* Broad coverage - chapters critically explore architectural theory through a diverse range of lenses. * Timely - the book makes the subject of architectural theory relevant to contemporary practice and issues of the present day e.g. environmental crises, artificial intelligence, and social inequity. * Written and edited by experts in their field.

‘Pieces of a Man’ brings together 25 years of street photographs by noted American photographer Jamel Shabazz.“Beginning in Brooklyn’s tight-knit neighborhoods, including his own, Jamel Shabazz captured a true reflection of people of color now revered as a form of social commentary. His work resonates around the world because it is authentic. He has the authority to speak for us and yet he maintains genuine humility and respect for his people. From the streets of Brooklyn to Europe to Africa, Jamel’s work is inclusive and compassionate without imposing his views on how people should represent themselves. He gives his subjects control over their own image, and in that you see the dignity that he sees in them; turning everyday people into icons. While some celebrate an era or style, Jamel reminds us to celebrate the people, not just the image.�

- Unites the three most distinct dimensions of the architectural discipline in one volume: research, pedagogy and professional practice - Includes 18 diverse contributions from geographically diverse locations, including Chile, Japan, Peru, Iran, and South Africa - Relevant for students, instructors and practitioners alike - Opens the design conversation to further advance architectural studies, architectural teaching, and professional practice

Ono examines cross-cultural artistic exchange between the West and Japan from the late nineteenth century to the early twentieth century. Studies of Japonisme have been dominated by searching out relationships of influence between artworks–trying to identify which specific works influenced a particular artist. Ono argues that a more holistic understanding of 'spillover effects' is necessary in fully comprehending the nuances of these relationships. She bases this argument on documents and works of art in the context of globalisation, looking at the relationships between James McNeill Whistler and others with their contemporaries in the Japanese artistic and literary worlds. This was a more complex two-way exchange than is often appreciated, with Western artists taking inspiration from (to them) new Japanese styles, while Japanese artists and writers were trying to craft a 'modern', more western-influences style to reflect the modern nation of Japan emerging onto the world stage after centuries of relative isolation. A fascinating analysis of the role of globalisation and cultural exchange in the development of new and hybrid artforms, that will be essential reading for scholars of this fascinating period in international art history.

This companion demonstrates how art, craft, and visual culture education activate social imagination and action that is equity- and justice-driven. Specifically, this book provides arts-engaged, intersectional understandings of decolonization in the contemporary art world that cross disciplinary lines. Visual and traditional essays in this book combine current scholarship with pragmatic strategies and insights grounded in the reality of socio-cultural, political, and economic communities across the globe. Across three sections (creative shorts, enacted encounters, and ruminative research), a diverse group of authors address themes of histories, space and land, mind and body, and the digital realm. Chapters highlight and illustrate how artists, educators, and researchers grapple with decolonial methods, theories, and strategies—in research, artmaking, and pedagogical practice. Each chapter includes discursive questions and resources for further engagement with the topics at hand. The book is targeted towards scholars and practitioners of art education, studio art, and art history, K-12 art teachers, as well as artist educators and teaching artists in museums and communities.

Parkett's explorations of important international contemporary artists by acclaimed writers and critics continues in Volume 77, which features Trisha Donnelly, Carsten Holler and Rudolf Stingel. Donnelly's videos, sound pieces, photographs and pencil drawings all possess a cunning Jasper Johnsian precision, blending whimsy, restraint and a certain preternatural gamesmanship, while her "live" interventions, rarely witnessed by others in real life, have a way of spreading into culture like folklore. Carsten Holler was a scientist prior to becoming an artist, and his work reflects the duality of both fields. His optical devices, flying machines, flashing lights and happiness pills all possess the jury-rigged inventiveness of laboratory experiments: "body invaders that latch onto the user's senses," as one Parkett author puts it. Rudolf Stingel, speaking of his recent photo-realistic self-portraits--somber, tonal ruminations in oil--claims that "the only activity is self-doubt." Writing on Stingel's past serial "silver" canvases, Francesco Bonami compares their cool blankness to "cottage paintings" in their "ambush of aura over the artificiality of the picturesque." Writers in this issue include Bonami, Bruce Hainley, Jorg Heiser, Caoimhin Mac Giolla Leith, Chantal Mouffe, Cay Sophie Rabinowitz, Christian Rattemeyer, Beatrix Ruf, Ali Subotnick and Tirdad Zolghadr.

