Shortlisted for the PEN Hessell-Tiltman Prize 2022 Longlisted for the William M B Berger Prize for British Art History 2022 Guardian Art Book of the Year 2021 A dazzling, boldly original work that tells the powerful and passionate stories of a group of extraordinary women as glimpsed through their still life paintings What is contained in a still life - and what falls out of the frame? For women artists in the early twentieth century, such as Dora Carrington, Vanessa Bell and Gwen John, this art form was a conduit for their lives, their rebellions, their quietly subversive loves for men and women. But for every artist whom we remember, there are those whose work is almost forgotten. In This Dark Country, Rebecca Birrell conducts a dazzling fusion of group biography and art criticism, exploring, from the celebrated to the overlooked, the structures of intimacy that make - and dismantle - our worlds. 'A brilliant book ... A truly radical aesthetics fit for the twenty-first century at last!' - Therese Oulton '[A] wonderful book. I am impressed and fascinated. It is beautifully written' - Celia Paul

For decades, artists and architects have struggled to relate to the Holocaust in visual form, resulting in memorials that feature a diversity of aesthetic strategies. In Memory Passages, Natasha Goldman analyzes both previously-overlooked and internationally-recognized Holocaust memorials in the United States and Germany from the postwar period to the present, drawing on many historical documents for the first time. From the perspectives of visual culture and art history, the book examines changing attitudes toward the Holocaust and the artistic choices that respond to it. The book introduces lesser-known sculptures, such as Nathan Rapoport's Monument to the Six Million Jewish Martyrs in Philadelphia, as well as internationally-acclaimed works, such as Peter Eisenman's Memorial to the Murdered Jews of Europe in Berlin. Other artists examined include Will Lammert, Richard Serra, Joel Shapiro, Gerson Fehrenbach, Margit Kahl, and Andy Goldsworthy.Archival documents and interviews with commissioners, survivors, and artists reveal the conversations and decisions that have shaped Holocaust memorials. Memory Passages suggests that memorial designers challenge visitors to navigate and activate spaces to engage with history and memory by virtue of walking or meandering. This book will be valuable for anyone teaching-or seeking to better understand-the Holocaust.

Describing in detail her analytic treatment of eight female homosexuals with common symptoms of incomplete body image and unconscious denial of differences between the sexes, Siegel details the recurring treatment phases that typified their analyses and offers formulations based on both ego-developmental and object-relational perspectives. She candidly describes the countertransferential issues that entered into the treatment of these women and examines basic societal assumptions about sexuality that are imprinted on the analyst.

This book prompts architects and anthropologists to think and act together. In order to fully grasp the relationship between human beings and their built environments and design more livable and sustainable buildings and cities in the future, we need new cross-disciplinary approaches combining anthropology and architecture. This is neither anthropology of architecture, nor ethnography for architects, but a new approach beyond these positions: Architectural Anthropology. The anthology gathers contributions from leading researchers from various Nordic universities, architectural schools, and architectural firms as well as prominent international scholars like Tim Ingold, Albena Yaneva, and Sarah Pink - all exploring, developing, and innovating the cross-disciplinary field between anthropology and architecture. Several contributions are co-written by architects and anthropologists, merging approaches from the two disciplines in order to fully explore the dynamics of lived space. Through a broad range of empirical examples, methodological approaches, and theoretical reflections, the anthology provides inspiration and tools for scholars, students, and practitioners working with lived space. The first part focusses on homes, walls, and boundaries, the second on urban space and public life, and the third on processes of creativity, participation, and design.

Icons of Space: Advances in Hierotopy brings together important scholars of Byzantine religion, art, and architecture, to honour the work of renowned art historian Alexei Lidov. As well as his numerous publications, Lidov is well known for developing the concept of hierotopy, an innovative approach for studying the creation of sacred spaces. Hierotopy and the related concepts of 'spatial icons' and 'image-paradigms' emphasize fundamental questions about icons, including what defines them as structures, spaces, and experiences. Chapters in this volume engage with the overarching theme of icons of space by employing, contrasting, and complementing methods of hierotopy with more traditional approaches such as iconography. Examinations of icons have traditionally been positioned within strictly historical, theological, socio-economic, political, and art history domains, but this volume poses epistemological questions about the creation of sacred spaces that are instead inclusive of multi-layered iconic ideas and the lived experiences of the creators and beholders of such spaces. This book contributes to image theory and theories of architecture and sacred space. Simultaneously, it moves beyond colonial studies that predominantly focus on questions of religion and politics as expressions of privileged knowledge and power. This book will appeal to scholars and students of Byzantine history, as well as those interested in hierotopy and art history.

