This book illuminates the crucial role photography played from the very beginning of the Russian colonial presence in Central Asia and its entanglement with the orientalist legacy that followed. Inessa Kouteinikova examines these under-studied materials while also addressing the photographic market and reception of photography in the Russian Empire, the position of the popular press, the place of public exhibitions and emergence of the first ethnographic museums that took pace from Moscow to Tashkent during the time of the Russian conquest. This book embraces the dominant mode for representing the new colonial territories in the mid-late-19th-century Russia, by outlining the technical, commercial and artistic milieus during the Golden Age of Russian orientalism. The book will be of interest to scholars working in art history, history of photography and Russian studies.

Postdisciplinary Knowledge is the first book to articulate postdisciplinarity in philosophical, theoretical and methodological terms, helping to establish it as an important intellectual movement of the twenty-first century. It formulates what postdisciplinarity is, and how it can be implemented in research practice. The diverse chapters present a rich collection of highly creative thought-provoking essays and methodological insights. Written by a number of pioneering intellectuals with a range of backgrounds and research foci, these chapters cover a broad spectrum of areas demonstrating alternative ways of producing knowledge. Essays are interspersed with dialogue, encouraging a comprehensive and engaging discussion on this emerging movement. Not limited to a specific field or discipline, this will be of great interest to upper-level students and researchers in a wide range of subject areas, including: tourism, sociology, education, psychology, physiotherapy, fine arts, architecture and design, as well as those with a general interest in epistemology and methodology.

For the past 50 years, the advancements of technology have equipped architects with unique tools that have enabled the development of new computer-mediated design methods, fabrication techniques, and architectural expressions. Simultaneously, in contemporary architecture new frameworks emerged that have radically redefined the traditional conceptions of design, of the built environment, and of the role of architects. Cybernetic Architectures argues that such frameworks have been constructed in direct reference to cybernetic thinking, a thought model that emerged concurrently with the origins of informatics and that embodies the main assumptions, values, and ideals underlying the development of computer science. The book explains how the evolution of the computational perspective in architecture has been parallel to the construction of design issues in reference to the central ideas fostered by the cybernetic model. It unpacks and explains this crucial relationship, in the work of digital architects, between the use of information technology in design and the conception of architectural problems around an informational ontology. This book will appeal to architecture students and scholars interested in understanding the recent transformations in the architectural landscape related to the advent of computer-based design paradigms.

Art, value, law - the links between these three terms mark a history of struggle in the cultural scene. Studies of contemporary culture have thus increasingly turned to the image as central to the production of legitimacy, aesthetics and order. Judging the Image extends the cultural turn in legal and criminological studies by interrogating our responses to the image. This book provides a space to think through problems of ethics, social authority and the legal imagination. Concepts of memory and interpretation, violence and aesthetic, authority and legitimacy are considered in a diverse range of sites, including:
* body, performance and regulation
* judgment, censorship and controversial artworks
* graffiti and the aesthetics of public space
* HIV and the art of the disappearing body
* witnessing, ethics and the performance of suffering
* memorial images - art in the wake of disaster.

What does 'Art' Mean Now? asks, and answers, fundamental questions about the nature of aesthetic experience and role of the arts in contemporary society. The Modern Age, Romanticism and beyond. viewed art as something transcending and separated from life, and usually something encountered in museums or classrooms. Nowadays, however, art tends to be defined not by a commonly agreed-upon standard of 'quality' or by its forms, such as painting and sculpture, but instead by political and ideological criteria. So how do we connect with the works in museums whose point was precisely they stood apart from such considerations? Can we and should we be educated to "appreciate" art-and what does it do for us anyway? What are we to make of the so-different newer works-installations, performances, excerpts from the world-held to be art that increasingly make it into museums? Adopting a subjectivist approach, this book argues that in the absence of a universal judgement or standard of taste, the experience of art is one of freedom. The arts and literature give us the means to conceptualize our lives, showing us ourselves as we are and as we might wish-or not wish-to be, as well as where we have been and where we are going. It will appeal to scholars of sociology, philosophy, museum studies, and art history, and to anyone interested in, or puzzled by, museums or college courses and their presentation of art today.

