Art forms tend to mirror themselves in each other. In order to understand literature and fine arts better, we often turn to music, speaking of the 'tone' in a book and of the 'rhythm' in a painting. In attempts to understand music better, we turn instead to the narrative arts, speaking of the 'story' of a musical piece. This book focuses on two examples of such conceptual mirror reflexivity: narrativity in jazz music and musicality in spoken theatre. These intermedial metaphors are shown to be significant to the practice and reflection of performing artists through their ability to mediate holistic views of what is considered to be of crucial importance in artistic practice, analysis, and education. This exploration opens up possibilities for new theoretical and practical insights with regard to how the borderland between temporal art forms can be conceptualized. The book will be of interest not only to scholars of music and theatre, but also to those who work in the fields of aesthetics, intermedial studies, cognitive linguistics, arts theory, communication theory, and cultural studies.

This beautiful and informative volume illustrates the vitality and importance of North Carolina's contemporary art scene, showcasing the creation, collection, and celebration of art in all its richness and diversity. Featuring profiles of individual artists, compelling interviews, and beautiful full-color photography, this book tells the story of the state's evolution through the lens of its art world and some of its most compelling figures. Liza Roberts introduces readers to painters, photographers, sculptors, and other artists who live and work in North Carolina and who contribute to its growing reputation in the visual arts. Roberts also provides fascinating historical context, such as the influence of Black Mountain College, the birth and growth of Penland School of Crafts, and short histories of North Carolina's art museums, including Charlotte's Mint Museum, Raleigh's North Carolina Museum of Art, Winston-Salem's Reynolda House, and those flourishing at universities. Artists featured include Stephen Hayes, Mel Chin, Cristina Cordova, Beverly McIver, and Scott Avett. The result is the most comprehensive, informative, and visually rich story of contemporary art in North Carolina.

Alchemy, Jung, and Remedios Varo offers a depth psychological analysis of the art and life of Remedios Varo, a Spanish surrealist painter. The book uses Varo's paintings in a revolutionary way: to critique the patriarchal underpinnings of Jungian psychology, alchemy, and Surrealism, illuminating how Varo used painting to address cultural complexes that silence female expression. The book focuses on how the practice of alchemical psychology, through the power of imagination and the archetypal Feminine, can lead to healing and transformation for individuals and culture. Alchemy, Jung, and Remedios Varo offers the first in-depth psychological treatment of the role alchemy played in the friendship between Varo and Leonora Carrington-a connection that led to paintings that protest the pitfalls of patriarchy. This unique book will be of great interest for academics, scholars, and post-graduate students in the fields of analytical psychology, art history, Surrealism, cultural criticism, and Jungian studies.

Yoko Ono: One Woman Show, 1960-1971 examines the beginnings of Ono's extensive career, demonstrating her pioneering role in visual art, performance and music during the 1960s and early 1970s. The exhibition begins in New York in December 1960, where Ono initiated a performance series with La Monte Young in her Chambers Street loft. Over the course of the decade, Ono earned international recognition, staging Cut Piece in Tokyo and Kyoto in 1964, exhibiting at the Indica Gallery in London in 1966, and launching her global War is Over! campaign in 1969. Ono returned to New York in the early 1970s and organized an unsanctioned `one woman show' at The Museum of Modern Art. Over forty years after Ono's unofficial MoMA debut, the Museum will present its first exhibition dedicated exclusively to the artist's work. The publication evaluates the broader cultural context of Ono's early work and features five sections reflecting her geographic locations during this period and the corresponding evolution of her artistic practice. Each chapter includes an introduction written by a guest scholar, artwork descriptions, new interviews with key figures from the time, and a selection of primary documents culled from newspapers, magazines and journals.

Curating Dramaturgies investigates the transformation of art and performance and its impact on dramaturgy and curatorship. Addressing contexts and processes of the performing arts as interconnecting with visual arts, this book features interviews with leading curators, dramaturgs and programmers who are at the forefront of working in, with, and negotiating the daily practice of interdisciplinary live arts. The book offers a view of praxis that combines perspectives on theory and practice and looks at the way that various arts institutions, practitioners and cultural agents have been working to change the way that art and performance have developed and experienced by spectators in the last decade. Curating Dramaturgies argues that cultural producers and scholars are becoming more cognizant of this overlapping and transforming field. The introductory essay by the editors explores the rise of interdisciplinary live arts and its ramifications in cultural and political terms. This is further elaborated in the interviews with 15 diversely placed arts professionals who are at the forefront of rethinking and consolidatingthe ever-evolving field of the visual arts and performance.

