"Collage Culture" develops a comprehensive theory of the origins and meanings of collage and readymades in modern and postmodern art, literature, and everyday life. Demonstrating that the origins of collage are found in assembly line technologies and mass media forms of layout and advertising in early twentieth-century newspapers, "Collage Culture" traces how the historical avant-garde turns the fragmentation of Fordist production against nationalist, fascist, and capitalist ideologies, using the radical potential unleashed by new technologies to produce critical collages. David Banash adeptly surveys the reinvention of collage by a generation of postmodern artists who develop new forms including cut-ups, sampling, zines, plagiarism, and copying to cope with the banalities and demands of consumer culture. Banash argues that collage mirrors the profoundly dialectical relations between the cut of assembly lines and the readymades of consumerism even as its cutting-edges move against the imperatives of passive consumption and disposability instituted by those technologies, forms, and relations. "Collage Culture" surveys and analyzes works of advertising, assemblage, film, literature, music, painting, and photography from the historical avant-garde to the most recent developments of postmodernism.

Scandinavia is a region associated with modernity: modern design, modern living and a modern welfare state. This new history of modernism in Scandinavia offers a picture of the complex reality that lies behind the label: a modernism made up of many different figures, impulses and visions. It places the individuals who have achieved international fame, such as Edvard Munch and Alvar Aalto in a wider context, and through a series of case studies, provides a rich analysis of the art, architecture and design history of the Nordic region, and of modernism as a concept and mode of practice. Modernism in Scandinavia addresses the decades between 1890 and 1970 and presents an intertwined history of modernism across the region. Charlotte Ashby gives a rationale for her focus on those countries which share an interrelated history and colonial past, but also stresses influences from outside the region, such as the English Arts and Crafts movement and the impact of emergent American modernism. Her richly illustrated account guides the reader through key historical periods and cultural movements, with case studies illuminating key art works, buildings, designed products and exhibitions.

Human Rights and the Arts: Perspectives on Global Asia approaches human rights issues from the perspective of artists and writers in global Asia. By focusing on the interventions of writers, artists, filmmakers, and dramatists, the book moves toward a new understanding of human rights that shifts the discussion of contexts and subjects away from the binaries of cultural relativism and political sovereignty. From Ai Wei Wei and Michael Ondaatje, to Umar Kayam, Saryang Kim, Lia Zixin, and Noor Zaheer, among others, this volume takes its lead from global Asian artists, powerfully re-orienting thinking about human rights subjects and contexts to include the physical, spiritual, social, ecological, cultural, and the transnational. Looking at a range of work from Tibet, Indonesia, Sri Lanka, India, China, Bangladesh, Japan, Korea, Vietnam, and Macau as well as Asian diasporic communities, this book puts forward an understanding of global Asia that underscores "Asia" as a global site. It also highlights the continuing importance of nation-states and specific geographical entities, while stressing the ways that the human rights subject breaks out of these boundaries. Many of these works are included in the companion volume Human Rights and the Arts in Global Asia: An Anthology, also published by Lexington Books.

Affective Movements, Methods and Pedagogies invites readers to think with affect about performance, pedagogies and their inherent activist, embodied and collective natures. It works across multiple spheres to help readers understand how to deploy affective approaches rather than to simply think with affect theory about traditional methods. The book is structured and curated across three main thematic sections: affective movements, methods and pedagogies, each of which treats the core explorations of affect and performance through a different perspective. It is concerned with the ways performance and theatrical methods work with and through a theoretics of affect. The sixteen chapters include work that models theoretical practices in writing, and demonstrates how theorising affect and its methods is itself a performative practice. The contributors offer rich examples from diverse geopolitical as well as disciplinary contexts, innovative methods, and finally, intersectional theoretics. This collection will be of interest to higher education students exploring methodologies, and academic researchers and teachers in the fields of performance studies, communication, critical studies, sociology and the arts.

Contemporary theatre is going through a period of unparalleled excitement and challenge. Terms like 'postmodern' and 'postdramatic' have their own contested and defended histories, while notions of truth in verbatim theatre are open to serious critical challenge. Theatre writing can result in no words being spoken and nothing appearing on the page, and productions are stretching the boundaries of space, place and context like never before. This revised and significantly expanded edition of New Performance/New Writing explores immersive and solo theatre, autoethnography, applied drama, performance writing, plot, story, narrative and devising. It presents an invaluable response to questions that arise from new theatre, prompting active reading that enhances classroom and workshop learning, and improves productivity in rehearsal. Each chapter explores a key aspect of theatre study, while an extensive timeline of theatre events gives a broad overview of its evolution. Case studies on practitioners as diverse as Kneehigh, Punchdrunk, Mark Ravenhill and Forced Entertainment are scattered throughout the book, along with detailed suggestions for workshops, which encourage readers to test some of the book's ideas in practice.

