Erasures and Eradications in Modern Viennese Art, Architecture and Design challenges the received narrative on the artists, exhibitions, and interpretations of Viennese Modernism. The book centers on three main erasures-the erasure of Jewish artists and critics; erasures relating to gender and sexual identification; and erasures of other marginalized figures and movements. Restoring missing elements to the story of the visual arts in early twentieth-century Vienna, authors investigate issues of gender, race, ethnic and sexual identity, and political affiliation. Both well-studied artists and organizations-such as the Secession and the Austrian Werkbund, and iconic figures such as Klimt and Hoffmann-are explored, as are lesser known figures and movements. The book's thought-provoking chapters expand the chronological contours and canon of artists surrounding Viennese Modernism to offer original, nuanced, and rich readings of individual works, while offering a more diverse portrait of the period from 1890, through World War II and into the present. The book will be of interest to scholars working in art history, history, design history, architectural history, and European studies.

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"The essays probe the growing vocabulary of Holocaust imagery and address the various ways (in varied venues) that the Holocaust has been remembered, represented, and received."--"American Jewish History"

"This challenging collection of essays which also contains some stunning art work, should find a place in every library that deals with the memory of the Holocaust and its effects that transcend the generation."
--"Conservative Judaism"

"(Makes) a cogent case for a deeper, unmastered engagement with Holocause trauma."--"Journal of Jewish Studies"

Impossible Images brings together a distinguished group of contributors, including artists, photographers, cultural critics, and historians, to analyze the ways in which the Holocaust has been represented in and through paintings, architecture, photographs, museums, and monuments.

Exploring frequently neglected aspects of contemporary art after the Holocaust, the volume demonstrates how visual culture informs Jewish memory, and makes clear that art matters in contemporary Jewish studies. Accepting that knowledge is culturally constructed, Impossible Images makes explicit the ways in which context matters. It shows how the places where an artist works shape what is produced, in what ways the space in which a work of art is exhibited and how it is named influences what is seen or not seen, and how calling attention to certain details in a visual work, such as a gesture, a color, or an icon, can change the meaning assigned to the work as a whole.

Written accessibly for a general readership and those interested in art and art history, the volume also includes 20 colorplates from leading artists Alice Lok Cahana, Judy Chicago, Debbie Teicholz, and Mindy Weisel.

A fresh contribution to the ongoing debate between Kunstwissenschaft (scientific study of art) and Kunstgeschichte (art history), this essay collection explores how German-speaking art historians of the late nineteenth and early twentieth century self-consciously generated a field of study. Prominent North American and European scholars provide new insights into how a mixing of diverse methodologies took place, in order to gain a more subtle and comprehensive understanding of how art history became institutionalized and legitimized in Germany. One common assumption about early art-historical writing in Germany is that it depended upon a simplistic and narrowly-defined formalism. This book helps to correct this stereotype by demonstrating the complexity of discussion surrounding formalist concerns, and by examining how German-speaking art historians borrowed, incorporated, stole, and made analogies with concepts from the sciences in formulating their methods. In focusing on the work of some of the well-known 'fathers' of the discipline - such as Alois Riegl and Heinrich Woelfflin - as well as on lesser-known figures, the essays in this volume provide illuminating, and sometimes surprising, treatments of art history's prior and understudied interactions with a wide range of scientific orientations, from psychology, sociology, and physiognomics to evolutionism and comparative anatomy.