Many people have a love of maps. But what lies behind the process of map-making? How have cartographers through the centuries developed their craft and established a language of maps which helps them to better represent our world and users to understand it? This book tells the story of how widely accepted mapping conventions originated and evolved - from map orientation, projections, typography and scale, to the use of colour, map symbols, ways of representing relief and the treatment of boundaries and place names. It charts the fascinating story of how conventions have changed in response to new technologies and ever-changing mapping requirements, how symbols can be a matter of life or death, why universal acceptance of conventions can be difficult to achieve and how new mapping conventions are developing to meet the needs of modern cartography. Here is an accessible and enlightening guide to the sometimes hidden techniques of map-making through the centuries.

Shows in hundreds of illustrations, diagrams, and photographs what it is that makes an artful facade, so that readers are equipped to design beautiful, meaningful buildings Discusses proportional systems, the language of composition, how to use precedents, the importance of context, the role of structure, and much more Nontechnical approach will ground readers in the basics of how architecture expresses meaning by looking at both historic and contemporary buildings

In this fascinating new book, Rosalinda Quintieri addresses some of the key questions of visual theory concerning our unending fascination with simulacra by evaluating the recent return of the life-size doll in European and American visual culture. Through a focus on the contemporary photographic and cinematic forms of this figure and a critical mobilisation of its anthropological complexity, this book offers a new critical understanding of this classical aesthetic motif as a way to explore the relevance that doubling, fantasy and simulation hold in our contemporary culture. Quintieri explores the figure of the inanimate human double as an "inhuman partner", reflecting on contemporary visuality as the field of a hypermodern, post-Oedipal aesthetic. Through a series of case studies that blur traditional boundaries between practices (photography, performance, sculpture, painting, documentary) and between genres (comedy, drama, fairy tale), Quintieri puts in contrast the new function of the double and its plays of simulations on the background of the capitalist injunction to enjoy. Engaging with new theories on post-Oedipal forms of subjectivity developed within the Lacanian orientation of psychoanalysis, Quintieri offers exciting analyses of still and moving photographic work, giving body to an original aesthetic model that promises to revitalise our understanding of contemporary photography and visual culture. It will appeal to psychoanalysts and researchers from Lacanian psychoanalysis, visual studies and cultural theory, as well as readers with an academic interest in the cultural history of dolls and the theory of the uncanny.

“A stunning atlas of the present and future."—Rebecca Solnit, author of several books including Infinite Cities: A Trilogy of Atlases—San Francisco, New Orleans, New York This immersive portal to islands around the world highlights the impacts of sea level rise and shimmers with hopeful solutions to combat it.   Atlases are being redrawn as islands are disappearing. What does an island see when the sea rises? Sea Change: An Atlas of Islands in a Rising Ocean weaves together essays, maps, art, and poetry to show us—and make us see—island nations in a warming world. Low-lying islands are least responsible for global warming, but they are suffering the brunt of it. This transportive atlas reorients our vantage point to place islands at the center of the story, highlighting Indigenous and Black voices and the work of communities taking action for local and global climate justice. At once serious and playful, well-researched and lavishly designed, Sea Change is a stunning exploration of the climate and our world's coastlines. Full of immersive storytelling, scientific expertise, and rallying cries from island populations that shout with hope—"We are not drowning! We are fighting!"—this atlas will galvanize readers in the fight against climate change and the choices we all face.

Contents:
1. Classical Sociological Theory and the Sociology of Art 1.1 Marxism and Art History 1.2 Max Weber: art and cultural rationalisation 1.3 Georg Simmel: the aesthetics of social reality 1.4 Emile Durkheim: social structure, material culture and symbolic communication 2. The Social Production of Art 2.1 Raymond Williams: "Productive Forces", "From Reflection to meditation" 2.2 Howard Becker: "Art as Collective Action" 2.3 Pierre Boudiue: "But who created the creators?" 3. The Sociology of the Artist Commentary 3.1 A. Hauser: "The Social Status of the Renaissance Artist" 3.2 Natalie Heinich: "The Van Gogh Effect" 3.3 Norbert Elias: "Craftsman's art and artisits art" 3.4 David Brian: "Material agency and the art of artifacts" 4. Museums and the Social Construction of High Culture Commentary 4.1 Jurgen Habermas: "Art criticism and the institutions of the public sphere 4.2 Pierre Bourdieu: "Outline of a sociological theory or art perception" 4.3 Paul Di Maggio: "Cultural entrepreneurship in 19th century Boston: the creation of an organisational base for high culture in America" 4.4 Vera Zolberg: "Conflicting visions in American art museums" 5. Sociology, Aesthetic Form and the Specificity of Art 5.1 Karl Mannheim: "The Dynamics of spiritual realities" 5.2 Robert Witkin: "van Eyck through the looking glass: social structure, semiotic codes and the aesthetics of naturalism 5.3 Talcott Parsons: "Art as expressive symbolism: action theory and the sociology of art"

