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"A collection of essential quotations from the renowned fashion designer, DJ, and stylist"-- Provided by publisher.

• Volume I. Quilts and textiles, Ceramics, Silver, Weaponry, Furniture, Vernacular architecture, Native American art
• volume II. Photography, Fine art.

"The second edition of Arkansas Made focuses on decorative, mechanical, and fine arts, continuing the Historic Arkansas Museum's mission to document, interpret and preserve the state's creative legacy. The Arkansas Made publications are part and parcel of this mission and of the museuem's exhaustive investigation into the history of the state's material culture past"-- Provided by publisher.

• 1. Introduction
• Jilly Traganou
• SECTION 1: SOCIAL MOVEMENTS AS DESIGN AGENTS
• Part 1: Visuals and Objects of Protest
• 2. The Green Stripe: The Color of Identification
• Victoria Hattam
• 3. Strategies of Creative Dissent under the People's Republic of China's 'One China Policy'
• Kyle Kwok
• 4. The Slovene Zombie Uprising
• Ksenija Berk
• 5. The Distribution of Abilities: Disability, Dissent, and Design Activism by the Gothenburg Cooperative for Independent Living
• Otto Von Busch and Hanna af Ekstroem
• Part 2: Artifacts in the Afterlife of Protest
• 6. Art of the March: Archiving Aesthetics of the Women's March-Interviews with Alessandra Renzi, Dietmar Offenhuber, Siqi Zhu, Christopher Pietsch, and Navarjun Singh
• Grace Van Ness and Prakash Krishnan
• 7. Dissent, Design of Territory, and Design of Memory: The Museum of Slavery and Freedom at the Valongo Wharf, Rio de Janeiro
• Barbara Szaniecki and Ana Helena da Fonseca
• 8. Beautiful Trouble: A Pattern Language of Creative Resistance-An Interview with Nadine Bloch
• Evren Uzer
• Response to
• Section 1
• 9. Response to
• Section 1. The Objects of Political Creativity
• James Jasper
• SECTION 2: DISSENTING THROUGH MATERIAL ENGAGEMENT
• Part 1: Political Contention by Design
• 10. Vulnerable Critical Makings: Migrant Smuggling by Boats and Border Transgression
• Mahmoud eshavarz
• 11. The Madrid Hologram Protest and the Democratic Potential of Visuality
• Ksenija Berk
• 12. Data Acquisition, Data Analytics, and Data Articulations: DIY Accountability Tools and Resistance in Indonesia-An Interview with Irendira Radjawali of Drone Academy, Indonesia
• Alessandra Renzi
• 13. Politics of Design Activism-From Impure Politics to Parapolitics
• Thomas Markussen
• Part 2: Spaces of Contestation and Prefiguration
• 14. The Agonistic Design of Conflict Kitchen
• Veronica Uribe
• 15. Events and Ecologies of Design and Urban Activism: From Downtown Sao Paulo to the Peripheries
• Kristine Samson
• 16. Temporarily Open: A Brazilian Design School's Experimental Approaches against the Dismantling of Public Education: A Conversation on Design Pedagogy as Dissent.
• Zoy Anastassakis, Marcos Martins, Lucas Nonno, Juliana Paolucci, and Jilly Traganou
• 17. Designing Post-carbon Futures: The Prefigurative Politics of the Transition Movement
• Emily Hardt
• 18. Occupied Theater Embros: Designing and Maintaining the Commons in Athens under Crisis-An Interview with Eleni Tzirtzilaki
• Orsalia Dimitriou
• Response to
• Section 2
• 19. Response to
• Section 2. Designing while Dissenting while Dissenting while Designing: A Response in Counterpoint
• Zoy Anastassakis.
• (source: Nielsen Book Data)

This book examines, through an interdisciplinary lens, the relationship between political dissent and processes of designing. In the past twenty years, theorists of social movements have noted a diversity of visual and performative manifestations taking place in protest, while the fields of design, broadly defined, have been characterized by a growing interest in activism. The book's premise stems from the recognition that material engagement and artifacts have the capacity to articulate political arguments or establish positions of disagreement. Its contributors look at a wide array of material practices generated by both professional and nonprofessional design actors around the globe, exploring case studies that vary from street protests and encampments to design pedagogy and community-empowerment projects. For students and scholars of design studies, urbanism, visual culture, politics, and social movements, this book opens up new perspectives on design and its place in contemporary politics.
(source: Nielsen Book Data)

This is the first reference work to describe the history of embroidery throughout Central Asia, the Iranian Plateau and the Indian Subcontinent from the medieval period through to the present. It offers an authoritative guide to all the major embroidery traditions of the region and a detailed examination of the material, technical, artistic and design dimensions of the subject, including its use by today's fashion designers. For millennia, the peoples of Central Asian, the Iranian Plateau and the Indian Subcontinent have migrated and traded along the multiple strands of the Silk Road, both north-south and east-west. This history of contact has found rich expression within the arts and crafts of the region and particularly in the heritage of embroidery which has sat at the heart of the social and cultural lives of these diverse communities. Embroidery has been produced to decorate individuals, their families, their clients, their homes and public spaces and has reflected economic and political changes over time as well as social, religious and artistic contexts. Generously illustrated with 500 images (350 in colour) of clothes, accessories, and examples of decorated soft furnishings such as cushions, bed linen, curtains, floor coverings and wall hangings, the Encyclopedia is an essential resource for students and scholars of the subject.

• Acknowledgments Introduction
• 1. The Kings and the Court in the Early Western Han
• 2. From Imitation to Innovation: The Emperor's Baling Tomb and the Mountain Tombs of the Western Han Kings
• 3. New Styles from Political Change: The Early Han Kings and the Reimagining of Terracotta Armies
• 4. The Many Meanings of Jade: Jade Suits and Local Identity in the Early Han
• 5. The Murals at Shiyuan and the King of Liang
• 6. The Purple Textiles of Qi: Tracing the Growth of a Provincial Industry Conclusion Notes Bibliography Index.
• (source: Nielsen Book Data)

The Western Han dynasty (202 BCE-9 CE) was a foundational period for the artistic culture of ancient China, a fact particularly visible in the era's funerary art. Iconic forms of Chinese art such as dazzling suits of jade; cavernous, rock-cut mountain tombs; fancifully ornate wall paintings; and armies of miniature terracotta warriors were prepared for the tombs of the elite during this period. Many of the finest objects of the Western Han have been excavated from the tombs of kings, who administered local provinces on behalf of the emperors. Allison R. Miller paints a new picture of elite art production by revealing the contributions of the kings to Western Han artistic culture. She demonstrates that the kings were not mere imitators of the imperial court but rather innovators, employing local materials and workshops and experimenting with new techniques to challenge the artistic hegemony of the imperial house. Tombs and funerary art, Miller contends, functioned as an important vehicle of political expression as kings strove to persuade the population and other elites of their legitimacy. Through case studies of five genres of royal art, Miller argues that the political structure of the early Western Han, with the emperor as one ruler among peers, benefited artistic production and innovation. Kingly Splendor brings together close readings of funerary art and architecture with nuanced analyses of political and institutional dynamics to provide an interdisciplinary revisionist history of the early Western Han.
(source: Nielsen Book Data)

• Interlude one
• You know more than you can tell
• Interlude two
• Things should not always work
• Interlude three
• Smart can be dumb
• Interlude four
• Problems can be assets
• Interlude five
• Some violence does not happen
• Afterword: You know how to be unreasonable.