Spoken Word in the UK is a comprehensive and in-depth introduction to spoken word performance in the UK - its origins and development, its performers and audiences, and the vast array of different styles and characteristics that make it unique. Drawing together a wide range of authors including scholars, critics, and practitioners, each chapter gives a new perspective on performance poetics. The six sections of the book cover the essential elements of understanding the form and discuss how this key aspect of contemporary performance can be analysed stylistically, how its development fits into the context of performance in the UK, the ways in which its performers reach and engage with their audiences, and its place in the education system. Each chapter is a case study of one key aspect, example, or context of spoken word performance, combining to make the most wide-ranging account of this form of performance currently available. This is a crucial and ground-breaking companion for those studying or teaching spoken word performance, as well as scholars and researchers across the fields of theatre and performance studies, literary studies, and cultural studies.

Spoken Word in the UK is a comprehensive and in-depth introduction to spoken word performance in the UK - its origins and development, its performers and audiences, and the vast array of different styles and characteristics that make it unique. Drawing together a wide range of authors including scholars, critics, and practitioners, each chapter gives a new perspective on performance poetics. The six sections of the book cover the essential elements of understanding the form and discuss how this key aspect of contemporary performance can be analysed stylistically, how its development fits into the context of performance in the UK, the ways in which its performers reach and engage with their audiences, and its place in the education system. Each chapter is a case study of one key aspect, example, or context of spoken word performance, combining to make the most wide-ranging account of this form of performance currently available. This is a crucial and ground-breaking companion for those studying or teaching spoken word performance, as well as scholars and researchers across the fields of theatre and performance studies, literary studies, and cultural studies.

An in-depth history of the Stalinist skyscraper In the early years of the Cold War, the skyline of Moscow was forever transformed by a citywide skyscraper building project. As the steel girders of the monumental towers went up, the centuries-old metropolis was reinvented to embody the greatness of Stalinist society. Moscow Monumental explores how the quintessential architectural works of the late Stalin era fundamentally reshaped daily life in the Soviet capital. Drawing on a wealth of original archival research, Katherine Zubovich examines the decisions and actions of Soviet elites-from top leaders to master architects-and describes the experiences of ordinary Muscovites who found their lives uprooted by the ambitious skyscraper project. She shows how the Stalin-era quest for monumentalism was rooted in the Soviet Union's engagement with Western trends in architecture and planning, and how the skyscrapers required the creation of a vast and complex infrastructure. As laborers flooded into the city, authorities evicted and rehoused tens of thousands of city residents living on the plots selected for development. When completed in the mid-1950s, these seven ornate neoclassical buildings served as elite apartment complexes, luxury hotels, and ministry and university headquarters. Moscow Monumental tells a story that is both local and broadly transnational, taking readers from the streets of interwar Moscow and New York to the marble-clad halls of the bombastic postwar structures that continue to define the Russian capital today.

Seeing the Apocalypse: Essays on Bird Box is the first volume to explore Josh Malerman's best-selling novel and its recent film adaptation, which broke streaming records and became a cultural touchstone, emerging as a staple in the genre of contemporary horror. The essays in this collection offer an interdisciplinary approach to Bird Box, one that draws on the fields of gender studies, cultural studies, and disability studies. The contributors examine how Bird Box provokes questions about a range of issues including the human body and its existence in the world, the ethical obligations that shape community, and the anxieties arising from technological development. Taken together, the essays of this volume show how a critical examination of Bird Box offers readers a guide for thinking through human experience in our own troubled, apocalyptic times.

Asian City Crossings is the first volume to examine the relationship between the city and performance from an Asian perspective. This collection introduces "city as method" as a new conceptual framework for the investigation of practices of city-based performing arts collaboration and city-to-city performance networks across East- and Southeast Asia and beyond. The shared and yet divergent histories of the global cities of Hong Kong and Singapore as postcolonial, multiethnic, multicultural, and multilingual sites, are taken as points of departure to demonstrate how "city as method" facilitates a comparative analytical space that foregrounds in-betweenness and fluid positionalities. It situates inter-Asian relationality and inter-city referencing as centrally significant dynamics in the exploration of the material and ideological conditions of contemporary performance and performance exchange in Asia. This study captures creative dialogue that travels city-based pathways along the Hong Kong-Singapore route, as well as between Hong Kong and Singapore and other cities, through scholarly analyses and practitioner reflections drawn from the fields of theatre, performance, and music. This book combines essays by scholars of Asian studies, theatre studies, ethnomusicology, and human geography with reflective accounts by Hong Kong and Singapore-based performing arts practitioners to highlight the diversity, vibrancy, and complexity of creative projects that destabilise notions of identity, belonging, and nationhood through strategies of collaborative conviviality and transnational mobility across multi-sited networks of cities in Asia. In doing so, this volume fills a considerable gap in global scholarly discourse on performance and the city and on the production and circulation of the performing arts in Asia.