Explore the landscapes and places that inspired great art: find peace in Monet's lily-filled garden oasis, climb Mount Fuji on a printmaker's pilgrimage, sail with Gauguin to the South Pacific to stretch your imagination, or contemplate light and the changing seasons on Chelsea Embankment. Artistic Places is a stunningly hand-illustrated, visionary guide for seekers of beauty, rare tales and cultural riches. Find yourself instantly transported to the places where great artists have sought refuge, found their inspiration and changed the course of art history forever. Susie Hodge, bestselling author and art historian, presents 25 famous and forgotten artistic destinations around the world, and connects these to the artists they inspired. In keeping with the Inspired Traveller's Guide series design, each entry is accompanied by specially commissioned illustrations from Amy Grimes which perfectly evoke the wonders that first attracted the masters, while Hodge delves into each location's curious history with insightful stories both in and beyond the canon. So take a leaf out of your favourite artist's sketchbook and discover the places they loved best. Artists and locations include: J.A.M Whistler in London, England John Constable in Suffolk, England Barbara Hepworth in St Ives, England Paula Rego in Cascais and Estoril, Portugal Pablo Picasso and Guernica, Spain Salvador Dali in Catalonia, Spain Claude Monet in Giverny, France Vincent van Gogh in Arles, France Rene Magritte in Brussels, Belgium Paul Klee in Bern, Switzerland Michelangelo in Florence, Italy Canaletto in Venice, Italy Johannes Vermeer in Delft, Netherlands Anni Albers in Dessau, Germany Caspar David Friedrich in the Elbe Sandstone Mountains, Germany Gustav Klimt and Lake Attersee, Austria Edvard Munch in Oslo, Norway Hilma af Klint and Lake Malaren, Sweden Henri Matisse in Tangier, Morocco Hokusai on Mount Fuji, Japan Paul Gauguin in Papeete and Papeari, Tahiti Jean-Michel Basquiat in New York, USA Grant Wood in Iowa, USA Georgia O'Keeffe in New Mexico, USA Frida Kahlo in Coyoacan, Mexico Each book in the Inspired Traveller's Guides series offers readers a fascinating, informative and charmingly illustrated guide to must-visit destinations round the globe. Also from this series, explore intriguing: Spiritual Places, Literary Places, Hidden Places and Mystical Places.

A timely new edition featuring the brilliant work from among the most inventive minds in illustration and cartoon wizardry. Heath Robinson was one of Britain's most successful graphic artists. His work has had a huge influence on comic art in this country, but also on the image and self-image of the British. As the champion of pragmatic man, Heath Robinson presented a vision of the British as an unflappable, ingenious and slightly demented breed of inventors that persists to the present day. The British are still a nation of garage-haunting amateur engineers who will recognise the inhabitants of Heath Robinson's world, with their pot bellies and pots of tea, archaic faces and sturdily commonsensical approach to the problems of existence. How to hunt tigers by elephant, how to get an even tan, rise with the sun or put out a chimney fire, these and many more pressing questions are answered in the pages of Contraptions. With illustrations salvaged from the family archives and commentary by Heath Robinson expert, Geoffrey Beare, Contraptions is the best possible introduction to the work of one of Britain's great comic talents.

* This book is the first comprehensive history of architectural modelmaking in Britain, or indeed of anywhere in the world. * An authoritative scholarly study based on six years of extensive research that draws from over 40 interviews, the analysis of over 4000 photographs of architectural models, and more than 700 documentary sources, written in an accessible style making it suitable for a broad audience. * Illustrated with never-before-seen photographs of historic architectural models from the 20th century drawn from private archives, including over 100 images from the Thorp archive, which is the largest known collection of material relating to architectural modelmaking in the world containing over 30,000 photographs and historic documents.

