Katie Mitchell: Beautiful Illogical Acts offers the first comprehensive study of Britain's most internationally recognised, influential, and controversial theatre director. It examines Mitchell's innovations in fourth-wall realism, opera, and Live Cinema across major British and European institutions, bringing three decades of practice vividly to life. Informed by first-hand rehearsal observations and in-depth conversations with the director and her collaborators, Fowler investigates the intense and immersive qualities of Mitchell's distinctive theatrical realism and challenges mainstream narratives about realism as a defunct or inherently conservative genre. He explores Mitchell's theatre-and its often polarised reception-to question familiar assumptions governing contemporary performance criticism, including common binaries that pit realism against radical experimentation, auteurs against texts, feminists against Naturalism, and Britain against Europe. By examining a career trajectory that intersects with huge cultural change, Fowler places Mitchell at the centre of urgent contemporary debates about cultural transformation and its genuinely inclusive potential. This is an essential book for those interested in Katie Mitchell, British theatre, directing, the transformative power of realism and feminism in contemporary theatre practice, and challenges to hierarchical distributions of power inside the mainstream.

Since her death in 2011, the legendary Surrealist Leonora Carrington has been reconstructed and reinvented many times over. In this book, Gabriel Weisz Carrington draws on remembered conversations and events to demythologise his mother, revealing the woman and the artist behind the iconic persona. He travels between Leonora's native England and adopted homeland of Mexico, making stops in New York and Paris and meeting some of the remarkable figures she associated with, from Max Ernst and Andre Breton to Remedios Varo and Alejandro Jodorowsky. At the same time, he strives to depict a complex and very real Surrealist creator, exploring Leonora not simply in relation to her romantic partners or social milieus but as the artist she always was. A textured portrait emerges from conversations, memories, stories and Leonora's engagement with the books that she read. -- .

Artistic expression in the Middle East is experiencing something of a renaissance. Domestic patronage is flourishing, and an impressive array of new museums and art fairs across the region is helping to stimulate international interest in an increasingly influential movement. Art of the Middle East is an accessible overview of modern and contemporary art of the Middle East and Arab world from 1945 to the present, with an emphasis on artists active today. This new revised and expanded edition features the work of 12 additional artists, as well as a consideration of the impact of the revolutions of the so-called Arab spring, which erupted across the region in 2011. The featured works are divided into seven themed sections - including literature, portraiture and the body, and politics, conflict and war - while extended captions provide an engaging commentary on each artwork and the artist behind its creation. Lavishly illustrated throughout, this landmark publication is an authoritative guide to a challenging and exciting body of work.

Showcasing his entire Star Trek career to date, this visually stunning retrospective celebrates the inventiveness of Neville Page's designs. During a career spanning over twenty years, visionary creature designer Neville Page has applied his considerable expertise to the creation and development of the aliens of the Star Trek Universe. From the movies Star Trek (2009) through to Star Trek Beyond (2016), as well as the shows Star Trek: Discovery and Star Trek: Picard, Page's incredibly detailed and intricate work has yielded some of the franchise's most memorable characters. Featuring captivating concept art and detailed sketches, Star Trek: The Art of Neville Page provides exclusive insight into Page's creative process. This is essential reading for Star Trek fans as it includes a vast collection of illustrations from his remarkable work, plus an exclusive foreword and insightful afterword by award-winning filmmakers, Alex Kurtzman and Michael Westmore. Covers all aliens developed by Page for the recent entries in the Star Trek franchise, including the Klingon redesign and the Kelpiens.

Non-representational Theory explores a range of ideas which have recently engaged geographers and have led to the development of an alternative approach to the conception, practice, and production of geographic knowledge. Non-representational Theory refers to a key body of work that has emerged in geography over the past two and a half decades that emphasizes the importance of practice, embodiment, materiality, and process to the ongoing formation of social life. This title offers the first sole-authored, accessible introduction to this work and its impact on geography. Without being prescriptive the text provides a general explanation of what Non-representational Theory is. This includes discussion of the disciplinary context it emerged from, the key ideas and themes that characterise work associated with Non-representational Theory, and the theoretical points of reference that inspires it. The book then explores a series of conjunctions of 'Non-representational Theory and...', taking an area of geographic enquiry and exploring the impact Non-representational Theory has had on how it is researched and understood. This includes the relationships between Non-representational Theory and Practice, Affect, Materiality, Landscape, Performance, and Methods. Critiques of Non-representational Theory are also broached, including reflections on issues on identity, power, and difference. The text draws together the work of a range of established and emerging scholars working on the development of non-representational theories, allowing scholars from geography and other disciplines to access and assess the animating potential of such work. This volume is essential reading for undergraduates and post-graduate students interested in the social, cultural, and political geographies of everyday living.