This book reveals how art and sex promoted the desire for the genetically perfect body. Its eight chapters demonstrate that before eugenics was stigmatized by the Holocaust and Western histories were sanitized of its prevalence, a vast array of Western politicians, physicians, eugenic societies, family leagues, health associations, laboratories and museums advocated, through verbal and visual cultures, the breeding of 'the master race'. Each chapter illustrates the uncanny resemblances between models of sexual management and the perfect eugenic body in America, Britain, France, Communist Russia and Nazi Germany both before and after the Second World War. Traced back to the eighteenth-century anatomy lesson, the perfect eugenic body is revealed as athletic, hygienic, 'pure-blooded' and sexually potent. This paradigm is shown to have persisted as much during the Bolshevik sexual revolution, as in democratic nations and fascist regimes. Consistently posed naked, these images were unashamedly exhibitionist and voyeuristic. Despite stringent legislation against obscenity, not only were these images commended for soliciting the spectator's gaze but also for motivating the spectator to act out their desire. An examination of the counter-archives of Maori and African Americans also exposes how biologically racist eugenics could be equally challenged by art. Ultimately this book establishes that art inculcated procreative sex with the Corpus Delecti - the delectable body, healthy, wholesome and sanctioned by eugenicists for improving the Western race.

Giacometti: Critical Essays brings together new studies by an international team of scholars who together explore the whole span of Alberto Giacometti's work and career from the 1920s to the 1960s. During this complex period in France's intellectual history, Giacometti's work underwent a series of remarkable stylistic shifts while he forged close affiliations with an equally remarkable set of contemporary writers and thinkers. This book throws new light on under-researched aspects of his output and approach, including his relationship to his own studio, his work in the decorative arts, his tomb sculptures and his use of the pedestal. It also focuses on crucial ways his work was received and articulated by contemporary and later writers, including Michel Leiris, Francis Ponge, Isaku Yanaihara and Tahar Ben Jelloun. This book thus engages with energising tensions and debates that informed Giacometti's work, including his association with both surrealism and existentialism, his production of both 'high' art and decorative objects, and his concern with both formal issues, such as scale and material, and with the expression of philosophical and poetic ideas. This multifaceted collection of essays confirms Giacometti's status as one of the most fascinating artists of the twentieth century.

The first book-length feminist analysis of Eileen Gray's work, Eileen Gray and the Design of Sapphic Modernity: Staying In argues that Gray's unusual architecture and design - as well as its history of abuse and neglect - emerged from her involvement with cultures of sapphic modernism. Bringing together a range of theoretical and historical sources, from architecture and design, communication and media, to gender and sexuality studies, Jasmine Rault shows that Gray shared with many of her female contemporaries a commitment to designing spaces for sexually dissident modernity. This volume examines Gray's early lacquer work and Romaine Brooks' earliest nude paintings; Gray's first built house, E.1027, in relation to Radclyffe Hall and her novel The Well of Loneliness; and Gray's private house, Tempe A Pailla, with Djuna Barnes' Nightwood. While both female sexual dissidence and modernist architecture were reduced to rigid identities through mass media, women such as Gray, Brooks, Hall and Barnes resisted the clarity of such identities with opaque, non-communicative aesthetics. Rault demonstrates that by defying the modern imperative to publicity, clarity and identity, Gray helped design a sapphic modernity that cultivated the dynamism of uncertain bodies and unfixed pleasures, which depended on staying in rather than coming out.

This is the first full-length study about the British artist Roy Ascott, one of the first cybernetic artists, with a career spanning seven decades to date. The book focuses on his early career, exploring the evolution of his early interests in communication in the context of the rich overlaps between art, science and engineering in Britain during the 1950s and 1960s. The first part of the book looks at Ascott's training and early work. The second park looks solely at Groundcourse, Ascott's extraordinary pedagogical model for visual arts and cybernetics which used an integrative and systems-based model, drawing in behaviourism, analogue machines, performance and games. Using hitherto unpublished photographs and documents, this book will establish a more prominent place for cybernetics in post-war British art.

