Art can be fun and so should be speaking about it. This alphabetically-organised book is an excellent introduction to the arts for kids.Designed in an engaging, colourful style, the selection nurtures children's interest in artistic creation at large. It not only delivers basic knowledge but also acts like a good jumping-off point for exploring art. To match the shorter attention span of many children, the book has a dynamic structure. The definitions are short but comprehensive and each word or concept is attractively illustrated.

The Nobile Index is a series of monographic publications of art sales prices achieved at auction, for a selection of leading 20th-century British artists. They involve the collaboration of a commercial art dealership, Piano Nobile Works of Art and the University of Bristol's History of Art Department; bringing together academic and commercial expertise on the artists for the benefit of those with an interest in their work. They are funded by the generosity of a private benefactor. The studies are confined to analyses of auction art sales results from 1990 to the time of the study. Although largely from UK sales, data supplied by international salerooms are also included. Graphs and interpretations of these figures are analysed and significant trends and buying patterns revealed. It is envisaged that this data will be of growing value to private and corporate clients, museums and fine art funds. Accurate commercial appraisal has always played an important role in the consideration of new acquisitions throughout the history of art. No more so than today is this seen with the fluctuating, but ever more significant rise in value commanded by the best of many 20th-century artists' work. This publication of the Nobile Index Series, written by Sophie Hatchwell, academic at Bristol University, focuses on the sales history of Francis Bacon and Lucian Freud, two titans of modern art. Both controversial, revered, and celebrated in their lifetime, this publication will explore how their work has fared at auctions since 1990. Comparing the fortunes of both, Sophie Hatchwell examines how genres, media, significant sales and exhibitions, and their deaths have impacted upon the value of their work individually. The publication comes in two sections - an introduction, results and analysis, and a booklet insert of appendices. This edition on Bacon and Freud marks the fifth and final publication of the Nobile Index series. To celebrate its release, a commemorative edition comprising all five publications, on Sickert, Bomberg, Lowry, Spencer, and Bacon and Freud will be produced.

The Nobile Index is a series of monographic publications of art sales prices achieved at auction, for a selection of leading 20th-century British artists. They involve the collaboration of a commercial art dealership, Piano Nobile Works of Art and the University of Bristol's History of Art Department; bringing together academic and commercial expertise on the artists for the benefit of those with an interest in their work. They are funded by the generosity of a private benefactor. The studies are confined to analyses of auction art sales results from 1990 to the time of the study. Although largely from UK sales, data supplied by international salerooms are also included. Graphs and interpretations of these figures are analysed and significant trends and buying patterns revealed. It is envisaged that this data will be of growing value to private and corporate clients, museums and fine art funds. Accurate commercial appraisal has always played an important role in the consideration of new acquisitions throughout the history of art. No more so than today is this seen with the fluctuating, but ever more significant rise in value commanded by the best of many 20th-century artists' work.This publication of the Nobile Index Series, written by Sophie Hatchwell, academic at Bristol University, focuses on the sales history of Sir Stanley Spencer from 1990-2015. Stanley Spencer, arguably one of the greatest British artists of the twentieth-century, is also renowned for his chequered sales history and money struggles. This rigorous study into the prices his work now commands at auctions demonstrates the significance of major sales over the past twenty-five years and the increasing value the market place supon Spencer's paintings. Evaluating general market trends, genres and media amongst other factors, Sophie Hatchwell's investigation provides an invaluable source of information on Stanley Spencer as an artist and the legacy and future of his work within the art market. The publication comes in two sections - an introduction by renowned Spencer specialist Professor Paul Gough, results and analysis, and a booklet insert of appendices.