The New Cinematic Weird argues that weird fiction is rising also in audiovisual culture. Presenting several detailed analyses of weird cinematic works, the book shows how the new cinematic weird is best understood as atmospheric worldings - affective intensities that suffuse the experience of the cinematic weird. The weird exists as an experiential field, an inflation of the world. These worldings disclose a variety of experiences. The book engagingly shows how creepy, unsettling, ominous, uneasy, and eerie atmospheres provide a way into the weird experience. This book is important to anyone interested in the audiovisual weird, cinematic atmospheres, how audiovisual media produce worlds, and how weird fiction challenges our conception of the way the world is.

Drawing is not a crime! (TM) The bold and brash ARTtitude is back with another look at some of the most iconic and unusual artists of the moment. Representing countries as far-reaching and distinct as Colombia, Germany, Canada, Italy, France, and the U.S. (to name a few), the 36 international artists featured in this collection reveal the richness and diversity of contemporary graphic arts. The artists again pay tribute to the muses of their creativity, with appreciative nods to their predecessors and track lists of the music that inspires their work. ARTtitude 2 highlights some of the unique and diverse artists working today: Amanda Mocci, Jim Phillips, Conrad Roset, Cricket Press, Robert Proch, Ron Guyatt, T-Bone & Ajax, The Arcade Company, and many more.

Great works of art cannot be fully understood in a single encounter: to revisit and reconsider art again and again throughout one's life is to be richly rewarded with an ever-deepening appreciation and insight. Similar benefits come from analysing a work of painting, sculpture or installation in detail. Modern Art in Detail: 75 Masterpieces spotlights the finer points that even connoisseurs may miss, casting light upon minutiae that a quick glance will almost certainly fail to reveal. These include subtle internal details, and the technical tricks employed by the artist to achieve particular effects. The book also looks at the themes and external and personal factors influencing the creation of an artwork - everything from global political events, to groundbreaking movements such as Cubism, Futurism and Primitivism, and even scientific and mathematical theories, which are often of great relevance. The book examines 75 works of modern art, from Vincent van Gogh's The Church at Auvers-sur-Oise (1890), to Paula Rego's Visions (2015) , deftly charting the shift from the supremacy of artistic technique to the more recent dominance of the idea (or concept) behind the artwork itself.

In 1934 Alcoa introduced a revolutionary new line of aluminum alloy giftware and domestic items designed by American pioneer industrial designer Lurelle Guild. Called Kensington Ware, these relatively expensive, slick, machine-age objects were in an unmistakenly Art Deco style with cast brass accents. They represent an important American contribution to modern design and decorative arts. The Kensington plant ceased production around 1970, and collectors have recently been scooping up these compelling objects in the antique and collectible markets. This is the first book to tell the Kensington story and identify, value, and illustrate the aluminum in 375 color, vintage, and black-and-white illustrations. It is a must for anyone interested in aluminum, Art Deco, and the machine-age in America.

The Routledge Companion to Expressionism in a Transnational Context is a challenging exploration of the transnational formation, dissemination, and transformation of expressionism outside of the German-speaking world, in regions such as Central and Eastern Europe, the Baltics and Scandinavia, Western and Southern Europe, North and Latin America, and South Africa, in the first half of the twentieth century. Comprising a series of essays by an international group of scholars in the fields of art history and literary and cultural studies, the volume addresses the intellectual discussions and artistic developments arising in the context of the expressionist movement in the various art centers and cultural regions. The authors also examine the implications of expressionism in artistic practice and its influence on modern and contemporary cultural production. Essential for an in-depth understanding and discussion of expressionism, this volume opens up new perspectives on developments in the visual arts of this period and challenges the traditional narratives that have predominantly focused on artistic styles and national movements.

In comparison with Literary Studies and Media and Film Studies, the disciplines of Theatre and Performance, with their strong anthropocentric heritage, have been relatively slow in responding to such things as climate change, species extinction, or pollution and toxicity etc. However, in the wake of recent work on animals, cyborgs, and objects, as well as publications with a specific focus on ecology and environment, there are real signs that theatre and performance scholars are beginning to make their own contribution to the Environmental Humanities. But if theatre critics are engaged in new forms of ecocritical analysis, it is worth posing a pertinent question from the outset: namely, what can theatre do ecologically? In this book, leading researchers and practitioners seek to answer that question from a number of perspectives and with diverse methodologies. Topics include: reflections on rehearsal processes, scores for performance, site-based interventions, ideas of conflict, investigations of temporality and time ecology, ecospectating, and the experience of disappointment. Taken together, these essays make an important intervention in the emergent (inter)disciplines of the Environmental Humanities and further our understanding of the ecological potential of Theatre and Performance in ways that are cautious, tentative but also generative. This book was originally published as a special issue of Green Letters: Studies in Ecocriticism.

