• Introduction
• Part I: Collaborations Between Art Schools and Their Museums
• 1. The Art Museum and the Art School: Negotiating Collaboration in Chicago Judith Russi Kirshner and Lisa Wainwright
• 2. Encouraging American Genius": Creative Exchange at the Corcoran Gallery of Art and the Corcoran College of Art + Design Sarah Cash and Lisa Lipinski
• Part II: Dialogues in Museums
• 3. IDEAS: The Art Museum as Laboratory for Learning Rachel Middleman and Deborah Edwards Banerjee
• 4. A Woven History: These Baskets All Started with a Story Gigi Romeo and Jennifer Juan
• 5. The Museum as Classroom: Expanding the Boundaries of EFL Curriculum in Korea Kristina Dziedzic Wright
• Part III: Museums and Interdisciplinarity
• 6. Framing Art History in the Liberal Arts: The Academy and Museum in Interdisciplinary Dialogue Catherine Carter Goebel
• 7. The Museum: Culture, Business and Education Suzanne Bellah, Irina D. Costache, Clare Kunny, and Andrew Morris
• 8.The Art of Attending Arts-Based Observation Training for Health Professions Students at the University of South Florida Megan Voeller
• Part IV: Museum Practices and Audience Engagement
• 9. The Politics of Space and the Critical Role of Art in Historical Museums Bimbola Akinbola
• 10. Exhibitions as a Field of Production Martino Margheri
• 11. Attract, Engage, Partner: Forming Museum-Academic Relationships Peter I. Tokofsky
• Part V: Museums, Artists and The Digital Factor
• 12.The Project Series at Pomona College Museum of Art: Artists in the Academic Context Rebecca McGrew
• 13. The Art Museum as a Generative Site: A Case Study of The Metropolitan Museum of Art Jacqueline Terrassa and Maya Valladares
• 14. A Third Place: the &/ project Sarah Archino, Siofra McSherry and Isabella Streffen.
• (source: Nielsen Book Data)

Collaboration and interdisciplinary practice in the museum are on the rise. Academics, Artists, and Museums examines twenty-first century partnerships between the museum and higher education sectors, with a focus on art museums and exhibits. The edited volume offers detailed analysis of how innovative curatorial relationships between museums and academia have sought to engage new, younger, audiences through the collaborative transformation of museums and exhibitions. Thematic topics explored include the forming and nature of interdisciplinary partnerships, the integration of museum learning into higher education, audience engagement, and digital technology. With a particular emphasis on practice in the US, the range of projects discussed includes those at both widely recognized and lesser known institutions, from The Met to the Tohono O'odham Nation Cultural Center in the US, to Ewha University Museum in South Korea, and Palazzo Strozzi in Italy. The role of art and the work of the artist are firmly positioned at the core of many of the relationships explored. Academics, Artists, and Museums advocates for the museum as an experimental `laboratory' where academia, art and the museum profession can combine to engage new audiences. It is a useful resource for museum professionals, artists, scholars, and students interested in collaboration and innovative practice.
(source: Nielsen Book Data) 9781138300781 20181203

• Acknowledgments List of Figures List of Tables Contributors Introduction: Still in Haste Part I: Once Upon a Sun
• 1. Letter To the Select Committee On Small Business of the United States Senate
• 2. A Clear Sky Story on the Evolution of Passive Solar Design: The Source and Multiple Applications of Harold Hay's Roof Pond System
• 3. Harold Hay's influence and the Zomeworks Corporation
• 4. Free Passive Solar Heating for Cold, Cloudy Winters: Designing Molecules and Crystal Structures
• 5. The Empire Strikes Back: When Too Good Becomes Threatening
• 6. Determining Market Demand and Feasibility for Roof Pond Systems in California Part II: Active Repercussions
• 7. Creating the Context for a Solar Future: Two Activists, Two Buildings
• 8. Shade, Mass and Water: Activism by Degrees
• 9. Passive Cooling Systems in Times of Climate Change
• 10. Actively Stretching Passive: Adventures with Night Roof Spray Cooling
• 11. Untapped Potentials in Harold Hay's Roofpond System for Passive Heating in Cold Climate Regions Part III: Necessity and Pleasure
• 12. Building Experience
• 13. Thermal Landscaping of Buildings: Climate-Proofing Design
• 14. Resilience as a Driver of Passive Design
• 15. From Survivability to Thrivability: Finding Joy in Passive Design.
• (source: Nielsen Book Data)