This book explores the historical and cultural significance of comics in languages other than English, examining the geographic and linguistic spheres which these comics inhabit and their contributions to comic studies and academia. The volume brings together texts across a wide range of genres, styles and geographic locations including the Netherlands, Latin America, Greece, Sweden, Poland, Finland, Portugal, Ireland, the Czech Republic, among others. These works have remained out of reach for speakers of languages other than the original and do not receive the scholarly attention they deserve due to their lack of English translations. This book highlights the richness and diversity these works add to the corpus of comic art and comic studies that Anglophone comics scholars can access to broaden the collective perspective of the field and forge links across regions, genres and comic traditions. Part of the Global Perspectives in Comics Studies series, this volume spans many continents and languages. It will be of interest to researchers and students of comics studies, literature, cultural studies, popular culture, art and design, illustration, history, film studies and sociology.

This book examines the ways in which luxury fashion brands use their heritage in their digital storytelling and marketing. With chapters from authors in China and Macau (PRC), India, Romania, Turkey, the United Kingdom, and the United States, covering British, Chinese, French, Japanese, Indian, Italian, and Turkish brands, this truly global collection is the first book of its kind devoted solely to the emerging study of digital heritage storytelling. This method of reaching potential consumers and perpetuating brand identity is a hugely important factor in the marketing of luxury brands and has yet to be studied comprehensively. The book will be of interest to scholars working in fashion studies, fashion history, design history, design studies, digital humanities, and fashion marketing.

Enriching the existing scholarship on this important exhibition, Italy at Work: Her Renaissance in Design Today (1950–53), this book shows the dynamic role art, specifically sculpture, played in constructing both Italian and American culture after World War II (WWII). Moving beyond previous studies, this book looks to the archival sources and beyond the history of design for a greater understanding of the stakes of the show. First, the book considers art’s role in this exhibition’s import—prominent mid-century sculptors like Giacomo Manzù, Fausto Melotti, and Lucio Fontana were included. Second, it foregrounds the particular role sculpture was able to play in transcending the boundaries of fine art and craft to showcase innovative formalist aesthetics of modernism without falling in the critiques of modernism playing out on the international stage in terms of state funding for art. Third, the book engages with the larger socio-political use of art as a cultural soft power both within the American and Italian contexts. Fourth, it highlights the important role race and culture of Italians and Italian-Americans played in the installation and success of this exhibition. Lastly, therefore, this study connects an investigation of modernist sculpture, modern design, post-war exhibitions, sociology, and transatlantic politics and economics to highlight the important role sculpture played in post-war Italian and American cultural production. The book will be of interest to scholars working in art history, design history, museum studies, Italian studies, and American studies.

The #metoo movement has forced many fans to consider what they should do when they learn that a beloved artist has acted immorally. One natural thought is that fans ought to give up the artworks of immoral artists. In Why It's OK to Enjoy the Work of Immoral Artists, Mary Beth Willard argues for a more nuanced view. Enjoying art is part of a well-lived life, so we need good reasons to give it up. And it turns out good reasons are hard to find. Willard shows that it's reasonable to believe that most boycotts of artists won't succeed, so most of the time there's no ethical reason to join in. Someone who manages to separate the art from the artist isn't making an ethical mistake by buying and enjoying their art. She then considers the ethical dimensions of canceling artists and the so-called "cancel culture," arguing that canceling is ethically risky because it encourages moral grandstanding. Willard concludes by arguing that the popular debate has overlooked the power of art to change our lives for the good. It's of course OK to decide to give up the artwork of immoral artists, but - as Willard shows in this provocative little volume - it's OK to continue to enjoy their art as well. Key Features Offers accessible discussions of complicated philosophical topics like aesthetic value, collective action problems, and epistemic justice Provides a unique perspective and underexplored argument on the popular issue of cancellation Explores the role of aesthetic value in our lives, including its relation to our ethical decisions and our well being

This book traces the history of the Annunciation, exploring the deep and lasting impact of the event on the Western imagination. Waller explores the Annunciation from its appearance in Luke's Gospel, to its rise to prominence in religious doctrine and popular culture, and its gradual decline in importance during the Enlightenment.

