This beautifully produced survey of over a thousand years of Western art and architecture introduces the reader to a vast period of history ranging from ancient Rome to the age of exploration. The monumental arts and the diverse minor arts of the Middle Ages are presented here within the social, religious, and political frameworks of lands as varied as France and Denmark, Spain and Turkey. Marilyn Stokstad also teaches her reader how to look at medieval art-which aspects of architecture, sculpture, or painting are important and for what reasons. Stylistic and iconographic issues and themes are thoroughly addressed with attention paid to aesthetic and social contexts.

Brings together a collection of illustrated essays dedicated to exploring the complex processes that transformed architecture's pedagogies in the 20th century. Includes contributions from Belgium, South Africa, USA, Australia, Italy and Sweden Presents illustrated case studies of works by architects, educators and theorists including Dalibor Vesely, Dom Hans van der Laan, Alessandro Mendini, Heinrich Woelfflin, Alfons Hoppenbrouwers, Joseph Rykwert, Pancho Guedes and Robert Cummings

Photography is a ubiquitous part of the public sphere. Yet we rarely stop to think about the important role that photography plays in helping to define what and who constitute the public. Photography and Its Publics brings together leading experts and emerging thinkers to consider the special role of photography in shaping how the public is addressed, seen and represented.This book responds to a growing body of recent scholarship and flourishing interest in photography's connections to the law, society, culture, politics, social change, the media and visual ethics.Photography and Its Publics presents the public sphere as a vibrant setting where these realms are produced, contested and entwined. Public spheres involve yet exceed the limits of families, interest groups, identities and communities. They are dynamic realms of visibility, discussion, reflection and possible conflict among strangers of different race, age, gender, social and economic status. Through studies of photography in South America, North America, Europe and Australasia, the contributors consider how photography has changed the way we understand and locate the public sphere. As they address key themes including the referential and imaginative qualities of photography, the transnational circulation of photographs, online publics, social change, violence, conflict and the ethics of spectatorship, the authors provide new insight into photography's vital role in defining public life.

This book introduces and defines the burgeoning concepts of transculturalism and essentialism and how they relate to one another, as articulated with reference to the work of Jorn Utzon. It introduces critical contemporary perspectives of the design thinking and career of this renowned Danish architect, internationally recognised for his competition-winning, iconic design for the Sydney Opera House - an outstanding exemplar of transcultural essentialism in architecture. Transcultural essentialism is analysed through the lens of critical regionalism and architectural phenomenology, with emphasis on the sense of place and tectonics in Utzon's architectural works. It provides a new understanding of the Danish architect as an early proponent of a still emergent and increasingly relevant direction in architecture. Going beyond biographical studies, it presents a more comprehensive understanding of the broad range of transcultural influences that formed his thinking. The volume includes numerous previously unpublished photographs, drawings, and interviews with Utzon's family members, former students, and colleagues, offering a significant contribution to the existing body of knowledge for any architecture scholar interested in Utzon's work and design principles. The book also comprises a Foreword by eminent architecture theorist Juhani Pallasmaa in which he provides insights into the wider architectural and cultural context of Utzon's worldview.

Amongst the Ruins explores the loss of ancient civilizations, the collapse of ruling elites, and the disappearance of more recent communities and their local traditions. Some of these are now sealed under 3,000-year-old peat, others lost to rising seas or sands, and the carcasses of twentieth-century buildings which serve as reminders of the destructive power of war. These compelling stories of fallen or lost places are brought together through themes of war, climate change, natural hazards, human self-destruction, and simple economics. From the ice of the Arctic fringe, through to the desert landscapes of North Africa, by way of South America's high mountains and Southeast Asia's urban sprawl, Amongst the Ruins charts the rise and fall of places and communities around the world, the fascinating characters associated with them, and the important events that punctuate their history. Exploring wide-ranging examples from prehistory to the present day, John Darlington challenges us to recognize past failures and identify what we need to do to protect the cultures of our current world.

This is a pioneering introduction to a subject that is still at an early srage of academic development. It aims to provide the reader with a systematic method for the historical understanding of African art. Professor Vansina considers the medium, technique, style and meaning of art objects and examines the creative process through which they come into being. Numerous photographs and drawings illustrate his arguments, and help to explain the changes that have taken place.