Humankind: Ruskin Spear is the first book on the painter Ruskin Spear RA (1911-1990) since a brief monograph in 1985. It uses Spear's career to unlock the coded standards of the 20th-century art world and to look at class and culture in Britain and at notions of 'vulgarity'. The book takes in popular press debates linked to the annual Royal Academy Summer Exhibition; the changing preferences of the institutionalized avant-garde from the Second World War onwards; the battles fought within colleges of art as a generation of post-war students challenged the skills and commitment of their tutors; and the changing status of figurative art in the post-war period. Spear was committed to a form of social realism but the art he produced for left-wing and pacifist exhibitions and causes had a sophistication, authenticity and humour that flowed from his responses to bravura painting across a broad historical swathe of European art, and from the fact that he was painting what he knew. Spear's geography revolved around the working class culture of Hammersmith in West London and the spectacle of pub and street life. This was a metropolitan life little known to, and largely unrecorded by, his contemporaries. Tracking Spear also illuminates the networks of friendship and power at the Royal College of Art, at the Royal Academy of Arts and within the post-war peace movement. As the tutor of the generation of Kitchen Sink and of future Pop artists at the Royal College of Art, and with friendships with figures as diverse as Sir Alfred Munnings and Francis Bacon, Spear's interest in non-elite culture and marginal groups is of particular interest. Spear's biting satirical pictures took as their subject matter political figures as diverse as Khrushchev and Enoch Powell, the art of Henry Moore and Reg Butler and, more generally, the structures of leisure and pleasure in 20th-century Britain. Humankind: Ruskin Spear has an obvious interest for art historians, but it also functions as a social history that brings alive aspects of British popular culture from tabloid journalism to the social mores of the public house and the snooker hall as well as the unexpected functions of official and unofficial portraiture. Written with general reader in mind, it has a powerful narrative that presents a remarkable rumbustious character and a diverse series of art and non-art worlds.

A deluxe gift edition of L. Frank Baum's cherished children's classic, vividly reimagined with beautiful four-color artwork and nine interactive features created by MinaLima, the award-winning design studio behind the graphics for the Harry Potter film franchise. Hailed as "America's greatest and best-loved homegrown fairytale" by the Library of Congress, L. Frank Baum's classic story has been enjoyed by generations of young readers since its publication in 1900. One of the most-read children's books, it is a staple of American literature and the inspiration for the beloved 1939 Academy Award-winning movie (widely acclaimed as one of the greatest films of all time), as well as stage plays and musicals. When a tornado strikes the Kansas prairie, young orphan Dorothy Gale and her little dog Toto are blown away to Oz, a magical place filled with witches, munchkins, winged monkeys, and other unusual inhabitants. Lost and afraid, all Dorothy wants is to return to her Uncle Henry and Auntie Em. But to do so, the Good Witch of the North tells her, she must follow the Yellow Brick Road that leads to the Emerald City. There, she will find the fearsome Wizard of Oz who can help her find her way home. Along the way, Dorothy encounters three unforgettable characters-the Scarecrow, the Tinman, and the Cowardly Lion-who join her in her quest. Their journey to the Emerald City, fraught with peril and adventure, teaches them the true meaning of friendship and reminds us all that there is no place like home. The Wonderful Wizard of Oz Interactive reimagines the novel's iconic imagery and highlights phrases from the original book in a unique and delightful style that will enchant readers of all ages. Sure to become a collector's item, this deluxe illustrated edition contains specially commissioned artwork and nine exclusive interactive features, including: A cyclone map that opens up to reveal the Land of Oz A pop-up Yellow Brick Road Oz glasses that provide a different look at the world Fighting trees with branches that move Dorothy's silver shoes that can be clicked together This marvelous edition will enchant young and adult readers and is a thoughtful gift for any occasion.