Craft Economies provides a wide-ranging exploration of contemporary craft production, situating practices of amateur and professional making within a wider creative economy. Contributors address a diverse range of practices, sites and forms of making in a wide range of regional and national contexts, from floristry to ceramics and from crochet to coding. The volume considers the role of digital practices of making and the impact of the maker's movement as part of larger trends around customization, on-demand production, and the possibilities of 3D printing and digital manufacturing.

In this study, first published in 1979, Landow contends that Hunt's version of Pre-Raphaelitism concerned itself primarily with an elaborate system of painterly symbolism rather than with a photographic realism as has been usually supposed. Like Ruskin, Hunt believed that a symbolism based on scriptural typology - the method of finding anticipations of Christ in Hebrew history - could produce an ideal art that would solve the problems of Victorian painting. According to Hunt, this elaborate symbolism could simultaneously avoid the dangers of materialism inherent in a realistic style, the dead conventionalism of academic art, and the sentimentality of much contemporary painting. George Landow examines Hunt's work in the context of this argument and, drawing on much unknown or previously inaccessible material, shows how he used texts, frames, and symbols to create a complex art of mediation that became increasingly visionary as the artist grew older. This book is ideal for students of art history.

This compelling and in-depth study looks at some of the most inspiring and iconic brutalist buildings, in a quest to find the soul of one of modern architecture's most misunderstood movements. No modern architectural style has aroused so much awe and so much ire as Brutalism. This is architecture at its most assertive: compelling, distinctive, sometimes terrifying. But, as Concrete Concept shows, Brutalism can be about love as well as hate. This inspiring and informative photographic survey profiles 50 brutalist buildings from around the world. Travelling the globe - from Le Corbusier's Unite d'Habitation (Marseille, France), to the Former Whitney Museum (New York City, USA) to Preston Bus Station (Preston, UK) - this book covers concrete architecture in its most extraordinary forms, demonstrating how Brutalism has changed our landscapes and infected popular culture. Author and architecture expert Christopher Beanland writes passionately about how this style came to be, tracing its origins from the modernist art movement, the trauma of World War Two and the need for municipal renewal. Now in a stylish mini format, this is the perfect tour of Brutalism's biggest hits. "A lively journey around the world's brutalist buildings" Frieze.com "A dazzlingly shot whistle-stop of the much-maligned style's greatest hits ... the book showcases confidence, clarity and the historical importance of the movement." Monocle

This book investigates the interconnections between textile and architecture via a variety of case studies from the Middle Ages through the twentieth century and from diverse geographic contexts. Among the oldest human technologies, building and weaving have intertwined histories. Textile structures go back to Palaeolithic times and are still in use today and textile furnishings have long been used in interiors. Beyond its use as a material, textile has offered a captivating model and metaphor for architecture through its ability to enclose, tie together, weave, communicate, and adorn. Recently, architects have shown a renewed interest in the textile medium due to the use of computer-aided design, digital fabrication, and innovative materials and engineering. The essays edited and compiled here, work across disciplines to provide new insights into the enduring relationship between textiles and architecture. The contributors critically explore the spatial and material qualities of textiles as well as cultural and political significance of textile artifacts, patterns, and metaphors in architecture. Textile in Architecture is organized into three sections: "Ritual Spaces," which examines the role of textiles in the formation and performance of socio-political, religious, and civic rituals; "Public and Private Interiors" explores how textiles transformed interiors corresponding to changing aesthetics, cultural values, and material practices; and "Materiality and Material Translations," which considers textile as metaphor and model in the materiality of built environment. Including cases from Morocco, Samoa, France, India, UK, Spain, the Ancient Andes and the Ottoman Empire, this is essential reading for any student or researcher interested in textiles in architecture through the ages.

This book is devoted to the concept of horizontal art history-a proposal of a paradigm shift formulated by the Polish art historian Piotr Piotrowski (1952-2015)-that aims at undermining the hegemony of the discourse of art history created in the Western world. The concept of horizontal art history is one of many ideas on how to conduct nonhierarchical art historical analysis that have been developed in different geopolitical locations since at least the 1970s, parallel to the ongoing process of decolonization. This book is a critical examination of horizontal art history which provokes a discussion on the original concept of horizontal art history and possible methods to extend it. This is an edited volume written by international scholars who acknowledge the importance of the concept, share its basic assumptions and are aware both of its advantages and limitations. The book will be of interest to scholars working in art history, art historiography and postcolonial studies.