This book examines collecting around the world and how women have participated in and formed collections globally. The edited volume builds on recent research and offers a wider lens through which to examine and challenge women's collecting histories. Spanning from the seventeenth century to the twenty-first (although not organized chronologically) the research herein extends beyond European geographies and across time periods; it brings to light new research on how artificiallia and naturallia were collected, transported, exchanged, and/or displayed beyond Europe. Women, Collecting and Cultures Beyond Europe considers collections as points of contact that forged transcultural connections and knowledge exchange. Some authors focus mainly on collectors and what was collected, while others consider taxonomies, travel, patterns of consumption, migration, markets, and the after life of things. In its broad and interdisciplinary approach, this book amplifies women's voices, and aims to position their collecting practices toward new transcultural directions, including women's relation to distinct cultures, customs, and beliefs as well as exposing the challenges women faced when carving a place for themselves within global networks. This study will be of interest to scholars working in collections and collecting, conservation, museum studies, art history, women's studies, material and visual cultures, Indigenous studies, textile histories, global studies, history of science, social and cultural histories.

Wassily Kandinsky, Max Ernst, Jackson Pollock, and Joseph Beuys were the leading artists of their generations to recognize the rich possibilities that animism and shamanism offered. While each of these artists' connection with shamanism has been written about separately, Evan Firestone brings the four together in order to compare their individual approaches to anthropological materials and to define similarities and differences between them. The author's close readings of their works and examination of the relevant texts available to them reveal fresh insights and new perspectives.The importance of indigenous beliefs in animism for Kandinsky's philosophy of art and practice, especially the animism of inanimate objects, is analyzed for the first time in conjunction with his well-known enthusiasms for Symbolism and Theosophy. Ernst's collage novel, La femme 100 tetes (1929), previously found to have significant alchemical content, also is shown to extensively utilize shamanism, thereby merging different branches of the occult that prove to have remarkable similarities. The in-depth examination of Pollock's works, both known and overlooked for shamanic content, identifies textual sources that heretofore have escaped notice. Firestone also demonstrates how shamanism was employed by this artist to express his desire for healing and transformation. The author further argues that the German edition of Mircea Eliade's Shamanism: Archaic Techniques of Ecstasy (1957) helped to revitalize Beuys's life and art, and that his ecological campaigns reflected a new consciousness later termed ecoanimism.

This book reevaluates the art of Gerhard Richter (b. 1932) in relation to his efforts to achieve belonging in the face of West Germany's increasing individualism between the 1960s and the 1990s. Richter fled East Germany in 1961 to escape the constraints of socialist collectivism. His varied and extensive output in the West attests to his greater freedom under capitalism, but also to his struggles with belonging in a highly individualised society, a problem he was far from alone in facing. The dynamic of increasing individualism has been closely examined by sociologists, but has yet to be employed as a framework for understanding broader trends in recent German art history. Rather than critique this development from a socialist perspective or experiment with new communal structures like a number of his colleagues, Richter sought and found security in traditional modes of bourgeois collectivity, like the family, religion, painting and the democratic capitalist state. The book will be of interest to scholars working in art history as well as German history, culture and politics.

J. D. Fergusson (1874-1961) is one of the four artists known as the Scottish Colourists, the others being F. C. B. Cadell, G. L. Hunter and S. J. Peploe. Fergusson was born in Leith, and was essentially a self-taught artist. In Paris 1907 he became involved with the avant-garde scene and exhibited at the progressive Salon d'Automne. More than any of his Scottish contemporaries, Fergusson assimilated and developed the latest developments in French painting. In 1913 Fergusson met the dance pioneer Margaret Morris (1891-1980). Morris's creative dance movements and her students continued to be one of Fergusson's main sources of inspiration and models. In 1929 Fergusson returned to Paris where he was involved with the Anglo-American art circles. Most summers were spent in the south of France where Morris held her celebrated Summer Schools. The couple moved to Glasgow in 1939 being founder members of the New Art Club and of its off-shoot the New Scottish Group. This book reasserts the artist's place at the forefront of British modernism.