Addresses the changing nature of public life alongside an analysis of changes in the architectural profession. Contains thought-provoking chapters from some of the disciplines' leading thinkers and draws together new research that helps us to look again at the question of urban development. Focuses on the link between architecture, urban theory and societal ideas.

Addresses the changing nature of public life alongside an analysis of changes in the architectural profession. Contains thought-provoking chapters from some of the disciplines' leading thinkers and draws together new research that helps us to look again at the question of urban development. Focuses on the link between architecture, urban theory and societal ideas.

This volume examines the visual culture of Japan's transition to modernity, from 1868 to the first decades of the twentieth century. Through this important moment in Japanese history, contributors reflect on Japan's transcultural artistic imagination vis-a-vis the discernment, negotiation, assimilation, and assemblage of diverse aesthetic concepts and visual pursuits. The collected chapters show how new cultural notions were partially modified and integrated to become the artistic methods of modern Japan, based on the hybridization of major ideologies, visualities, technologies, productions, formulations, and modes of representation. The book presents case studies of creative transformation demonstrating how new concepts and methods were perceived and altered to match views and theories prevalent in Meiji Japan, and by what means different practitioners negotiated between their existing skills and the knowledge generated from incoming ideas to create innovative modes of practice and representation that reflected the specificity of modern Japanese artistic circumstances. The book will be of interest to scholars working in art history, Japanese studies, Asian studies, and Japanese history, as well as those who use approaches and methods related to globalization, cross-cultural studies, transcultural exchange, and interdisciplinary studies.

A hand-drawn guide to architectural styles throughout history Architectural Styles is an incomparable guide to architectural styles across the centuries and around the world. Modeled after an architect's plein air sketchbook, the volume features hundreds of detailed drawings by esteemed architectural illustrator Robbie Polley alongside incisive and informative descriptions. This unique guidebook takes readers from Europe and the Americas to Egypt, China, and India. It covers a host of historical and contemporary architectural styles, from ancient and classical to Pre-Columbian, Romanesque, Renaissance, Palladian, art nouveau, Brutalist, and biomorphic. It describes the histories and characteristics of the building traditions of each era and region of the world, and looks at key architectural elements such as buttresses, spandrels, curtain walls, and oculi. The book also includes a section on building parts-from domes and columns to towers, arches, roofs, and vaulting-along with a detailed glossary and bibliography. Comprehensive and authoritative, Architectural Styles is an essential resource for architects and designers and a must-have illustrated guide for anyone interested in architecture or drawing.

Illuminates how new modes of artistic production in colonial India shaped the British state’s nationalisation of the East India Company, transforming the relationship between nation and empire   This pioneering book explores how art shaped the nationalisation of the East India Company between the loss of its primary monopoly in 1813 and its ultimate liquidation in 1858. Challenging the idea that parliament drove political reform, it argues instead that the Company’s political legitimacy was destabilised by novel modes of artistic production in colonial India. New artistic forms and practices—the result of new technologies like lithography and steam navigation, middle-class print formats like the periodical, the scrapbook and the literary annual, as well as the prevalence of amateur sketching among Company employees—reconfigured the colonial regime’s racial boundaries and techniques of governance. They flourished within transimperial networks, integrating middle-class societies with new political convictions and moral disciplines, and thereby eroding the aristocratic corporate cultures that had previously structured colonial authority in India.   Unmaking the East India Company contributes to a reassessment of British art as a global, corporate and intrinsically imperial phenomenon—highlighting the role of overlooked media, artistic styles and print formats in crafting those distinctions of power and identity that defined ‘Britishness’ across the world.   Distributed for the Paul Mellon Centre for Studies in British Art

Students will be encouraged and inspired to see themselves, their studies and art practices, their life and their world newly informed by a historical perspective enhanced by creative contributions from artists, imaginative philosophers and influential cultural commentators. Challenges the emphasis on the uniqueness of the contemporary cultural landscape - with its addictive social media and rolling news - to reveal and explore a more historical perspective that is always and also present in our thoughts, objects, images, ideas and actions. 'Widening participation' policies aim to involve more students from more and different backgrounds in Fine Art than ever before. Chapters that vary in length, along with interleaving of interviews, illustrations and appendices, all aim to make this book easy to progress-through and accessible to a broad and diverse readership with varying academic experience and abilities.

