The first-ever book exclusively devoted to the history of the Newport Folk Festival, I Got a Song documents the trajectory of an American musical institution that began more than a half-century ago and continues to influence our understanding of folk music today. Rick Massimo’s research is complemented by extensive interviews with the people who were there and who made it all happen: the festival's producers, some of its biggest stars, and people who huddled in the fields to witness moments—like Bob Dylan’s famous electric performance in 1965—that live on in musical history. As folk has evolved over the decades, absorbing influences from rock, traditional music and the singer-songwriters of the ‘60s and ‘70s, the Newport Folk Festival has once again become a gathering point for young performers and fans. I Got a Song tells the stories, small and large, of several generations of American folk music enthusiasts.

David Evans’ death in a road accident in 1988, at the age of 59, bought to an abrupt end the career of one of the most distinguished watercolourists of his generation. The recent discovery of pictures remaining in his studio, nearly thirty years after the memorial tribute staged by the Redfern Gallery in 1988, provides the opportunity for a new generation to discover his work, though the publication of this first ever book on David Evans and the accom- panying touring exhibition. Evans’ strikingly large watercolours, (typically they measure over one metre in height or breadth), span two decades from the late 1960s to the late 1980s, evoking a vision that is still surprisingly potent today. They have all the period charm of the glam-rock era they so powerfully evoke but at the same time they are highly charged with the political energy of the pe- riod and mirror Thatcher’s Britain, with its Industrial unrest, its towns and country undergoing transformation, the Faulklands war and threat of the Evil Empire, the building of nuclear power stations and the dawn of awareness about Climate Change as a political issue. Evans was an ardent campaigner and environmentalist. The landscapes, (a homage to his native Suffolk) are peppered with industrial plants, landfill, scrap heaps, and encroaching roads and army maneuvers. Urban subjects, similar in some ways to the compo- sitions of Lowry, show factory plants, spectators’ sports, cafeterias, the interiors of museums, city centers and beach scenes.

Mexican-American life, like that of nearly every contemporary community, has been extensively photographed. Yet there is surprisingly little scholarship on Chicano photography. Picturing the Barrio presents the first book-length examination on the topic. David William Foster analyzes the imagery of ten distinctive artists who offer a range of approaches to portraying Chicano life. The production of each artist is examined as an ideological interpretation of how Chicano experience is constructed and interpreted through the medium of photography, in sites ranging from the traditional barrio to large metropolitan societies. These photographers present artistic as well as documentary images of the socially invisible. They and their subjects grapple with definitions of identity, as well as ethnicity and gender. As such, this study deepens our understanding of the many interpretations of the "Chicano experience."

Jeff Corey (1914--2002) made a name for himself in the 1940s as a character actor in films like Superman and the Mole Men (1951), Joan of Arc (1948), and The Killers (1946). Everything changed in 1951, when he was summoned before the House Un-American Activities Committee. Corey refused to name names and was promptly blacklisted, which forced him to walk away from a vibrant livelihood as an actor and embark on a career as one of the industry's most revered acting instructors. In Improvising Out Loud: My Life Teaching Hollywood How to Act, Corey recounts his extraordinary story. Among the actors who would soon fill his classes were James Dean, Kirk Douglas, Jane Fonda, Rob Reiner, Jack Nicholson, and Leonard Nimoy. In 1962, when the blacklist ended, Corey was one of the industry's first trailblazers to seamlessly reboot his acting career and secure roles in some of the classic films of the era, including Butch Cassidy and the Sundance Kid (1969), True Grit (1969), and Little Big Man (1970), in which he starred as the infamous Wild Bill Hickok.Throughout his life, Corey sought to capture the human heart: in conflict, in terror, in love, and in all of its small triumphs. His memoir, which he wrote with his daughter Emily Corey, provides a unique and personal perspective on the man whose teaching inspired some of Hollywood's biggest names to star in the roles that made them famous.

This special issue of Cinéma& Cie focuses the topic of post-cinema taking for granted the background of this notion that animated the recent debate revolving around it. The aim of the volume is thus rather to ask which ontologies, if any can, do the moving image justice in a situation in which the cinema is merely one of many configurations of film, which other theoretical frameworks may be appropriate and which modes of temporality, and of historiography and analysis can account for the steady transformation of film’s varying configurations. While the most productive accounts of post-cinema rarely trace this filiation in an explicit fashion, the label is closely related to the concept of post-media as developed by Félix Guattari in the early 1990s, later adapted into art, media theory, new and screen media. Highlighting the importance of bridging post-cinema and post-media, the volume addresses the post-what and post-when of post-cinema providing original arguments and categories enabling to envisage the next step to be taken in film theory.