This book examines the idea of organism in the work of Louis I. Kahn, from the turning point of Rome to the project for Venice. It presents an original interpretation of the work of Kahn during one of the most fruitful periods of his career, when he was working on a particular design method based on an entirely novel way of interacting with the past. Beginning with a meticulous documentation and analysis of Kahn's experiences in the twenty years from 1930 to 1950, the book sheds new light on the relationship between Kahn's work and the modern movement. The arguments are supported by case studies, including that of the Palazzo dei Congressi in Venice based on Kahn's words (like his lessons in Venice at IUA, International University of Art, in 1971) and others as the Trenton Bath House, the Salk Institute (La Jolla), the Kimbell Museum (Fort Worth), the Yale Gallery and the Mellon Center for British Art (New Haven) and more. Unlike much of the by now well-established literature on Kahn's work, Louis I. Kahn in Rome and Venice suggests that the basic premise of Kahn's invention is the idea of spatial, constructive organism, which explains how he created forms that were inextricably anchored in the past, without imitating any one kind of ancient architecture. The main objective of the book is to explain Kahn's methodology to architects and students, showing how he was able to design an architectural object with the characteristics of the best designed objects: organisms, in which each part contributes, with the whole, to creating "something made of indivisible parts".

This book examines the arts and artistic exchanges at the 'Christian Oriental' fringes of Europe, especially Armenia. It starts with the architecture, history and inhabitants of the lesser known pilgrim compounds at the Vatican in the Middle Ages and Renaissance, of Hungary, Germany, but namely those of the most ancient of Churches, the Churches of the Christian Orient Ethiopia and Armenia. Without taking an Eurocentric view, this book explores the role of missionaries, merchants, artists (for example Momik, Giotto, Minas, Domenico Veneziano, Duerer), and artefacts (such as fabrics, inscriptions and symbols) travelling into both directions along the western stretch of the Silk Road between Ayas (Cilicia), ancient Armenia and North-western Iran. This area was truly global before globalization, was a site of intense cultural exchanges and East-West cultural transmissions. This book opens a new research window into the culturally mixed landscapes in the Christian Orient, the Middle East and North-eastern Africa by taking into consideration their many indigenous and foreign artistic components and embeds Armenian arts into today's wider art historical discourse. This book will be of interest to scholars in art history, architectural history, missions, trade, Middle Eastern arts and the arts of the Southern Caucasus.

- Presents novel framing of contemporary problems of design - Includes historical examples drawn from every continent and time period - Proposes specific reforms - Richly illustrated with over 80 black and white images

The 7th book from Nadir Lahiji for the Routledge architecture list. Adopts Alain Badiou's thesis from The Pornographic Age to argue that the dominant pedagogy within architecture is at odds with the intended purpose of architectural practice and education. Aimed at architecture students at higher graduate and post-graduate levels.

The 7th book from Nadir Lahiji for the Routledge architecture list. Adopts Alain Badiou's thesis from The Pornographic Age to argue that the dominant pedagogy within architecture is at odds with the intended purpose of architectural practice and education. Aimed at architecture students at higher graduate and post-graduate levels.

Winner of the 2014 British Society of Criminology Book Prize This book examines the role of criminal law in the enforcement of immigration controls over the last two decades in Britain. The criminalization of immigration status has historically served functions of exclusion and control against those who defy the state's powers over its territory and population. In the last two decades, the powers to exclude and punish have been enhanced by the expansion of the catalogue of immigration offences and their more systematic enforcement. This book is the first in-depth analysis on criminal offences in Britain, and presents original empirical material about the use of criminal powers against suspected immigration wrongdoers. Based on interviews with practitioners and staff at the UK Border Agency and data from court cases involving immigration defendants, it examines prosecution decision making and the proceedings before the criminal justice system. Crimes of Mobility critically analyses the criminalization of immigration status and, more generally, the functions of the criminal law in immigration enforcement, from a legal and normative perspective. It will be of interest to academics and research students working on criminology, criminal law, criminal justice, socio-legal studies, migration and refugee studies, and human rights, as well as criminal law and immigration practitioners.