This book investigates how British contemporary artists who work with clay have managed, in the space of a single generation, to take ceramics from niche-interest craft to the pristine territories of the contemporary art gallery. This development has been accompanied (and perhaps propelled) by the kind of critical discussion usually reserved for the 'higher' discipline of sculpture. Ceramics is now encountering and colliding with sculpture, both formally and intellectually. Laura Gray examines what this means for the old hierarchies between art and craft, the identity of the potter, and the character of a discipline tied to a specific material but wanting to participate in critical discussions that extend far beyond clay.

Reflecting upon his experience making his 2010 feature film Mothers, a cinematic triptych interweaving three narratives that are each, in their own way, about the often tenuous lines between truth and fiction, and one of which actually morphs into a documentary about the aftermath in a small Macedonian town where three retired cleaning women were found raped and killed in 2008 and the murderer turned out to be the journalist covering the story for a major Macedonian newspaper, the Oscar-nominated Macedonian-born and New York-based writer-director Milcho Manchevski writes that, "Most of us look at films differently or accept stories in a different way if we believe that they are true. We watch a documentary film in a different way from the way we watch a drama. We read a magazine article in a different way from the way in which we read a short story. Sometimes, we even treat a film that employs actors differently than a regular drama because we were told that it is based on something that really happened. We treat these works based on truth or reporting on the truth in different ways. Why? What is it in our relation to reality or in our relation to what we perceive to be reality that makes us value a work of artifice (an art piece) differently depending on our knowledge or conviction of whether that work of artifice is based on events that really took place?" In this extended essay, or letter, Manchevski ruminates the different ways in which both filmmakers and audiences create, experience, and absorb the cinematic narrative with a certain trust and faith in the artwork to render, not the factual truth, per se, but the importantly shared experience of trusting "the plane of reality created by the work itself," such that "we trust its inner logic and integrity, we have faith in what happens while we give ourselves to this work of art." Truth becomes a question of what artist and audience can see and feel together: what feels real becomes the world we inhabit. The book also includes an Afterword, "Truth Approaches, Reality Affects," by internationally renowned film scholar Adrian Martin.

1. This book is a crucial conversation about how racialized bodies and power intersect within actor training spaces. 2. this book specifically examines race from various and diverse points of view. 3. the book looks at acting training and race from a voice and movement perspective.

The only academic study of the role of theatre in towns, focusing on post-industrial, market and seaside towns. Written for theatre academics and students, with a secondary readership in cultural geography and cultural/social policy. Draws on historical and existing experiences of volunteer-led, community, professional theatre in towns, and offers ways in which the relationship between theatre and towns can continue to be assessed in the future.

The third of three volumes devoted to the cultural history of the modernist magazine in Britain, North America, and Europe, this collection contains fifty-six original essays on the role of 'little magazines' and independent periodicals in Europe in the period 1880-1940. It demonstrates how these publications were instrumental in founding and advancing developments in European modernism and the avant-garde. Expert discussion of approaching 300 magazines, accompanied by an illuminating variety of cover images, from France, Italy, Germany, Spain and Portugal, Scandinavia, Central and Eastern Europe will significantly extend and strengthen the understanding of modernism and modernity. The chapters are organised into six main sections with contextual introductions specific to national, regional histories, and magazine cultures. Introductions and chapters combine to elucidate the part played by magazines in the broader formations associated with Symbolism, Expressionism, Futurism, Dada, Surrealism, and Constructivism in a period of fundamental social and geo-political change. Individual essays, situated in relation to metropolitan centres bring focussed attention to a range of celebrated and less well-known magazines, including Le Chat Noir, La Revue blanche, Le Festin d'Esope, La Nouvelle Revue Francaise, La Revolution Surrealiste, Documents, De Stijl, Ultra, Lacerba, Energie Nouve, Klingen, Exlex, flamman, Der Blaue Reiter, Der Sturm, Der Dada, Ver Sacrum, Cabaret Voltaire, 391, ReD, Zenit, Ma, Contemporanul, Formisci, Zdroj, Lef, and Novy Lef. The magazines disclose a world where the material constraints of costs, internal rivalries, and anxieties over censorship ran alongside the excitement of new work, collaboration on a new manifesto and the birth of a new movement. This collection therefore confirms the value of magazine culture to the expanding field of modernist studies, providing a rich and hitherto under-examined resource which helps bring to life the dynamics out of which the modernist avant-garde evolved.