LAND ART IN THE U.K.

A new book on land art in Great Britain. There are chapters on land artists such as Chris Drury, Hamish Fulton, David Nash, Richard Long and Andy Goldsworthy. All of the major practitioners of land and environmental art in the U.K. are discussed.

EXTRACT FROM THW CHAPTER ON ANDY GOLDSWORTHY

One wonders whether Andy Goldsworthy would like to work in snow and ice more than in any other medium. In temperate snowlands one feels Goldsworthy is very much at home. Snow has all the right sorts of qualities Goldsworthy looks for in a material: it is malleable, it melts and changes, its whiteness makes for good, contrasty imagery photographically, and it seasonally alters the landscape, and later dissolves into it.

In Goldsworthy s snowworks one senses also the sheer fun working with snow. For people in most of Britain, snow is not a occurrence each year, as it is in, say, Northern Russia or Alaska. Snow can be an exciting event (but British adults usually gripe it). Snow was a perennial delight and shock for Goldsworthy. In Midsummer Snowballs he wrote that e]ven in winter each snowfall is a shock, unpredictable and unexpected.

Goldsworthy retained the child-like enjoyment of snow falling in Britain throughout his life. While much of the U.K. grinds to a halt at the sight of a snowflake, Goldsworthy has the child s joy when it snows (school s cancelled, snowball fights, ice skating, sledging, and making snowmen and snowballs).

Andy Goldsworthy speaks in wonder and awe of the effect, the excitement of the first snowfall. Some of this excitement comes across in Goldsworthy s snowworks. He has made, for example, patterns in the snow by rolling a snowball around a field, exactly as kids do when it snows (1982 and 1987).

Some of Goldsworthy s earliest works with snow were large snowballs. In some of these early snow pieces, Goldsworthy placed snowballs in areas such as woods and fields which didn t have any snow, so the snowballs stood out in the trees and grass (as in Ilkley, Yorkshire, 1981).

"Performance, Fashion and the Modern Interior "examines the interior as a "stage" upon which modern life and lifestyles are consciously fashioned and "performed," and from which modern identities are projected by and through design. Scholars from Europe, Canada, America and Australia present a range of interior environments--domestic interiors, sets for stage and film, exhibition spaces, art galleries, hotel lobbies, cafes and retail spaces--to explore each as an intersection of fashion, lifestyle and performance. Sharing the thesis that the fashionably dressed body and the interior can be seen as part of the same creative and expressive continuum, the essays highlight the ways in which interiors can give shape to and dramatize modern life.

Winner of the MLA Aldo and Jeanne Scaglione Prize for Italian Studies 2016 Winner of the American Association for Italian Studies Book Prize 2016 This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Written by one of Europe's leading critics, Ecocriticism and Italy reads the diverse landscapes of Italy in the cultural imagination. From death in Venice as a literary trope and petrochemical curse, through the volcanoes of Naples to wine, food and environmental violence in Piedmont, Serenella Iovino explores Italy as a text where ecology and imagination meet. Examining cases where justice, society and politics interlace with stories of land and life, pollution and redemption, the book argues that literature, art and criticism are able to transform the unexpressed voices of these suffering worlds into stories of resistance and practices of liberation.

A Choice Outstanding Academic Title for 2010. Designing the Modern Interior reveals how the design of the inside spaces of our homes and public buildings is shaped by and shapes our modern culture. The modern interior has often been narrowly defined by the minimalist work of elite, reforming architects. But a shared modernising impulse, expressed in interior design, extends at least as far back as the Victorians and reaches to our own time. And this spirit of modernisation manifested itself in interiors, designed both by professionals and by amateurs, which did not necessarily look modern and often even aimed to imitate the past. Designing the Modern Interior presents a new history of the interior from the late 19th to the 21st century. Particular characteristics are consistent across this period: a progressive attitude towards technology; a hyper-consciousness of what it is to live in the present and the future; an overt relationship with the mass media, mass consumption and the marketplace; an emphasis on individualism, interiority and the 'self'; the construction of identities determined by gender, class, race, sexuality and nationhood; and the experiences of urban and suburban life.

It is evident that modernity is a popular mountain for analysis and reflection of a largely controversial nature. Numerous theories have also been written about the beginning as well as the end of modernity. The aim of Modernologies is to achieve an account of the state of artistic research and to discuss selected contributions to the subject matter that appears central after two to three decades of an ever intensely blazing conflict over the legacy of modernity and modernism.