In 1942, Ed Vebell landed with the US Army in North Africa and was recruited by Stars & Stripes, the US armed forces newspaper, as their official staff artist. Daily, he drew illustrations and reported on the progress of World War II throughout Europe. This book offers a selection of his sketches, drawings, paintings, and photographs from that time, and presents one artist's view of the war from North Africa, through the campaigns in Italy, France, and Germany. After the war, the author spent two weeks with the Russians in Berlin, and was then assigned as the courtroom artist during the Nuremberg War Crimes Trials. Along the way are Ed's reminiscences about such personalities as famed war correspondent and artist Bill Mauldin, singers Josephine Baker and Edith Piaf, Charles de Gaulle, Gen. Teddy Roosevelt Jr., and many others. Ed also reminisces about his two years photographing backstage at the Folies Bergere in Paris, as well as his time as an Olympic fencer.

Math is an essential component of the interior design profession. Estimating and Costing for Interior Designers, Second Edition, teaches readers a logical process for calculating materials and estimating the costs of installed products based on their math calculations. Fully updated and revised, this book utilizes step-by-step examples and worksheets to simplify the math used in the interior design field. Sample problems and exercises take the calculations of quantities needed one step further to actually apply material and labor costs, to discover the installed costs of the specified products. Exercises are provided in introductory, intermediate, and advanced levels for all types of interior designers. Clear sections cover wall and ceiling treatments, window treatments, soft fabrications, upholstery, flooring, and cabinetry and countertops, making this book applicable to both commercial and residential design projects. New to This Edition -Key pedagogical features including: learning objectives, key terms, chapter summaries, professional tips, and glossary. -Student STUDIO materials including: calculation worksheets, schedules/cost worksheets, practice examples, and flashcards. -Robust Instructor Resources including: a revised instructor's guide, test questions, additional practice exercises and answers, PowerPoints lecture slides, and Excel worksheets.

Taking citizenship as a political position, cultural process, and intertwining of both, this edited volume examines the role of visual art and visual culture as sites for the construction and contestation of both state-sanctioned and cultural citizenships from the late 1970s to today. Contributors to this book examine an assortment of visual media-painting, sculpture, photography, performance, the built environment, new media, and social practice-within diverse and international communities, such as the United States, South Africa, Turkey, and New Zealand. Topics addressed include, but are not limited to, citizenship in terms of: nation building, civic practices, border zones, transnationalism, statelessness, and affects of belonging as well as alternate forms of, or resistance to, citizenship.

This book presents an original study on how contemporary artists are exploring urban spaces through mapping. Despite a long history of representations of cities in maps, and the relationships that can be envisaged between art maps and cities in the contemporary world, little research is dedicated to investigating how artists intervene in the realm of urban cartography. The research examines a century-old history of art maps and draws on academic debates challenging traditional notions of maps as scientific artefacts produced through accurate measurement and surveying. The potential of art maps to construct personal narratives, through contestation, embodiment and play, is analysed in the city context, where spaces are shaped by urban planning and design, political ideologies and socio-economic forces. Adopting an exploratory and interpretative research approach that investigates the confluence of theories originated in different domains, this book conducts the reader to discover what artistic practices can bring into a more creative, while inquisitive, understanding of cities. A series of semi-structured interviews with visual artists, enquiring how they apprehend, process and re-create urban spaces in artworks, explores cartographic process and methods in visual art practices in the twenty first century, which incorporates digital technologies and critical thinking.

This comprehensive book brings to light the portraits, private collections and public patronage of the princesse de Lamballe, a pivotal member of Marie-Antoinette's inner circle. Drawing extensively on unpublished archival sources, Sarah Grant examines the princess's many portrait commissions and the rich character of her private collections, which included works by some of the period's leading artists and artisans. The book sheds new light on the agency, sorority and taste of Marie-Antoinette and her friends, a group of female patrons and model of courtly collecting that would be extinguished by the coming revolution.