Originally published in 1980 and nominated for the Duff Cooper Prize, this was the first biography of Wyndham Lewis and was based on extensive archival research and interviews. It narrates Lewis' years at Rugby and the Slade, his bohemian life on the Continent, the creation of Vorticism and publication of Blast, and his experiences at Passchendaele, as well as his many love affairs, his bitter quarrels with Bloomsbury and the Sitwells, the suppressed books of the thirties, the evolution of his political ideas, his self-imposed exile in North America and creative resurgence during his final blindness. Jeffrey Meyers also describes Lewis' relationships with Roy Campbell, D. H. Lawrence, Katherine Mansfield, T. E Lawrence, Hemingway, Huxley, Yeats, Auden, Spender, Orwell and McLuhan. As the self-styled Enemy emerges from the shadows, he is seen as an independent and courageous artist and one of the most controversial and stimulating figures in modern English art and literature.

The first book to offer a comprehensive review of underground space Includes a wide range of examples of all forms of underground spaces Illustrated throughout with over 100 black and white images

What happens when a monumental thing is physically destroyed? Is its "life" as a socially significant, presencing thing at an end? Or might the process of destruction work to enhance its symbolic force, mediating work and presencing power? In this book Andrea Connor traces the 'afterlife' of two exemplary examples of monumental destruction and their re-investment with cultural value and symbolic significance. In 1993, during the Bosnian war, the Mostar Bridge was completely destroyed. Reconstructed in 2004, as an exact copy of the original, this "new Old Bridge" has assumed an afterlife as an intentional monument to reconciliation. The World Trade Centre, in New York, has also been transformed since its destruction in 2001, as a place of national mourning and remembrance, a symbolic void marking a singular act of terrorism. Using recent work on affect and object agency Connor considers their contested reconfiguration as sites of collective remembering and forgetting in new highly charged political contexts. She argues for a more expansive notion of reconstruction - encompassing not only the material and symbolic afterlife of both things but also their affecting afterlives as they are re-assembled in the present. Provoking a reconsideration of the way monuments and heritage sites, even in their absence, become powerful agents of historical narrativization, this work will be of interest to students and scholars in a range of fields including international relations, cultural studies, critical heritage studies, and material culture studies.

Through individual case studies involving the professions of sculptor, painter, potter, printmaker, and architect, this book addresses the question about what it meant to be an artist in Japan from the seventh century to the twentieth. How did artists go about their business? What degree of control did they exercise over their metier? How were they viewed by society? How was the image of the artist fashioned in various periods? Throughout much of Japan's past, artists' thoughts about their activities have remained unrecorded. Some of the essays in this volume reveal how the machine of political discourse worked to invent different views of the same artist over time. Others explore cases of later artists manipulating the names of earlier ones for professional or cultural gain, while still other essays reconstruct some of the forces brought to bear on artistic reception by the makers' contemporaries. The activities of artists whose stories are told here required the collaboration of numerous skilled colleagues, often deployed in the hierarchical structure of the hereditary workshop; they had to fight hard to gain social and economic recognition. The book also addresses issues of canon formation: by what complex process are some artists and objects singled out to communicate rhetorical or aesthetic meaning while others lapse into the background? Contributors include Karen L. Brock, Louise Allison Cort, Julie Nelson Davis, Christine M. E. Guth, Donald F. McCallum, Jonathan M. Reynolds, and Melinda Takeuchi.

Originally published in 1963 and edited by an authority on Wyndham Lewis (whom he also knew personally) this volume made available for the first time over 500 letters of Wyndham Lewis, who for half a century was a dynamic force among English artists and intellectuals. Culturally, Lewis played the dual role of innovator and iconoclast. Lewis's letters show the wide range of his interests as well as his great verbal energy and unrelenting intellect. Lewis knew most of the significant artists and writers of his time and some of them - Augustus John, Pound, Eliot and Joyce were his lifelong friends and chief correspondents. Regardless of to whom he was writing, he displayed his intense awareness of the personalities and currents around him.

This is the essential companion to the architecture of Cambridgeshire, fully revised for the first time in sixty years and featuring superb new photography. Half of the book is devoted to the famous university city, with its astonishingly rich and varied inheritance of college buildings including striking post-war additions. A combination of boldness and innovation may be found at Ely Cathedral, one of the greatest achievements of English medieval design. By comparison, the rest of the county remains surprisingly little known. Its largely unspoiled landscapes vary from the northern flat fen country to the rolling chalk uplands of the south and east; its architecture encompasses rewarding village churches, distinctive vernacular building in timber, stone, and brick, the former monastic sites at Denny and Anglesey, and the magnificent aristocratic seat of Wimpole Hall.

