Making extensive use of information gained from in-depth interviews with architects active in the period between 1930-1959, the author provides a sympathetic understanding of the modern movement's architectural role in reshaping the fabric and structure of British metropolitan cities in the post-war period and traces the links between the experience of British modernists and the wider international modern movement. This book should be of interest to academics in architecture; urban design; urban geography; architecture of planning history; geography; sociology; practising architects; urban designers; and planners.

Art criticism in the 1980s was highly influenced by market forces that somewhat changed the face of the art world. A mediocre show purchased by a wealthy investor or collector received disproportionate coverage in the New York press, particularly those glossy, four-color journals that were highly dependent upon the advertising dollars of galleries, auction houses, vodka companies, airlines and fashion designers. Lost in the coverage of market-driven art was that it was not necessarily the most advanced or even the most significant work of the decade. This work provides an alternative viewpoint to the general American cultural discourse of the 1980s, showing that the real situation was not the exclusionary rhetoric of Postmodernism but was instead the conflict between late Modernism and Conceptual Art. The 24 essays range from discussions on Joseph Beuys and Allan Kaprow to studies of French artist Tania Mouraud and Polish artist Jan Zakrzewski. It also includes a lengthy commentary on art and technology, along with a look at performance and installation art.

What sets Thomas McEvilley apart from other critics in art and culture is his direct knowledge of the newest art and theory, and his comprehensive understanding of classic art and ancient civilizations. In McEvilley's view, modernism's present was the future, and post-modernism's present is the past. He distinguishes himself from both of these positions, and - Janus-like - simultaneously scrutinizes past and present in order to facilitate the production of future discourse. G. Roger Denson brings singular insight to Thomas McEvilley's writings. As an art writer he has explored similar theory, but from the point of view of a nomadic ideologist. He addresses the issues of pragmatism, historicism, and cultural relativism. In so doing, he effectively dismantles the need to establish a master narrative.

G. Roger Denson brings singular insight to Thomas McEvilley's writings. As an art writer he has explored similar territory, but from the point of view of a nomadic ideologist. His approach matches that of his subject. He addresses the issues of pragmatism, historicism, and cultural relativism. In so doing, he effectively dismantles the need to establish a master narrative. The contrast and agreement between these two writers constitutes a mapping of the terrain of contemporary culture.
What sets Thomas McEvilley apart from other critics in art and culture is his direct knowledge of the newest art and theory, and his comprehensive understanding of classic art and ancient civilizations. It is rare to find a writer equally fluent in the production of modernist aesthetics, the anti-aesthetics of post-modernism, T'ang Dynasty Taoist painting, the doctrines of the Tantra, Platonic mysticism, and Aristotelian logic. This vast knowledge has enabled him to produce some of the best-conceived and eccentric

James Manns presents a readable and entertaining examination of the most serious questions posed by the arts and our relation to them. In a clear and engaging fashion, he explores the central issues in aesthetics: aesthetic judgment, the nature and role of criticism, the elusiveness of the concept of art, and communication through art, and he critically (but sympathetically) considers that principal theories of art that focus on expression, form, and representation. Through the use of extensive, entertaining, and current examples (including film), Manns conveys the solid basics relating to the history and development of aesthetic theories, tries out these various theories against the art of the last half century, then outlines his own view revolving around the artist's intention and the act of communication.

James Manns presents a readable and entertaining examination of the most serious questions posed by the arts and our relation to them. In a clear and engaging fashion, he explores the central issues in aesthetics: aesthetic judgment, the nature and role of criticism, the elusiveness of the concept of art, and communication through art, and he critically (but sympathetically) considers that principal theories of art that focus on expression, form, and representation. Through the use of extensive, entertaining, and current examples (including film), Manns conveys the solid basics relating to the history and development of aesthetic theories, tries out these various theories against the art of the last half century, then outlines his own view revolving around the artist's intention and the act of communication.

An Intimate Distance considers a wide range of visual images of women in the context of current debates which centre around the body, including reproductive science, questions of ageing and death and the concept of 'body horror' in relation to food, consumption and sex. A feminist reclamation of these images suggests how the permeable boundaries between the female body and technology, nature and culture are being crossed in the work of women artists.

An Intimate Distance considers a wide range of visual images of women in the context of current debates which centre around the body, including reproductive science, questions of ageing and death and the concept of 'body horror' in relation to food, consumption and sex. A feminist reclamation of these images suggests how the permeable boundaries between the female body and technology, nature and culture are being crossed in the work of women artists.

eBook available with sample pages: HB:041511084X

"Outlooks" reflects the richness of lesbian and gay ways of producing and reading visual culturewhile tackling such issues as the advantages of adopting a queer perspective on past art, the responses of lesbian and gay artists to the AIDS crisis, and society's attempts to censor homosexual art.
Providing a space for lesbian and gay artists to exhibit their work and discuss its relationship to sexuality, "Outlooks" It allows for a wide ranging theoretical and historical discussion of the place of lesbians and gay men within visual cultures and shows how much has been missed by a heterosexist approach to art history and the study of culture. Richly illustrated, "Outlooks" includes statements by contemporary lesbian and gay artists, photographers and performers as well as articles by art historians, cultural theorists and lesbian and gay activists.
Contributors include Emmanuel Cooper, Richard Dellamora, Richard Kaye, Thais Morgan, Wendy Leeks, Reina Lewis, Katrina Rolley, Simon Watney.