This book examines Shyam Benegal's films and alternative image(s) of India in his cinema, and traces the trajectory of changing aesthetics of his cinema in the post-liberalisation era. The book engages with the challenges faced by India as a nation-state in post-colonial times. Looking at hybrid and complex narratives of films like Manthan, Junoon, Kalyug, Charandas Chor, Sooraj Ka Satvaan Ghoda, Zubeidaa and Well Done Abba , among others, it analyses how these stories and characters, adapted and derived from mythology, folk-tales, historical fiction and novels, are rooted in the socio-political contexts of modern India. The author explores diverse themes in Benegal's cinema such as the loss of home and identity, women's sexuality, and the status of dalits and Muslims in India. He also focuses on how the filmmaker expertly weaves history with myth, culture, and contemporary politics and discusses the debate around the interpretive value of film adaptations, adaptation of history and the representations of marginalised communities and liminal spaces. The book will be useful for students and researchers of film studies, cultural studies, and the humanities. It will also interest readers of Indian cinema and the social and cultural history of India.

This book analyzes practices of collecting in European art museums from 1989 to the present, arguing that museums actualize absence both consciously and unconsciously, while misrepresentation is an outcome of the absent perspectives and voices of minority community members which are rarely considered in relation to contemporary art. Difficult knowledge is proposed as a way of dealing with absence productively. Drawing on social art history, museology, postcolonial theory, and memory studies, Margaret Tali analyzes the collections of four modern and contemporary art museums across Europe: the Hamburger Bahnhof in Berlin, the Ludwig Museum of Contemporary Art in Budapest, the Kiasma Museum in Helsinki, and the Kumu Museum in Tallinn.

Identity and Diversity in New Music: The New Complexities aims to enrich the discussion of how musicians and educators can best engage with audiences, by addressing issues of diversity and identity that have played a vital role in the reception of new music, but have been little-considered to date. Marilyn Nonken offers an innovative theoretical approach that considers how the environments surrounding new music performances influence listeners' experiences, drawing on work in ecological psychology. Using four case studies of influential new music ensembles from across the twentieth century, she considers how diversity arises in the musical environment, its impact on artists and creativity, and the events and engagement it makes possible. Ultimately, she connects theory to practice with suggestions for how musicians and educators can make innovative music environments inclusive.

Peter Harrop offers a reappraisal of mummers' plays, which have long been regarded as a form of 'folk' or 'traditional' drama, somehow separate from the mainstream of British theatre. This fresh view of folk and tradition explores how mummers' plays emerged in an 18th century theatrical environment of popular spouting clubs and private theatricals, yet quickly transformed into 'traditionary' drama with echoes of an ancient past. Harrop suggests that by the late 19th century the plays had been appropriated by antiquarians and folklorists, leaving mummer's plays as a strangely separate and categorised form. This book considers how that happened, and the ways in which these late 19th century ideas were absorbed into the mummers' plays, providing a new lease of life for them in the 20th and 21st centuries. Ideal for anyone with a specialised interest in this unique form, Mummers' Plays Revisited spans recent work in theatre history, performance studies and folklore to offer a comprehensive and engaging study.

Originally published in 2003, Charles Edward Horn's Memoirs of His Father and Himself is an annotated collection of the memoirs of Charles Edward Horn. They include an account of Horn's father, Charles Frederick Horn, who arrived penniless in London in 1782 and rose to become music master to Queen Charlotte. Today he is most remembered for his pioneering publications of J.S. Bach's music in England. Charles Edward Horn's memoir covers his activities in England and Ireland and provide numerous details of English musical life in the Georgian era not previously known to scholars. They are supplemented in this book by transcripts of four other autobiographical accounts of the Horns, a summary of their extant correspondence and a chronology of their activities.

Classic graffiti lettering and experimental typographical forms lie at the heart of street culture and have long inspired designers in many different fields. But graffiti artists, who tend to paint the same letters of their tag again and again, rarely design complete alphabets. Claudia Walde has spent over two years collecting alphabets by 154 artists from 30 countries with a view to showing the many different styles and approaches to lettering within the graffiti and street art cultures. All of the artists have roots in graffiti. Some are world renowned such as 123 Klan (Canada), Faith47 (South Africa) and Hera (Germany); others are lesser known or only now starting to emerge. Each artist received the same brief: to design all 26 letters of the Latin alphabet within the limits of a single page of the book. How they approached this task and selected the media with which to express their ideas was entirely up to them. The results are a fascinating insight into the creative process.