An array of visual cultural artefacts from countries around the world and a range of analytical/practical approaches are brought together, rendering the book suitable reading not only for such subjects as architecture, media and museum studies, but also art history, Japanese and Chinese studies, and history. Offers novel, pioneering insights into digital approaches - an area of rapidly increasing interest in the arts and humanities. Student friendly: Chapters are accessible, concise and jargon free and each includes a chapter summary, detailed bibliography, notes on further reading, links to additional resources. As additional teaching resources, the authors plan to supplement the book with an online 'Catalogue Raisonne', which represents a first effort towards creating a cinematic encyclopedia of lived domestic situations, a form of standardized visual spatial ethnography across cultures.

Experience the wonders of human creativity in GARDNER'S ART THROUGH THE AGES: A GLOBAL HISTORY, 16th Edition! A grand tour of the world's most celebrated works from the Stone Age to the modern era, this introductory text has been a classroom favorite for 85 years. Every chapter includes rich and compelling discussions of pivotal art works, periods and geographies in art history, as well as new artists and art forms. Of course, the bold illustrations on the pages look almost as good as the real thing, especially when you use the unique Scale feature to imagine a work's stature from the artist's point of view. And to keep your course success in focus, the text offers Quick Review Captions and Big Picture Overviews, as well as an optional ebook that enables you to zoom in on fine details of paintings, sculptures, and priceless art forms of all kinds.

Architecture's relationship with its representations is peculiar, powerful and critical. Though driven by belief in the characteristics of physical reality, architecture is identified, discussed, and explained almost entirely through representations. Indeed, the representations are often described as though they were architecture itself. The status of the imaginary project, and the shifts in media technology which affect how we make and see architecture, are part of a construct of media representations, including photographs, exhibitions, journalism, books, critical theory, by which we define what is architecture.

This is Not Architecture assembles architectural writers of different kinds - historians, theorists, journalists, computer game designers, technologists, film-makers and architects - to discuss the characteristics, cultures, limitations and bias of the different kinds of media, and to build up an argument as to how this complex culture of representations is constructed.

The export of American architecture began in the nineteenth century as a disjointed set of personal adventures and commercial initiatives. It continues today alongside the transfer of other aspects of American life and culture to most regions of the world. Jeffrey Cody explains how, why and where American architects, planners, building contractors and other actors have marketed American architecture overseas. In so doing he provides a historical perspective on the diffusion of American building technologies, architectural standards, construction methods and planning paradigms. Using previously undocumented examples and illustrations, he shows how steel-frame manufacturers shipped their products abroad enabling the erection of American-style skyscrapers worldwide by 1900 and how this phase was followed by similar initiatives by companies manufacturing concrete components.

The story of dealers of Old Masters, champions of modern art, and victims of Nazi plunder. Since the late-1990s, the fate of Nazi stolen art has become a cause celebre. In Belonging and Betrayal, Charles Dellheim turns this story on its head by revealing how certain Jewish outsiders came to acquire so many old and modern masterpieces in the first place - and what this reveals about Jews, art, and modernity. This book tells the epic story of the fortunes and misfortunes of a small number of eminent art dealers and collectors who, against the odds, played a pivotal role in the migration of works of art from Europe to the United States and in the triumph of modern art. Beautifully written and compellingly told, this story takes place on both sides of the Atlantic from the late nineteenth century to the present. It is set against the backdrop of critical transformations, among them the gradual opening of European high culture, the ambiguities of Jewish acculturation, the massive sell-off of aristocratic family art collections, the emergence of different schools of modern art, the cultural impact of World War I, and the Nazi war against the Jews.