Outlook explores the relationship of lesbian and gay sexualities to visual representation. It reflects the richness of lesbian and gay ways of producing and reading visual cultures, at the same time as it tackles such burning issues as the advantage of adopting a queer perspective on past art, the responses of lesbian and gay artists to the AIDS crisis, and society's attempts to censor homosexual art.
This volume provides a space for lesbian and gay artists to exhibit their work and discuss its relationship to sexuality. It allows for a wide ranging theoretical and historical discussion of the place of lesbian and gay men within visual cultures and shows how much has been missed by a heterosexist approach to art history and the study of culture.
Richly illustrated, this book includes statements by contemporary lesbian and gay artists, photographers and performers as well as articles by art historians, cultural theorists and lesbians and gay activists.

eBook available with sample pages: HB:0415080142

A major new study of Black figurative art from Africa and the African diaspora, covering 100 years from the early 20th century to now. Published to accompany a major exhibition at Zeitz MOCAA, Cape Town, this book presents a comprehensive exploration of Black self representation through portraiture and figuration, celebrating Black subjectivity and Black consciousness from Pan-African and Pan-Diasporic perspectives. With a primary focus on representational painting, When We See Us celebrates how artists from Africa and the African diaspora have imagined, positioned, memorialized and asserted African and African diasporic experiences during a 100-year period spanning from the early 20th century to the present. The publication demonstrates how generations of artists throughout the 20th century and at the beginning of the 21st have critically engaged with multiple notions of Blackness and Africanity. Figurative painting by Black artists has risen to a new prominence in the field of contemporary art over the last decade. This timely and revelatory publication and exhibition will highlight the many ways in which artists have contributed to the critical discourse on topics such as Pan-Africanism, the Civil Rights Movement, African Liberation and Independence movements, the Anti-Apartheid and Black Consciousness mobilisations, Decoloniality and Black Lives Matter.

What made art modern? What is modern art? The Legends of the Modern demystifies the ideas and "legends" that have shaped our appreciation of modern art and literature. Beginning with an examination of the early modern artists Shakespeare, Michelangelo, and Cervantes, Didier Maleuvre demonstrates how many of the foundational works of modern culture were born not from the legendry of expressive freedom, originality, creativity, subversion, or spiritual profundity but out of unease with these ideas. This ambivalence toward the modern has lain at the heart of artistic modernity from the late Renaissance onward, and the arts have since then shown both exhilaration and disappointment with their own creative power. The Legends of the Modern lays bare the many contradictions that pull at the fabric of modernity and demonstrates that modern art's dissatisfaction with modernity is in fact a vital facet of this cultural period.

Counterpractice highlights a generation of women who used art to define a culture of experimental thought and practice during the period of the French women's movement or Mouvement de Liberation des Femmes (1970-81). It considers women's art in relation to some of the most exciting thinkers to have emerged from the French literature and philosophy of the 1970s - Helene Cixous, Luce Irigaray and Julia Kristeva - forcing a timely reconsideration of the full spectrum of revolutionary practices by women in the years following the events of May '68. Lavishly illustrated with over 200 images, the book also features an illuminating foreword by art historian Griselda Pollock. -- .

The first comprehensive assessment of Degas's legacy to be published in over two decades, Perspectives on Degas unites a team of international scholars to analyze Degas's work, artistic practice, and unique methods of pictorial problem-solving. Established scholars and curators show how recent trends in art historical thinking can stimulate innovative interpretations of Degas's paintings, prints, sculptures, and drawings and reveal new ideas about his place in the art historical narrative of the nineteenth-century avant-garde. Questions posed by contributors include: what interpretive approaches are open to a new generation of art historians in the wake of a vast body of existing scholarship on nineteenth-century art? In what ways can feminist analyses of Degas's works continue to yield new results? Which of Degas's works have received less attention in critical literature to date and what does study of them reveal? As the centenary of Degas's death approaches, this book offers a timely re-evaluation of the critical literature that has developed in response to Degas's work and identifies ways in which the further study of this artist's multi-facetted output can deepen our understanding of the wider scientific, literary, and artistic ideas that circulated in France during the latter decades of the nineteenth century.

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.

First published in 1998, this volume explores the expanding wave of a new kind of museums of contemporary art in the nineteenth and early twentieth centuries. Lorente examines their 'coming of age' and the weight of their museological legacy, arguing that the establishment of great national museums of art at London and Paris radiated out, carrying their influence with it. This book emerged as part of a series on towns and cities and has a focus on London and Paris as centres of artistic innovation.