This edited collection gathers contributions from a diverse range of renowned scholars and professionals to uncover the unique relationship between passive architectural systems and activism. Focusing on the pioneering work of the influential American chemist and inventor, Harold R. Hay (1909-2009), and the environmental awareness events that took hold in the United States during the 1960s and 1970s, the book assembles essays which closely examine Hay's contribution to architecture and the work of those who directly and tangentially were affected by it. The book also offers insights into the role of passive energy design today. Appealing to researchers, architects and students interested in architecture and design technology, Activism in Architecture explores the role of passive environmental inventions as an active agent in shaping socio-political debates.
(source: Nielsen Book Data) 9781138741430 20190114

• Acknowledgments
• 1. What is a work of art?
• 2. What is a painting?
• 3. The Art World
• 4. Lawrence Carroll Enters the Art World
• 5. Why Painting's History Matters
• 6. An Art History Made for and by Artists
• 7. Interpreting Lawrence Carroll's Artworks
• 8. Why Lawrence Carroll's Paintings Matter Notes Lawrence Carroll: Selected Exhibitions Lawrence Carroll: Selected Collections Bibliography Index.
• (source: Nielsen Book Data)

Boldly developing the central traditions of American modernist abstraction, Lawrence Carroll's paintings engage with a fundamental issue of aesthetic theory, the nature of the medium of painting, in highly original, frequently extraordinarily successful ways. Aesthetic Theory, Abstract Art, and Lawrence Carroll explains how he understands the medium of painting; shows what his art says about the identity of painting as an art; discusses the place of his paintings in the development of abstraction; and, finally, offers an interpretation of his art. The first monograph devoted to him, this philosophical commentary employs the resources of analytic aesthetics. Art historians trace the development of art, explaining how what came earlier yields to what comes later. Taking for granted that the artifacts they describe are artworks, art historians place them within the history of art. Philosophical art writers define art, explain why it has a history and identify its meaning. Pursuing that goal, Aesthetic Theory, Abstract Art, and Lawrence Carroll roams freely across art history, focused at some points on the story of old master painting and sometimes on the history of modernism, but looking also to contemporary art, in order to provide the fullest possible philosophical perspective on Carroll's work.
(source: Nielsen Book Data) 9781350009561 20181022

• Breaking rules
• Built environments
• Capitalism
• Careers
• Codes
• Collegiality
• Communication
• Competition
• Conflicts of commitment
• Creativity
• Data
• Deception
• Disasters
• Diversity
• Education
• Ghettos
• Gifts
• Goodness
• Happiness
• Helping others
• Housing
• Inequality
• Infrastructure
• Insider information
• Interviews
• Licensure
• Money laundering
• Moral foundations
• Moral hazard
• Nomadism
• Politics
• Power
• Practice
• Preservation
• Privacy
• Productivity
• Property
• Psychology
• Public-interest design
• Quid pro quos
• Resource use
• Sexism
• Space
• Student work
• Style
• Surveillance
• Terrorism
• Trespassing
• Value
• Work.

• Introduction
• 1. Order in Nature, Science and the Arts
• 2. The Order of Content
• 3. The Order of Form
• 4. The Logic of Aesthetics
• 5. The Aesthetics of Meaning
• 6. The Order of Nothingness and the Phenomenal Gap
• 7. Beauty as Reconciliation.
• (source: Nielsen Book Data)