'Whatever Uglow writes about she makes absolutely fascinating.' DIANA ATHILL The story of Sybil Andews and Cyril Power, two artists who changed each other in an age of experiment and turmoil. 'In all her books, she makes us feel the life behind the facts.' GUARDIAN 'Wonderfully sharp and sympathetic . . . Uglow is a perfect biographer.' CRAIG BROWN, MAIL ON SUNDAY In 1922, Cyril Power, a fifty-year-old architect, left his family to work with the twenty-four-year-old Sybil Andrews. They would be together for twenty years. Both became famous for their dynamic, modernist linocuts, streamlined, full of movement and brilliant colour, summing up the hectic interwar years. Yet at the same time they looked back, to medieval myths and early music, to country ways disappearing from sight. Cyril & Sybil traces their struggles and triumphs, conflicts and dreams, following them from Suffolk to London, from the New Forest to Vancouver Island. This is a world of Futurists, Surrealists and pioneering abstraction, but also of the buzz of the new, of machines and speed, shops and sport and dance, shining against the threat of depression and looming shadows of war.

In the late 19th century, modern psychology emerged as a discipline, shaking off metaphysical notions of the soul in favor of a more scientific, neurophysiological concept of the mind. Laboratories began to introduce instruments and procedures which examined bodily markers of psychological experiences, like muscle contractions and changes in vital signs. Along with these changes in the scientific realm came a newfound interest in physiological psychology within the arts - particularly with the new perception of artwork as stimuli, able to induce specific affective experiences. In Psychomotor Aesthetics, author Ana Hedberg Olenina explores the effects of physiological psychology on art at the turn of the 20th century. The book explores its influence on not only art scholars and theorists, wishing to understand the relationship between artistic experience and the internal processes of the mind, but also cultural producers more widely. Actors incorporated psychology into their film acting techniques, the Russian and American film industries started to evaluate audience members' physical reactions, and literary scholars began investigations into poets' and performers' articulation. Yet also looming over this newly emergent field were commercial advertisers and politicians, eager to use psychology to further their own mass appeal and assert control over audiences. Drawing from archival documents and a variety of cross-disciplinary sources, Psychomotor Aesthetics calls attention to the cultural resonance of theories behind emotional and cognitive experience - theories with implications for today's neuroaesthetics and neuromarketing.

In 2006 journalist Joanna Moorhead discovered that her father's cousin, Prim, who had disappeared many decades earlier, was now a famous artist in Mexico. Although rarely spoken of in her own family (regarded as a black sheep, a wild child; someone they were better off without) in the meantime Leonora Carrington had become a national treasure in Mexico, where she now lived, while her paintings are fetching ever-higher prices at auction today. Intrigued by her story, Joanna set off to Mexico City to find her lost relation. Later she was to return to Mexico ten times more between then and Leonora's death in 2011, sometimes staying for months at a time and subsequently travelling around Britain and through Europe in search of the loose ends of her tale. They spent days talking and reading together, drinking tea and tequila, going for walks and to parties and eating take away pizzas or dining out in her local restaurants as Leonora told Joanna the wild and amazing truth about a life that had taken her from the suffocating existence of a debutante in London via war-torn France with her lover, Max Ernst, to incarceration in an asylum and finally to the life of a recluse in Mexico City. Leonora was one of the last surviving participants in the Surrealist movement of the 1930s, a founding member of the Women's Liberation Movement in Mexico during the 1970s and a woman whose reputation will survive not only as a muse but as a novelist and a great artist. This book is the extraordinary story of Leonora Carrington's life, and of the friendship between two women, related by blood but previously unknown to one another, whose encounters were to change both their lives.

