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• 1. On Severance
• 2. Fugitive Matter
• 3. Anthropofugal Transformations
• 4. Modular Concrescence
• 5. Clandestine Resphiliacs
• 6. Architecture and Ignorance
• 7. An Infinite Periphery
• 8. Toward Irrelation.
• (source: Nielsen Book Data)

This book offers a reassessment of how "matter" - in the context of art history, criticism, and architecture - pursued a radical definition of "multiplicity", against the dominant and hierarchical tendencies underwriting post-fascist Japan. Through theoretical analysis of works by artists and critics such as Okamoto Taro, Hanada Kiyoteru, Kawara On, Isozaki Arata, Kawaguchi Tatsuo, and Nakahira Takuma, this highly illustrated text identifies formal oppositions frequently evoked in the Japanese avant-garde, between cognition and image, self and other, human and thing, and one and many, in mediums ranging from painting and photography, to sculpture and architecture. In addition to an "aesthetics of separation" which refuses the integrationist implications of the human, the author proposes the "anthropofugal" - meaning fleeing the human - as an original concept through which to understand matter in the epistemic universe of the postwar Japanese avant-garde. Chapters in this publication offer critical insights into how artists and critics grounded their work in active disengagement, to advance an ethics of nondominance. Avant-Garde Art and Nondominant Thought in Postwar Japan will appeal to students and scholars of Japanese studies, art history, and visual cultures more widely.
(source: Nielsen Book Data)

"This book explores a range of experimental self-portraits made in France between 1840 and 1870, including remarkable images by Hippolyte Bayard, Nadar, Duchenne de Boulogne, and Countess de Castiglione. Adapting photography for different social purposes, each of these pioneers showcased their own body as a living artifact and iconic attraction. Examining performative specimens of early photography, Jillian Lerner considers the medium's uncanny transformation of identity and embodiment. She highlights the tactical importance of photographic demonstrations, promotions, conversations, and the mongrel forms of montage, painted photographs, albums, and personal correspondence. The author shows how photographic practices are mobilized in diverse cultural contexts, and enmeshed with the histories of art, science, publicity, urban spectacle, and private life in nineteenth-century France. Tracing calculated and creative approaches to a new medium, this research also contributes to an archaeology of the present. It furnishes a prehistory of the "selfie" and offers historical perspectives on the forces that reshape human perception and social experience. This interdisciplinary study will appeal to readers interested in photography, the history of photography, art, visual culture, and media studies"-- Provided by publisher.

In 2006, architectural designer and curator Adam Stech embarked on a photographic project to document the best Modernist architecture around the globe. Twenty-five countries and more than a decade later, the fruits of that monumental project are gathered in this impressive collection covering nearly a century of architectural history. Driven by a passion for rediscovering forgotten or lesser known architectural treasures of Modernism, Stech took thousands of diverse photographs of exteriors and interiors. This survey features often overlooked details that Stech helps bring to light. Examples of seating, storage, tables, handrails, lighting, doors, windows, fireplaces, and other decorative or functional elements illustrate how architects imbued every aspect of a building with Modernist ideals. Stech's brief personal commentary reveals insights into his photography such as capturing Le Corbusier's bold use of primary colours, the California vibe of an Albert Frey house, or the over-the-top elegance of Togo Murano's Grand Prince Hotel. Expansive and inspiring, this is destined to become the definitive guide to 20th-century Modernism.
(source: Nielsen Book Data)

• Chapter 1. Cai Yuanpei: His Vision for Art Reform in China.
• Chapter 2. The Other Lu Xun: Graphic Designer, Book Collector and Art Reformer.
• Chapter 3. Xu Zhimo: Public Intellectual and Art Reformer.
• Chapter 4. Art Exhibition, Art Reforms and the Debates.
• Chapter 5. Chinese Art Students in Lyon: Individuals and Institutions
• Part 1.
• Chapter 5. Chinese Art Students in Lyon: Individuals and Institutions
• Part 2.
• Chapter 6. Afterword: Questioning the Agency of the Semi-Colonised. Glossaries. Chinese and Japanese Names and Expressions-- Schools, Associations, Institutions and Exhibitions. References.
• (source: Nielsen Book Data)