• 1. Collections and Collecting--
• 2. Kustaa Hiekka's World Tour Souvenirs on Display--
• 3. Sophus Black and Living in Chinese Style--
• 4. Scholarly Souvenirs: Osvald Siren's Chinese Things--
• 5. The Didrichsens: A Modernist Home for Chinese Objects--
• 6. Conclusion.
• (source: Nielsen Book Data)

This book explores the ways in which Nordic private collectors displayed their collections of Chinese objects in their homes. This leads to a reconsideration of how to define collecting and display by analysing the difference between objects serving as decorative or collectible items, while tracing collecting and display trends of the twentieth century. Minna Toerma examines four Scandinavian collections as case studies: Kustaa Hiekka, Sophus Black, Osvald Siren and Marie-Louise and Gunnar Didrichsen, all of whom had professional backgrounds (a jeweler, two businessmen and a scholar) and for whom collecting became a passion and an educational endeavour. This book will be of interest to scholars in art history, museum studies, Chinese studies and design history.
(source: Nielsen Book Data)

• Chapter 1: Porcelain and its Composition.-
• Chapter 2: The Development of British Porcelain from the 18th into the 19th Centuries.-
• Chapter 3: Appraisal of the Earliest Chemical Analyses of Sir Arthur Church (1894) and of Herbert Eccles & Bernard Rackham (1922).
• Chapter 4: Analytical Studies of Porcelains: Correlation with the Holistic Information about the 18th and 19th Century Factories.-
• Chapter 5: Analytical Compositional Data and the Interpretation of the Data Acquired from Elemental Oxide.-
• Chapter 6: The Molecular Spectroscopic Analysis of Porcelains.-
• Chapter 7: The Earliest Porcelain in Europe... Meissen?.-
• Chapter 8 : The Role of Analytical Data in the Holistic Interpretation of Porcelains.-
• Chapter 9 : The Future for the Holistic Analysis of Porcelains.-
• Chapter 10: Summary and Conclusions.- References.-
• Appendix I: What Quantities of Raw Materials were used in a Typical Kiln Charge?.-
• Appendix II : A Combined Analytical Study of the Nantgarw Porcelain Glaze on Shard No. NG6 and Others: Implications for Nantgarw Porcelain Attribution.- Implications for the History of Nantgarw Porcelain.- Raman Spectroscopy of Glazes : Potential for the Dating of Porcelain Substrates.-
• Appendix III:William Billingsley and His Pursuit of Perfection in the Manufacture of Highly Translucent Porcelain.-
• Appendix IV : Analysis of Pigments on Porcelains.- Glossary.- Index.
• .
• (source: Nielsen Book Data)

This book addresses the contributions made by analytical chemistry to the characterisation of 18th and early 19th Century English and Welsh porcelains commencing with the earliest reports of Sir Arthur Church and of Herbert Eccles and Bernard Rackham using chemical digestion techniques and concluding with the most recent instrumental experiments, which together span more than a hundred years of study. From the earliest experiments which required necessarily the sacrifice of significant portions of each specimen, which may already have been damaged , to the latest experiments which needed only microsampling or the non-destructive interrogation of valuable perfect specimens a comprehensive survey is undertaken of more than twenty manufactories of quality porcelains. The correlation is made between the quantitative elemental oxide determinations of the scanning electron microscopic diffraction and Xray fluorescence data and the qualitative molecular spectroscopic Raman data to demonstrate their complementarity and use in the holistic forensic assessment of the origin of the fired procelains ; this will form the groundwork for the adoption of analytical techniques for the attribution of unknown or questionable procelains to their potential source factories . The book will also examine the perception of what constitutes a porcelain and its definitions and examines the assignment of porcelains to types which currently employs the definitions of hard paste , soft paste , hybrid , magnesian and bone china from the conclusions derived from the analytical data and a consideration of the raw materials employed in their manufacturing processes. During the discussion of this analytical evidence several themes and protocols have been established for its utilisation in the potential identification of porcelains and several case studies undertaken for this purpose are cited. The book will be of interest to analytical scientists , to museum ceramics curators and to ceramics historians.
(source: Nielsen Book Data)

Alabama Quilts: Wilderness through World War II, 1682-1950 is a look at the quilts of the state from before Alabama was part of the Mississippi Territory through the Second World War - a period of 268 years. The quilts are examined for their cultural context - that is, within the community and time in which they were made, the lives of the makers, and the events for which they were made. Starting as far back as 1682, with a fragment that research indicates could possibly be the oldest quilt in America, the volume covers quilting in Alabama up through 1950. There are seven sections in the book to represent each time period of quilting in Alabama, and each section discusses the particular factors that influenced the appearance of the quilts, such as migration and population patterns, socioeconomic conditions, political climate, lifestyle paradigms, and historic events. Interwoven in this narrative are the stories of individuals associated with certain quilts, as recorded on quilt documentation forms. The book also includes over 265 beautiful photographs of the quilts and their intricate details. To make this book possible, authors Mary Elizabeth Johnson Huff and Carole Ann King worked with libraries, historic homes, museums, and quilt guilds around the state of Alabama, spending days on formal quilt documentation, while also holding lectures across the state and informal ""quilt sharings."" The efforts of the authors involved so many community people - from historians, preservationists, librarians, textile historians, local historians, museum curators, and genealogists to quilt guild members, quilt shop owners, and quilt owners - making Alabama Quilts not only a celebration of the quilting culture within the state but also the many enthusiasts who have played a role in creating and sustaining this important art.
(source: Nielsen Book Data)

The creation of an American furniture style at a crossroads of transatlantic trade American Furniture, 1650-1840: Highlights from the Philadelphia Museum of Art is the first publication dedicated to one of the finest collections of its type in the country. Best known for furniture by artisans from Philadelphia and southeastern Pennsylvania, the museum's collection includes significant examples from cities and regions farther afield. Interpretive texts for each work focus on design sources, showing how early American furniture participated in an international visual language. A vibrant local economy was bolstered by coastal trade bringing Caribbean mahogany and European imports that continued to influence local production. By the 1740s Philadelphia had developed a distinctive idiom and led the developing nation in style and aesthetics. This volume provides an important resource for scholars of American furniture, illuminates the cultural and mercantile life of the fledgling nation, and offers a lively introduction to the donors, curators, and personalities who have shaped the institution from its earliest days to the present.
(source: Nielsen Book Data)

"Nous étions convenus que je pourrais tout filmer durant les trois mois de mon séjour à Kyoto. Il m'ouvrait grand la porte et s'engageait à me faire découvrir et aimer la culture japonaise. Il me répétait avec un sourire espiègle : "On est très différents, mais on peut quand même se parler et essayer de se rapprocher." Marc Petitjean s'est retrouvé un beau matin avec sa caméra à Kyoto, pour filmer celui qui allait devenir son ami : Kunihiko Moriguchi, maître de la peinture sur kimono et Trésor national vivant - comme son père avant lui. Dans les années 1960, jeune étudiant aux Arts décoratifs, Kunihiko côtoie le Tout-Paris et se lie d'amitié avec Balthus, qui influencera sa carrière artistique. De retour au Japon, il renouvellera la tradition en travaillant l'abstraction dans les motifs. Ses oeuvres sont exposées dans les plus grands musées du monde."--Page 4 of cover.

• Foreword by Paddy McKillen * Preface * Introduction by Catherine Shaw * Waldorf Astoria Hotel, Bangkok * St. Regis Hong Kong * Perrotin Shanghai * Akira Back, Seoul * The Mitsui, Kyoto * Lasvit: Tactile * The Berkeley London: Pavilion Suites * Cos: Urban Landscape * Tai Ping: Scenamatic * Artus, Hong Kong * Louise, Hong Kong * Louis Vuitton * Andaz, Singapore * Kerry Hotel, Hong Kong * 53W53, New York * The Upper House * Villa La Coste * Andre Fu Repulse Bay home.
• (source: Nielsen Book Data)

Andre Fu is one of Asia's leading interiors designers. When his design for the world-renowned The Upper House hotel in Hong Kong opened ten years ago, he became an overnight sensation around the world. As one of Asia's most widely sought-after interior designers, the Hong Kong-based designer has gone on to create forward-thinking interiors for other major hotels, restaurants and leading brands, including Louis Vuitton, The Berkeley (London) and Waldorf hotels. This showcase of his works to date features eighteen recent projects around the world and provides fresh insights into Fu's creative process, including his hand-drawn sketches and mood boards, as well as an introductory essay that explores Fu's key influences and the importance of his unique and highly refined East-meets-West aesthetic. With an illustrated chronology of all the designer's works to date, this rich overview presents the award-winning vision of interior design's rising star, not only in Asia but across the world.
(source: Nielsen Book Data)