British cartoonists and caricaturists are renowned worldwide. Originally published in 2000, this indispensable handbook offers a unique 'who's who' of all the major artists working in Britain in the twentieth century and contains nearly 500 entries. Extensively illustrated, the book provides information on the work of artists such as Steve Bell, Gerald Scarfe, Posy Simmonds, Ronald Searle, Trog, mac and Larry as well as such past masters as David Low, Vicky, H. M. Bateman, Illingworth, Heath Robinson and more. The dictionary concentrates primarily on political cartoonists, caricaturists and joke or 'gag' cartoonists, actively working for the main Fleet Street national dailies and weeklies from 1900 to 1995. Each entry is cross-referenced and provides a concise biographical outline with an account of the artist's style, influences and preferred medium. Where relevant the entry includes suggestions for further reading and notes solo exhibitions, books illustrated and works held in public collections. The Dictionary of Twentieth-Century British Cartoonists and Caricaturists offers an insight into the lives of satirical artists working during a century that provoked cartoonists and caricaturists to a pitch of comic and artistic invention that has rarely been matched.

In 1939, Scottish artist and sculptor J.D. Fergusson was commissioned to write a fully illustrated book on modern Scottish painting. The Second World War made this difficult and the first edition of Modern Scottish Painting was published in 1943 without illustrations. This new edition – edited, introduced and annotated by Alexander Moffat and Alan Riach – finally brings Fergusson’s project to fruition, illustrating the argument with colour reproductions of Fergusson’s own work. Moffat and Riach frame Fergusson’s important art manifesto for the 21st-century reader, illuminating his views on modern art as he explores questions of technique, education, form and what it means for a painting to be truly modern. Fergusson relates these aspects of modern painting to Scottishness, showing what they mean for Scottish identity, nationalism, independence and the legacy that puritanical Calvinism has left on Scottish art – a particular concern for Fergusson given his recurring subject matter of the female nude.

This book examines the artistic practices of a range of British-based artists of East Asian (Chinese, Japanese, Korean and Taiwanese) heritage to consider the social, political and cultural effects of migration or diaspora on their creative production. Beccy Kennedy-Schtyk demonstrates three themes: the multiplicity and expansive contemporaneity of these artists' visual oeuvres; the physical impact or interpretation of migratory circumstances on their artistic practices; and the necessity to continue to evolve ways of thinking about migration, race and border crossings in the current political climate of the 21st century. The book will be of interest to scholars studying art history, Asian studies, British studies, migration and diaspora studies, and cultural studies.

'There's no place like home'; 'safe as houses'; 'home is where the heart is': ideas of the house and home are rich in cultural cliches and contradictory meanings. Playing at Home explores the different ways in which artists have engaged with this popular everyday theme - from 'broken homes' to haunted houses, doll's houses, mobile homes and greenhouses. The book considers how issues of gender, identity, class and place can overlap and interact in our relationships with 'home', and how certain artworks disturb our comfortable ideas of what it means to be 'at home'. While other books have touched on examples of the 'uncanny' and surreal presentation of houses in art, this one argues that an understanding of the role of irony and play, and the critical potential of the 'everyday', are equally important in our interpretations of these intriguing works. The author draws on the work of philosophers, cultural theorists and art critics to enrich our understanding of this genre. Covering the work of well-known artists, including Tracey Emin, Gordon Matta-Clark, Rachel Whiteread, Cornelia Parker, Vito Acconci, Michael Landy, Richard Wilson, Mike Kelley and Louise Bourgeois, the book also looks at artists who travel across continents, for whom home is a shifting notion, such as Do-Ho Suh and Pascale Marthine Tayou. Discussing a wide range of media, including installation and film, and richly illustrated, Playing at Home is a compelling survey of one of contemporary art's popular themes.