How did art reform fit into the many initiatives for social and cultural change that contributed to the New Cultural Movement that transformed the Chinese cultural landscape during the Republican period? "Modern art for a modern China" was the rallying cry of Chinese intellectuals, many of whom were artists, critics, writers, poets and educators. Wang describes how these groups discussed and implanted changes in China's conception and practice of art. She demonstrates how art reforms fit into the many initiatives for social and cultural change that contributed to the New Cultural Movement that transformed the Chinese cultural landscape during the Republican period. In doing so, she analyses two key areas in the intellectual history of Republican China: China's art reform in the early decades of the twentieth century; and the connection and intersection between colonialism, nationalism and cosmopolitanism, including their direct impact on the development of art and art practice in China. Modern Art for a Modern China is an invaluable resource for scholars and students of China's twentieth-century intellectual history and art history.
(source: Nielsen Book Data)

"Examining imagery of urban space in Britain, France and West Germany up to the early 1960s, this book reveals how photography shaped individual architectural projects and national rebuilding efforts alike. Exploring the impact of urban photography at a pivotal moment in contemporary European architecture and culture, this book addresses case studies spanning the destruction of the war to the modernizing reconfiguration of city spaces, including ruin photobooks about bombed cities, architectural photography of housing projects and imagery of urban life from popular photomagazines, as well as internationally-renowned projects like UNESCO's Paris Headquarters, Coventry Cathedral and Berlin's Gedächtniskirche. This book reveals that the ways of seeing shaped in the postwar years by urban photography were a vital aspect of not only discourses on the postwar city, but also debates central to popular culture, from commemoration and modernization to democratization and Europeanization. This book will be fascinating reading for researchers in the fields of photography and visual studies, architectural and urban history, as well as cultural memory and contemporary European history"-- Provided by publisher.

• Introduction
• 1. Courtiers, Nobles and Visual Representation
• 2. Sprezzatura and its Afterlife: from Castiglione to Faret
• 3. Nobility and the Art of Painting
• 4. The Nobly Negligent Painter
• 5. Van Dyck's Almost Complete Gentleman
• 6. Nobles and Nobilities: English Double Portraits
• 7. Conclusion: Nobles and Courtiers.
• (source: Nielsen Book Data)

This interdisciplinary study examines painted portraiture as a defining metaphor of elite self-representation in early modern culture. Beginning with Castiglione's Book of the Courtier (1528), the most influential early modern account of the formation of elite identity, the argument traces a path across the ensuing century towards the images of courtiers and nobles by the most persuasive of European portrait painters, Van Dyck, especially those produced in London during the 1630s. It investigates two related kinds of texts: those which, following Castiglione, model the conduct of the ideal courtier or elite social conduct more generally; and those belonging to the established tradition of debates about the condition of nobility -how far it is genetically inherited and how far a function of excelling moral and social behaviour. Van Dyck is seen as contributing to these discussions through the language of pictorial art. The book will be of interest to scholars working in art history, cultural history, early modern history and Renaissance studies.
(source: Nielsen Book Data)

• Chapter 1: In the Beginnings: Introducing Poetics of Deconstruction
• Chapter 2: The Animal Cure: inhaling the other in Dean Spanley
• Chapter 3: Raising Animals: between the basement and the kennel in The Woman
• Chapter 4: Speculations: gesture in Conceiving Ada and Absent Presence
• Chapter 5: Outlaws: towards a posthumanist feminine in Dancer in the Dark
• Chapter 6: 'Unfamiliar Unconscious': the performativity of Infinity Kisses
• Chapter 7: In Lieu of Conclusion: White God.
• (source: Nielsen Book Data)