• 1 Dimensions of Personal Adornment,
• Sheri A. Lullo and Leslie V. Wallace
• Part I: Gender and Social Status
• 2 Adornments at the Odake Shell Midden: Perceptions of Early Jomon Hunter-Gatherer Gender and Identities
• Ilona R. Bausch
• 3 Some Features of "Xiongnu" Composite Belts
• S.S. Miniaev
• 4 Adornments of Golden Silla
• Sarah Milledge Nelson
• Part II: Transcultural Contexts
• 5 The Yayoi-Kofun Transition as seen from the Exchange Network of Beads in the Japanese Archipelago
• Ari Tanizawa
• 6 Why Wear Dolphins? Greek Imagery among the Pastoralists along the Ancient Oxus
• Karen S. Rubinson
• 7 The Power and Authority of Exotic Accessories: Ornamentation of Human and Equine haniwa at Tsukamawari Tomb 4, Gunma, Japan
• Karen M. Gerhart and Katheryn M. Linduff
• Part III: Assemblage
• 8 Jade Age Adornment of the Liangzhu Elite
• Elizabeth Childs-Johnson
• 9 Does a Feather in Your Hat a Barbarian Make? Headgear and Hairstyles in Han Dynasty Tomb Murals in the Ordos
• Leslie V. Wallace
• 10 Dressing the Dead in Jin China
• Sarah Laursen
• Index.
• (source: Nielsen Book Data)

The Art and Archaeology of Bodily Adornment examines the significance of adornment to the shaping of identity in mortuary contexts within Central and East Asia and brings these perspectives into dialogue with current scholarship in other worldwide regions. Adornment and dress are well-established fields of study for the ancient world, particularly with regard to Europe and the Americas. Often left out of this growing discourse are contributions from scholars of Central and East Asia. The mortuary contexts of focus in this volume represent unique sites and events where identity was visualized, and often manipulated and negotiated, through material objects and their placement on and about the deceased body. The authors examine ornaments, jewelry, clothing, and hairstyles to address questions of identity construction regarding dimensions such as gender and social and political status, and transcultural exchange from burials of prehistoric and early historical archaeological sites in Central Asia, China, Korea, and Japan. In both breadth and depth, this book will be of interest to students and scholars interested in the archaeology, art, and history of Central and East Asia, as well as anyone interested in the general study of dress and adornment.
(source: Nielsen Book Data)

• Director's foreword / Christina Nielsen
• Origins / Jonathan and Karin Fielding
• The old, forever-new things : an introduction to Becoming America / James Glisson
• Forty years in folk art : a conversation with David Wheatcroft / James Glisson
• Early American furniture : its making, its meaning, its pleasures / John Demos
• The kaleidoscope and the fancy style of the early republic, 1790-1840 / Sumpter Priddy
• "Husband every hour" : early American textiles in the Fielding collection / Elizabeth V. Warren
• In imitation of nature : landscape and still-life painting in early America / Stacy C. Hollander
• "The human heart by which we live" : family portraits from cradle to grave / Robin Jaffee Frank

Celebrating two collectors' passion for Americana and the window it provides into the everyday beauty of the past Becoming America offers a multifaceted view of one of the foremost collections of 18th- and 19th-century American folk and decorative art from the rural Northeast. Essays by leading specialists discuss the culture of furniture workshops, exuberant painted decoration, techniques of sewing and quilting, and poignant stories about the families depicted in the portraits. The collection itself includes Shaker boxes, a beaded Iroquois hat, embroidered samplers, metalwork, scrimshaw, handwoven rugs, ceramics, and a weather vane. The majority of these works have never before been published. With lively essays and profuse illustrations, this handsome volume brings to life the aesthetic of early Americans living in the countryside and is an essential exploration of the period's taste and style.
(source: Nielsen Book Data)

The Bokujinkai-or 'People of the Ink'-was a group formed in Kyoto in 1952 by five calligraphers: Morita Shiryu, Inoue Yuichi, Eguchi Sogen, Nakamura Bokushi, and Sekiya Yoshimichi. The avant-garde movement they launched aspired to raise calligraphy to the same level of international prominence as abstract painting. To this end, the Bokujinkai collaborated with artists from European Art Informel and American Abstract Expressionism, sharing exhibition spaces with them in New York, Paris, Tokyo, and beyond. The first English-language book to focus on the postwar history of Japanese calligraphy, Bokujinkai: Japanese Calligraphy and the Postwar Avant-Garde explains how the Bokujinkai rerouted the trajectory of global abstract art and attuned foreign audiences to calligraphic visualities and narratives.
(source: Nielsen Book Data)

• FOREWORD - Maria Duggan, Sam Turner and Mark Jackson
• CERAMICS AND ATLANTIC CONNECTIONS 250-700 AD: THE AFRICAN PERSPECTIVE - Michel Bonifay
• A HANDFUL OF SHERDS: A RETROSPECTIVE LOOK AT IMPORTS IN ATLANTIC BRITAIN - Ewan Campbell
• BRITAIN IN THE ATLANTIC: LATE ANTIQUE CERAMICS AND CONNECTIONS - Maria Duggan
• A RED SLIP FLANGED RIMSHERD DISCOVERED IN IRELAND: AN EXPLORATION OF ARCHAEOLOGICAL DEPOSITION AND PROVENANCE USING AUTOMATED SEM-EDS ANALYSIS (QEMSCAN) - Amanda Kelly, Martin Feely, Edward P. Lynch and Gavyn K. Rollinson
• MEDITERRANEAN POTTERY IMPORTS IN WESTERN GAUL DURING THE LATE ROMAN PERIOD (MID 3RD-EARLY 7TH CENTURY AD): STATE OF KNOWLEDGE - Joachim Le Bomin
• A LA RECHERCHE DU TEMPS PERDU! A NEW APPROACH TO DOMESTIC CERAMICS OF LATE ANTIQUITY (4TH-6TH CENTURIES AD) IN THE HEART OF AQUITANIA SECUNDA (SOUTH WEST GAUL) - David Guitton
• LATE ANTIQUE ATLANTIC CONTACTS THROUGH THE CASE OF GALICIA - Jose Carlos Sanchez Pardo
• LATE CONTEXTS FROM OLISIPO (LISBON, PORTUGAL): ESCADINHAS DE SAO CRISPIM - Jose Carlos Quaresma
• LATE ROMAN IMPORTED POTTERY IN THE SOUTHWEST OF LUSITANIA: THE CASE OF TROIA (PORTUGAL) - Ana Patricia Magalhaes, Ines Vaz Pinto and Patricia Brum.
• (source: Nielsen Book Data)

The Atlantic Seaboard has attracted increasing interest as a zone of economic complexity and social connection during Late Antiquity and the early medieval period. A surge in archaeological and, in particular, ceramic research emerging from this region over the last decade has demonstrated the need for new models of exchange between the Mediterranean and Atlantic, and for new understandings of links between sites along the Western littoral of Europe. Ceramics and Atlantic Connections: Late Roman and Early Medieval Imported Pottery on the Atlantic Seaboard stems from the Ceramics and Atlantic Connections symposium, hosted by the School of History, Classics and Archaeology, Newcastle University, in March 2014. This represents the first international workshop to consider late Roman to early medieval pottery from across the Atlantic Seaboard. Reflecting the wide geographical scope of the original presentations by the invited speakers, these nine articles from ceramic specialists and archaeologists working across the Atlantic region, cover western Britain, Ireland, western France, north-west Spain and Portugal. The principal focus is the pottery of Mediterranean origin which was imported into the Atlantic, particularly East Mediterranean and North African amphorae and red-slipped finewares (African Red Slip and Late Roman C and D), as well as ceramics of Atlantic production which had widespread distributions, including Gaulish Derivees-de-Sigillees Paleochretiennes Atlantique/DSPA, ceramique a l'eponge' and 'E-ware'. Following the aims of the Newcastle symposium, the papers examine the chronologies and relative distributions of these wares and associated products, and consider the compositions of key Atlantic assemblages, revealing new insights into the networks of exchange linking these regions between c. 400-700 AD. This broad-scale exploration of ceramic patterns, together with an examination of associated artefactual, archaeological and textual evidence for maritime exchange, provides a window into the political, economic, cultural and ecclesiastical ties that linked the disparate regions of the Late Antique and early medieval Atlantic. In this way, this volume presents a benchmark for current understandings of ceramic exchange in the Atlantic Seaboard and provides a foundation for future research on connectivity in this zone.
(source: Nielsen Book Data)