Discover the history and theory of graphic design from the past 150 years, and how that comes to bear on contemporary design. Designer, writer and lecturer Theo Inglis takes readers through the core building blocks of graphic design such as composition, colour, medium and typography, and explores how each has been utilized and revolutionized by designers through history, and up to the present day. This book will expand your knowledge of the world of design and provide you with practical take-aways to inform your own creative practice.

Historically, marbled paper has been used for decor projects from book-binding to wallpaper and everything in between. This Florentine collection is a mesmerising design, 4 images packaged in a beautiful box. Useful as a gift or for your own correspondence, this box looks just as beautiful on the mantle or desk. 20 notecards and envelopes, 5 each of 4 images. Packaged in a sleek, sturdy flip-top box with magnetic closure. Cards printed on coated paper stock to bring out their full colour. Cards and envelopes bundled together with a paper belly band inside each box. Box measurements 143 x 120 x 34mm.

This book looks at what motivates us to take photographs and at some of the methods of using the camera to do so successfully. It also examines some standards that should be applied to the photographs that we take of buildings to ensure that they will be useful documents in the record of the historic environment. Writing about photography tends to verge towards the technical, but the intention with this book is to `keep it simple'. Light is what we work with, whether we make use of existing light sources or introduce our own; it is this which will most greatly influence our photographs and our understanding of what we have captured through the lens. Digital capture is a great liberator for the photographer, but this can lead to a scatter gun approach. This book brings a more thorough and measured approach to the process. Other factors such as viewpoint and technical settings on the camera will also play a vital part in the story we want to tell. Illustrated throughout with examples of good and bad practice, this book sets out techniques and strategies in a simple and straightforward way for those who want to make their photographs of buildings truly effective.

Maxwell Fry and Jane Drew were pioneers of Modern Architecture in Britain and its former colonies from the late 1920s through to the early 1970s. As a barometer of twentieth century architecture, their work traces the major cultural developments of that century from the development of modernism, its spread into the late-colonial arena and finally, to its re-evaluation that resulted in a more expressive, formalist approach in the post-war era. This book thoroughly examines Fry and Drew's highly influential 'Tropical Architecture' in West Africa and India, whilst also discussing their British work, such as their post World War II projects for the Festival of Britain, Harlow New Town, Pilkington Brothers' Headquarters and Coychurch Crematorium. It highlights the collaborative nature of Fry and Drew's work, including schemes undertaken with Elizabeth Denby, Walter Gropius, Denys Lasdun, Pierre Jeanneret and Le Corbusier. Positioning their architecture, writing and educational endeavours within a wider context, this book illustrates the significant artistic and cultural contributions made by Fry and Drew throughout their lengthy careers.

Fifty years after the Second Vatican Council, architectural historian Robert Proctor examines the transformations in British Roman Catholic church architecture that took place in the two decades surrounding this crucial event. Inspired by new thinking in theology and changing practices of worship, and by a growing acceptance of modern art and architecture, architects designed radical new forms of church building in a campaign of new buildings for new urban contexts. A focussed study of mid-twentieth century church architecture, Building the Modern Church considers how architects and clergy constructed the image and reality of the Church as an institution through its buildings. The author examines changing conceptions of tradition and modernity, and the development of a modern church architecture that drew from the ideas of the liturgical movement. The role of Catholic clergy as patrons of modern architecture and art and the changing attitudes of the Church and its architects to modernity are examined, explaining how different strands of post-war architecture were adopted in the field of ecclesiastical buildings. The church building's social role in defining communities through rituals and symbols is also considered, together with the relationships between churches and modernist urban planning in new towns and suburbs. Case studies analysed in detail include significant buildings and architects that have remained little known until now. Based on meticulous historical research in primary sources, theoretically informed, fully referenced, and thoroughly illustrated, this book will be of interest to anyone concerned with the church architecture, art and theology of this period.