Circle: "God is a circle whose center is everywhere but whose circumference is nowhere." Circle means perfection, cyclicity, superiority of the divinity, but also instability and movement. In nature soap bubbles are spherical and internal trees' rings are circular; the legend tells that Giotto drew a perfect O, while perfection is tangible on Michelangelo's Tondo Doni and Botticelli's Vergine col Bambino. King Arthur's knights were pairs around a round table, and nowadays people sit in circle to make a decision or watch a show. Bruno Munari selects and describes in this little, extraordinary encyclopedia, several uses of this fascinating and mysterious form, unstable and hieratic at the same time. Square: Square has much importance in man's life: a lot of churches, monuments, games (like chess), and fonts are square-based. But man seems not to realise it... one more time Bruno Munari amazes us with an historical, anthropological, scientific square book. Triangle: From the vegetable structure of the coconut to the diagram of human settlements by Le Corbusier, one can frequently find the shape of the equilateral triangle in many different occurrences, both in a natural environment and in artificial works. Along with the circle and the square, the equilateral triangle is one of the three basic forms, and is suitable to be combined in modular frameworks to generate a structured field in which endless other combinatorial forms may be constructed. From classical Arab and Japanese decorations to the contemporary architecture of Buckminster Fuller and Wright, the familiarity with the equilateral triangle, in all its formal and structural resources, generates curious and fascinating experimentations. After the books of the same collection dedicated to the circle and the square, a new reprint by Bruno Munari about the many uses of this evocative shape throughout the centuries. These studies were originally published in 1976 in the series Quaderni di design, curated by Munari himself for Zanichelli.

'Amusing, charming, stimulating, urbane' - THE TIMES 'Revelatory' - GUARDIAN 'Restores Clive Bell vividly to life' - Lucasta Miller ______________ Clive Bell is perhaps better known today for being a Bloomsbury socialite and the husband of artist Vanessa Bell, sister to Virginia Woolf. Yet Bell was a highly important figure in his own right: an internationally renowned art critic who defended daring new forms of expression at a time when Britain was closed off to all things foreign. His groundbreaking book Art brazenly subverted the narratives of art history and cemented his status as the great interpreter of modern art. Bell was also an ardent pacifist and a touchstone for the Wildean values of individual freedoms, and his is a story that leads us into an extraordinary world of intertwined lives, loves and sexualities. For decades, Bell has been an obscure figure, refracted through the wealth of writing on Bloomsbury, but here Mark Hussey brings him to the fore, drawing on personal letters, archives and Bell's own extensive writing. Complete with a cast of famous characters, including Lytton Strachey, T. S. Eliot, Katherine Mansfield, Pablo Picasso and Jean Cocteau, Clive Bell and the Making of Modernism is a fascinating portrait of a man who became one of the pioneering voices in art of his era. Reclaiming Bell's stature among the makers of modernism, Hussey has given us a biography to muse and marvel over - a snapshot of a time and of a man who revelled in and encouraged the shock of the new. 'A book of real substance written with style and panache, copious fresh information and many insights' - Julian Bell

Through the early works of Andy Warhol and Eduardo Paolozzi, this book traces the development of their deep obsession with the machine. Looking at the way that both artists began in the late 1940s and the years following, the book illustrates their fascination with popular culture and the methods that they used in creating their art. Common to all their methods of making works was their hand-made quality. Only in the 1960s did the artists make the step to mechanical means to create their own artworks, resulting in the iconic images that are integral to our culture. As Warhol said of himself, there is only surface, with nothing underneath.

A highly anticipated biography of the enigmatic and popular Swedish painter. The Swedish painter Hilma af Klint (1862-1944) was 44 years old when she broke with the academic tradition in which she had been trained. While her naturalistic landscapes and botanicals were shown during her lifetime, her body of radical, abstract works never received the same attention. Today, it is widely accepted that af Klint produced the earliest abstract paintings by a trained European artist. But this is only part of her story. Not only was she a successful woman artist, but she was also an avowed clairvoyant and mystic. Like many of the artists at the turn of the twentieth century who developed some version of abstract painting, af Klint studied Theosophy, which holds that science, art, and religion are all reflections of an underlying life-form that can be harnessed through meditation, study, and experimentation. Well before Kandinsky, Mondrian and Malevich declared themselves the inventors of abstraction, af Klint was working in a non-representational mode, producing a powerful visual language that continues to speak to audiences today. The exhibition of her work in 2018 at the Guggenheim Museum in New York City attracted more than 600,000 visitors, making it the most-attended show in the history of the museum/institution. Despite her enormous popularity, there has not yet been a biography of af Klint-until now. Inspired by her first encounter with the artist's work in 2008, Julia Voss set out to learn Swedish and research af Klint's life-not only who the artist was but what drove and inspired her. The result is a fascinating biography of an artist who is as great as she is enigmatic.