• 1 A potter's paradise: The realm of ceramics in modern Japan, MEGHEN JONES. PART I. 2 Tradition, modernity, and national identity: Celadon production at the Makuzu ceramic workshop 1870-1916, CLARE POLLARD. 3 More than "Western": Porcelain for the Meiji Emperor's table, MARY REDFERN. PART II. 4 Modernizing ceramic form and decoration: Kyoto potters and the Teiten, GISELA JAHN. 5 Unifying science and art: The Kyoto City Ceramic Research Institute (1896-1920) and ceramic art education during the Taisho era, MAEZAKI SHINYA. PART III. 6 The spark that ignited the flame: Hamada Shoji, Paterson's Gallery, and the birth of English studio pottery, JULIAN STAIR. 7 Okuda Seiichi and the new language of ceramics in Taisho (1912-1926) Japan, SEUNG YEON SANG. 8 The nude, the empire, and the porcelain vessel idiom of Tomimoto Kenkichi, MEGHEN JONES. PART I
• V. 9 Veiled references: The role of glaze in Japanese avant-garde ceramics, LOUISE ALLISON CORT. 10 Koyama Fujio's view of modern Japanese ceramics and his role in the creation of "Living National Treasures", KIDA TAKUYA. EPILOGUE. 11 Found in translation: Ceramics and social change, TANYA HARROD.
• (source: Nielsen Book Data)

Ceramics and Modernity in Japan offers a set of critical perspectives on the creation, patronage, circulation, and preservation of ceramics during Japan's most dramatic period of modernization, the 1860s to 1960s. As in other parts of the world, ceramics in modern Japan developed along the three ontological trajectories of art, craft, and design. Yet, it is widely believed that no other modern nation was engaged with ceramics as much as Japan-a "potter's paradise"-in terms of creation, exhibition, and discourse. This book explores how Japanese ceramics came to achieve such a status and why they were such significant forms of cultural production. Its medium-specific focus encourages examination of issues regarding materials and practices unique to ceramics, including their distinct role throughout Japanese cultural history. Going beyond descriptive historical treatments of ceramics as the products of individuals or particular styles, the closely intertwined chapters also probe the relationship between ceramics and modernity, including the ways in which ceramics in Japan were related to their counterparts in Asia and Europe. Featuring contributions by leading international specialists, this book will be useful to students and scholars of art history, design, and Japanese studies.
(source: Nielsen Book Data)

• Introduction *
• 1. Vessel *
• 2. Batch Production *
• 3. Sculpture *
• 4. Figurative *
• 5. Installation *
• 6. Expanded Field.
• (source: Nielsen Book Data)

The practice of ceramics is steeped in history and tradition. For thousands of years humans have exploited the versatile qualities of clay as a material to produce items ranging from humble utilitarian vessels integral to family living, right through to exquisite works of art. Ceramics Masterclass explores this diverse discipline by showcasing 100 of the most innovative and inspiring artists past and present, analysing the techniques and methods used to create the works, and the concepts which underpin their creative process. It shows how to recreate intricate still-life dioramas like 15th-century artist Bernard Palissy, explore narrative like Grayson Perry and convey sensitivity to material like Phoebe Cummings. Arranged thematically, Ceramics Masterclass includes chapters on vessels, batch production, sculptures, figurative works, installation and expanded field. Perfect for students, amateur ceramicists and professionals, this book represents a global perspective of historical and contemporary approaches to clay and be a catalyst for discovery and intrigue.
(source: Nielsen Book Data)

This volume brings together over 1,000 years of Persian Islamic pottery. With more than 500 illustrations, technical treatises, and commentary, Ceramics of Iran assembles a collection of rarely seen treasures from the Persian world and presents a collective history of its ceramic tradition. Included among its catalogue entries are translations of the objects' inscriptions, providing readers with an understanding of the cultural heritage from which these items are derived. In addition, the book contains new research and material from previously unknown sites. Featuring all new photography of nearly 250 objects, Ceramics of Iran brings the contributions of Persian art into a wider historical context, along with a wealth of images to demonstrate the full scope of its intricate beauty.

• Caractéristiques techniques
• Les catégories de céramiques culinaires en Languedoc
• Quelques aspects techniques
• Méthodologie
• Les céramiques modelées du Languedoc
• Les importations italiques
• Poteries kaolinitiques et céramiques à pâte sableuse régionales
• Les céramiques africaines de cuisine
• Les mortiers à pâte calcaire
• La céramique commune oxydante micacée
• Les différents assemblages en Languedoc
• Caractéristiques de l'approvisionnement en Languedoc
• Ateliers et productions
• La production de céramique modelée
• Les ateliers de céramiques à pâte sableuse gardoises
• Les ateliers de céramiques à pâte sableuse héraultaises
• La céramique à pâte sableuse oxydante du Narbonnais et les ateliers minervois
• Les ateliers du Lauraguais
• Les ateliers de céramique brun-orangé biterroise (BOB)
• La production régionale de mortiers
• L'agglomération artisanale de Salauze à Laure-Minervois
• Le Castellas à Murviel-lès-Montpellier
• L'atelier de l'Engarran à Lavérune
• Une époque de transition aux caractères variés
• Les formes
• Les raisons d'une nouvelle typologie des céramiques culinaires
• Critères de classification
• Classes et formes
• Classe 1 - Les formes basses plates et ouvertes
• Classe 2 - Les formes creuses basses et ouvertes
• Classe 3 - Formes creuses et ouvertes munies d'une carène basse
• Classe 4 - Les formes hautes et fermées à ouverture large
• Classe 5 - Les formes hautes et fermées à ouverture étroite
• Classe 6 - Les couvercles
• Hors classe
• Typologie simplifiée
• Les types
• Classe 1 - Les formes basses plates et ouvertes
• Classe 2 - Les formes creuses basses et ouvertes
• Classe 3 - Les formes creuses et ouvertes munies d'une carène basse
• Classe 4 - Les formes hautes et fermées à ouverture large
• Classe 5 - Les formes hautes et fermées à ouverture étroite
• Classe 6 - Les couvercles
• Hors classe
• Répartition des ustensiles culinaires
• Bilan morphologique des ustensiles culinaires en Languedoc
• Cuisine et culture
• Batteries de cuisine en Italie
• Pompéi
• Ostie
• Pratiques culinaires en Languedoc à l'époque romaine
• La cuisine romaine dans les textes antiques
• Mobilier archéologique
• Cuisine et modèles culturels en Languedoc.

"L'étude des céramiques culinaires conduit à une analyse fonctionnelle. La technique utilisée pour fabriquer ces poteries fournit les premiers indices. Le choix de l'argile, la façon de la préparer, de la cuire, donne soit des vases solides soit des récipients résistants au feu. L'identification des formes, par la constitution d'une typologie, permet d'analyser la composition de la batterie de cuisine. À partir des textes antiques on peut parfois préciser l'usage d'un objet. L'étude se double ensuite d'une analyse culturelle, à une époque, entre la fin du IIe s. av. et le IIe s. apr. J.-C., où sont en contact les cultures romaine et gauloise. Si, sur les plans technique et typologique, le Languedoc occidental, en particulier le Narbonnais, présente des caractéristiques très italiques, le Languedoc oriental reste plus traditionnel. Néanmoins, du point de vue fonctionnel, la répartition des formes indique des pratiques culinaires similaires qui se confondent avec la culture romaine comme le montrent certains exemples pris en Italie (Pompéi, Ostie)."--Page 4 of cover.

""Pour moi, un vitrail est une séparation transparente entre mon coeur et le coeur du monde. Le vitrail doit être sérieux et passionné. C'est quelque chose qui élève et exalte l'âme. C'est la perception de la lumière qui lui donne vie."--Page 4 of cover.

• [volume 1]. The new way to classify Chinese imperial reign marks
• [volume 2]. The new way to classify Chinese imperial reign marks : handbook in identifying the imperial marks from Hongxian to Xuande.