It is a common enough assumption that good buildings make us feel good just as poor ones can make us feel insecure, depressed or even threatened. We may instantly decide that we `like' one building more than another, in the same way that without thinking we choose one work of art or music over another. But what is going on when we make these instant decisions? The process is so complex that it remains an area rarely examined, often considered unfathomable, or for some mysterious, bordering even on the spiritual. Frank Lyons seeks to unpick the complex relationships that go to make up great works of architecture, to reveal a set of principles that are found to apply not only to architecture but also to art, music and culture in general. One of the major complications at the heart of culture is that because the arts are generated subjectively, it is assumed that the finished cultural artefact is also subjective. This is a myth that this book seeks to dispel. The arts are indeed created from the personal subjective space of an individual but what that individual has to say will only be shareable if expressed in coherent (objective) form. In a nutshell, the book reverses two generally accepted positions, that the arts are subjective and that meaning is objective and therefore shared. The reversal of these seemingly common sense, but mistaken positions enables two important issues to be resolved, firstly it explains how the arts communicate through objectivity and secondly how the meaning of an object of art is never shared but always remains private to the individual. The combination of these two positions ultimately helps us to understand that beauty is a subjective appreciation of an objectively arranged form. Furthermore, this understanding enables the author to explain how a sublimely arranged form can open us to the ineffable; to a field of NOTHINGNESS, or to what some might call the spiritual realm of our own being.
(source: Nielsen Book Data) 9781138214156 20190114

• Transversal space of modernity
• Spaces of objectivity in Persian miniatures
• Klee's miniature series, 1916-1918
• Dialectics of power/culture in Iran
• Kahn's silent space of critique in Tehran.

• List of Figures
• List of Plates
• Introduction: Rethinking Art after the Council of Trent (Jesse M. Locker)
• Chapter 1
• On the `Reform' of Painting: Annibale Carracci and Caravaggio (Clare Robertson)
• Chapter 2
• Sculpture, Rupture, and the `Baroque' (Estelle Lingo)
• Chapter 3
• Spanish Artists in the Forefront of the Tridentine Reform (Marcus Burke)
• Chapter 4
• Judgment, Resurrection, Conversion: Art in France During the Wars of Religion (Iara A. Dundas)
• Chapter 5
• Reform after Trent in Florence (Marcia Hall)
• Chapter 6
• Quella inerudita semplicita lombarda: The Lombard Origins of Baroque and Counter-Reformation Affectivity (Anne Muraoka)
• Chapter 7
• The Allure of the Object in Post-Tridentine Spanish Painting (Carmen Ripolles)
• Chapter 8
• Federico Barocci, History, and the Body of Art (Stuart Lingo)
• Chapter 9
• Neither for Trent nor Against: Faith and Works in Hendrick Goltzius's Allegories of the Christian Creed (Walter Melion)
• Chapter 10
• Francisco Ribalta's Last Supper as a Symbol of Reform in Early Modern Valencia (Lisandra Estevez)
• Chapter 11
• Water in Counter-Reformation Rome (Katherine Rinne)
• Chapter 12
• A Missionary Order without Saints: The Extraordinary Case of the Iconography of Unbeatified Jesuits in Italy and South America, 1560-1622 (Gauvin Alexander Bailey)
• Chapter 13
• Bernardo Bitti: An Italian Reform Painter in Peru (Christa Irwin)
• Chapter 14
• Painting as Relic: Giambattista Marino's Dicerie Sacre and the Shroud of Turin (Andrew Casper)
• Chapter 15
• Resisting the Baroque in mid-Seventeenth-Century Florence (Eva Struhal)
• List of Contributors
• Index.
• (source: Nielsen Book Data)

Drawing on recent research by established and emerging scholars of sixteenth- and seventeenth-century art, this volume reconsiders the art and architecture produced after 1563 across the conventional geographic borders. Rather than considering this period a degraded afterword to Renaissance classicism or an inchoate proto-Baroque, the book seeks to understand the art on its own terms. By considering artists such as Federico Barocci and Stefano Maderno in Italy, Hendrick Goltzius in the Netherlands, Antoine Caron in France, Francisco Ribalta in Spain, and Bartolomeo Bitti in Peru, the contributors highlight lesser known "reforms" of art from outside the conventional centers. As the first text to cover this formative period from an international perspective, this volume casts new light on the aftermath of the Renaissance and the beginnings of "Baroque.".
(source: Nielsen Book Data) 9780815393887 20181112

