jean Dubuffet, Stuart Davis, Georgia O'Keeffe, and other well-known figures, who remained creatively productive, while also inspiring younger generations. The book covers subsequent developments, including abstract expressionism, happenings, pop art, minimalism, conceptual art, arte povera, feminist art, photorealism, neo-expressionism, and postmodernism, as well as the contributions of such artists as Jackson Pollock, Willem de Kooning, Mark Rothko, Helen Frankenthaler, Joan Mitchell, Robert Rauschenberg, David Hockney, Ellsworth Kelly, Francis Bacon, Louise Bourgeois, Lucio Fontana, Andy Warhol, Richard Serra, Donald Judd, Joseph Beuys, Christo, Anselm Kiefer, Judy Chicago, Ai Weiwei, and Jeff Koons. Historical Dictionary of Contemporary Art contains a chronology, an introduction, and an extensive bibliography, including more than 900 cross-referenced entries on important artists, styles, terms, and movements.This book is an excellent resource for students, researchers, and anyone wanting to know more about contemporary art.

John Ruskin assembled 1470 diverse works of art for use in the Drawing School he founded at Oxford in 1871. They included drawings by himself and other artists, prints and photographs. This book focuses on highlights of works produced by Ruskin himself. Drawings by John Ruskin are uniquely interesting. Unlike those of a professional artist they were not made in preparation for finished paintings or as works in their own right. Every one - and they number several thousand, depending on what can be considered a separate drawing - is a record of something seen, initially as a memorandum of that observation but with the potential to illustrate his writings or for educational purposes, notably to form part of the teaching collection of the Drawing School he established after election as Slade Professor of Fine Art at Oxford University. In addition, because of the range of interests of arguably the only true polymath of his time, every drawing touches on some interesting aspect of art and architecture, landscape and travel, botany and natural history, often connected with his writings and lectures. Ruskin's life is one of the best documented of any in the 19th century, through letters, diaries and the many autobiographical revelations in his published writings: this allows the opportunity to give almost any drawing a level of context impossible for any other artist. When there is so much background information, a single drawing reveals much about its creator, and becomes a window into the great sprawling edifice of his life and work.

Published in 1981: This is two-hundred catalogues of the Major Exhibitions reproduced in facsimile in forty-seven volumes.

Performing Moving Images: Access, Archive and Affects presents institutions, individuals and networks who have ensured experimental films and Expanded Cinema of the 1960s and 1970s are not consigned to oblivion. Through a comparison of recent international case studies from festivals, museums, and gallery spaces, the book analyzes their new contexts, and describes the affective reception of those events. The study asks: what is the relationship between an aesthetic experience and memory at the point where film archives, cinema, and exhibition practices intersect? What can we learn from re-screenings, re-enactments, and found footage works, that are using archival material? How does the affective experience of the images, sounds and music resonate today? Performing Moving Images: Access, Archive and Affects proposes a theoretical framework from the perspective of the performative practice of programming, curating, and reconstructing, bringing in insights from original interviews with cultural agents together with an interdisciplinary academic discourse.

Over his long and successful career David Remfry MBE RA RWS has achieved a mastery of watercolour that few have matched. Unusually for the medium, he works on a large scale and often focuses on people, exploring the dance hall and the nightclub in breathtaking images that are at once beautiful and edgy. This book is the first full-length monograph devoted to the artist's watercolours. Its author, James Russell, is well known for his writing on 20th-century British artists. Russell brings his scholarship, humour and fascination for people and their lives to his study of Remfry's career, tracing the evolution of a remarkable talent, looking in depth at the most significant works and placing Remfry in the context of both the British watercolour tradition and international contemporary painting. This is at once a glorious art book and an intimate portrait of city life. Having spent 20 years living and working at the legendary Chelsea Hotel in New York, Remfry has a following on both sides of the Atlantic. New Yorkers - often in party mode - feature in many of his watercolours, and his recollections of people and places add colour to the text.

Computer technology has transformed modern society, yet curators wishing to reflect those changes face difficult challenges in terms of both collecting and exhibiting. Collecting and Exhibiting Computer-Based Technology examines how curators at the history and technology museums of the Smithsonian Institution have met these challenges. Focusing on the curatorial process, the book explores the ways in which curators at the institution have approached the accession and display of technological artifacts. Such collections often have comparatively few precedents, and can pose unique dilemmas. In analysing the Smithsonian's approach, Foti takes in diverse collection case studies ranging from DNA analyzers to Herbie Hancock's music synthesizers, from iPods to born-digital photographs, from the laptop used during the filming of the television program Sex and the City to "Stanley" the self-driving car. Using her proposed model of "expert curation", she synthesizes her findings into a more universal framework for undertanding the curatorial methods associated with computer technology and reflects on what it means to be a curator in a postdigital world. Collecting and Exhibiting Computer-Based Technology offers a detailed analysis of curatorial practice in a relatively new field that is set to grow exponentially. It will be useful reading for curators, scholars, and students alike.