• I The dawn of reverse glass painting in China
• II A Chinese motifs,
• II B Western motifs,
• II C Transpositions of Western artworks
• II E Frames
• III A Painters and their workshops
• III B The market from 1720 to 1820
• III C Influence outside China
• IV The market in China and the West.
• (source: Nielsen Book Data)

Displaying a talent for combining aesthetic sensibility with scientific rigor, the author has given new life to something that once excited European passions: an original, non-academic art at the forefront of the 'new technology' of the time. For decades, aristocrats of the Old World and then American collectors (the latter at the end of the eighteenth and beginning of the nineteenth centuries) spent countless sums on the purchase of these works, which were worth a fortune. These wealthy collectors of curiosities of all types were also most certainly great dreamers seeking a worthy setting for their dreams. Unbeknownst to them, their endeavours had much greater scope, creating and nourishing the conditions for a rare encounter between two worlds: a golden age of atypical collaboration, a combined adventure between China and Europe.
(source: Nielsen Book Data)

• The Arrival of Muslim Artisans in China--
• 2. A Confluence of Different Cultures--
• 3. Qing Dynasty Glass with Islamic Influences: A Study of Some Examples by Shelly Xue, Ph. D.--
• 4. Chinese Glass Wares with Arabic Inscriptions--
• 5. Porcelains for the Islamic Market--
• 6. Guangzhou Enamel Wares--
• 7. Jade from Khotan--
• 8. Interior Painted Snuff Bottles: A Leading Exponent--
• 9. Chinese and Islamic Calligraphy: An Harmonious Blend--
• 10. Addendum: Dr. Riccardo Joppert, Ph. D.
• (source: Nielsen Book Data)

Chinese-Islamic studies have concentrated thus far on the arts of earlier periods with less attention paid to works from the Qing Dynasty (1644-1912). This book focuses on works of Chinese-Islamic art from the late seventeenth century to the present day and bring to the reader's attention several new areas for consideration. The book examines glass wares which were probably made for a local Chinese-Muslim clientele, illustrating a fascinating mixture of traditional Chinese and Muslim craft traditions. While the inscriptions on them can be related directly to the mosque lamps of the Arab world, their form and style of decoration is characteristically that of Han Chinese. Several contemporary Chinese Muslim artists have succeeded in developing a unique fusion of calligraphic styles from both cultures. Other works examined include enamels, porcelains, and interior painted snuff bottles, with emphasis on either those with Arabic inscriptions, or on works by Chinese Muslim artists. The book includes a chapter written by Dr. Shelly Xue and an addendum written by Dr. Riccardo Joppert. This book will appeal to scholars working in art history, religious studies, Chinese studies, Chinese history, religious history, and material culture.
(source: Nielsen Book Data)

• The Arrival of Muslim Artisans in China--
• 2. A Confluence of Different Cultures--
• 3. Qing Dynasty Glass with Islamic Influences: A Study of Some Examples by Shelly Xue, Ph. D.--
• 4. Chinese Glass Wares with Arabic Inscriptions--
• 5. Porcelains for the Islamic Market--
• 6. Guangzhou Enamel Wares--
• 7. Jade from Khotan--
• 8. Interior Painted Snuff Bottles: A Leading Exponent--
• 9. Chinese and Islamic Calligraphy: An Harmonious Blend--
• 10. Addendum: Dr. Riccardo Joppert, Ph. D.
• (source: Nielsen Book Data)

Chinese-Islamic studies have concentrated thus far on the arts of earlier periods with less attention paid to works from the Qing Dynasty (1644-1912). This book focuses on works of Chinese-Islamic art from the late seventeenth century to the present day and bring to the reader's attention several new areas for consideration. The book examines glass wares which were probably made for a local Chinese-Muslim clientele, illustrating a fascinating mixture of traditional Chinese and Muslim craft traditions. While the inscriptions on them can be related directly to the mosque lamps of the Arab world, their form and style of decoration is characteristically that of Han Chinese. Several contemporary Chinese Muslim artists have succeeded in developing a unique fusion of calligraphic styles from both cultures. Other works examined include enamels, porcelains, and interior painted snuff bottles, with emphasis on either those with Arabic inscriptions, or on works by Chinese Muslim artists. The book includes a chapter written by Dr. Shelly Xue and an addendum written by Dr. Riccardo Joppert. This book will appeal to scholars working in art history, religious studies, Chinese studies, Chinese history, religious history, and material culture.
(source: Nielsen Book Data)

• 1. The shard market of Jingdezhen--
• 2. City of imperial choice: Jingdezhen, 1000-1200--
• 3. Circulations of white--
• 4. From Cizhou to Jizhou: the long history of the emergence of blue and white porcelain--
• 5. From Jizhou to Jingdezhen in the fourteenth century: the emergence of blue and white and the circulations of people and things--
• 6. Blue and white porcelain and the fifteenth-century world--
• 7. The city of blue and white: visualizing space in Ming Jingdezhen, 1500-1600--
• 8. Anxieties over resources in sixteenth-century Jingdezhen--
• 9. Skilled hands: managing human resources and skill in the sixteenth-century imperial kilns--
• 10. Material circulations in the sixteenth century--
• 11. Local and global in Jingdezhen's long seventeenth century--
• 12. Epilogue: fragments of a global past.
• (source: Nielsen Book Data)

We think of blue and white porcelain as the ultimate global commodity: throughout East and Southeast Asia, the Indian Ocean including the African coasts, the Americas and Europe, consumers desired Chinese porcelains. Many of these were made in the kilns in and surrounding Jingdezhen. Found in almost every part of the world, Jingdezhen's porcelains had a far-reaching impact on global consumption, which in turn shaped the local manufacturing processes. The imperial kilns of Jingdezhen produced ceramics for the court, while nearby private kilns manufactured for the global market. In this beautifully illustrated study, Anne Gerritsen asks how this kiln complex could manufacture such quality, quantity and variety. She explores how objects tell the story of the past, connecting texts with objects, objects with natural resources, and skilled hands with the shapes and designs they produced. Through the manufacture and consumption of Jingdezhen's porcelains, she argues, China participated in the early modern world.
(source: Nielsen Book Data)

• List of Figures Introduction
• 1. The Intellectual Context
• 2. The Work of Art: Masjid-i Shah
• 3. Colour Systems
• 4. The Aesthetics of Colour
• 5. Light, Lustre and Luminosity
• 6. Colour and the Journey of the Mystic
• 7. Colour and Spirituality at the Time of the Safavids
• 8. Meaning within Masjid-i Shah Conclusion Bibliography Index.
• (source: Nielsen Book Data)

The experience of colour in Islamic visual culture has historically been overlooked. In this new approach, Idries Trevathan examines the language of colour in Islamic art and architecture in dialogue with its aesthetic contexts, offering insights into the pre-modern Muslim experience of interpreting colour. The seventeenth-century Shah Mosque in Isfahan, Iran, represents one of the finest examples of colour-use on a grand scale. Here, Trevathan examines the philosophical and mystical traditions that formed the mosque's backdrop. He shows how careful combinations of colour and design proportions in Islamic patterns expresses knowledge beyond that experienced in the corporeal world, offering another language with which to know and experience God. Colour thus becomes a spiritual language, calling for a re-consideration of how we read Islamic aesthetics.
(source: Nielsen Book Data)

