India in Art in Ireland is the first book to address how the relationship between these two ends of the British Empire played out in the visual arts. It demonstrates that Irish ambivalence about British imperialism in India complicates the assumption that colonialism precluded identifying with an exotic other. Examining a wide range of media, including manuscript illuminations, paintings, prints, architecture, stained glass, and photography, its authors demonstrate the complex nature of empire in India, compare these empires to British imperialism in Ireland, and explore the contemporary relationship between what are now two independent countries through a consideration of works of art in Irish collections, supplemented by a consideration of Irish architecture and of contemporary Irish visual culture. The collection features essays on Rajput and Mughal miniatures, on a portrait of an Indian woman by the Irish painter Thomas Hickey, on the gate lodge to the Dromana estate in County Waterford, and a consideration of the intellectual context of Harry Clarke's Eve of St. Agnes window. This book should appeal not only to those seeking to learn more about some of Ireland's most cherished works of art, but to all those curious about the complex interplay between empire, anti-colonialism, and the visual arts.

Bringing together an international team of scholars, this book offers new perspectives on the impact that the Bauhaus and its teaching had on a wide range of artistic practices. Three of the fields in which the Bauhaus generated immediately transformative effects were housing, typography, and photography. Contributors go further to chart the surprising relation of the school to contemporary developments in hairstyling and shop window display in unprecedented detail. New scholarship has detailed the degree to which Bauhaus faculty and students set off around the world, but it has seldom paid attention to its impact in communist East Germany or in countries like Ireland where no Bauhausler settled. This wide-ranging collection makes clear that a century after its founding, many new stories remain to be told about the influence of the twentieth century's most innovative arts institution. The book will be of interest to scholars working in art history, design history, photography, and architectural history.

This book vividly illustrates the ways in which buildings designed by many of Germany's most celebrated twentieth century architects were embedded in widely held beliefs about the power of architecture to influence society. German Architecture for a Mass Audience also demonstrates the way in which these modernist ideas have been challenged and transformed, most recently in the rebuilding of central Berlin.

India in Art in Ireland is the first book to address how the relationship between these two ends of the British Empire played out in the visual arts. It demonstrates that Irish ambivalence about British imperialism in India complicates the assumption that colonialism precluded identifying with an exotic other. Examining a wide range of media, including manuscript illuminations, paintings, prints, architecture, stained glass, and photography, its authors demonstrate the complex nature of empire in India, compare these empires to British imperialism in Ireland, and explore the contemporary relationship between what are now two independent countries through a consideration of works of art in Irish collections, supplemented by a consideration of Irish architecture and of contemporary Irish visual culture. The collection features essays on Rajput and Mughal miniatures, on a portrait of an Indian woman by the Irish painter Thomas Hickey, on the gate lodge to the Dromana estate in County Waterford, and a consideration of the intellectual context of Harry Clarke's Eve of St. Agnes window. This book should appeal not only to those seeking to learn more about some of Ireland's most cherished works of art, but to all those curious about the complex interplay between empire, anti-colonialism, and the visual arts.

Interdisciplinary views of the debates over and transformation of German cultural identity since unification. The events of 1989 and German unification were seismic historical moments. Although 1989 appeared to signify a healing of the war-torn history of the twentieth century, unification posed the question of German cultural identity afresh. Politicians, historians, writers, filmmakers, architects, and the wider public engaged in "memory contests" over such questions as the legitimacy of alternative biographies, West German hegemony, and the normalization of German history. This dynamic, contested, and still ongoing transformation of German cultural identity is the topic of this volume of new essays by scholars from the United Kingdom, Germany, the United States, and Ireland. It exploresGerman cultural identity by way of a range of disciplines including history, film studies, architectural history, literary criticism, memory studies, and anthropology, avoiding a homogenized interpretation. Charting the complex and often contradictory processes of cultural identity formation, the volume reveals the varied responses that continue to accompany the project of unification. Contributors: Pertti Ahonen, Aleida Assmann, Elizabeth Boa,Peter Fritzsche, Anne Fuchs, Deniz Goekturk, Kathleen James-Chakraborty, Anja K. Johannsen, Jennifer A. Jordan, Jurgen Paul, Linda Shortt, Andrew J. Webber. Anne Fuchs is Professor of German Literature at the University of St.Andrews, Scotland. Kathleen James-Chakraborty is Professor of Art History at University College Dublin, Ireland. Linda Shortt is Lecturer in German at Bangor University, Wales.

After World War II, West Germans and West Berliners found ways of communicating both their recent sufferings and aspirations for stable communities through buildings that fused the ruins of historicist structures with new constructions rooted in the modernism of the 1910s and ‘20s. As Modernism as Memory illustrates, these postwar practices undergird the approaches later taken in influential structures created or renovated in Berlin following the fall of the Wall, including the Jewish Museum and the Reichstag, the New Museum and the Topography of Terror. While others have characterized contemporary Berlin’s museums and memorials as postmodern, Kathleen James-Chakraborty argues that these environments are examples of an “architecture of modern memory� that is much older, more complex, and historically contingent. She reveals that churches and museums repaired and designed before 1989 in Düren, Hanover, Munich, Neviges, Pforzheim, Stuttgart, and Weil am Rhein contributed to a modernist precedent for the relationship between German identity and the past developed since then in the Ruhr region and in Berlin.  Modernism as Memory demonstrates that how one remembers can be detached from what one remembers, contrasting ruins with recollections of modernism to commemorate German suffering, the Holocaust, and the industrial revolution, as well as new spaces for Islam in the country.