Based on the seventh instalment of the biennial Renwick Invitational, this striking volume, presents the work of Steven Young Lee, Kristen Morgin, Jennifer Trask, and Norwood Viviano. The four selected artists work in a remarkable variety of media including porcelain, raw clay, bone, gold, glass, metal, found objects and mineral pigments. Their visual sensibilities draw on sources ranging from traditional Asian pottery to vintage Americana, and from the romance of the Victorian Era to the algorhythmic precision of the computer. Together, they engage a current fascination in American craft with change, transformation, ruin, and reinvention.

Christina Fernandez sees herself as equally artist and storyteller, one who employs photography to explore social and physical isolation and estrangement within marginalized communities while experimenting with composition and form. Her art is shaped by the concerns that powered the Chicano movement and the aesthetics and discourses of postmodernism. As she considers the questions and ideas that absorb her, Fernandez moves between landscape and portraiture, but she revises the visual language to suit her purpose, producing works that are deeply thoughtful and engaging. This exhibition catalog examines the Los Angeles-based photographer's work since the late 1980s. Among these works are Maria's Great Expedition, in which the artist photographs herself as her immigrant grandmother, and the Lavanderia series, photographs created from layered images that offer glimpses into Eastside LA laundromats and the lives of their customers. The volume's six essays are supplemented with excerpts from three interviews with the artist. Together, they offer critical perspectives on Fernandez's radical intellectual and formal agenda and reveal the multiple senses of "exposure" that are at play in her art. Christina Fernandez: Multiple Exposures opens in September 2022 at the California Museum of Photography at the University of California, Riverside, and will travel nationally.

Gandhara is a name central to Buddhist heritage and iconography. It is the ancient name of a region in present-day Pakistan, bounded on the west by the Hindu Kush mountain range and to the north by the foothills of the Himalayas. 'Gandhara' is also the term given to this region's sculptural and architectural features between the first and sixth centuries CE. This book re-examines the archaeological material excavated in the region in the nineteenth and early twentieth centuries and traces the link between archaeological work, histories of museum collections and related interpretations by art historians. The essays in the volume underscore the diverse cultural traditions of Gandhara - from a variety of sources and perspectives on language, ethnicity and material culture (including classical accounts, Chinese writings, coins and Sanskrit epics) - as well as interrogate the grand narrative of Hellenism of which Gandhara has been a part. The book explores the making of collections of what came to be described as Gandhara art and reviews the Buddhist artistic tradition through notions of mobility and dynamic networks of transmission. Wide ranging and rigorous, this volume will appeal to scholars and researchers of early South Asian history, archaeology, religion (especially Buddhist studies), art history and museums.

As a discipline, Archaeology has developed rapidly over the last half-century. The increase in so-called 'public archaeology,' with its wide range of television programming, community projects, newspaper articles, and enhanced site-based interpretation has taken archaeology from a closed academic discipline of interest to a tiny minority to a topic of increasing interest to the general public. This book explores how archaeologists share information - with specialists from other disciplines working within archaeology, other archaeologists, and a range of non-specialist groups. It emphasises that to adequately address contemporary levels of interest in their subject, archaeologists must work alongside and trust experts with an array of different skills and specializations. Drawing on case studies from eleven countries, Sharing Archaeology explores a wide range of issues raised as the result of archaeologists' communication both within and outside the discipline. Examining best practice with wider implications and uses beyond the specified case studies, the chapters in this book raise questions as well as answers, provoking a critical evaluation of how best to interact with varied audiences and enhance sharing of archaeology.

The Strehlow Archive is one of Australia's most important collections of film, sound, archival records and museum objects relating to the ceremonial life of Aboriginal people. The aim of this book is to provide a significant study of the relationship of archives to contemporary forms of digital mediation. The volume introduces a specific archive, the Strehlow Collection, and tracks the ways in which its materials and research dissemination practices are influenced by media forms we now identify with the emergence of digital technology.

Eileen Cooper OBE RA has been consistently successful across her 50-year career, the influence of her art seen in the range and depth of her work as well as in her contribution to art education. Cooper's artistic experiences - which, in the words of Linsey Young, disrupt the neat patriarchal understandings of women - are brought together in this thoughtfully designed and elegant hardback. Early works are illustrated alongside previously unseen drawings, paintings, prints, ceramics and portraits, many of which will surprise readers. The authors also consider Cooper's work in relation to the collections of Leicester Museum & Art Gallery, including works by Peter Doig, Paula Rego, Pablo Picasso, Dame Laura Knight and Lotte Laserstein.