• Acknowledgments
• List of Figures
• Series Editor Preface
• Notes on Contributors
• Introduction
• Section 1: Histories and Frameworks
• Introduction
• 1 Margarita Gleba, Unraveling the Fabric of the Past: Interdisciplinary Approaches to Archaeological Textiles
• 2 Robert DuPlessis, Textile Cultures in the Early Modern World
• 3 Meredith G. Clark, Rewriting Textile Culture with Woven Words: "Ora es tu hilar" by Chilean Poet Cecilia Vicuna
• 4 Eiluned Edwards, Branding tradition: the commercialization of hand embroidery in Gujarat
• 5 Adrienne D. Hood, 'The Real Thing': How Object Analysis Unlocks Meaning and Enriches Documentary Evidence
• Section 2: Textiles, Trade and Global Culture
• Introduction
• 6 Angela Sheng, Reading Textiles: Transmission and Technology of Silk Road Textiles in the First Millennium
• 7 John Picton, West Africa: Technology, Tradition and Lurex Revisited
• 8 Chris Spring, Textiles of Eastern and Southern Africa
• 9 Naazish Ata-Ullah, Zeb Bilal and Shehnaz Ismail, Remaking Tradition in Art and Design in Pakistan
• Section 3: The Social Fabric: The Politics and Poetics of Cloth
• Introduction
• 10 Paul Sharrad, Fabricating Identity: Textiles in the Pacific
• 11 Maureen Daly Goggin, Stitching (in) Trauma: Constructing Identity in Thread Behind Prison Bars
• 12 Alexandra Kokoli, Creative Tensions: Making (it), unmaking, and making do in textiles informed by feminism
• 13 Christine Checinska, Spinning a Yarn of One's Own
• 14 Valerie Behiery, Pictures and Polemics: Muslim Veiling Practices in Contemporary Art
• 15 Lisa Vinebaum, The Subversive Stitch Revisited
• Section 4: Conceptual Boundaries
• Introduction
• 16 Virginia Gardner Troy, Modernism's Roots in the Domestic, Decorative and Vernacular Through Textiles
• 17 Jennifer Harris, Material Strategies: Cloth and textile metaphors in modern and contemporary art
• 18 Maxine Bristow, Pragmatics of attachment and detachment: a constellatory re-inscription of textile
• 19 Akiko Moriyami, Japanese Textile Culture - the example of Junichi Arai and five other creators
• 20 Atta Kwami, Stories of Innovation: Fabrication in Africa and Beyond
• Section 5: Reception and Representation
• Introduction
• 21 Janis Jefferies and Lee Weinberg, Around the World in 80 Biennials: Curating Lausanne, Hangzhou, Kaunas
• 22 Elizabeth Kalbfleisch and Janet Catherine Berlo, Indigenous Textiles of North America: A Century of Exhibitions
• 23 Karin E. Peterson and Leisa Rundquist, Valorizing Gee's Bend Quilts: Affinity, Adjacency, and the Modern Eye
• 24 Khadija von Zinnenburg Carroll, Performing the Political in Oceanian Textile Cultures: Collectivity, syncretism and globalization
• Index.
• (source: Nielsen Book Data)

A lively and innovative collection of new and recent writings on the cultural contexts of textiles The study of textile culture is a dynamic field of scholarship which spans disciplines and crosses traditional academic boundaries. A Companion to Textile Culture is an expertly curated compendium of new scholarship on both the historical and contemporary cultural dimensions of textiles, bringing together the work of an interdisciplinary team of recognized experts in the field. The Companion provides an expansive examination of textiles within the broader area of visual and material culture, and addresses key issues central to the contemporary study of the subject. A wide range of methodological and theoretical approaches to the subject are explored-technological, anthropological, philosophical, and psychoanalytical, amongst others-and developments that have influenced academic writing about textiles over the past decade are discussed in detail. Uniquely, the text embraces archaeological textiles from the first millennium AD as well as contemporary art and performance work that is still ongoing. This authoritative volume: Offers a balanced presentation of writings from academics, artists, and curators Presents writings from disciplines including histories of art and design, world history, anthropology, archaeology, and literary studies Covers an exceptionally broad chronological and geographical range Provides diverse global, transnational, and narrative perspectives Included numerous images throughout the text to illustrate key concepts A Companion to Textile Culture is an essential resource for undergraduate and postgraduate students, instructors, and researchers of textile history, contemporary textiles, art and design, visual and material culture, textile crafts, and museology. .
(source: Nielsen Book Data)

• Acknowledgments
• List of Figures
• Series Editor Preface
• Notes on Contributors
• Introduction
• Section 1: Histories and Frameworks
• Introduction
• 1 Margarita Gleba, Unraveling the Fabric of the Past: Interdisciplinary Approaches to Archaeological Textiles
• 2 Robert DuPlessis, Textile Cultures in the Early Modern World
• 3 Meredith G. Clark, Rewriting Textile Culture with Woven Words: "Ora es tu hilar" by Chilean Poet Cecilia Vicuna
• 4 Eiluned Edwards, Branding tradition: the commercialization of hand embroidery in Gujarat
• 5 Adrienne D. Hood, 'The Real Thing': How Object Analysis Unlocks Meaning and Enriches Documentary Evidence
• Section 2: Textiles, Trade and Global Culture
• Introduction
• 6 Angela Sheng, Reading Textiles: Transmission and Technology of Silk Road Textiles in the First Millennium
• 7 John Picton, West Africa: Technology, Tradition and Lurex Revisited
• 8 Chris Spring, Textiles of Eastern and Southern Africa
• 9 Naazish Ata-Ullah, Zeb Bilal and Shehnaz Ismail, Remaking Tradition in Art and Design in Pakistan
• Section 3: The Social Fabric: The Politics and Poetics of Cloth
• Introduction
• 10 Paul Sharrad, Fabricating Identity: Textiles in the Pacific
• 11 Maureen Daly Goggin, Stitching (in) Trauma: Constructing Identity in Thread Behind Prison Bars
• 12 Alexandra Kokoli, Creative Tensions: Making (it), unmaking, and making do in textiles informed by feminism
• 13 Christine Checinska, Spinning a Yarn of One's Own
• 14 Valerie Behiery, Pictures and Polemics: Muslim Veiling Practices in Contemporary Art
• 15 Lisa Vinebaum, The Subversive Stitch Revisited
• Section 4: Conceptual Boundaries
• Introduction
• 16 Virginia Gardner Troy, Modernism's Roots in the Domestic, Decorative and Vernacular Through Textiles
• 17 Jennifer Harris, Material Strategies: Cloth and textile metaphors in modern and contemporary art
• 18 Maxine Bristow, Pragmatics of attachment and detachment: a constellatory re-inscription of textile
• 19 Akiko Moriyami, Japanese Textile Culture - the example of Junichi Arai and five other creators
• 20 Atta Kwami, Stories of Innovation: Fabrication in Africa and Beyond
• Section 5: Reception and Representation
• Introduction
• 21 Janis Jefferies and Lee Weinberg, Around the World in 80 Biennials: Curating Lausanne, Hangzhou, Kaunas
• 22 Elizabeth Kalbfleisch and Janet Catherine Berlo, Indigenous Textiles of North America: A Century of Exhibitions
• 23 Karin E. Peterson and Leisa Rundquist, Valorizing Gee's Bend Quilts: Affinity, Adjacency, and the Modern Eye
• 24 Khadija von Zinnenburg Carroll, Performing the Political in Oceanian Textile Cultures: Collectivity, syncretism and globalization
• Index.
• (source: Nielsen Book Data)

A lively and innovative collection of new and recent writings on the cultural contexts of textiles The study of textile culture is a dynamic field of scholarship which spans disciplines and crosses traditional academic boundaries. A Companion to Textile Culture is an expertly curated compendium of new scholarship on both the historical and contemporary cultural dimensions of textiles, bringing together the work of an interdisciplinary team of recognized experts in the field. The Companion provides an expansive examination of textiles within the broader area of visual and material culture, and addresses key issues central to the contemporary study of the subject. A wide range of methodological and theoretical approaches to the subject are explored-technological, anthropological, philosophical, and psychoanalytical, amongst others-and developments that have influenced academic writing about textiles over the past decade are discussed in detail. Uniquely, the text embraces archaeological textiles from the first millennium AD as well as contemporary art and performance work that is still ongoing. This authoritative volume: Offers a balanced presentation of writings from academics, artists, and curators Presents writings from disciplines including histories of art and design, world history, anthropology, archaeology, and literary studies Covers an exceptionally broad chronological and geographical range Provides diverse global, transnational, and narrative perspectives Included numerous images throughout the text to illustrate key concepts A Companion to Textile Culture is an essential resource for undergraduate and postgraduate students, instructors, and researchers of textile history, contemporary textiles, art and design, visual and material culture, textile crafts, and museology. .
(source: Nielsen Book Data)