• 1. Introduction: Contemporary Art as Critical, Revitalizing, and Imaginative Practice Toward Sustainable Communities Raisa Foster and Rebecca Martusewicz
• 2. For the Most Important Parts of You: A Story About Science Hala Alhomoud
• 3. Recognizing Mutuality: The More-Than-Human World and Me Raisa Foster
• 4. The Experience of the Uncanny as a Challenge for Teaching Ecological Awareness Antti Saari
• 5. Letters from Love's Great Room: Fiction as Cultural Ecological Analysis and Pedagogy of Responsibility Erin Stanley
• 6. Art Is That Which Takes Something Real and Makes It More Real Than It Was Before Tommy Akulukjuk and Derek Rasmussen
• 7. Poetry and EcoJustice in a Kenyan Refugee Settlement Veronica Gaylie
• 8. The Uncle Vanya Project: Performance, Landscape, Time Bagryana Popov
• 9. For the Love of the Forest: Walking, Mapping, Making Textile Art Kathleen Vaughan
• 10. Finding My Wound, Bandaging My Knife: Stimulating Inner Transformation through Art Jussi Makela
• 11. Building Ecological Ontologies: EcoJustice Education Becoming with(in) Art-science Activisms Alicia Flynn and Aviva Reed
• 12. Apptivism, Farming, and EcoJustice Art Education Anniina Suominen
• 13. Creativity as Intrinsic Ecological Consciousness Srisrividhiya Kalyanasundaram (Srivi Kalyan)
• 14. Love in the Commons: Eros, Eco-Ethical Education, and a Poetics of Place Rebecca Martusewicz.
• (source: Nielsen Book Data)

Emphasizing the importance of contemporary art forms in EcoJustice Education, this book examines the interconnections between social justice and ecological well-being, and the role of art to enact change in destructive systems. Artists, educators, and scholars in diverse disciplines from around the world explore the power of art to disrupt ways of thinking that are taken for granted and dominate modern discourses, including approaches to education. The EcoJustice framework presented in this book identifies three strands-cultural ecological analysis, revitalizing the commons, and enacting imagination-that help students to recognize the value in diverse ways of knowing and being, reflect on their own assumptions, and develop their critical analytic powers in relation to important problems. This distinctive collection offers educators a mix of practical resources and inspiration to expand their pedagogical practices. A Companion Website includes interactive artworks, supplemental resources, and guiding questions for students and instructors.
(source: Nielsen Book Data) 9781138732452 20180828

• Introduction
• PART I. ILLUMINATORS
• Chapter 1. The Illuminators of London
• PART II. AUTHORS
• Chapter 2. Chaucer's Manicule
• Chapter 3. Gower in Humilitatio
• Chapter 4. Lydgate ex Voto
• PART III. HISTORIES
• Chapter 5. History in the Making: Lydgate's Troy Book
• Chapter 6. History's Hall of Mirrors: Gower's Confessio Amantis
• Epilogue. Chaucer's Missing Histories
• Notes Bibliography Index Acknowledgments Color plates.
• (source: Nielsen Book Data)

At the end of the fourteenth and into the first half of the fifteenth century Geoffrey Chaucer, John Gower, and John Lydgate translated and revised stories with long pedigrees in Latin, Italian, and French. Royals and gentry alike commissioned lavish manuscript copies of these works, copies whose images were integral to the rising prestige of English as a literary language. Yet despite the significance of these images, manuscript illuminators are seldom discussed in the major narratives of the development of English literary culture. The newly enlarged scale of English manuscript production generated a problem: namely, a need for new images. Not only did these images need to accompany narratives that often had no tradition of illustration, they also had to express novel concepts, including ones as foundational as the identity and suitable representation of an English poet. In devising this new corpus, manuscript artists harnessed visual allusion as a method to articulate central questions and provide at times conflicting answers regarding both literary and cultural authority. Sonja Drimmer traces how, just as the poets embraced intertexuality as a means of invention, so did illuminators devise new images through referential techniques-assembling, adapting, and combining images from a range of sources in order to answer the need for a new body of pictorial matter. Featuring more than one hundred illustrations, twenty-seven of them in color, The Art of Allusion is the first book devoted to the emergence of England's literary canon as a visual as well as a linguistic event.
(source: Nielsen Book Data) 9780812250497 20190114

• Introduction
• 1. Post-Consensus Cultural Policies and the Hybridisation of Funding: A British Model
• 2. Artangel, Producing Art in the Post-Consensus Age
• 3. The Public Art of Artangel
• 4. Dissemination, the New Sites of Art
• Conclusion.
• (source: Nielsen Book Data)