This book engages artistic interventions in the aerial elements to investigate the aesthetics and politics of atmosphere. Sensing Art in the Atmosphere: Elemental Lures and Aerosolar Practices traces the potential of artistic, community-driven experiments to amplify our sensing of atmosphere, marrying attentions to atmospheric affect with visceral awareness of the materials, institutions and processes hovering in the air. Drawing on six years of practice-led research with artistic and activist initiatives Museo Aero Solar and Aerocene, initiated by artist Tomas Saraceno, each chapter develops creative relations to atmosphere from the studio to stratospheric currents. Through narrative-led writing, the voices of artists and collaborators are situated and central. In dialogue with these aerographic stories and sites, the book develops a notion of elemental lures: the sensual and imaginative propositions of aerial, atmospheric and meteorological phenomena. The promise of elemental lures, Engelmann suggests, is to reconcile our sensing of atmosphere with the myriad social, cultural and political forces suspended in it. Through tales of floating journeys, shared envelopes of breath and surreal levitations, the book foregrounds the role of art in crafting alternative modes of perceiving, moving and imagining (in) the air. The book ends with a call for elemental experiments in the geohumanities. It makes an important and original contribution to elemental geographies, the geohumanities and interdisciplinary scholarship on air and atmosphere.

Tavistock Press was established as a co-operative venture between the Tavistock Institute and Routledge & Kegan Paul (RKP) in the 1950s to produce a series of major contributions across the social sciences. This volume is part of a 2001 reissue of a selection of those important works which have since gone out of print, or are difficult to locate. Published by Routledge, 112 volumes in total are being brought together under the name The International Behavioural and Social Sciences Library: Classics from the Tavistock Press. Reproduced here in facsimile, this volume was originally published in 1965 and is available individually. The collection is also available in a number of themed mini-sets of between 5 and 13 volumes, or as a complete collection.

This book investigates the practices of reconstructing and representing performance art and their power to shape this art form and our understanding of it. Performance art emerged internationally between the 1960s and 1970s crossing disciplinary boundaries between performing arts and visual arts. Because of the challenge it posed to the ontologies and paradigms of these fields, performance art has since stimulated an ongoing debate on the most appropriate means to document, preserve and display it. Tancredi Gusman brings together international scholars from different disciplinary fields to examine methods, media, and approaches by which this art form has been represented and (re)activated over time and its transnational history reconstructed. Through contributions and case studies spanning various countries, regions and artistic fields, the authors outline an innovative theoretical-methodological framework for capturing the processes and strategies for transmitting the tangible and intangible heritage of performance art. This book will be of great appeal to students, researchers, and practitioners in the fields of Theatre and Performance Studies as well as Visual Arts and Art History, who have an interest in performance art, its history and presence in the contemporary artistic and cultural landscape.

An unprecedented survey of more than 250 architects who continue to define one of the most polarizing yet celebrated of styles Brutalist architecture inspires a passionate response, be it adulation or contempt. There is no disputing, however, that the style produces some of the world's most breathtaking buildings. This landmark volume documents the movement as never before, by profiling the architects behind the style. Featuring more than 250 historic and contemporary architects (organised alphabetically) along with specially selected examples of their work, this book includes international icons alongside those who are less well known or who have for too long been neglected, providing a unique record of this influential global architecture movement. The book includes 350 stunning images of more than 200 iconic Brutalist buildings, alongside fresh and surprising masterworks from 1936 to the present day, creating the ultimate companion to the Brutalist masters. Featured architects include: John Andrews; Joao Batista Vilanova Artigas; Lina Bo Bardi; Bogdan Bogdanovic; Marcel Breuer; Douglas Cardinal; Andre-Jacques Dunoyer de Segonzac; Bertrand Goldberg; Erno Goldfinger; Jadwiga Grabowska-Hawrylak; Agustin Hernandez Navarro; John M. Johansen; Louis I. Kahn; Denys Lasdun; Le Corbusier; Joao da Gama Filgueiras Lima; Alberto Linner Diaz; Owen Luder; Paulo Mendes da Rocha; Oscar Niemeyer; William L. Pereira; Affonso Eduardo Reidy; Paul Rudolph; Moshe Safdie; Alison Smithson; Clorindo Testa; Decio Tozzi; and John Carl Warnecke