Garden design evolved hugely during the Georgian period - as symbols of wealth and stature, the landed aristocracy had been using gardens for decades. Yet during the eighteenth century, society began to homogenise, and the urban elite also started demanding landscapes that would reflect their positions. The gardens of the aristocracy and the gentry were different in appearance, use and meaning, despite broad similarities in form. Underlying this was the importance of place, of the landscape itself and its raw material. Contemporaries often referred to the need to consult the 'genius of the place' when creating a new designed landscape, as the place where the garden was located was critical in determining its appearance. Genius loci - soil type, topography, water supply - all influenced landscape design in this period. The approach taken in this book blends landscape and garden history to make new insights into landscape and design in the eighteenth century. Spooner's own research presents little-known sites alongside those which are more well known, and explores the complexity of the story of landscape design in the Georgian period which is usually oversimplified and reduced to the story of a few 'great men'.

This book examines the architectural design of housing projects in Ireland from the mid-twentieth century. This period represented a high point in the construction of the Welfare State project where the idea that architecture could and should shape and define community and social life was not yet considered problematic. Exploring a period when Ireland embraced the free market and the end of economic protectionism, the book is a series of case studies supported by critical narratives. Little known but of high quality, the schemes presented in this volume are by architects whose designs helped determine future architectural thinking in Ireland and elsewhere. Aimed at academics, students and researchers, the book is accompanied by new drawings and over 100 full colour images, with the example studies demonstrating rich architectural responses to a shifting landscape.

An Illustrated Guide to Furniture History provides upper-level students and instructors with an alternative visual analytical approach to learning about furniture history from Antiquity to Postmodernism. Following an immersive teaching model, it presents a Nine-Step Methodology to help students strengthen their visual literacy and quickly acquire subject area knowledge. Moving chronologically through key periods in furniture history and interior design, such as the Renaissance, the Arts and Crafts Movement, and Modernism, it traverses Europe to America to present a comprehensive foundational guide to the history of furniture design. Part I addresses furniture within the context of the built environment, with chapters exploring the historical perspective, construction principles, and the categorization of furniture. In Part II, the author visually depicts the structural organization of the methodological process, a three-category framework: History, Aesthetics, and Visual Notes. The chapters in this part prepare the reader for the visual analysis that will occur in the final section of the book. The book is lavishly illustrated in full color with over 300 images to reinforce visual learning and notation. A must-have reference and study guide for students in industrial and product design, interior design, and architecture.

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.

The project of global art history calls for balanced treatment of artifacts and a unified approach. This volume emphasizes questions of transcultural encounters and exchanges as circulations. It presents a strategy that highlights the processes and connections among cultures, and also responds to the dynamics at work in the current globalized art world. The editors' introduction provides an account of the historical background to this approach to global art history, stresses the inseparable bond of theory and practice, and suggests a revaluation of materialist historicism as an underlying premise. Individual contributions to the book provide an overview of current reflection and research on issues of circulation in relation to global art history and the globalization of art past and present. They offer a variety of methods and approaches to the treatment of different periods, regions, and objects, surveying both questions of historiography and methodology and presenting individual case studies. An 'Afterword' by James Elkins gives a critique of the present project. The book thus deliberately leaves discussion open, inviting future responses to the large questions it poses.

This book explores the intersection of geographical knowledge and artistic research in terms of both creative methods and practice-based research. In doing so it brings together geography's 'creative turn' with the art world's 'research turn.' Based on a decade and a half of ethnographic stories of working at the intersection of creative arts practices and geographical research, this book offers a much-needed critical account of these forms of knowledge production. Adopting a geohumanities approach to investigating how these forms of knowledge are produced, consumed, and circulated, it queries what imaginaries and practices of the key sites of knowledge making (including the field, the artist's studio, the PhD thesis, and the exhibition) emerge and how these might challenge existing understandings of these locations. Inspired by the geographies of science and knowledge, art history and theory, and accounts of working within and beyond disciplines, this book seeks to understand the geographies of research at the intersection of geography and creative arts practices, how these geographies challenge existing understandings of these disciplines and practices, and what they might contribute to our wider discussions of working beyond disciplines, including through artistic research. This book offers a timely contribution to the emerging fields of artistic research and geohumanities, and will appeal to undergraduate and postgraduate students and researchers.