The Artangel Trust has been credited with providing artists with all the money and logistics they need to create one-off dream projects. An independent art commissioning agency based in London, it has operated since 1985 and is responsible for producing some of the most striking ephemeral and site-specific artworks of the last decades, from Rachel Whiteread's House to Jeremy Deller's The Battle of Orgreave. Artangel's existence spans three decades, which now form a coherent whole in terms of both art historical and political periodisation. It was launched as a reaction to the cuts in funding for the visual arts introduced by the Thatcher government in 1979 and has since adapted in a distinctive way to changing cultural policies. Its mixed economic model, the recourse to public, private and corporate funds, is the result of the more general hybridisation of funding encouraged by successive governments since the 1980s and offers a contemporary case study on broader questions concerning the specificities of British art patronage. This book aims to demonstrate that the singular way its directors have responded to the vagaries of public funding and harnessed new national attitudes to philanthropy has created a sustainable independent model, but also that it has been reflected more formally, in their approach to site. The locational art produced by the agency has indeed mirrored new distinctions between public and private spaces, it has reflected the social and economic changes the country has gone through and accompanied the new cultural geographies shaping London and the United Kingdom. Looking into whether their funding model might have had a formal incidence on the art they helped produce and on its relation to notions of publicness and privacy, the study of Artangel gives a fresh insight into new trends in British site-specific art.
(source: Nielsen Book Data) 9781138489813 20181029

• Establishing textual authority in a print culture
• Accruing merit in a manuscript culture
• Multiple ways to multiply Buddhist images
• Replication and the transmission of Buddhist iconography
• Replicating the Buddha's true appearance
• Manifesting the Buddha body in reliquaries
• Reenacting the devotional act of relic burial.

As belief in the Buddha grew and his teachings were transmitted across Asia, Buddhist images, scriptures, and relics were duplicated and reduplicated to satisfy the needs of increasing numbers of the faithful. Yet how were these countless copies of sacred objects able to retain their authenticity and efficacy? Authentic Replicas explores how Buddhists in medieval China (seventh to twelfth centuries) solved this conundrum through the use of traditional methods of replication such as stamping, mold casting, and woodblock printing to create objects that fulfilled the spiritual aspirations of those who possessed them. Setting aside Western notions about the relative value of copies versus the "original, " the book posits Buddhist ideas on what imbues an object with credibility and authority and offers fresh insights into the ways authenticity was represented and reproduced in the Chinese Buddhist context. Each section of the volume focuses on an area of artistic output to provide readers with a thorough grasp of the theological concepts underpinning each act of duplication. Part I looks at the replication of sutras to clarify how the spiritual value of a handwritten sutra differed from a printed one. In Part II, clay tablets, woodblock prints, silk paintings, and cave murals are examined to trace iconographic lineages and uncover the divine identity in each new replica. The chapters in Part III describe in detail the copying of the Buddha's bodily relics and the endlessly repeated votive act of burying these in stupas. Of particular significance is the visual and textual vocabulary used on reliquaries to persuade adherents to believe in the actual presence of the Buddha concealed inside. Deftly weaving together data and research from several disciplines, including Buddhist studies, archaeology, and art history, Authentic Replicas vividly conveys how replication lay at the heart of Buddhist worship in medieval China, offering a new understanding of how religious belief guided the artistic output of an entire age.
(source: Nielsen Book Data) 9780824867058 20181119

• List of Illustrations List of Contributors Acknowledgments List of Abbreviations Introduction Rosie Dias (University of Warwick, UK) and Kate Smith (University of Birmingham, UK) Part I: Travel
• 1: The Travelling Eye: British Women in Early 19th-Century India David Arnold (University of Warwick, UK)
• 2: Paper trails of Imperial Trav(a)ils: Janet Schaw's Journal of a journey from Scotland to the West Indies, North Carolina and Portugal, 1774-1776 Viccy Coltman (University of Edinburgh, UK)
• 3: Sketches from the Gendered Frontier: Colonial Women's Images of Encounters with Aboriginal People in Australia, 1830s-1860s Caroline Jordan (La Trobe University, Australia) Part II: Collecting
• 4: "Of manly enterprise, and female taste!": Mina Malcolm's Cottage as Imperial Exhibition, c. 1790s-1970s Ellen Filor (University of Michigan, USA)
• 5: A Lily of the Murray: Cultivating the Colonial Landscape through Album Assemblage Molly Duggins (National Art School, Australia)
• 6: Collecting the "East": Women Travellers New on the New "Grand Tour" Amy Miller (Royal Museums Greenwich, UK) Part III: Identities
• 7: Agents of Affect: Queen Victoria's Indian Gifts Rosie Dias (University of Warwick, UK)
• 8: `Prime Minister in the Home Department': Female Gendered Identity in 19th-Century Upper Canada Rosie Spooner (University of Glasgow, UK)
• 9: Reconstructing the Lives of Professional Women in 1930s Zanzibar through Image, Object and Text Sarah Longair (British Museum, UK) Bibliography Index.
• (source: Nielsen Book Data)