Discover art that dared to be different, risked reputations and put careers in jeopardy. This is what happens when artists take tradition and rip it up. ArtQuake tells the stories of 50 pivotal works that shook the world, telling the fascinating stories behind their creation, reception and legacy. The books begin with the rebels who struck out against Victorian conformism, daring painters and sculptors like Manet and Rodin, Van Gogh and Courbet, who experimented with expressionist and realist art styles as well as controversial subjects. Moving into the fin de siecle and the 20th century, we study the truly iconic works and turbulent lives of artists like Munch and Klimt, Picasso and Egon Schiele, whose work into abstraction, surrealism and cubism shocked and scandalized, but ultimately changed the course of western art forever. Moving into the second half of the 20th Century, we see spectacular works of conceptual rebellion, absurdity and political protest, from Andy Warhol and the Pop Art movement to Marina Abramovic, whose often visceral and violent works of performance art laid bare the savagery of the patriarchy and the human condition. In the 21st century, we see how iconoclastic creators have pushed the boundaries of art even further, from Banksy to Louise Bourgeoise, from self-destructing paintings to experimental works of computerized art. Complete with beautiful reproductions of their iconic works, as well as a glossary of terms and movements at the back, meet the huge egos, uncompromising feminists, gifted recluses, spiritualists, anti-consumerists, activists and satirists who have irrevocably carved their names into the history of art around the world. In telling the history of modern and contemporary art through the works that were truly disruptive, and explaining the context in which each was created, ArtQuake demonstrates the heart of modern art, which is to constantly question and challenge expectation. This book is from the Culture Quake series, which looks into iconic moments of culture which truly created paradigm shifts in their respective fields. Also available is FilmQuake, which tells the stories of 50 key films that consciously questioned the boundaries, challenged the status quo and made shockwaves we are still feeling today.

In 1962, Ernst Scheidegger published his first book using his own name as an imprint. This book was the German edition of Jean Genet's essay on Alberto Giacometti. The great artist and close personal friend of Ernst Scheidegger has been subject of a number of books published by Verlag Ernst Scheidegger and Verlag Scheidegger & Spiess since. The most successful of them has been "Traces of a Friendship - Alberto Giacometti", first published in 1990 and reprinted several times. To mark the 50th anniversary of Verlag Ernst Scheidegger / Verlag Scheidegger & Spiess present a new, completely revised and expanded edition of this classic. It includes around 40 previously unpublished colour images which have recently been discovered in Ernst Scheidegger's archive. They add an intimate new chapter to this legendary book. In addition to the more accurate dating of some photographs' the essays and captions have been revised and expanded also. Text in English and German.

* Covers a wide range of topics in Latin American/Caribbean/Central American Art History * Concise analysis of Latin American artists, works, and art movements * An interdisciplinary approach to the topics discussed that places art in its contemporary historical perspective * Includes material on art from Central America and the Caribbean, Women's Art, and Popular Art

Waiting at the Shore chronicles the extraordinary life of the Spanish artist Luis Quintanilla, championed by Ernest Hemingway, John Dos Passos, Elliot Paul, and many other American and European writers and artists. In 1912, at the age of 18, he ran off to Montmartre where, under the influence of his fellow countryman Juan Gris, he began his artistic career as a Cubist. Returning to Madrid before the war he befriended prominent Spaniards, including Juan Negrin, the Premier during the Spanish Civil War. In April 1931 he and Negrin participated in the peaceful revolution which ousted the monarchy and installed the Second Spanish Republic. When civil war broke out Quintanilla helped lead troops on Madrid's Montana Barracks, which saved the capital for the Republic. "Because great painters," as Hemingway put it, "are scarcer than good soldiers," the Spanish government [Negrin] ordered Quintanilla out of the army after the fascists were stopped outside Madrid. The artist completed 140 drawings of the various fronts of the war which were exhibited at New York's Museum of Modern Art, with a catalogue by Hemingway. After the Republic lost the war Quintanilla was forced into an exile which lasted several decades. Living in New York and in Paris he strove to perfect his art, shunning the modernist vogues of the time. Although a celebrity when he first arrived in the United States he eventually fell into obscurity. This volume, which is heavily illustrated, brings him out of the shadows of neglect, and provides the compelling story of an artist who led not just an extraordinary life but left a legacy of paintings and drawings which, in both their skill and great imaginative variety, should be known to all art lovers.