There are now new experiences of space and time; new tensions between globalism and regionalism, socialism and consumerism, reality and spectacle; new instabilities of value, meaning and identity - a dialectic between past and future. How are we to understand these? Mapping the Futures is the first of a series which brings together cultural theorists from different disciplines to assess the implications of economic, political and social change for intellectual inquiry and cultural practice.

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.

We are living in an age when 'nature' seems to be on the brink of extinction yet, at the same time, 'nature' is becoming increasingly ubiquitous and unstable as a category for representation and debate.
Futurenatural brings together leading theorists of culture and science to discuss the concept of 'nature' - its past, present and future. Contributors discuss the impact on our daily life of recent developments on biotechnologies, electronic media and ecological politics. Increasingly, scientific theories and models have been taken up as cultural metaphors that have material effects in transforming 'ways of seeing' and 'structures of feeling'.
The book addresses the issue of whether political and cultural debates about the body and environment can take place without reference to 'nature' or the 'natural'. This collection considers how we might 'think' a future developing from emergent scientific theories and discourses. What cultural forms may be produced when new knowledges challenge and undermine traditional ways of conceiving the 'natural'.

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.

We are living in an age when 'nature' seems to be on the brink of extinction yet, at the same time, 'nature' is becoming increasingly ubiquitous and unstable as a category for representation and debate.
F uturenatural brings together leading theorists of culture and science to discuss the concept of 'nature' - its past, present and future. Contributors discuss the impact on our daily life of recent developments in biotechnologies, electronic media and ecological politics. Increasingly, scientific theories and models have been taken up as cultural metaphores that have material effects in transforming 'ways of seeing' and `structures of feeling'.
The book addresses the issue of whether political and cultural debates about the body and the environment can take place without reference to 'nature' or the `natural'. This collection considers how we might 'think' a future developing from emergent scientific theories and discourses. What cultural forms may be produced when new knowledges challenge and undermine traditional ways of conceiving the 'natural' ?

Series Information:
Futures: New Perspectives for Cultural Analysis

This text investigates the future for travelling in a world whose boundaries are shifting and dissolving. The contributors bring together popular and critical discourses of travel to explore questions of identity and politics; history and narration; collecting and representing other cultures; and tourism.

There are now new experiences of space and time; new tensions between globalism and regionalism, socialism and consumerism, reality and spectacle; new instabilities of value, meaning and identity - a dialectic between past and future. How are we to understand these?
Mapping the Futures is the first of a series which brings together cultural theorists from different disciplines to assess the implications of economic, political and social change for intellectual inquiry and cultural practice.

Walter Sickert was one of the most influential artists of the late 19th and early 20th centuries. An apprentice of Whistler and close associate of Degas, he engaged with the work of French artists of the time. Sickert in turn influenced many British painters up to the present day. This book will show how Sickert transformed the representation of everyday life, with his innovative approach to subject matter, radical compositions and the evocation of the materiality of existence in paint. It will explore the changing nature of his work - from an impressionistic approach in the 1880s to a pioneering use of photography in the 1930s - and how he returned over and over to locations and subjects, including his penetrating self-portraits. Sickert's imagination was fuelled by news and current events such as the Camden Town Murders and newspaper photography, but also by popular culture - music halls, the stage, the rise of cinema and celebrity. Featuring over 200 images from the exhibition and a wide range of essays by scholars, as well as reflections on Sickert's relevance and influence by a selection of contemporary painters including Kaye Donachie and Somaya Critchlow.

A groundbreaking and extensively researched account of the 1960s London art scene In the 1960s, London became a vibrant hub of artistic production. Postwar reconstruction, jet air travel, television arts programs, new color supplements, a generation of young artists, dealers, and curators, the influx of international film companies, the projection of "creative Britain" as a national brand-all nurtured and promoted the emergence of London as "a new capital of art." Extensively illustrated and researched, this book offers an unprecedented, rich account of the social field that constituted the lively London scene of the 1960s. In clear, fluent prose, Tickner presents an innovative sequence of critical case studies, each of which explores a particular institution or event in the cultural life of London between 1962 and 1968. The result is a kaleidoscopic view of an exuberant decade in the history of British art. Distributed for the Paul Mellon Centre for Studies in British Art