Art History and Its Institutions focuses on the institutional discourses that shaped and continue to shape the field from its foundations in the nineteenth century. From museums and universities to law courts, labour organisations and photography studios, contributors examine a range of institutions, considering their impact on movements such as modernism; their role in conveying or denying legitimacy; and their impact on defining the parameters of the discipline.

Making Art History is a collection of essays by contemporary scholars on the practice and theory of art history as it responds to institutions as diverse as art galleries and museums, publishing houses and universities, school boards and professional organizations, political parties and multinational corporations.

The text is split into four thematic sections, each of which begins with a short introduction from the editor, the sections include:

• Border Patrols, addresses the artistic canon and its relationship to the ongoing 'war on terror', globalization, and the rise of the Belgian nationalist party.
• The Subjects of Art History, questions whether 'art' and 'history' are really what the discipline seeks to understand.
• Instituting Art History, concerns art history and its relation to the university and raises questions about the mission, habits, ethics and limits of university today.
• Old Master, New Institutions, shows how art history and the museum respond to nationalism, corporate management models and the 'culture wars'.

Making Art History is a collection of essays by contemporary scholars on the practice and theory of art history as it responds to institutions as diverse as art galleries and museums, publishing houses and universities, school boards and professional organizations, political parties and multinational corporations.

The text is split into four thematic sections, each of which begins with a short introduction from the editor, the sections include:

• Border Patrols, addresses the artistic canon and its relationship to the ongoing 'war on terror', globalization, and the rise of the Belgian nationalist party.
• The Subjects of Art History, questions whether 'art' and 'history' are really what the discipline seeks to understand.
• Instituting Art History, concerns art history and its relation to the university and raises questions about the mission, habits, ethics and limits of university today.
• Old Master, New Institutions, shows how art history and the museum respond to nationalism, corporate management models and the 'culture wars'.

What is art history? The answer depends on who asks the question. Artists, museum professionals, academics, art critics, collectors and connoisseurs, dealers and auctioneers all share in the goals, achievements, methods and history of art history. Tied to and sustained by a host of competing institutions, art history remains a many-headed field of study.
Art History and Its Institutions focuses on the institutional discourses that shaped and continue to shape the field from its foundation in the nineteenth century. From museums and universities to law courts, labour organisations and photography studios, contributors examine a range of institutions considering their impact on movements such as modernism, their role in conveying or denying legitimacy, and their impact of defining the parameters of the discipline.

The 25 classic articles in this volume deal with the role of technological change in economic growth, the extent of social and private returns from research and development, the relationship between market structure and technological change, the controversies over intellectual property rights, the processes by which innovations spread, and the management of technology. This volume will prove invaluable to economists, managers and government policymakers.

This volume contains 848 letters from the period June 1921 to March 1924. Lawrence decides to leave the old world - ‘my heart - and my soul are broken in Europe’ - to live in Taos, New Mexico. This period is characterised by the travelling he and Frieda do, from Australia to New York, via Mexico, back to England and finally to New York again. Lawrence’s writings of the period reflect his restlessness. The action of Aaron’s Rod shifts from a coal-mining town in England to Florence and Kangaroo conveys Lawrence’s perceptions of Australia. By 1924, Lawrence is returning to Taos to write his Mexican novel, ‘Quetzacoatl’, published as The Plumed Serpent. His difficulties with agents and publishers continue to appear in the letters. New correspondences are started with Australians, including Mollie Skinner, the co-author of The Boy in the Bush, and Americans, such as Mabel Luhan, Idella Purnell and Witter Bynner.

This edition presents the restored text of Lawrence's second novel as he wrote it and includes a substantial introduction to the background of the novel, annotations for references and a discussion of Lawrence's general Wagnerian allusions.