The first global history of architecture to give equal attention to Western and non-Western structures and built landscapes, "Architecture since 1400" is unprecedented in its range, approach, and insight. From Tenochtitlan's Great Pyramid in Mexico City and the Duomo in Florence to Levittown's suburban tract housing and the Bird's Nest Stadium in Beijing, its coverage includes the world's most celebrated structures and spaces along with many examples of more humble vernacular buildings. Lavishly illustrated with more than 300 photographs, plans, and interiors, this book presents key moments and innovations in architectural modernity around the globe.

Deftly integrating architectural and social history, Kathleen James-Chakraborty pays particular attention to the motivations of client and architect in the design and construction of environments both sacred and secular: palaces and places of worship as well as such characteristically modern structures as the skyscraper, the department store, and the cinema. She also focuses on the role of patrons and addresses to an unparalleled degree the impact of women in commissioning, creating, and inhabiting the built environment, with Gertrude Jekyll, Lina Bo Bardi, and Zaha Hadid taking their place beside Brunelleschi, Sinan, and Le Corbusier.

Making clear that visionary architecture has never been the exclusive domain of the West and recognizing the diversity of those responsible for commissioning, designing, and constructing buildings, "Architecture since 1400" provides a sweeping, cross-cultural history of the built environment over six centuries.

After World War II, West Germans and West Berliners found ways of communicating both their recent sufferings and aspirations for stable communities through buildings that fused the ruins of historicist structures with new constructions rooted in the modernism of the 1910s and ‘20s. As Modernism as Memory illustrates, these postwar practices undergird the approaches later taken in influential structures created or renovated in Berlin following the fall of the Wall, including the Jewish Museum and the Reichstag, the New Museum and the Topography of Terror. While others have characterized contemporary Berlin’s museums and memorials as postmodern, Kathleen James-Chakraborty argues that these environments are examples of an “architecture of modern memory� that is much older, more complex, and historically contingent. She reveals that churches and museums repaired and designed before 1989 in Düren, Hanover, Munich, Neviges, Pforzheim, Stuttgart, and Weil am Rhein contributed to a modernist precedent for the relationship between German identity and the past developed since then in the Ruhr region and in Berlin.  Modernism as Memory demonstrates that how one remembers can be detached from what one remembers, contrasting ruins with recollections of modernism to commemorate German suffering, the Holocaust, and the industrial revolution, as well as new spaces for Islam in the country.

Modernity and religion are not mutually exclusive. Setting German and Irish church, synagogue and mosque architecture side by side over the last century highlights the place for the celebration of the new within faiths whose appeal lies in part in the stability of belief they offer across time. Inspired by radically modern German churches of the 1920s and 1930s, this volume offers new insights into designers of all three types of sacred buildings, working at home and abroad. It offers new scholarship on the unknown phenomenon of mid-century ecclesiastical architecture in sub-Saharan Africa by Irish designers; a critical appraisal of the overlooked Frank Lloyd Wright-trained Andrew Devane and an analysis of accommodating difficult pasts and challenging futures with contemporary synagogue and mosque architecture in Germany. With a focus on influence and processes, alongside conservationists and historians, it features critical insights by the designers of some of the most celebrated contemporary sacred buildings, including Niall McLaughlin who writes on his multiple award-winning Bishop Edward King Chapel and Amandus Sattler, architect of the innovative Herz-Jesu-Kirche, Munich.

Offering the first comprehensive training in the visual arts grounded in abstraction, the Bauhaus was the site of a dazzling range of influential experiments in painting, architecture, photography, industrial design, and even artistic education itself. Three-quarters of a century later, the "look" of the new remains indebted to the Bauhaus and its equation of technology with modernism. Central to discussions of the relationships between art, industrialization, and politics in the twentieth century, much of the school's later impact was derived in part from its status as one of the foremost cultural symbols of Germany's first democracy and its public reputation as a "cathedral of socialism."
In this book, editor Kathleen James-Chakraborty and seven other scholars analyze the accomplishments and dispel the myths of the Bauhaus, placing it firmly in a historical context from before the formation of the Weimar Republic through Nazi ascendancy and World War II into the cold war. Together, they investigate its professors' and students' interactions with mass culture; establish the complexity of its relationship with Wilhelmine, Nazi, and postwar German politics; and challenge the claim that its architects greatly influenced American architecture in the 1930s.
Their most explosive conclusions address the degree to which some aspects of Bauhaus design continued to flourish during the Third Reich before becoming one of the cold war's most enduring emblems of artistic freedom. In doing so, "Bauhaus Culture" calls into question the degree to which this influential school should continue to symbolize an uncomplicated relationship between art, modern technology, and progressive politics.
Contributors: Greg Castillo, Juliet Koss, Rose-Carol Washton Long, John V. Maciuika, Wallis Miller, Winifried Nerdinger, Frederic J. Schwartz.
Kathleen James-Chakraborty is associate professor of architecture at the University of California, Berkeley, and author of "German Architecture for a Mass Audience" and "Erich Mendelsohn and the Architecture of German Modernism."