This title was first published in 2002. To date, studies explaining decorative practice in the early modernist period have largely overlooked the work of women artists. For the most part, studies have focused on the denigration of decorative work by leading male artists, frequently dismissed as fashionably feminine. With few exceptions, women have been cast as consumers rather than producers. The first book to examine the decorative strategies of late nineteenth- and early twentieth-century women artists, Women Artists and the Decorative Arts concentrates in particular on women artists who turned to fashion, interior design and artisanal production as ways of critically engaging various aspects of modernity. Women artists and designers played a vital role in developing a broad spectrum of modernist forms. In these essays new light is shed on the practice of such well-known women artists as May Morris, Clarice Cliff, Natacha Rambova, Eileen Gray and Florine Stettheimer, whose decorative practices are linked with a number of fascinating but lesser known figures such as Phoebe Traquair, Mary Watts, Gluck and Laura Nagy.

First published in 1985, this book draws together the author's artistic with analytical practices which had been developed over many years of sociological enquiry. It interprets a 'work of art' as a site on which a viewer or critic is invited to share in questioning celebration of the painting itself. The author reassesses modern painting's relation to its own origins and to tradition in light of the emergence of 'postmodern' practice - exploring its engagement of fundamental questions about language and being. Also assessed is the relevance of the metaphors of writings and Reading to an understanding of painting and viewing practices - looking at painters' writings as well as phenomenological and post-structuralist writers.

John Ruskin (1819-1890), Walter Pater (1839-1894) and Adrian Stokes (1902-1972) represent three generations of English aesthetes whose writings have transformed art history and the formations of museums as we know them. This work assembles the autobiographical sketches of these influential aesthetes. David Carrier's "reading" reveals these aesthetes to be less concerned with art appreciation or an aesthetic approach to everyday life than with issues of identity, politics and desire. He unfolds their texts with the aim of exposing the complexity that lies beyond what was once thought merely to represent models of sensitivity and good taste. By comparing the differences and similarities in their social and cultural environment, Carrier points out that the views of Ruskin, Pater and Stokes have surreptitiously worked their way into modern outlooks and thoughts about art, its function and its history.

Art in Three Dimensions is a collection of essays by one of the most eminent figures in philosophy of art. The animating idea behind Noel Carroll's work is that philosophers of art should eschew the sort of aestheticism that often implicitly -- but sometimes explicitly, as in the case of aesthetic theories of art and of their commitments to the notion of the autonomy of art -- governs their methodology. Instead, Carroll argues that philosophers of art need to refocus their attention on the ways in which art enters the life of culture and the lives of individual audience members. The reference to "three dimensions" in the title refers to Carroll's view that philosophers of art should look at art from multiple angles and treat it as a substantial participant not only in society, but also as a significant influence upon the moral and emotional experiences of audiences.

Jeremy Gilbert-Rolfe brings to Melville's work the insight not only of an art critic and theorist, but of a practicing artist as well. Navigating through the complexity of contemporary thought and philosophy, Gilbert-Rolfe unravels the Gordian knot of the diverse discourses that circumscribe Melville's views, revealing the practicality and clarity of Melville's speculative narratives.
Stephen Melville is one of the most thoughtful critics to emerge in recent years. He has applied the tools developed by Jacques Derrida and Jacques Lacan to the problems of contemporary art. With his roots in Kant, Hegel, and Heidegger, he reopens questions of art's reception, interpretation, and commentary. Not only does he articulate the limitations of these categories, and how they are set into motion-stasis and balance are not the goal. He demonstrates how the territory of each of these discourses is maintained by their relationship to one another. Melville's texts not only represent the complexity of his subjec

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

First published in 1988, this book attempts to tackle the problem of how to write about art, culture, and the issues of postmodernism in a style appropriate to what is being claimed. The letters are written on art's behalf to a range of institutions and individuals, and have as their recurring concern the relation between art, culture and representation - both art as representation and how art is represented to, and for, the surrounding culture. They explore the context and viability of art through a range of themes, including writing, the aestheticisation of everyday life, style, design pleasure, fragmentation, hyphenation, technology, and the museum - drawing on materials from the visual arts, music, literature, post-structuralism, contemporary criticism, philosophy, and sociology.

