The first book to appear on the 20th century British artist Charles Cundall, this publication examines aspects of Cundall work done at home in England, abroad - Cundall made numerous painting trips to the continent, but also to the United States - and during the war. Well illustrated, the book also includes a chronology and a reproduction of a text by William Gaunt dating from the 1960s and commissioned for a book on Cundall that never came to be.

A hypertextual guide to an uncharted Milan, the liveliest, expressed through features far from the media’s limelight. The Milan of places where independent and underground culture is produced, where new ways of life and socializing are experimented on a daily basis, with participation and dissemination of knowledge.A guide capable of, firstly, disassembling the numerous components of the urban framework to then give useful tips for an upstream, erratic journey full of surprise and emotion. 
 A topography of author itineraries between psyche and territory, narrative itineraries written by the best pens of Milan in a fun game of clues, links and chance, but also of new correlations in which the readers can become protagonists.The project, to which a multitude of researchers, artists, academics and professionals will take part, wants to contribute to the growth and enrichment of a different Milan, different from the one portrayed by the official signage.
 In addition, the Guide – with its website of interactive maps – allows all the realities involved to “trespass” their reference fields and interact with the other reported experiences.

Over the last two decades, discoveries made in the field of cognitive neuroscience have begun to permeate humanities and social sciences. This special issue of Cinéma & Cie focuses on major conceptual and epistemological arguments arising from the dialogue between audiovisual studies and neurosciences. In the context of this intersection, Neurofilmology is an interdisciplinary research program that arises at the encounter between two models of viewer: the viewer-as-mind (deriving from a cognitive/ analytical approach) and the viewer-as-body (typical of the phenomenological/continental approach). Accordingly, Neurofilmology focuses on the viewer-as-organism, by investigating with both empirical and speculative epistemological tools the subject of audiovisual experience, postulated as embodied, embedded, enacted, extended, emerging, affective, and relational.

The French Impressionist painters discovered new means for painting light – they used a “solar palette”, the pigments matched to the colours the eyes see. They are the colours of a ray of light. This little book reproduces palettes by 8 of the plein-air painters – Cézanne, Manet, Monet, Pissarro, Renoir, Seurat, Signac, and Van Gogh. It describes the pigments they used, and includes short excerpts by the scientists whose work was the foundation of the new painting – complementary colours, optical mixing, and the pigment-colour correspondences.

The British Museum citole is a unique example of medieval craftsmanship and is one of very few surviving instruments from the Middle Ages. This new publication includes selected papers from the first international symposium on the British Museum citole, held in November 2010 to highlight recent new research, conservation work and scientific findings related to the British Museum citole. Highly illustrated to reflect the visual richness of this beautiful instrument, The British Museum Citole: New Perspectives features a wide range of academic approaches to the subject, drawing together experts from the fields of history, art history, music, organology, conservation and science and performance practice.

The Index of American Design was one of the most significant undertakings of the Federal Art Project -- the visual arts arm of the Works Progress Administration. Part of President Franklin D. Roosevelt's New Deal, this ambitious initiative set out to discover and document an authentic American style in everyday objects. The curators of the Index combed the country for art of the machine age -- from carved carousel horses to engraved powder horns to woven coverlets -- created by artisans for practical use. In their search for a true American artistic identity, they also sought furniture designed by regional craftsmen laboring in isolation from European traditions. Kentucky by Design offers the first comprehensive examination of the objects from the Bluegrass State featured in this historic venture. It showcases a wide array of offerings, including architecture, furniture, ceramics, musical instruments, textiles, clothing, and glass- and metalworks. The Federal Art Project played an important role in documenting and preserving the work of Shaker artists from the Pleasant Hill and South Union communities, and their creations are exhibited in this illuminating catalog. Beautifully illustrated with both the original watercolor depictions and contemporary, art-quality photographs of the works, this book is a lavish exploration of the Commonwealth's distinctive contribution to American culture and modern design.Features contributions from Jean M. Burks, Erika Doss, Jerrold Hirsch, Lauren Churilla, Larrie Currie, Michelle Ganz, Tommy Hines, Lee Kogan, Ron Pen, Janet Rae, Shelly Zegart, Mel Hankla, Philippe Chavance, Kate Hesseldenz, Madeleine Burnside, and Allan Weiss.