In Poetics of Deconstruction, Lynn Turner develops an intimate attention to independent films, art and the psychoanalyses by which they might make sense other than under continued license of the subject that calls himself man. Drawing extensively from Jacques Derrida's philosophy in precise dialogue with feminist thought, animal studies and posthumanism, this book explores the vulnerability of the living as rooted in non-oppositional differences. From abjection to mourning, to the speculative and the performative, it reposes concepts and buzzwords seemingly at home in feminist theory, visual culture and the humanities more broadly. Stepping away from the carno-phallogocentric legacies of the signifier and the dialectic, Poetics of Deconstruction asks you to welcome nonpower into politics, always sexual but no longer anchored in sacrifice.
(source: Nielsen Book Data)

• On So-Called Nonpolitical Urban Environmentalism : The Architecture of the Open City, Politics, and the Political
• Refashioning Latin Americanism : The Foundations of the Environmental Urbanism of the Open City
• The Eruption of the Political? : Politics, the Political, Hospitality, and the Foundation of the Open City
• Thinking Otherwise : Keeping the Open City Open in the Dictatorship
• On Subaltern Historiography : Thinking the Open City Historically
• Towards a Decolonial Environmentalism : The Limits and Openings of the Open City's Environmental Urbanisms
• Socialities, New Openings and the Lingering Question of Capital.

"Founded in the late 1960s on Chile's Pacific coast, the Open City (la Ciudad Abierta) has become an internationally recognized site of cutting-edge architectural experimentation. Yet with a global reputation as an apolitical collective, little has been discussed about the Open City's relationship with Chilean history and politics. Politics of the Dunes explores the ways in which the Open City's architectural and urban practice is devoted to keeping open the utopian possibility for multiplicity, pluralism, and democratization in the face of authoritarianism, a powerful mode of postcolonial environmental urbanism that can inform architectural practices today"-- Provided by publisher.

• Travel photography, amateur photography, and locality
• Were there female photographers in the region?
• Producing an alternative space : destabilizing fixed images of womanhood
• Women, politics, and portraiture during the French Mandate
• Modernity as expressed in the photographs
• "Successful failures," or, Marie a-Khazen's photographic experiments.

"The Lebanese photographer Marie al-Khazen seized every opportunity to use her camera during the years that she was active between 1920 and 1940. She not only documented her travels around tourist sites in Lebanon but also sought creative experimentation with her camera by staging scenes, manipulating shadows, and superimposing negatives to produce different effects in her prints. Within her photographs, bedouins and European friends, peasants and landlords, men and women comfortably share the same space. Her photographs include an intriguing collection portraying her family and friends living their everyday lives in 1920s and '30s Zgharta, a village in the north of Lebanon. Yasmine Nachabe Taan explores these photographs, emphasizing the ways in which notions of gender and class are inscribed within them and revealing how they are charged with symbols of women's emancipation to today's viewers, through women's presence as individuals, separate from family restrictions of that time. Images in which women are depicted smoking cigarettes, driving cars, riding horses, and accompanying men on hunting trips counteract the common ways in which women were portrayed in contemporary Lebanon"-- Provided by publisher.

• Lessons from the Art nexus
• The index and indexicality
• The prototype and the model
• Immanent relationality and its consequences
• Virtuosity and style
• Aesthetics and the ethics of relation
• Generativity and transformation
• Agency (social)
• Material agency
• Colour, palette and gestalt
• Patterns and their transposition
• Motile animacy.