• Elizabeth Raphael
• Frank Louis
• Emmanuel Boos
• Carole Chebron
• Michele Rochat
• Valeria Nascimento
• Alessandro Gallo
• Marie-Laure Gobat-Bouchat
• Mariko Wada
• Kim Simonsson
• Gregoire Scalabre
• Caroline Andrin
• Cathy Coez
• Anna Barlow
• Marion Richomme
• Eric Robin
• Lidia Kostanek
• Coryse Kiriluk
• Tip Toland
• Peter Christian Johnson
• Patricia Camet
• Huang Yulong
• Tim Kowalczyk
• Carolein Smit
• Valerie Le Guern
• Johan Creten
• Francoise Petrovitch
• Caroline Slotte
• Carol Young
• Dirk Staschke
• Bertrand Secret
• Crystal Morey
• Cheryl Ann Thomas
• Courtney Mattison
• Marie Heughebaert
• Emil Alzamora
• Jessica Harrison
• Marie-Andree Cote
• Laurent Craste
• Marjolijn De Wit
• Timea Tihanyi
• Louise Frydman
• Sarah Jerome
• Marianne Wesolowska-Eggimann
• Myriam Martinez
• Pamela Sunday
• Laurent Esquerre
• Bertozzi and Dal Monte Casoni
• Paul Scott
• Jesse Edwards
• Serena Carone
• Magdalena Gerber
• Florence Bruyas
• Jacques Kaufmann
• Barnaby Barford
• Maren Kloppmann
• Caroline Cheng
• Lauren Nauman
• Gaelle Guingant-Convert
• Ronit Baranga
• Mitra Fabian
• Farida Le Suave
• Rona Kobel
• Martin Klimas
• Catherine Wilkening
• Charlotte Coquen
• Beth Cavener
• Maria Garcia Ibanez
• Stephen Bowers
• Annalisa Guerri
• Jessica Sallay-Carrington
• Marianne Abergel
• Johan Tahon
• Maarten Stuer
• Lea Nordstrom
• Debra Broz
• Kate MacDowell
• Sara Allen Prigodich
• Laurent Dufour
• Jane Norbury
• Manoli Gonzalez
• Jacqueline Tse
• Fabien Clerc
• Xawery Wolski
• Mary von Krogh
• Daniel Ramos Obregon
• Saana Murtti
• Christine Coste
• Katsuyo Aoki
• Rose Eken
• Clementine Dupre
• Claire Partington.

Contemporary ceramicists are using cutting-edge technology, conceptual thinking and new platforms to push the boundaries of clay and broaden its appeal. A generation is emerging whose work is irreverent, playful and radical - but also beautiful - while established avant-garde ceramicists are gaining broader recognition. This book, a companion volume to Unravelled and Threads, explores the work of ninety artists at the vanguard of this movement. Their works range from monumental installations and imaginary bestiaries to abstract shapes or human-sized characters: Barnaby Barford taps into the heritage of porcelain with playful remakings of the kinds of figurines popular during the 18th and 19th centuries; Manoli Gonzalez's delicate, translucent pieces are inspired by the vegetable world; Caroline Cheng's Prosperity dress, adorned with more than 25,000 tiny porcelain butterflies, is the centrepiece of the British Museum's 20th- and 21st-century collection of Chinese works. Spanning the world and the generations, the artists gathered in this book offer an exciting showcase of a booming practice.

• Introduction
• 1 Postmodern critiques, Japan's economic miracle, and the new aesthetic milieu
• 2 The 1968 social uprising and subversive advertising design in Japan: the work of Ishioka Eiko and Suzuki Hachiro
• 3 From cute to Rei Kawakaubo: fashion and protest
• 4 Mujirushi Ryohin and the absence of style
• 5 Hironen and the representation of the other
• 6 Digital design as social and critical design in the twenty-first century Index
• .
• (source: Nielsen Book Data)

This book tells the story of critical avant-garde design in Japan, which emerged during the 1960s and continues to inspire designers today. The practice communicates a form of visual and material protest drawing on the ideologies and critical theories of the 1960s and 1970s, notably feminism, body politics, the politics of identity, and ecological, anti-consumerist and anti-institutional critiques, as well as the concept of otherness. It also presents an encounter between two seemingly contradictory concepts: luxury and the avant-garde. The book challenges the definition of design as the production of unnecessary decorative and conceptual objects, and the characterisation of Japanese design in particular as beautiful, sublime or a product of 'Japanese culture'. In doing so it reveals the ways in which material and visual culture serve to voice protest and formulate a social critique. -- .
(source: Nielsen Book Data)

• Essais
• Le "petit bronze", un objet qui résiste au savoir
• Filarete, inventeur du petit bronze
• Leon Battista Alberti, sculpteur
• La naissance de la médaille moderne en Italie au XVe siècle (pour en finir avec la médaille de Jean VIII Paléologue)
• Une histoire de la médaille : les Gonzague
• Donatello, périphérie et environs
• Le spectre de Donatello : le miroir Martelli
• Giovanni Boldù, peintre vénitien mais médailleur ferrarais
• Dans la Rome de Paul II Barbo et Sixte IV Della Rovere (1464-1484)
• Adriano Fiorentino, le sculpteur errant
• L'Antico, un vrai-faux-vrai antique
• Un monument de l'humanisme : les reliefs de Riccio pour le tombeau des Della Torre
• Ut scuiptura poesis : les statuettes de Riccio
• Ulocrino et Riccio : la guerre des frisés
• Severo Calzetta da Ravenna : l'usine des bronzes
• L'invasion des satyres
• L'attribution sur le motif
• L'Antiquité à la lumière des lampes de bronze.

"Cet ouvrage présente l'ensemble incomparable que constituent les quelque cinq cents "petits bronzes" italiens de la Renaissance conservés au département des Objets d'art du musée du Louvre : sculptures en ronde bosse, reliefs, plaquettes, objets d'usage et médailles, une production qui s'échelonne de la première moitié du XVe jusqu'au milieu du XVIe siècle. Dans le catalogue, établi de façon chronologique selon l'ordre d'entrée des oeuvres dans la collection, l'auteur a choisi de ne retenir que des critères objectifs : provenance, bibliographie, iconographie, historiographie, critique historique. C'est dans les essais de la première partie du livre que l'auteur fait partager au lecteur, parfois non sans malice mais toujours avec pertinence, ses réflexions sur les notions d'unique et de multiple, d'artiste et d'atelier, de répliques et de faux. C'est là aussi que l'on retrouvera les noms de Filarete, de Pisanello, de Donatello, de Riccio et de moins illustres qu'eux, dûment replacés en contexte. Dans chacun des chapitres, conçus de façon autonome mais en résonance les uns avec les autres, ce sont donc ces questions fondamentales, posées sans fard ni pudeur, qui interrogent l'histoire du bronze italien de la Renaissance. Philippe Malgouyres apporte des éléments de réponse à ces questions qu'il nous invite à notre tour à méditer, mettant parfois à mal quelques idées reçues et ouvrant ainsi des pistes nouvelles à la recherche. C'est donc à une redécouverte de ces oeuvres et à l'exploration d'une méthode d'investigation nouvelle que nous convie Philippe Malgouyres à travers cet ouvrage qui nous incite à porter un regard renouvelé sur ces mystérieux "petits bronzes" italiens de la Renaissance."--Page 4 of cover.

• Théories dessins, schémas, diagrammes
• Dessins
• Dessin et anthropologie
• Schéma et apprentissage
• Acte d'image et main pensante
• Intuitions structurelles
• Dessein, plan, projet
• Dessein
• Plan
• Projet
• Design, appareil, reproductibilité
• Instruments
• Objectivité
• Reproductibilité
• Pratiques ateliers, cultures, territoires
• Culture visuelle
• La troisième culture
• Technique, représentation, tension
• Culture technique
• Représentation et interprétation
• Tension essentielle
• Création, observation, relation
• Univers des connaissances et modes de création
• Design et engagement ethnographique
• Recherches et pédagogies diplomatie, méthodes, langages
• Diplomatie
• Méthodes
• Langages
• Corps, forme, matière
• Corps
• Forme
• Matière
• Expressivité et matérialité
• Technologie, épistémologie, science
• Science du design et recherche expérimentale
• Conclusion
• Postface : conversation avec Peter Galison
• Bibliographie.