A critical reconsideration of the history of photography that explores how commerce and conflict fueled its practice in nineteenth-century China Photography's development as a new form of art and technology coincided with profound changes in the way China engaged with the world in the nineteenth century. The medium evolved in response to war, trade, travel, and a desire for knowledge about an unfamiliar place. Power and Perspective provides a rich account of the exchanges among photographers, artists, patrons, and subjects in the treaty port cities that connected China and the West. Drawing primarily from the Peabody Essex Museum's historic and largely unpublished collection of photographs, this generously illustrated volume examines the confrontations and collaborations that shaped the adoption and practice of photography in China. Offering an original reassessment of the colonial legacy of the medium, Power and Perspective addresses photography's representations of racial hierarchy and its entanglement with histories of European imperialism in nineteenth-century China. Distributed for the Peabody Essex Museum Exhibition Schedule: Peabody Essex Museum, Salem, MA (September 24, 2022-April 2, 2023)

- Explores the history of interior decorating and design from the late nineteenth century to the present, focusing on the period from 1905 to 1960 - Emphasizes careers and contributions of significant American female interior designers who were instrumental in the creation of the field of residential and commercial interior design in the United States - Examines the complex relationships among professionals in the design fields, the social dynamics of designer-client relationships, and how class, culture and family influenced their lives and careers - Candace Wheeler, Elsie de Wolfe, Edith Wharton, Dorothy Draper, Sister Parish, Florence Knoll, among many others, will be showcased

The story of the Great Liners begins on the Atlantic route between the Old World and the New, between Europe and the United States. It was the most prestigious, most progressive and certainly most competitive ocean liner run of all time. It was on the North Atlantic that the largest, fastest and indeed grandest passenger ships were created. In this book, William Miller concentrates for the most part on these Atlantic superliners. It has been a race, sometimes fierce, that has continued for well over a century. Smaller passenger ships, even ones of 30,000 and 40,000 tons, are for the most part left to other books. The story begins even earlier, in 1889, when Germany's Kaiser Wilhelm II visited his grandmother, Queen Victoria, and attended the British Naval Review at Spithead. The British were more than pleased to show off not only the mightiest naval vessels afloat, but the biggest passenger ships then afloat, namely the 10,000-ton 'Teutonic' of the White Star Line. These ships caught the Kaiser's royal eye. His enthusiasm, his determination and, assuredly, his jealousies were aroused. Her returned to his homeland determined that Germany should have bigger and better ships.The world must know, he theorized, that Imperial Germany had reached new and higher technological heights. To the Kaiser and other envious Germans, the British had, quite simply, had a monopoly on the biggest ships long enough. British engineers and even shipyard crews were recruited, teaching German shipbuilders the key components of a new generation of larger ships. Shipyards at Bremen, Hamburg and Stettin were soon ready. It would all take eight years, however, before the first big German liner would be completed. She would be large enough and fast enough to be dubbed the world's first "super liner". She would only be the biggest vessel built in Germany, but the biggest afloat. The nation's most prominent shipowners, the Hamburg America Line and the North German Lloyd, were both deeply interested. It was the Lloyd, however, which rose first to the occasion. Enthusiastically and optimistically, the first ship was the first of a successive quartet. The illustrious Vulkan Shipyard at Stettin was given the prized contract. Triumph seemed to be in the air! The Kaiser himself went to the launching, on 3 May 1897, of this new Imperial flagship.Designed with four funnels but grouped in pairs, the 655-ft long ship was named 'Kaiser Wilhelm der Grosse', honoring the Emperor's grandfather. With the rattle of chains, the release of the building blocks and then the tumultuous roar as the unfinished hull hit the water, this launching was the beginning of the Atlantic race for supremacy, which would last for some 70 years. Only after the first arrival of the trans-Atlantic jet in October 1958 would the race quiet down. The 'Kaiser Wilhelm der Grosse' was the great beginning, the start of a superb fleet of what has been dubbed "ocean greyhounds" and later aptly called the "floating palaces". Worried and cautious, the normally contented British referred to the brand new Kaiser as a "German monster".

This is the first English-language account of the modern history of China's art market that explains the radical transformations from the end of the Cultural Revolution, when a market for art and artifacts did not exist, to today. The book is divided into three sections: Part I examines how the art market in China was suspended during the Cultural Revolution, restarted, grew, and expanded into its current scale. Part II analyzes the distinctive value system of the Chinese art market where the state-run art system including academies, artist associations and museums co-exist with an independent market-oriented system; and traverses the most significant policies that drive decision making and market structure. Part III explores the driving force of art creation by telling the stories of five contemporary artists across three generations. Arts and culture professionals, scholars, and students interested in Chinese art, global art markets, Chinese government policy, and China will find this to be a valuable resource.