The book arises to investigate the prospect of painting in the current context, choosing a philosophical approach careful to delineate mechanisms and capabilities in relation to the history of painting, to its actuality and difference, also in relation to other media, trying to catch those aspects related to its continuous questioning, as dialectic body in continuous evolution/repetition. This book is the first in Italy that serves non as an historical path, but as a survey of the contemporaneity of painting. Main figures of the international scene have joined this project: come Luc Tuymans, Thierry De Cordier, Neo Rauch, Jonathan Meese, Marc Desgrandchamps, Norbert Witzgall, and for Italy, in attition to the two book curators, Barbara Nahmad, Marco Pellizzola, Flavio de Marco.

Now in its fourteenth year of publication, Ceramics in America is considered the journal of record for historical ceramics scholarship in the American context and is intended for collectors, historical archaeologists, curators, decorative arts students, social historians, and contemporary potters. The 2014 volume of Ceramics in America will feature a series of 10 essays by ceramic specialists who are widely recognized in their respective fields of expertise. Each essay will examine 10 objects that are of particular significance to the author. In addition, other experts have been asked to contribute annotated bibliographies of their most significant reference works. A partial list of essays The "X" Project: Ceramics in America 2014 I-Porcelain by John Austin • The Ceramic Vessel in 20th-Century Art by Garth Clark • Hot Bodies, Cool Glazes: American China Painting In Two Centuries by Ellen Paul Denker • A Curator's 10 - Ceramics from the Newark Museum by Ulysses Dietz • "A History of Chinese Export Porcelain in Ten Objects" by Ron Fuchs • An English Pottery Dealer's Triumphs and Tribulations by Jonathan Horne • Specializing in the Diverse: A Ceramic Journey in 10 Objects by Robert Hunter • 10 Ceramics Objects from the Nation's Attic/Smithsonian by Bonnie Lilienfeld • The Ten Commandments by Ivor Noël Hume • London's ceramic history in ten pots by Jacqui Pearce

In Rose Eichenbaum's latest book on the confluence of art making and human expression, she sits down with thirty-five modern day storytellers—the directors of theater, film, and television. Eichenbaum's subjects speak with revealing clarity about the entertainment industry, the role and life of the director, and how theatrical and cinematic storytelling impacts our culture and our lives. The Director Within includes interviews with Peter Bogdanovich (The Last Picture Show), Julie Taymor (The Lion King), Mel Brooks (Blazing Saddles), Tim Van Patten (The Sopranos, Boardwalk Empire), Hal Prince (The Phantom of the Opera), Barry Levinson (Rain Man), and many others. The interviews are skillfully crafted, sensitively executed, and brimming with honesty and insight. The accompanying portraits demonstrate Eichenbaum's mastery of photography and convey the truth, depth, and intimacy of their subjects. The Director Within is an inspirational, informative, and entertaining resource for anyone interested in creativity, art making, and artistic collaboration. The book includes a listing of works from each of the directors.

Collection of 30 texts, 1915-1928, & 3 facsimiles, some in first English translation, plus Nina Kogan on Cubism and Ilya Chashnik on Suprematism. Chronological sections trace Malevich’s analyses of Cubism and Futurism, the Supremus Society of Artists, Suprematism Triumphant, UNOVIS, Theory of Creativity as Artistic Culture, and the Non-Objective World of Sensations. A presentation of sensations from Cézanne to Suprematism is followed by a discussion of how consciousness and the environment influence artistic creativity in P. Railing, Malevich on Creativity.

The ancient Celtic world evokes debate, discussion, romanticism and mythicism. On the one hand it represents a specialist area of archaeological interest, on the other, it has a wide general appeal. The Celtic world is accessible through archaeology, history, linguistics and art history. Of these disciplines, art history offers the most direct message to a wider audience. This volume of 37 papers brings together a truly international group of pre-eminent specialists in the field of Celtic art and Celtic studies. It is a benchmark volume the like of which has not been seen since the publication of Paul Jacobsthal’s Early Celtic Art in 1944. The papers chart the history of attempts to understand Celtic art and argue for novel approaches in discussions spanning the whole of Continental Europe and the British Isles. This new body of international scholarship will give the reader a sense of the richness of the material and current debates. Artefacts of rich form and decoration, which we might call art, provide a most sensitive set of indicators of key areas of past societies, their power, politics and transformations. With its broad geographical scope, this volume offers a timely opportunity to re-assess contacts, context, transmission and meaning in Celtic art for understanding the development of European cultures, identities and economies in pre- and proto-history. Essays in honour of Vincent Megaw on his 80th birthday.