Correspondence, travel writing, diary writing, painting, scrapbooking, curating, collecting and house interiors allowed British women scope to express their responses to imperial sites and experiences in the 18th, 19th and 20th centuries. Taking these productions as its archive, British Women and Cultural Practices of Empire, 1775-1930 includes a collection of essays from different disciplines that consider the role of British women's cultural practices and productions in conceptualising empire. While such productions have started to receive greater scholarly attention, this volume uses a more self-conscious lens of gender to question whether female cultural work demonstrates that colonial women engaged with the spaces and places of empire in distinctive ways. By working across disciplines, centuries and different colonial geographies, the volume makes an exciting and important contribution to the field by demonstrating the diverse ways in which European women shaped constructions of empire in the modern period.
(source: Nielsen Book Data) 9781501332159 20181210

• Introduction
• 1. Rachel Harrison: "Consider the Lobster"
• 2. Isa Genzken: "OIL"
• 3. Geoffrey Farmer: "Me into Many"
• 4. Liz Magor: "The Mouth and Other Storage Facilities" Conclusion.
• (source: Nielsen Book Data)

In this book, Dan Adler addresses recent tendencies in contemporary art toward assemblage sculpture and how these works incorporate tainted materials - often things left on the side of the road, according to the logic and progress of the capitalist machine - and combine them in ways that allow each element to retain a degree of empirical specificity. Adler develops a range of aesthetic models through which these practices can be understood to function critically. Each chapter focuses on a single exhibition: Isa Genzken's "OIL" (German Pavilion, Venice Biennale, 2007), Geoffrey Farmer's midcareer survey (Musee d'art contemporain, Montreal, 2008), Rachel Harrison's "Consider the Lobster" (CCS Bard Hessel Museum of Art, 2009), and Liz Magor's "The Mouth and Other Storage Facilities" (Henry Art Gallery, Seattle, 2008).
(source: Nielsen Book Data) 9781138479623 20190114

• Introduction Curating Research, Theory and Practice (Cara Courage and Anita McKeown) Section One - Evolving Ecologies
• 1 Creative Placemaking: Reflections on a 21st Century American Arts Policy Initiative, (Ann Markusen and Anne Gadwa Nicodemus)
• 2 Spaces of Vernacular Creativity Reconsidered, (Tim Edensor and Steve Millington) Section Two - Dialogical Ecologies
• 3 Turning local interests into local action: Community-Based Art and the case of Wrecked! On The Intertidal Zone, (Dominic Walker)
• 4 Arrivals and Departures: Navigating an Emotional Landscape of Belonging and Displacement at Barangaroo in Sydney, Australia (Sarah Barns)
• 5 A Case for Human-Scale Social Space in Mumbai (Aditi Nargundkar Pathak) Section Three - Scalable Ecologies
• 6 A Rural Case: Beyond Creative Placemaking (Margo Handwerker)
• 7 Creative Placemaking in Peri-Urban Gothenburg - Mission Impossible? (Michael Landzelius and Peter Rundqvist)
• 8 A Conversation between a Collaborating Artist and Curator: Placemaking, Socially Engaged Art, and Deep Investment in People (Jim Walker and Shauta Marsh)
• Section 4 - Challenging Ecologies
• 9 Temporary Spatial Object/Architecture as a Typology for Placemaking (Torange Khonsari)
• 10 Place Guarding: Activist Art against Gentrification (Stephen Pritchard)
• 11 Outros Espacos: Apathy and Lack of Engagement in Participatory Processes (Luisa Alpalhao)
• Section 5 - Extending Ecologies
• 12 Towards Beauty and a Civics Of Place: Notes From The Thriving Cities Project, (Anna Marazuela Kim and Joshua J Yates)
• 13 From Indicators to Face Validity to Theory-and Back Again: Measuring Outcomes of U.S. Creative Placemaking Projects (Sunil Iyengar) Conclusion Moving into the beyond - what's next for creative placemaking? (Anita McKeown and Cara Courage).
• (source: Nielsen Book Data)