Portable studio documents contemporary British youth culture, and was created in collaboration with the young people Appleson met and photographed on the streets of Birmingham in 2014. Inspired by the way identities are now curated online, the project works with a wide range of individuals to create an 'archive' of found and commissioned material, exploring identity and experience as expansive, multimedia portraits. Portable Studio inverts the traditional idea of the studio portrait/street photograph - the 'snapshot' is now just the starting point. In 2014 Trevor Appleson was commissioned by MAC Birmingham and the Library of Birmingham to create a new body of work exploring the city’s youth culture. Equipped with a film camera and a plain black cloth to use as a backdrop for his photographs, Appleson went out into the streets of Birmingham to its music venues and its shopping districts, in daytime and at night and photographed its youth, from ravers to girl guides, most in their teens and early twenties. Portable Studio will feature approximately 200 portraits alongside a fascinating archive donated by the sitters; a unique mix of physical and digital material ranging from crumpled diaries to selfies posted on social media, the contents of ‘memory boxes’, to vintage family photographs and Google search histories. The book is divided into three sections:Portraits: grouped by location and ‘tribe’, ravers, punks, rockers, school kids etc.Archives: 70 personal archives from selected subjects invited to collaborate further.Index: an annotated index completes the project with notes and descriptions. Supported by Arts Council England, Portable Studio is a critical document of contemporary British youth culture, made in collaboration with a selection of the 700 young people Appleson photographed for his commission.

Journalists James Bawden and Ron Miller spent their careers interviewing the greatest stars of Hollywood's golden age. They visited Lee Marvin at home and politely admired his fishing trophies, chatted with Janet Leigh while a young Jamie Lee Curtis played, and even made Elizabeth Taylor laugh out loud.In You Ain't Heard Nothin' Yet, Bawden and Miller return with a new collection of rare interviews with iconic film stars including Henry Fonda, Esther Williams, Buster Keaton, Maureen O'Sullivan, Walter Pidgeon, and many more. The book is filled with humorous anecdotes and incredible behind-the-scenes stories. For instance, Bette Davis reflects that she and Katharine Hepburn were both considered for the role of Scarlett O'Hara but neither was "gorgeous enough" for the part; Janet Leigh analyzes the famous shower scene in Psycho (1960), which was shot in seven days and gave the actress nightmares for years; and Jimmy Stewart describes Alfred Hitchcock as a "strange, roly-poly man, interested only in blondes and murder." Popular horror film stars from Lon Chaney Jr. to Boris Karloff and Vincent Price are also featured in a special "movie monsters" section.With first-person accounts of Hollywood life from some of the most distinguished luminaries in the history of American cinema, this entertaining book will delight classic movie fans.

Nearly four decades after his death, Charles Mingus Jr. remains one of the least understood and most recognized jazz composers and musicians of our time. Mingus’s ideas about music, racial identity, and masculinity—as well as those of other individuals in his circle, like Celia Mingus, Hazel Scott, and Joni Mitchell—challenged jazz itself as a model of freedom, inclusion, creativity, and emotional expressivity. Drawing on archival records, published memoirs, and previously conducted interviews, The Kind of Man I Am uses Mingus as a lens through which to craft a gendered cultural history of postwar jazz culture. This book challenges the persisting narrative of Mingus as jazz’s “Angry Man” by examining the ways the language of emotion has been used in jazz as shorthand for competing ideas about masculinity, authenticity, performance, and authority.

Described as an artist of “prodigious imagination and intelligence” by the New York Times, Jill Sigman makes art at the intersection of dance, visual art, and social practice. An artist’s book that explores the ability of art to engage and alter our reality, Ten Huts documents a series of site-specific huts hand built from found and repurposed materials, ranging from the mundane (e-waste and plastic bottles) to the bizarre (circus detritus, moose bones, dental molds, and mugwort), in landscapes as varied as industrial Brooklyn and the Norwegian Arctic. Each of the extraordinary huts in this book is a structure, a sculpture, and an emergency preparedness kit which raises questions about sustainability, shelter, real estate, and our future on this planet. An essay by the artist and and five short scholarly pieces provide multiple entrance points to the work and link issues surrounding choreography, waste, environment, and society. Includes essays by André Lepecki (performance studies), Matthew McLendon (art history), Elise Springer (philosophy), Eva Yaa Asantewaa (dance), and Thomas Hylland Eriksen (anthropology). Includes 473 color photographs.