The design arts -- from the design of buildings and machines to software and interfaces -- are associated with types of knowledge and performance thought to be structured, modular, and systematic. Such arts have become increasingly prestigious in our technocratic society. Since Aristotle, the art of rhetoric was conceived as a loosely structured "practical" art thought to be limited in the extent to which it could mimic more precise subject matters. The art of rhetoric has been controversial since classical times, but its status has sunk even lower since the industrial revolution -- a point when civic cultures began to cede authority and control to the cultures of specialized experts. Many sympathizers of rhetoric have resisted its decline by calling for a civic art of public discourse to stand in opposition to a technocratic specialized discourse that has come, increasingly, to disenfranchise the ordinary citizen.
This is the first book to question the rhetoric/technical knowledge split from a more fundamental perspective. To get some perspective on what is at stake in rhetoric's traditional classification as a "practical" art, the authors:
* explore the distinction between practical and design arts;
* enumerate the various criteria cited in the literature for qualifying a cluster of knowledge and performative skills to count as an art of design;
* show how the knowledge and performative skills associated with the art of rhetoric meet the major requirements of design knowledge;
* propose a general architecture of rhetorical design, one descriptive both of civic address and specialized academic argument;
* turn to the Lincoln/Douglas debates to embody and provide some empirical support and illustration for their architecture;
* demonstrate how Lincoln and Douglas can be thought of as expert designers whose rhetoric is highly structured and modular; and
* explain how the rhetoric of both rhetorical agents can be represented in the layers and modules that one needs to display plans for buildings, software, or other design artifacts.
These layers and modules are not just post hoc annotations of the debates; they also illuminate new and systematic ways for viewing the debates -- and by implication, other specimens of rhetoric -- in terms of strategies of artistic production. Kaufer and Butler conclude their presentation by citing some of the research and educational implications that follow from housing rhetoric within the family of design arts.

The Explicit Body in Performance interrogates the avant-garde precedents and theoretical terrain that combined to produce feminist performance art. Among the many artists discussed are:
* Carolee Schneemann
* Annie Sprinkle
* Karen Finley
* Robbie McCauley
* Ana Mendieta
* Ann Magnuson
* Sandra Bernhard
* Spiderwoman
Rebecca Schneider tackles topics ranging across the 'post-porn modernist movement', New Right censorship, commodity fetishism, perspectival vision, and primitivism. Employing diverse critical theories from Benjamin to Lacan to postcolonial and queer theory, Schneider analyses artistic and pop cultural depictions of the explicit body in late commodity capitalism.
The Explicit Body in Performance is complemented by extensive photographic illustrations and artistic productions of postmodern feminist practitioners. The book is a fascinating exploration of how these artists have wrestled with the representational structures of desire.

eBook available with sample pages: 0203421078

The Explicit Body in Performance interrogates the avant-garde precedents and theoretical terrain that combined to produce feminist performance art. Among the many artists discussed are:
* Carolle Schneemann
* Annie Sprinkle
* Karen Finley
* Robbie McCauley
* Ana Mendieta
* Ann Magnuson
* Sandra Bernhard
* Spiderwoman
Rebecca Schneider tackles topics ranging across the 'post-porn modernist movement', New Right censorship, commodity fetishism, perspectival vision, and primitivism. Employing diverse critical theories from Benjamin to Lacan to postcolonial and queer theory, Schneider analyses artistic and pop cultural depictions of the explicit body in late commodity capitalism.
The Explicit Body in Performance is complemented by extensive photographic illustrations and artistic productions of postmodern feminist practitioners. The book is a fascinating exploration of how these artists have wrestled with the representational structures of desire.

Every city has its unique and valuable identity, this identity is revealed through its physical and visual form, it is seen through the eyes of its residents and users. The city develops over time, and its identity evolves with it. Reflecting the rapid and constant changes the city is subjected to, Architecture and Arts, is the embodiment of the cultural, historical, and economical characteristics of the city. This conference was dedicated to the investigation of the different new approaches developed in Architecture and Contemporary arts. It has focused on the basis of urban life and identities. This volume provides discussions on the examples and tendencies in dealing with urban identities as well as the transformation of cities and urban cultures mentioned in terms of their form, identity, and their current art. Contemporary art, when subjected to experiments, continues to be produced in various directions, to be consumed and to put forward new ideas. Art continuously renews itself, from new materials to different means of communication, from interactive works to computer games, from new approaches to perceptional paradigms and problems of city and nature of the millennium. This is an Open Access ebook, and can be found on www.taylorfrancis.com.

