This book is a study of the history, role and significance of copying art. Copies have enjoyed a different status from authentic artworks and though often acknowledged, very rarely have they been considered collectively as a genre in their own right. This volume showcases a variety of examples-from copies of famous artworks made and used as props in movies to those made innocently by student artists as part of their training. Examining the motivations for making copies, and reflecting on the reception of copies, is central to this book. Copies have historically filled voids in collections, where some sadly languish, and have become a curatorial burden. In other cases, having a copy assists in conservation projects and fills the place of a lost work. Ultimately by interrogating a copy's role and intent we might ask ourselves if viewing a copy changes our experience and perception of an artwork.

This book is available in audiobook format, narrated by Kerry Fox: https://www.audible.co.uk/pd/Females-in-the-Frame-Audiobook/B08PC6YSW1?asin=B08PC6YSW1&source_code=ASUOR22212112000M8 This book explores the untold history of women, art, and crime. It has long been widely accepted that women have not played an active role in the art crime world, or if they have, it has been the part of the victim or peacemaker. Women, Art, and Crime overturns this understanding, as it investigates the female criminals who have destroyed, vandalised, stolen, and forged art, as well as those who have conned clients and committed white-collar crimes in their professional occupations in museums, libraries, and galleries. Whether prompted by a desire for revenge, for money, the instinct to protect a loved one, or simply as an act of quality control, this book delves into the various motivations and circumstances of women art criminals from a wide range of countries, including the UK, the USA, New Zealand, Romania, Germany, and France. Through a consideration of how we have come to perceive art crime and the gendered language associated with its documentation, this pioneering study questions why women have been left out of the discourse to date and how, by looking specifically at women, we can gain a more complete picture of art crime history.

Ten-year-old Cassie lives with her working-class family in 1919 Winnipeg. The Great War and Spanish Influenza have taken their toll, and workers in the city are frustrated with low wages and long hours. When they orchestrate a general strike, Cassie -- bright, determined and very bored at school -- desperately wants to help. She begins volunteering for the strike committee as a papergirl, distributing the strike bulletin at Portage and Main, and from her corner, she sees the strike take shape. Threatened and taunted by upper-class kids, and getting hungrier by the day, Cassie soon realizes that the strike isn't just a lark -- it's a risky and brave movement. With her impoverished best friend, Mary, volunteering in the nearby Labour Cafe, and Cassie's police officer brother in the strike committee's inner circle, Cassie becomes increasingly furious about the conditions that led workers to strike. When an enormous but peaceful demonstration turns into a violent assault on Bloody Saturday, Cassie is changed forever. Lively and engaging, this novel is a celebration of solidarity, justice and one brave papergirl. Financial assistance provided by the Manitoba Arts Council.