This study explores different visions of contemporary London using the tools of cultural and literary studies and comparing works by Iain Sinclair and Will Self. Both indebted to the tradition of psychogeography, these two authors consider the act of walking as the best way to investigate the changes, evolutions and revisions of the city. For both, London is basically an experience where the physical and topographical environment evokes the endless reservoir of films, novels, images, and cultural materials that finds in this city a fruitful source of inspiration. The book features individual chapters devoted to the analysis of Great Apes, Sorry Meniscus, London Orbital, and The Book of Dave.

During the quarter of a century before the thirteen colonies became a nation, the northwest quadrant of North Carolina had just begun to attract permanent settlers. This seemingly primitive area may not appear to be a likely source for attractive pottery and ornate silverware and furniture, much less for an audience to appreciate these refinements. Yet such crafts were not confined to urban centers, and artisans, like other colonists, were striving to create better lives for themselves as well as to practice their trades. As Johanna Miller Lewis shows in this pivotal study of colonial history and material culture, the growing population of Rowan County required not only blacksmiths, saddlers, and tanners but also a great variety of skilled craftsmen to help raise the standard of living.Rowan County's rapid expansion was in part the result of the planned settlements of the Moravian Church. Because the Moravians maintained careful records, historians have previously credited church artisans with greater skill and more economic awareness than non-church craftsmen. Through meticulous attention to court and private records, deeds, wills, and other sources, Lewis reveals the Moravian failure to keep up with the pace of development occurring elsewhere in the county.Challenging the traditional belief that southern backcountry life was primitive, Lewis shows that many artisans held public office and wielded power in the public sphere. She also examines women weavers and spinsters as an integral part of the population. All artisans -- Moravian and non-Moravian, male and female -- helped the local market economy expand to include coastal and trans-Atlantic trade.Lewis's book contributes meaningfully to the debate over self-sufficiency and capitalism in rural America.

In 1965 Janis Sternbergs made a few playful lines in some sand on his studio table and was struck by the image he had created. A photograph of this confluence of shadows showed what seemed to be a great earth sculpture of vast depth and breadth. So began an art form which united the talents and skills of engraver, sculptor, painter, and photographer. And when Sternbergs added color effects to his images by use of photo-screen process printing, he employed the skills of still another medium -- one in which he is a recognized master.In this book Sternbergs first explains and demonstrates many of the techniques he has developed in producing his dramatic sand "paintings." In a series of illustrations designed to instruct the neophyte sand artist, we see a variety of commonplace tools used to explore the many possibilities of sand as a material for spontaneous work.What one supremely creative mind has done with the medium can be seen in the catalog of Sternbergs's sand images which follows the instructional portion of the book. The 154 black and white photographs not only suggest the range and potential of sand imagery, but attest as well to the imagination and versatility of the artist.

Washington Allston (1779-1843), the first major American artist trained in Europe, produced important paintings, explored sculpture and architecture, and published poetry and art criticism. On his return to America he became influential in the cultural and intellectual life of New England. Allston "knew everyone" and corresponded with many of the leading figures of his day, including Wordsworth, Longfellow, Irving, Sully, and Morse. Nathalia Wright's edition is the most comprehensive work to date on Allston, bringing together all known letters by and to him and describing his principal activities in years for which correspondence is lacking. Allston holds an important place in the history of American culture and European art and has long deserved such a volume, which offers a fascinating view of the world of arts and letters during the early American flowering.

In the hauntingly beautiful sculptures of Tilmann Riemenschneider, the Late Gothic art of Germany achieved its highest expression. Now, for the first time in English, the eminent art historian Justus Bier accords Riemenschneider the extended attention he so richly deserves.Riemenschneider ( ca. 1460--1531) holds a pivotal place in the development of German art. Rejecting the anonymous soulfulness of earlier Gothic sculpture, he created a style reflecting the deeply spiritual character of his time, yet one that also anticipated the humanism of the Italian Renaissance so soon to revolutionize European art.Bier crowns a lifelong study with this reconsideration of Reimenschneider's life and work, with emphasis on works in North American museums. More than 140 photographs illustrate 46 of the artist's major sculptures.