"This book draws on the work of anthropologist Alfred Gell to reinstate the importance of the object in art and society. Rather than presenting art as a passive recipient of the artist's intention and the audience's critique, the authors consider it in the social environment of its production and reception. A Return to the Object introduces the historical and theoretical framework out of which an anthropology of art has emerged, and examines the conditions under which it has renewed interest. It also explores what art 'does' as a social and cultural phenomenon, and how it can impact alternative ways of organising and managing knowledge. Making use of ethnography, museological practice, the intellectual history of the arts and sciences, material culture studies and intangible heritage, the authors present a case for the re-orientation of current conversations surrounding the anthropology of art and social theory. This text will be of key interest to students and scholars in the social and historical sciences, arts and humanities, and cognitive sciences"-- Provided by publisher.

• Paintings Consolidating Fleeting Press Photos
• Collage Paintings Sparring with Visual Propaganda
• Slow and Socio-Critical Painting-like Digital Photographs
• Painting Actions Materializing Social Relationships
• Socio-Critical Expanded Paintings through Veiling and Unveiling.

"The abundance of images in our everyday lives- and the speed at which they are consumed seems to have left us unable to critique them. To rectify this situation, artists such as Daniel Richter and Artur Zmijewski have demonstrated that painting is brilliantly equipped to produce 'slow images' that enable, encourage and reward reflection. Here, Helen Westgeest attempts to understand how various forms of slow painting can be used as tools to interrogate the visual mediations we encounter daily. Painting was expected to disappear in the digital age, but through interactive painting performances and painting-like manipulated photographs and videos, Westgeest shows how photography, video and new media art have themselves developed the visual strategies that painting had already mastered. The fleeting nature of digital mass media appears to have unlocked a desire for more physically stable and enduring pictures, like paintings. In a world where the constant quest for speed can leave us exhausted, the appeal of this 'slower medium' has only grown"-- Provided by publisher.

"The newest volume in the highly successful 150 Best series, 150 New Best of the Best House Ideas is a comprehensive handbook showcasing the latest in house design"-- Provided by publisher.

It is the longing for silence? inviolate, loudly articulate silence. Jan Scheffler puts himself in the midst of this silence and his gaze brushes the sky, the earth, the water, the light. Then all becomes quiet within him. And his pictures are created in the knowledge of endangered beauty. He tells of the lands in the north that he and his camera have been traveling through for the past twenty years. He tells of the days and nights there, of his hunger for this northern light, the poetry of the landscape of which he has become a part. Exhibition: Robert Stolz Platz 3, Vienna, Austria (15.11. - 30.11.2019)