Beads, beadwork, and personal ornaments are made of diverse materials such as shell, bone, stones, minerals, and composite materials. Their exploration from geographical and chronological settings around the world offers a glimpse at some of the cutting edge research within the fast growing field of personal ornaments in humanities’ past. Recent studies are based on a variety of analytical procedures that highlight humankind’s technological advances, exchange networks, mortuary practices, and symbol-laden beliefs. Papers discuss the social narratives behind bead and beadwork manufacture, use and disposal; the way beads work visually, audibly and even tactilely to cue wearers and audience to their social message(s). Understanding the entangled social and technical aspects of beads require a broad spectrum of technical and methodological approaches including the identification of the sources for the raw material of beads. These scientific approaches are also combined in some instances with experimentation to clarify the manner in which beads were produced and used in past societies.

The papers collected in this volume deal with the explorations of Science Fiction, Fantasy and, more generally, the representation of otherness through the narrative construction of fantastic, imaginary, appalling or attractive places, stories and figures. Contributions are arranged in four main sections. The first section (Other spaces, new worlds) deals with Hindi and Arabic Science Fiction. The second section (Constructing forms of otherness) analyses the narrative and psychological mechanisms that give forms to a stereotype or archetypical image of the threatening Other. The third section ((Re)shaping style(s), language(s) and discourse(s) of otherness) is centred on the idea of language as a tool to build up styles, genres and texts, and literature as an escape from disappointing history and a cross-cultural wandering space of narrative ghosts. The fourth section (Circulating fearful otherness) tests the limits and heuristic potential of a philological approach in reconstructing the wide circulation of motifs and characters from antiquity to (post-)modernity.

First published to accompany major retrospective exhibitions at West Cork Arts Centre and the Irish Museum of Modern Art (IMMA), this full-colour illustrated monograph explores William Crozier’s whole career, taking in the second half of the twentieth century – a key period in the development of British and Irish art. The catalogue is furnished with essays presenting brand new research by renown art historians and curators, Illuminated by unpublished sources and personal memoirs. What emerges is a picture of the continuum that runs through all of Crozier’s work, revealing a fascinating narrative that, far from a story of transformation from darker, earlier imagery into the apparent hedonism of later landscapes, is one of continuity of purpose in Crozier’s mind-set that connects 1950s Britain and Ireland with the concerns of the new millennium. Profoundly affected by post-war existential philosophy, Crozier consciously allied himself and his work with contemporary European art throughout the 1950s and 1960s, towards painters such as Jean Dubuffet, Pierre Soulages, Hans Hartung and Nicolas de Staël. The landscape became the source of visceral paintings: For Crozier, ravaged landscapes symbolised the torment and fear of the post-war condition at the heart of existentialism. Only ten years separate these images of traumatized humanity from the luxuriantly colourful works inspired by the landscape of West Cork. His early skill as a colourist reaches its zenith in paintings that capture the essence and appearance of the West Cork landscape in ways immediately recognisable to the viewer, but they are also concerned to capture a landscape during a period of great physical and social change. Crozier believed that when painting the Irish landscape he must, “Tell the truth. Say it simply.”

Albert Duvall Quigley spent most of his life painting the people and landscapes of the Monadnock region. A self-taught musician, he built and repaired fiddles, wrote dance tunes, and played at local dances. He also made frames known for their beautiful workmanship and originality, and prized by many Monadnock artists. This catalog has been compiled for an exhibition celebrating Quigley’s life and work that will open at the Historical Society of Cheshire County (NH) in May 2017, and for the 250th anniversary celebration of the town of Nelson, NH, where Quigley lived for many years.

Acknowledged as the journal of record in its field, American Furniture presents new research on furniture design, use, production, and appreciation. Begun in 1993, this award-winning annual provides a comprehensive forum on furniture history, technology, connoisseurship, and conservation by the foremost scholars in the field. It is the only interdisciplinary journal devoted exclusively to furniture made or used in the Americas from the seventeenth century to the present.

In this gorgeous book, the acclaimed photographer Rose Eichenbaum captures the spirit, beauty, and commitment of dancers along with the dancers’ own words of wisdom and guidance. More than 250 color and black and white photographs are paired with inspirational quotes from legendary and emerging dancers, including Bill T. Jones, Katherine Dunham, Ann Reinking, Mark Morris, Pina Bausch, Jawole Willa Jo Zollar, Gregory Hines, Mitzi Gaynor, Desmond Richardson, Rennie Harris, Paul Taylor, Ohad Naharin, Tiler Peck, and many more. Here, words and images explore creativity, art making, the communicative power of the human body, the challenges of balancing everyday life with the physical and practical demands of the dancer’s art, and more. In these intimate portraits, Eichenbaum reveals and celebrates the world of the dancer. Sensual and mesmerizing, these images will entrance dancer and non-dancer alike—as well as anyone who loves fine photography—with their powerful depiction of the human body.