This book makes a significant contribution to the history of placemaking, presenting grassroots to top-down practices and socially engaged, situated artistic practices and artsled spatial inquiry that go beyond instrumentalising the arts for development. The book brings together a range of scholars to critique and deconstruct the notion of creative placemaking, presenting diverse case studies from researcher, practitioner, funder and policymaker perspectives from across the globe. It opens with the creators of the 2010 White Paper that named and defined creative placemaking, Ann Markusen and Anne Gadwa Nicodemus, who offer a cortically reflexive narrative on the founding of the sector and its development. This book looks at vernacular creativity in place, a topic continued through the book with its focus on the practitioner and community-placed projects. It closes with a consideration of aesthetics, metrics and, from the editors, a consideration of the next ten years for the sector. If creative placemaking is to contribute to places-in-the-making and encourage citizenled agency, new conceptual frameworks and practical methodologies are required. This book joins theorists and practitioners in dialogue, advocating for transdisciplinary, resilient processes.
(source: Nielsen Book Data) 9781138098022 20190114

• List of figures
• List of tables
• Acknowledgements
• List of abbreviations of consulted institutions and repositories
• Introduction
• Chapter 1: Polish, Belgian and Dutch avant-garde formations, their mutual contacts and cultural mobility within the international network of groups and periodicals
• 1.1. Interwar avant-garde formations of Dutch, Belgian and Polish provenance
• 1.2. Cultural mobility between Polish and Belgian avant-garde formations
• 1.2.1. Traces of Polish-Belgian cultural mobility in Belgian avant-garde periodicals
• 1.2.2. Traces of Polish-Belgian cultural mobility in Polish avant-garde periodicals
• 1.3. Cultural mobility between Polish and Dutch avant-garde formations
• 1.3.1. Traces of Polish-Dutch cultural mobility in Dutch avant-garde periodicals
• 1.3.2. Traces of Polish-Dutch cultural mobility in Polish avant-garde periodicals
• 1.4. Traces of Polish-Dutch and Polish-Belgian cultural mobility in relevant international avant-garde periodicals
• 1.5. Cross-referencing
• 1.6. Preliminary observations
• Chapter 2: Avant-garde manifestos and programmatic statements - inspirations, parallels and dissimilarities
• 2.1. Abstraction as the idiom of universal art
• 2.2. L'art pour ...?
• 2.3. Cooperation between disciplines and across borders
• 2.4. Preliminary conclusions
• Chapter 3: "What we do is no imitation, but an effort parallel to..." - selected works of art and architecture as representation of mutual influences and similarities
• 3.1. Avant-garde publications from Poland and the Low Countries in light of international trends in layout and page design
• 3.2. Piet Mondrian, Theo van Doesburg and Henryk Stazewski
• 3.3. Katarzyna Kobro and Georges Vantongerloo
• 3.4. Mieczyslaw Szczuka and Hendrik Nicolaas Werkman
• 3.5. Henryk Berlewi, Vilmos Huszar and Karel Maes
• 3.6. Poland, the Low Countries and foreign artists: the examples of El Lissitzky and Pietro (de) Saga
• 3.7. Interior design
• 3.8. Architecture
• 3.9. Preliminary conclusions
• Closing remarks
• References
• Primary sources
• Secondary sources
• Appendix.
• (source: Nielsen Book Data)

This book explores the issue of cultural mobility within the interwar network of the European avant-garde, focusing on selected writers, artists, architects, magazines and groups from Poland, Belgium and Netherlands. Regardless of their apparent linguistic, cultural and geographical remoteness, their mutual exchange and relationships were both deep and broad, and of great importance for the wider development of interwar avant-garde literature, art and architecture. This analysis is based on a vast research corpus encompassing original, often previously overlooked periodicals, publications and correspondence gathered from archives around the world.
(source: Nielsen Book Data) 9781138493544 20181112