• 1. Inconspicuous
• Ubiquitous
• Official graffiti: utility codes
• Initialed impressions: sidewalk markings
• Planned failure: breakaway posts
• A little safer: emergency boxes
• Camouflage
• Thornton's scent bottle: stink pipes
• Exhaustive outlets: fake facades
• Catalytic diverters: ventilation buildings
• Neighborhood transformers: electrical substations
• Cellular biology: wireless towers
• Resourceful artifice: production wells
• Accretions
• Seeing stars: anchor plates
• Scarchitecture: urban infill
• Lines of sight: relay nodes
• Thomassons: maintained remains
• Accumulative controversy: love locks
• Spolic of war: constructive reuse
• 2. Conspicuous
• Identity
• Vexillology rules: municipal flags
• Public bodies: civic monuments
• Fonts of knowledge: historical plaques
• Distinguished features: that fancy shape
• Safety
• Mixed signals: traffic lights
• Visibility aids: retroreflective studs
• Checkered past: recognition patterns
• Memorable but meaningless: warning symbols
• Signs of times: shelter markers
• Signage
• Broad strokes: hand-painted graphics
• tube benders: neon lights
• Sky dancers: inflatable figures
• Outstanding directors: production placards
• Minded businesses: absent advertising
• 3. Infrastructure
• Civic
• Bureaucracy inaction: incidental bridge
• Good delivery: postal service
• Water
• Rounding down: manhole covers
• Upwardly potable: drinking fountains
• Reversing course: waste management
• Circling back: subsurface cisterns
• Apples to oysters: flood mitigation
• Technology
• Fine lines: utility poles
• Alternated currents: power grids
• Moonlight towers: street lights
• Dialed back: electricity meters
• Network effects: internet cables
• Roadways
• Accelerating change: painting centerlines
• Shifting responsibility: blaming jaywalkers
• Key indicators: crash testing
• Cemented divisions: lane separators
• Extra turns: safer intersections
• Circulating logic: rotary junctions
• Incomplete stops: calming tragic
• Reversing gears: changing lanes
• Public
• On verges: interstitial spaces
• Crossing over: pedestrian signals
• Sharrowed routes: cycling lanes
• Congestion costs: easing gridlock
• Extravehicular activities: naked streets
• 4. Architecture
• Liminal
• Imperfect security: locked entries
• Open and shut: revolving doors
• Improved egress: emergency exits
• Materials
• Stolen facades: recycling brick
• Aggregate effects: cracking concrete
• Hybrid solutions: amassing timber
• Regulations
• Secular orders: taxable units
• formative setbacks: mansard roofs
• Heaven to hell: property limits
• Towers
• Braking good: modern elevators
• Cladding skeletons: curtain walls
• Topping out: skyscraper races
• Unanticipated loads: managing crises
• Perspective matters: redefining skylines
• Beyond above: engineering icons
• Grouped dynamics: street canyons
• Foundations
• Vernacular enclaves: international districts
• Reality checks: service centers
• Approachable ducks: commercial signifies
• Competitive starchitecture: contrasting additions
• Heritage
• Heathen's gate: overlapping narratives
• Landmark ruling: historic preservation
• Recrowned jewel: complex restoration
• Architectural license: faithless reconstruction
• Unnatural selection: subjective stabilization
• Faded attraction: alluring abandonment
• Runed landscapes: peripheral traces
• Unbuilding codes: premeditated deconstruction
• 5. Geography
• Delineations
• Points of origin: zero markers
• Edge cases: boundary stones
• Defining moments: standardized time
• Road boosters: national highways
• Configurations
• Rounding errors: Jeffersonian grids
• Unassigned lands: patchwork plans
• Rectilinear revelations: coordinated layouts
• Good eixamples: reconfigured super-blocks
• Standard deviation: growth patterns
• Designations
• Citations needed: informal geonyms
• Hybrid acronames: neighborhood monikers
• Calculated omissions: unlucky numbers
• Deliberated errors: fictitious entries
• Misplaced locations: null island
• Paced ways: Tucson stravenues
• Accessible voids: nameless places
• Landscapes
• Graveyard shifts: pastoral parks
• Trailing spaces: converted greenways
• Courting palms: street trees
• Lawn enforcement: owned backyards
• Lofty treescrapers: ungrounded plants
• synanthropes
• Naturalized denizens: common squirrels
• Ghost streams: fish stories
• Home to roost: unloved doves
• Raccoon resistance: trash pandas
• Unmanned lands: wildlife corridors
• 6. Urbanism
• Hostilities
• Loved park: dubious skateblockers
• Urine trouble: discouraging spikes
• Obstinate objects: discomforting seats
• Cities of light: dissuasive illumination
• Targeting demographics: disruptive sounds
• Exterior motives: deceptive deterrents
• Interventions
• Guerrilla fixation: unsanctioned shield --- Drawing attention: viral signage
• Asking permission: open hydrants
• Seeking forgiveness: embattled boulders
• Legitimizing action: middle way
• Catalysts
• Ramping up: cutting curbs
• Cycling through: clearing cars
• Driving away: appropriating parklets
• Grating on: grassroots gardening
• Bumping out: collaborative peacemaking

"A beautifully designed guidebook to the unnoticed yet essential elements of our cities, from the creators of the wildly popular 99% Invisible podcast." -- Provided by publisher

• Foreword / by Joseph Leo Koerner
• Introduction: Baldung's polluted witches, poison maids, basilisks and crones
• The abject erotic feminine in Hans Baldung Grien
• The world of Baldung's 1510 Witches' Sabbath
• Baldung's 'Jewish' witches
• Baldung and the witch doctors
• Blood, visions, witch women and saints
• Baldung and the morality of vision
• Classical reception, toxic femininity and Hippomanes in The Bewitched Groom
• Humanist humour in Baldung
• Erudite obscenities and pious pornography
• Conclusion.