This collection of brief but insightful essays, though always returning to the author's central conviction that the quality of artistic endeavour depends not on individuals of genius but on the attitude of the public towards art itself, examines a wide variety of unique but related issues: the relationship between natural and artistic beauty; the genius of Da Vinci and Nicholas Poussin; the influence of femininity on European art; the importance of good criticism; art as a social phenomenon; the role of the passions; and a range of associated topics. First published in 1919, A. Clutton-Brock's reflections on the nature and function of art bear the marks of the deep anxieties following the First World War, and can thus speak to a generation similarly faced with uncertainty.

In the last twenty-five years contemporary art in Scotland has grown from a tiny and tightly knit scene to a globally recognised centre of artistic innovation and experiment. Generation Reader provides the first collection of key documents from the period including essays, interviews, critical writing and artists' own texts. This publication will fill a significant gap in the scholarship of the period and provide a resource for the future, an illustrated guide to the ideas, events and debates that shaped a generation. The selected archive texts from the period will sit alongside some newly-commissioned writing which includes essays by the novelist Louise Welch and by Nicola White, Dr Sarah Lowndes, Francis McKee, Professor Andrew Patrizio and Julianna Engberg. GENERATION is a landmark series of exhibitions tracing the remarkable development of contemporary art in Scotland over the last twenty-five years. It is an ambitious and extensive programme of works of art by more than 100 artists at over 60 galleries, exhibition spaces and venues the length and breadth of Scotland between March and November 2014.

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.

In Designing the British Post-War House Fiona Fisher explores the development of domestic design and re-consider its significance for the progress of architectural modernism in Britain, through a detailed study of successful modernist architectural and design practice, Kenneth Wood Associates. The firm is representative of an expanding, geographically distinct category of post-war architectural and design practice - that of the small and successful modernist firm that flourished in Britain's expanding suburbs after the removal of wartime building restrictions. Such firms, which played an important role in the development of British domestic design, are currently under-represented within architectural histories of the period. The private house represents an important site in which new spatial, material and aesthetic parameters for modern living were defined after the Second World War. Although much has been written about the role of the private house and its interior in the development of architectural modernism in post-war Europe and North America, this has been less closely examined within a British context.The book explores the British architect-designed house as a 'vehicle for the investigation of architectural ideas' by Britain's second generation modernist architects and designers, and demonstrates the ways in which architectural discourse and practice intersected with the experience, performance, and representation of domestic modernity in post-war Britain.

This book offers the first concentrated examination of the representation of the black female subject in Western art through the lenses of race/color and sex/gender. Charmaine A. Nelson poses critical questions about the contexts of production, the problems of representation, the pathways of circulation and the consequences of consumption. She analyzes not only how, where, why and by whom black female subjects have been represented, but also what the social and cultural impacts of the colonial legacy of racialized western representation have been. Nelson also explores and problematizes the issue of the historically privileged white artistic access to black female bodies and the limits of representation for these subjects. This book not only reshapes our understanding of the black female representation in Western Art, but also furthers our knowledge about race and how and why it is (re)defined and (re)mobilized at specific times and places throughout history.

Connects the practice of architecture with its recent history and its theoretical origins - analysing in straightforward and jargon-free language the genesis of modernism and the complex reactions to it Provides students with a clear understanding of the history of twentieth-century architecture, written with close critical attention to the theories that lie behind the built works described Illustrated with 200 colour and black and white illustrations, it is an enormously clear and accessible resource for any student of architecture

Why do we enjoy art? What inspires us to create artistic works? How can brain science help us understand our taste in art? The Psychology of Art provides an eclectic introduction to the myriad ways in which psychology can help us understand and appreciate creative activities. Exploring how we perceive everything from colour to motion, the book examines art-making as a form of human behaviour that stretches back throughout history as a constant source of inspiration, conflict and conversation. It also considers how factors such as fakery, reproduction technology and sexism influence our judgements about art. By asking what psychological science has to do with artistic appreciation, The Psychology of Art introduces the reader to new ways of thinking about how we create and consume art.