Series Information:
Worlds of Performance

In this beautifully illustrated and provocative study, Bridget Elliott and Jo-Ann Wallace reappraise women's literary and artistic contribution to Modernism. Through comparative case studies, including Natalie Barney, Virginia Woolf, Vanessa Bell and Gertrude Stein, the authors examine the ways in which women responded to Modernism and created their artistic identity, and how their work has been positioned in relation to that of men.
Bringing together women's studies, visual arts and literature, Women Writers and Artists makes an important contribution to 20th century cultural history. It puts forward a powerful case against the academic division of cultural production into departments of Art History and English Studies, which has served to marginalize the work of female Modernists.

The artists of the Organic School of the Russian avant-garde found inspiration as well as a model for artistic growth in the creative principles of nature. Isabel Wunsche analyzes the artistic influences, intellectual foundations, and scientific publications that shaped the formation of these artists, the majority of whom were based in St. Petersburg. Particular emphasis is given to the holistic worldviews and organic approaches prevalent among artists of the pre-revolutionary avant-garde, specifically Jan Ciaglinski, Nikolai Kulbin, and Elena Guro, as well as the emergence of the concept of Organic Culture as developed by Mikhail Matiushin, practiced at the State Institute of Artistic Culture, and taught at the reformed Art Academy in the 1920s. Discussions of faktura and creative intuition explore the biocentric approaches that dominated the work of Pavel Filonov, Kazimir Malevich, Voldemar Matvejs, Olga Rozanova, and Vladimir Tatlin. The artistic approaches of the Organic School of the Russian avant-garde were further promoted and developed by Vladimir Sterligov and his followers between 1960 and 1990. The study examines the cultural potential as well as the utopian dimension of the artists' approaches to creativity and their ambitious visions for the role of art in promoting human psychophysiological development and shaping post-revolutionary culture.

When the body is foregrounded in artwork - as in much contemporary performance, sculptural installation and video work - so is gendered and sexualised difference. Feminist Perspectives on Art: Contemporary Outtakes looks to interactions between art history, theory, curation, and studio-based practices to theorise the phenomenological import of this embodied gender difference in contemporary art. The essays in this collection are rooted in a wide variety of disciplines, including art-making, curating, and art history and criticism, with many of the authors combining roles of curator, artist and writer. This interdisciplinary approach enables the book to bridge the theory-practice divide and highlight new perspectives emerging from creative arts research. Fresh insights are offered on feminist aesthetics, women's embodied experience, curatorial and art historical method, art world equity, and intersectional concerns. It engages with epistemological assertions of 'how the body feels', how the land has creative agency in Indigenous art, and how the use of emotional or affective registers may form one's curatorial method. This anthology represents a significant contribution to a broader resurgence of feminist thought, methodology, and action in contemporary art, particularly in creative practice research. It will be of particular value to students and researchers in art history, visual culture, cultural studies, and gender studies, in addition to museum and gallery professionals specialising in contemporary art.

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.

Title first published in 2003. In this detailed study of the landscapes and rural scenes of Britain and France made by artists like George Clausen, Philip Wilson Steer, Augustus John, Laura Knight, J. D. Fergusson and Spencer Gore, Ysanne Holt investigates the imaginary geographies behind the pictures and reconsiders the relationship between national identity, 'Englishness' and the native landscape. Combining close investigation of important works with a broader enquiry into the appeal of the Mediterranean for an age preoccupied with cultural degeneracy and bodily health, Ysanne Holt draws fascinating conclusions about the impact of modernism on the British tradition of landscape painting.

Futurism and early cinema shared a fascination with dynamic movement and speed, presenting both as harbingers of an emerging new way of life and new aesthetic criteria. And the Futurists quickly latched on to cinema as a device with great potential to manipulate our perceptions in order to create a new world. In the edited collection Futurist Cinema, Rossella Catanese explores that conjunction, bringing in avant-garde artists and their manifestos to show how painters and other artists turned to cinema as a model for overcoming the inherently static nature of painting in order to rethink it for a new era.

This title was first published 2003. In the twentieth century, Britain was rich in artistic achievement, especially in sculpture. Just some of those working in this field were Jacob Epstein, Henri Gaudier-Brzeska, Henry Moore, Barbara Hepworth, Anthony Caro, Richard Long, Mona Hatoum and Anish Kapoor. The work of these and other known and less well-known artists has an astonishing variety and expressive power, a range and strength that has placed Britain at the hub of the artistic world. Alan Windsor has compiled a concise biographical dictionary of sculpture in Britain in book form. Richly informative and easy-to-use, this guide is an art-lover's and expert's essential reference. Written by scholars, the entries are cross-referenced and each concise biographical outline provides the relevant facts about the artist's life, a brief characterization of the artist's work, and, where appropriate, major bibliographical references.