In 1898, Baron Ferdinand de Rothschild bequeathed to the British Museum the contents from the New Smoking Room at Waddesdon Manor, a collection of nearly 300 objects to be known as the Waddesdon Bequest. The Bequest contains some of the most beautiful examples of medieval and Renaissance craftsmanship, including exquisite pieces of jewellery, silver plate, painted enamels of Limoges, glass and microcarvings in boxwood. It is the only permanent collection to have a gallery to itself in the British Museum, one that has been redesigned for the 21st century which opened to great acclaim in 2015. To coincide with the new gallery supported by the Rothschild Foundation, a conference was held that opened up this remarkable collection to leading specialists who spoke on all areas of the Bequest. Subjects included new attributions for sculptures, a detailed discussion of the making and marketing of forgeries by Salomon Weininger, Frédéric Spitzer and Alfred André as well as new research on jewellery and its presentation both at Waddesdon Manor and in the new gallery at the BM. The collecting tastes of French and English Rothschilds were compared and contrasted, and a line of Arabic poetry enamelled on the Palmer Cup newly identified. This book presents these findings and positions the Waddesdon Bequest within a wider intellectual and historical context for the first time.

Over the course of the nineteenth century, drastic social and political changes, technological innovations, and exposure to non-Western cultures affected Germany's built environment in profound ways. The economic challenges of Germany's colonial project forced architects designing for the colonies to abandon a centuries-long, highly ornamental architectural style in favor of structural technologies and building materials that catered to the local contexts of its remote colonies, such as prefabricated systems. As German architects gathered information about the regions under their influence in Africa, Asia, and the Pacific—during expeditions, at international exhibitions, and from colonial entrepreneurs and officials—they published their findings in books and articles and organized lectures and exhibits that stimulated progressive architectural thinking and shaped the emerging modern language of architecture within Germany itself.  Offering in-depth interpretations across the fields of architectural history and postcolonial studies, Itohan Osayimwese considers the effects of colonialism, travel, and globalization on the development of modern architecture in Germany from the 1850s until the 1930s. Since architectural developments in nineteenth-century Germany are typically understood as crucial to the evolution of architecture worldwide in the twentieth century, this book globalizes the history of modern architecture at its founding moment.

First published to accompany the exhibition, John Golding: Pure Colour Sensation at Piano Nobile gallery, this fully colour illustrated catalogue showcases fifteen years of exceptional paintings by John Golding. Although an acclaimed art historian, Golding considered himself, first and foremost, a painter. His work features in prominent institutions such as the Tate, MoMA, the Scottish National Gallery, the British Council, and the Yale Center for British Art. Golding had numerous one-man shows in the UK and abroad, and also participated in many group exhibitions, including international shows with his close friend Bridget Riley. He was appointed a CBE in 1992 and elected a Fellow of the British Academy in 1994.The publication presents a survey of works from the 1970s and 1980s, ranging from large scale canvases to both small and large pastels. Golding's work, although abstract, repeatedly returns to the human body. The monumental canvases and the tactile handling of paint through expressive layering of pigment demand a visceral physical reaction from the viewer. Speaking in an interview for Artists' Lives, Golding recollected that his turn to abstraction was in "recognition of what was happening in America in the 1950s…the most important thing going on in painting [of the day]". In his abstract paintings, both intimate and large in scale, Golding sought unadulterated formal brilliance, letting colour and composition take prominence, "so that there is nothing getting between you and the pure colour sensation."Dr David Anfam's introductory essay explores the roots of Golding's abstract work in the early figurative painting he produced whilst living in Mexico. Analysing the influence of the great Mexican muralists during Golding's formative years, Anfam charts the progression of Golding's vision that culminated in the exceptionally accomplished and joyful body of the work produced in the 1970s and 1980s and reproduced in this publication.