Pictures are often admired for their aesthetic merits but they are rarely treated as if they had as much to offer as the written word. They are often overlooked as objects of analysis themselves, and tend to be seen simply as adjuncts to the text. Images, however, are not passive, and have a direct impact that engages attention in ways independent of any specific text. Advertising, entertainment and propaganda have realised the extent of this power to shape ideas, but the scientific community has hitherto neglected the ways in which visual material conditions the ways in which we think. With subjects including prehistoric artworks, excavation illustrations, artists' impressions of ancient sites and peoples and contemporary landscapes, photographs and drawings, this study explores how pictures shape our perceptions and our expectations of the past. This volume is not concerned with the accuracy of pictures from the past or directly about the past itself, but is interested instead in why certain subjects are selected, why they are depicted the way they are, and what effects such images have on our idea of the past. This collection constitutes a ground-breaking study in historiography which radically reassesses the ways that history can be written.

Stephen Melville is one of the most thoughtful critics to emerge in recent years. He has applied the tools developed by Jacques Derrida and Jacques Lacan to the problems of contemporary art. With his roots in Kant, Hegel and Heidegger, he reopens questions of art's reception, interpretation and commentary. He demonstrates how the territory of each of these discourses is maintained by their relationship to one another. Melville's texts not only represent the complexity of his subject, but also the intricate interface between the art object, history and philosophical interpretation. Jeremy Gilbert-Rolfe brings to Melville's work the insight not only of an art critic and theorist, but of a practicing artist as well. Navigating the complexity of contemporary thought and philosophy, Gilbert-Rolfe unravels the Gordian knot of the diverse discourses that circumscribe Melville's views, revealing the practicality and clarity of Melville's speculative narratives.

Rooted in the study of objects, British Art in the Nuclear Age addresses the role of art and visual culture in discourses surrounding nuclear science and technology, atomic power, and nuclear warfare in Cold War Britain. Examining both the fears and hopes for the future that attended the advances of the nuclear age, nine original essays explore the contributions of British-born and emigre artists in the areas of sculpture, textile and applied design, painting, drawing, photo-journalism, and exhibition display. Artists discussed include: Francis Bacon, John Bratby, Lynn Chadwick, Prunella Clough, Naum Gabo, Barbara Hepworth, Peter Lanyon, Henry Moore, Eduardo Paolozzi, Peter Laszlo Peri, Isabel Rawsthorne, Alan Reynolds, Colin Self, Graham Sutherland, Feliks Topolski and John Tunnard. Also under discussion is new archival material from Picture Post magazine, and the Festival of Britain. Far from insular in its concerns, this volume draws upon cross-cultural dialogues between British and European artists and the relationship between Britain and America to engage with an interdisciplinary art history that will also prove useful to students and researchers in a variety of fields including modern European history, political science, the history of design, anthropology, and media studies.

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

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

Ways of Seeing is a key art-historical work that continues to provoke widespread debate. It is comprised of seven different essays, three of which are pictorial and the other containing texts and images. Berger first examines the relationship between seeing and knowing, discussing how our assumptions affect how we see a painting. He moves on to consider the role of women in artwork, particularly regarding the female nude. The third essay deals with oil painting looking at the relationship between subjects and ownership. Finally, Berger addresses the idea of ownership in a consumerist society, discussing the power of imagery in advertising, with particular regards to photography.

This beautiful book brings you the very best of art throughout history - using a truly innovative timeline-led approach. Savour iconic paintings such as Leonardo da Vinci's Last Supper and Monet's Waterlilies, and discover less well-known artists, styles, and movements the world over - from Indigenous Australian art to the works of Ming-era China. And explore recurring themes, such as love and religion, and important genres from Romanesque to Conceptual art, along the way. Timelines of Art provides detailed analysis of the works of key artists, showing details of their technique - such as Leonardo's use of light and shade. It tells the story of avant-garde works like Manet's Le Déjeuner sur l'herbe (Lunch on the Grass), which scandalised society, and it traces how certain artists, genres or movements informed the works of others - showing how the Impressionists were inspired by Gustave Courbet, for example, or how Van Gogh was influenced by Japanese prints. Comprehensive, accessible, and lavishly illustrated throughout, Timelines of Art is an essential guide to the pantheon of world art, so dive straight into discover: - An overview of each movement, including the social and cultural background of the period, grounds the works of art in the spirit of their times. - Turning-point paintings that triggered or epitomised each artistic movement are identified and explained, against a backdrop of influences - the technical advances, admired techniques of an earlier artist, and changes in society that enabled new directions in art. - Glossary of technical terms and comprehensive index help make this an indispensable work of reference for any art-lover. Timelines of Art is the perfect art history book for students of art and/or history, proving ideal for families, schools and libraries and doubling up as a great gift for the art lover in your life.