"Présent dans tous les champs contemporains de la culture industrielle, artistique, technique ou scientifique, le design paraît impossible à circonscrire dans le monde contemporain. Selon la formule d'Ettore Sottsass, un de ses représentants au XXe siècle, "ou bien le design n'existe pas, ou bien il a toujours existé". C'est d'abord -tin travail d'inventaire et une enquête anthropologique, historique et critique que propose Anne-Lyse Renon. Réduit parfois à un vecteur d'innovation et de consommation, voire considéré comme une science, le design est avant tout mise en relation de données hétérogènes, méthode d'observation et de formalisation, création à part entière. Ce livre propose une étude des liens singuliers entre théories, pratiques et pédagogies transdisciplinaires qui situent le design contemporain entre recherche et science."--Page 4 of cover.

• North Asia * South Asia.
• (source: Nielsen Book Data)

This is an overview of the top 100 leading young designers working across Asia, selected by the co-founders of one of Asia's foremost interior-design magazines, Design Anthology, based in Hong Kong. Featuring first-hand accounts from each designer, the book reveals their inspirations, collaborations and the challenges and opportunities presented as a young designer working in the region. The book includes photography of each designer's work and will be a key resource for design professionals and enthusiasts, as well as all those interested in the contemporary Asian design scene.
(source: Nielsen Book Data)

An exploration of how design might be led by marginalized communities, dismantle structural inequality, and advance collective liberation and ecological survival. What is the relationship between design, power, and social justice? "Design justice" is an approach to design that is led by marginalized communities and that aims explicitly to challenge, rather than reproduce, structural inequalities. It has emerged from a growing community of designers in various fields who work closely with social movements and community-based organizations around the world. This book explores the theory and practice of design justice, demonstrates how universalist design principles and practices erase certain groups of people-specifically, those who are intersectionally disadvantaged or multiply burdened under the matrix of domination (white supremacist heteropatriarchy, ableism, capitalism, and settler colonialism)-and invites readers to "build a better world, a world where many worlds fit; linked worlds of collective liberation and ecological sustainability." Along the way, the book documents a multitude of real-world community-led design practices, each grounded in a particular social movement. Design Justice goes beyond recent calls for design for good, user-centered design, and employment diversity in the technology and design professions; it connects design to larger struggles for collective liberation and ecological survival.
(source: Nielsen Book Data)

An exploration of how design might be led by marginalized communities, dismantle structural inequality, and advance collective liberation and ecological survival. What is the relationship between design, power, and social justice? "Design justice" is an approach to design that is led by marginalized communities and that aims explicitly to challenge, rather than reproduce, structural inequalities. It has emerged from a growing community of designers in various fields who work closely with social movements and community-based organizations around the world. This book explores the theory and practice of design justice, demonstrates how universalist design principles and practices erase certain groups of people-specifically, those who are intersectionally disadvantaged or multiply burdened under the matrix of domination (white supremacist heteropatriarchy, ableism, capitalism, and settler colonialism)-and invites readers to "build a better world, a world where many worlds fit; linked worlds of collective liberation and ecological sustainability." Along the way, the book documents a multitude of real-world community-led design practices, each grounded in a particular social movement. Design Justice goes beyond recent calls for design for good, user-centered design, and employment diversity in the technology and design professions; it connects design to larger struggles for collective liberation and ecological survival.
(source: Nielsen Book Data)

• Acknowledgements Preface Introduction - What is Design? - Design's Relatives - Design's History - The Concepts
• 1. Information - From Print to Cyberspace - Making Marks - Case Study
• 1: Emojis - Graphic Identities - Visualizing Data - Case Study
• 2: Infographics - Finding our Way - The Return to Craft
• 2. Things - From Mechanization to Automation - Serial Things - Case Study
• 3: Chairs - Singular Things - Materials - Case Study
• 4: the Moneymaker Pump - Ethics
• 3. Interactions - Designing Machines for People - Affordances and Scripts - Case Study
• 5: Doors - Interface - Software - Case Study
• 6: the iPhone - Smart Things - Robots
• 4. Systems and Services - Systems - Mapping Services - Case Study
• 7: IKEA - Sharing - Hackathons and Jams - Case Study
• 8: Uber - Social Design - Government Services
• 5. Experiences - Interaction and Emotion - Participation - Case Study
• 9: Facebook - Inclusive Experience - The Experience Economy - Immersive Entertainment - Case Study
• 10: Universal Design - Tourism
• 6. Strategies - Organizational Design - Case Study
• 11: IBM - Strategic Design - Policy - Problems and Methods - Case Study
• 12: IDEO - Design Thinking Conclusion - Design in the Anthropocene - Technological Fixations - Design Futures
• Notes Annotated Guide to Further Reading Select Bibliography
• Index.
• (source: Nielsen Book Data)

Design is everywhere. It shapes not only our present but also our future. An essential introductory guide, Design: The Key Concepts covers fundamental design concepts: thinking, service, context, interaction, experience, and systems. Each concept is situated within a broad context, enabling the reader to understand design's contemporary practice and its relationship to issues such as new technology, social and economic development, globalization, and sustainability. Concepts are also explained by use of concise, illustrated case studies of contemporary objects, spaces, systems, and methods such as Uber, the iPhone, Kickstarter and IKEA. Chapter summaries and supporting discussion questions make this an engaging and accessible introduction for students and those new to the field. An annotated bibliography provides direction for further reading.
(source: Nielsen Book Data)

• Series Foreword: The Urgency of the Possible
• Preface: On Hannah Arendt Kenneth Frampton
• Acknowledgements
• Introduction: Eduardo Staszowski and Virginia Tassinari
• I: Hannah Arendt & Designing in Dark Times
• II: The Lexicon
• A
• Action, Activism, Alienation, Animal Laborans , Animal rationale , Anthropocentrism
• B
• Beginnings, Bourgeois, Bureaucracy
• C
• Citizenship, Common good, Common interests, Common world, Comprehension, Courage, Creativity
• D
• Democracy
• E
• Equality, Evil
• F
• Fabrication, Freedom
• H
• History, Homo Faber, Human rights, Humanity
• I
• Imagination (by Hannah Arendt), Imperialism
• Insert: Martha Rosler , Reading Hannah Arendt (Politically, for an American in the 21st Century)
• In-between, Instrumentality
• L
• Labor, Law
• M
• Metabolism, Mortality
• N
• Natality
• O
• Objectivity
• P
• Pariah, Play, Plurality, Power, Private realm, Public
• R
• Reification
• S
• Solitude, Speech, Spontaneity, Stories, Superfluity
• T
• Technology, Thought, Thoughtlessness, Togetherness, Totalitarianism
• V
• Violence, Vita Activa, Vita Contemplativa
• Afterword: Richard J. Bernstein, The Illuminations of Hannah Arendt
• List of Contributors

From an acclaimed historian, a mesmerizing account of how medieval European Christians envisioned the paradoxical nature of holy objects Between the twelfth and the sixteenth centuries, European Christians used in worship a plethora of objects, not only prayer books, statues, and paintings but also pieces of natural materials, such as stones and earth, considered to carry holiness, dolls representing Jesus and Mary, and even bits of consecrated bread and wine thought to be miraculously preserved flesh and blood. Theologians and ordinary worshippers alike explained, utilized, justified, and warned against some of these objects, which could carry with them both anti-Semitic charges and the glorious promise of heaven. Their proliferation and the reaction against them form a crucial background to the European-wide movements we know today as "reformations" (both Protestant and Catholic). In a set of independent but inter-related essays, Caroline Bynum considers some examples of such holy things, among them beds for the baby Jesus, the headdresses of medieval nuns, and the footprints of Christ carried home from the Holy Land by pilgrims in patterns cut to their shape or their measurement in lengths of string. Building on and going beyond her well-received work on the history of materiality, Bynum makes two arguments, one substantive, the other methodological. First, she demonstrates that the objects themselves communicate a paradox of dissimilar similitude-that is, that in their very details they both image the glory of heaven and make clear that that heaven is beyond any representation in earthly things. Second, she uses the theme of likeness and unlikeness to interrogate current practices of comparative history. Suggesting that contemporary students of religion, art, and culture should avoid comparing things that merely "look alike, " she proposes that humanists turn instead to comparing across cultures the disparate and perhaps visually dissimilar objects in which worshippers as well as theorists locate the "other" that gives their religion enduring power.
(source: Nielsen Book Data)