Henri Michaux is widely recognized as a major twentieth-century French poet and painter. Although his fascination with universal languages has attracted the attention of several of his critics, it has up until now been treated as a marginal concern. Henri Michaux: Poetry, Painting, and the Universal Sign argues that his ideas on what might constitute a universal language are central to an understanding of his works. It suggests that both his ambivalent articulation of his relationship to the languages and literary traditions of his native Belgium and adoptive France, and his efforts simultaneously to exacerbate and subvert the differences between words and images, are rooted in Enlightenment theories of the relationship of the self to nature and its language
Rigaud-Drayton's study makes a substantial and original contribution to the study of this complex artist, exploring the intricate relationships between word and image in his poetry and paintings, and his quest for a single, unifying language or sign.

Taking on the myth of France's creative exhaustion following World War II, this collection of essays brings together an international team of scholars, whose research offers English readers a rich and complex overview of the place of France and French artists in the visual arts since 1945. Addressing a wide range of artistic practices, spanning over seven decades, and using different methodologies, their contributions cover ground charted and unknown. They introduce greater depth and specificity to familiar artists and movements, such as Lettrism, Situationist International or Nouveau Realisme, while bringing to the fore lesser known artists and groups, including GRAPUS, the Sociological Art Collective, and Nicolas Schoeffer. Collectively, they stress the political dimensions and social ambitions of the art produced in France at the time, deconstruct the traditional geography of the French art world, and highlight the multiculturalism of the French art scene that resulted from its colonial past and the constant flux of artistic travels and migrations. Ultimately, the book contributes to a story of postwar art in which France can be inscribed not as a main or sub chapter, but rather as a vector in the wider constellation of modern and contemporary art.

MINIMAL ART AND ARTISTS

This book is is a study of Minimal art and artists, particularly painters, sculptors, 3-D, installation and land artists.

All of the key practitioners and theoreticians of the still-influential 1960s Minimal art movement and style are studied here: Donald Judd, Robert Morris, Carl Andre, Frank Stella, Robert Ryman, Robert Smithson, Brice Marden, Dan Flavin, Eva Hesse, Sol LeWitt, and many land artists (such as Robert Smithson, Christo, James Turrell and Michael Heizer).

Chapters include: Minimal aesthetics; Minimal painting and painters; Minimal sculptors and sculpture; Minimal art and land artists; and Minimal art today.

Fully illustrated. 232 pages. Large format.

The text has been fully revised for this edition, with new illustrations added. www.crmoon.com.

The Minimal artists did not consider themselves a group; they did not produce manifestos; they did not agree on aesthetics or working practices (though some were friends); they tended not to be directly involved in political art (Minimal art was more conservative than counter-culture); and they disliked the term 'minimalism'.

It tended to be the critics (as usual) who came up with the terms for the new art. Lucy Lippard used the term 'structurist', 'dematerialization' and 'eccentric abstraction'; Michael Fried had 'literalist' and 'objecthood'; Peter Hutchinson used 'Mannerist'; Barbara Rose coined 'ABC Art'; Lawrence Alloway had 'systematic painting'; Robert Morris took up 'unitary forms' and 'anti-form'; and Donald Judd employed 'speci c objects'.

Probably the premier Minimal artist (and philosopher) is Donald Judd; Judd stands at the centre of Minimal art, and no account of Minimalism is complete without placing Judd in the foreground. Robert Smithson, Frank Stella, Donald Judd, Ad Reinhardt, Robert Morris and Carl Andre have been among the most lucid of theorists among artists.

In the 1960s and 1970s, it seemed as if every artist went through a Minimal period at some time in their career, as well as a painting-as-sculpture period, and a brush with performance art (and perhaps body art). Both a Conceptual art phase and an on-going installation art preoccupation were mandatory for contemporary artists, it seems. All contemporary art can be viewed as basically Conceptual art, and a increasing proportion of it is installation art

Transforming Type examines kinetic or moving type in a range of fields including film credits, television idents, interactive poetry and motion graphics. As the screen increasingly imitates the properties of real-life environments, typographic sequences are able to present letters that are active and reactive. These environments invite new discussions about the difference between motion and change, global and local transformation, and the relationship between word and image. In this illuminating study, Barbara Brownie explores the ways in which letterforms transform on screen, and the consequences of such transformations. Drawing on examples including Kyle Cooper's title sequence design, kinetic poetry and MPC's idents for the UK's Channel 4, she differentiates motion from other kinds of kineticism, with particular emphasis on the transformation of letterforms into other forms and objects, through construction, parallax and metamorphosis. She proposes that each of these kinetic behaviours requires us to revisit existing assumptions about the nature of alphabetic forms and the spaces in which they are found.