The Poetics of Psychoanalysis: In the Wake of Klein explores the literary aspects of the twentieth-century psychoanalytic tradition that has come to be known as British Object Relations psychoanalysis. Focusing on Melanie Klein's legacy to psychoanalysis between the 1930s and 1970s, it deals with major figures such as Riviere, Isaacs, Winnicott, Milner, and Bion, as well as Klein's contemporary, Ella Sharpe. Mary Jacobus breaks new ground by giving a central place to the literary and aesthetic concerns of the British Object Relations tradition. Paying close attention to writing that is often side-lined by literary critics and theorists, she makes fruitful connections with particular works of literature and art, along with pressing contemporary issues. The three sections focus on the transitions, mediations, and transformations that took place in British Object Relations psychoanalysis as Klein's ideas were developed and transformed. Situating Kleinian thought in relation to later developments and differences, while making it accessible to non-psychoanalytic readers, The Poetics of Psychoanalysis argues against the separation of British and continental traditions and for the continuing links between psychoanalysis and aesthetics. Rather than applying psychoanalytic ideas to literature and aesthetics, the book traces the British Object Relations tradition as a form of proto-modernist discourse in its own right. Linked by a common thread of ideas and structured to reflect a roughly chronological trajectory, individual chapters can also be read as free-standing critical essays. Aimed at literary readers, this book will also be of interest to psychoanalytic practitioners and cultural theorists.

Thread Folk: A Modern Makers Book of Embroidery Projects and Artist Collaborations is a modern refresh of an age-old craft. Author Libby Moore teaches basic stitches and how to choose materials, and shares original patterns with easy-to-remove perforated pages. Thread Folk also features Artist Collaborations, a series of projects based on the curated artwork of several distinctive, talented artists, including clothing designer Audrey Smit, and illustrators Alli Koch and Lauren Merrick.

eBook available with sample pages: HB:0415080142

Block was a hugely influential journal in the developing fields of Visual and Cultural Studies. The journal's editors and contributors sought to further the critical tradition in art history, respond to the work of contemporary artists, and bring the concerns of new cultural and critical theory, particularly feminist and post-colonial theory, to the study of art and design history.
The Block Reader brings together classic writings by leading cultural theorists and artists which were first published in the journal, to provide an invaluable resource for the teaching and study of art and design history and theory and cultural studies.

Between 1979 and 1989, "BLOCK" initiated and responded to key debates in visual and cultural studies, publishing writings by artists, art and design historians and cultural theorists. The journal's editors and contributors furthered the critical tradition in art history, responded to the work of contemporary artists, and brought the concerns of new cultural and critical theory to the study of art and design history. The" BLOCK Reader in Visual Culture" brings together classic writings by leading cultural theorists and artists first published in this seminal journal and which are now unavailable, providing an invaluable resource for the teaching and study of art and design as well as theory and cultural studies.
Contributors: Jon Bird, Barry Curtis, Tamar Garb, Philippa Goodall, Nicholas Green, Frank Hannah, Dick Hebdige, Lucy Lippard, Frank Mort, Kathy Myers, Fred Orton, Claire Pajaczkowska, Griselda Pollock, Tim Putnam, Oliver Richon, Martha Rosler, Lisa Tickner, Necdet Teymur, Judith Williamson.

During the Victorian period there developed a new anxiety about male-female relations and roles in modern society, as described by a member of the Athenaeum in 1858, 'the distinction of man and woman, their separate as well as their joint rights, begins to occupy the attention of our whole community, and with no small effect'. These essays examine Victorian painting in the light of this 'woman question' by analysing the change in representation of the family, romance, social issues such as emigration and colonialism, the use of the female nude and the traditions of portraiture, history-painting and still life. The art and artists are considered in a socio-political context, and the connections between Victorian sexism, racism and classism are examined. These essays bring to light much previously unknown work (especially by women) and reappraise many well-known paintings.