"Hans Baldung Grien, the most famous apprentice and close friend of German artist Albrecht Durer, was known for his unique and highly eroticised images of witches. In paintings and woodcut prints, he gave powerful visual expression to late medieval tropes and stereotypes, such as the poison maiden, venomous virgin, the Fall of Man, 'death and the maiden' and other motifs and eschatological themes, which mingled abject and erotic qualities in the female body. Yvonne Owens reads these images against the humanist intellectual milieu of Renaissance Germany, showing how classical and medieval medicine and natural philosophy interpreted female anatomy as toxic, defective and dangerously beguiling. She reveals how Hans Baldung exploited this radical polarity to create moralising and titillating portrayals of how monstrous female sexuality victimised men and brought them low. Furthermore, these images issued from - and contributed to - the contemporary understanding of witchcraft as a heresy that stemmed from natural 'feminine defect,' a concept derived from Aristotle. Offering new and provocative interpretations of Hans Baldung's iconic witchcraft imagery, this book will be essential for historians of art, culture and gender relations in the late medieval and early modern periods"-- Provided by publisher.

• Introduction * Multiple Beginnings * Constructing an Abstract Vocabulary * Abstract Expressionism and its Legacies * Global Geometries * Minimal, Conceptual and Process Art * Abstraction in the Digital Age.
• (source: Nielsen Book Data)

This lively introduction tells the ever-evolving story of abstract art, tracing its history from the early 1900s right up to the present day. Emerging out of western movements such as Cubism and Expressionism, abstract art quickly became a global phenomenon, changing the face of modern and contemporary art. Stephanie Straine weaves accounts of well-known pioneers with fascinating insights into lesser-known ground-breakers from across the world. Although abstraction in art is often associated with vagueness or the forbiddingly theoretical, for many artists the abstract represents pure simplicity. Straine's vivid discussion demystifies the work of over seventy innovative artists - from Wassily Kandinsky to Emma Kunz and Rana Begum - and develops our appreciation of their conceptual approach. A reference section includes a timeline of key exhibitions of abstract art, suggestions for further reading and a glossary of art terms.
(source: Nielsen Book Data)

Taking a radically new approach to the history of abstract painting, Pepe Karmel applies a scholarly yet fresh vision to reconsider the history of abstraction from a global perspective and to demonstrate that abstraction is embedded in the real world. Moving beyond the orthodox canonical terrain of abstract art, he surveys artists from across the globe, examining their work from the point of view of content rather than form. Previous writers have approached the history of abstraction as a series of movements solving a series of formal problems. In contrast, Karmel focuses on the subject matter of abstract art, showing how artists have used abstract imagery to express social, cultural and spiritual experience. An introductory discussion of the work of the early modern pioneers of abstraction opens up into a completely new approach to abstract art based around five inclusive themes - the body, the landscape, the cosmos, architecture, and the repertory of man-made signs and patterns - each of which has its own chapter. Starting from a figurative example, Karmel works outwards to develop a series of narratives that go far beyond the established figures and movements traditionally associated with abstract art. Each narrative is complemented by a number of 'featured' abstract works, which provide an in-depth illustration of the breadth of Karmel's distinctive vision. A wide-ranging examination of topics - from embryos to the surface of skin, from vortexes to waves, planets to star charts, towers to windows - is interwoven with detailed analysis of works by established figures like Joan Miro and Jackson Pollock alongside pieces by lesser-known artists such as Wu Guanzhong, Hilma af Klint and Odili Donald Odita.