For over 150 years, Tlingit women artists have beaded colorful, intricately beautiful designs on moccasins, dolls, octopus bags, tunics, and other garments. Painful Beauty suggests that at a time when Indigenous cultural practices were actively being repressed, beading supported cultural continuity, demonstrating Tlingit women's resilience, strength, and power. Beadwork served many uses, from the ceremonial to the economic, as women created beaded pieces for community use and to sell to tourists. Like other Tlingit art, beadwork reflects rich artistic visions with deep connections to the environment, clan histories, and Tlingit worldviews. Contemporary Tlingit artists Alison Bremner, Chloe French, Shgen Doo Tan George, Lily Hudson Hope, Tanis S'eiltin, and Larry McNeil foreground the significance of historical beading practices in their diverse, boundary-pushing artworks. Working with museum collection materials, photographs, archives, and interviews with artists and elders, Megan Smetzer reframes this often overlooked artform as a site of historical negotiations and contemporary inspirations. She shows how beading gave Tlingit women the freedom to innovate aesthetically, assert their clan crests and identities, support tribal sovereignty, and pass on cultural knowledge. Painful Beauty is the first dedicated study of Tlingit beadwork and contributes to the expanding literature addressing women's artistic expressions on the Northwest Coast.

This book examines the development of national emblems, photographic portraiture, oil painting, world expositions, modern spaces for art exhibitions, university programs of visual arts, and other agencies of modern art in Korea. With few books on modern art in Korea available in English, this book is an authoritative volume on the topic and provides a comparative perspective on Asian modernism including Japan, China, and India. In turn, these essays also shed a light on Asian reception of and response to the Orientalism and exoticism popular in Europe and North America in the early twentieth century. The book will be of interest to scholars working in art history, the history of Asia, Asian studies, colonialism, nationalism, and cultural identity.

As one of the most monumental and recognisable landmarks from Zanzibar's years as a British Protectorate, the distinctive domed building of the Zanzibar Museum (also known as the Beit al-Amani or Peace Memorial Museum) is widely known and familiar to Zanzibaris and visitors alike. Yet the complicated and compelling history behind its construction and collection has been overlooked by historians until now. Drawing on a rich and wide range of hitherto unexplored archival, photographic, architectural and material evidence, this book is the first serious investigation of this remarkable institution. Although the museum was not opened until 1925, this book traces the longer history of colonial display which culminated in the establishment of the Zanzibar Museum. It reveals the complexity of colonial knowledge production in the changing political context of the twentieth century British Empire and explores the broad spectrum of people from diverse communities who shaped its existence as staff, informants, collectors and teachers. Through vivid narratives involving people, objects and exhibits, this book exposes the fractures, contradictions and tensions in creating and maintaining a colonial museum, and casts light on the conflicted character of the 'colonial mission' in eastern Africa.

While European eclecticism is examined as a critical and experimental moment in western art history, little research has been conducted to provide an intellectual depth of field to the historicist pursuits of late Ottoman architects as they maneuvered through the nineteenth century's vast inventory of available styles and embarked on a revivalist/Orientalist program they identified as the 'Ottoman Renaissance.' Ahmet A. Ersoy's book examines the complex historicist discourse underlying this belated 'renaissance' through a close reading of a text conceived as the movement's canonizing manifesto: the Usul-i Mi'mari-i 'Osmani [The Fundamentals of Ottoman Architecture] (Istanbul, 1873). In its translocal, cross-disciplinary scope, Ersoy's work explores the creative ways in which the Ottoman authors straddled the art-historical mainstream and their new, self-orientalizing aesthetics of locality. The study reveals how Orientalism was embraced by its very objects, the self-styled 'Orientals' of the modern world, as a marker of authenticity, and a strategically located aesthetic tool to project universally recognizable images of cultural difference. Rejecting the lesser, subsidiary status ascribed to non-western Orientalisms, Ersoy's work contributes to recent, post-Saidian directions in the study of cultural representation that resituate the field of Orientalism beyond its polaristic core, recognizing its cross-cultural potential as a polyvalent discourse.