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.

Among silent film comedians, three names stand out -- Charlie Chaplin, Buster Keaton, and Harold Lloyd -- but Harry Langdon indisputably deserves to sit among them as the fourth "king." In films such as The Strong Man (1926) and Long Pants (1927) , Langdon parlayed his pantomime talents, expressive eyes, and childlike innocence into silent-era stardom. This in-depth biography, which features behind-the-scenes accounts and personal recollections compiled by Langdon's late wife, provides a full and thoughtful picture of this multifaceted entertainer and his meteoric rise and fall. Authors Gabriella Oldham and Mabel Langdon explore how the actor developed and honed his comedic skills in amateur shows, medicine shows, and vaudeville. Together they survey his early work on the stage at the turn of the twentieth century as well as his iconic routines and characters. They also evaluate his failures from the early sound period, including his decision to part ways with director Frank Capra. Despite his dwindling popularity following the introduction of talkies, Langdon persevered and continued to perform in theater, radio, and film -- literally until his dying day -- leaving behind a unique and brilliant body of work.Featuring never-before-published stories and photos from his immediate family, this biography is a fascinating and revealing look at an unsung silent film giant.

Foreword by Jonathan GreenFor over fifty years, John and Vivian Hewitt visited galleries, artists' studios, and exhibitions in the United States, the Caribbean, and elsewhere in the Americas, collecting hundreds of paintings, etchings, and sketches. The John and Vivian Hewitt Collection of African-American Art represents fifty-eight works that celebrate the expression and passion of twenty artists, including Romare Bearden, Margaret Burroughs, Jonathan Green, Jacob Lawrence, Elizabeth Catlett, Ann Tanksley, and Henry Ossawa Tanner. The Hewitts believed that sharing their collection with the public would enhance the visibility of artists of African descent and showcase their cultural contributions. The Hewitt Collection was subsequently acquired by the Bank of America and generously donated to The Harvey B. Gantt Center for African American Arts and Culture in Charlotte, North Carolina. This book contains all fifty-eight works from the collection, exquisitely reproduced in full color. Grace C. Stanislaus provides a text on the significance of the collection that is supplemented by interviews with Vivian Hewitt, David Taylor of the Gantt Center, and art collectors Harmon and Harriett Kelley, and Nancy Washington.

This exploration of rock ’n’ roll music and culture in Birmingham, Alabama, is based on the oral histories of musicians, their fans and professionals in the popular music industry. Collected over a twenty-year period, their stories describe the coming of rock ’n’ roll in the 1950s, the rise of the garage bands in the 1960s, of southern rock in the 1970s, and of alternative music in the 1980s and 1990s. Told in the words of the musicians themselves, Magic City Nights provides an insider’s view of the dramatic changes in the business and status of popular music from the era of the vacuum tube to twenty-first-century digital technology. These collective memories offer a unique perspective on the impact of a subversive and racially integrated music culture in one of the most conservative and racially divided cities in the country.

The study of listening—aurality—and its relation to writing is the subject of this eclectic edited volume. Theorizing Sound Writing explores the relationship between sound, theory, language, and inscription. This volume contains an impressive lineup of scholars from anthropology, ethnomusicology, musicology, performance, and sound studies. The contributors write about sound in their ongoing work, while also making an intervention into the ethics of academic knowledge, one in which listening is the first step not only in translating sound into words but also compassionate scholarship.

Peter Coker: Mind and Matter is a fully-illustrated catalogue presenting a selection of exceptional works by Peter Coker (1926-2004), bringing together pieces spanning the early 1950s through to the mid-1980s. The first publication focusing on Coker’s works in over a decade, the catalogue will seek to reassess Coker’s contribution to post-war figurative British art. Situating Coker within his contemporary British zeitgeist, Peter Coker: Mind and Matter will also focus on the significance of international artists to Coker’s work, particularly Gustave Courbet and Nicolas de Staël. Undertaking modern day pilgrimages across France, Coker toured the sites favoured by the artists he revered, filtering their influence through the specificity of place. Coker was too talented an artist to mimic, but with acute sensitivity and perception, his vision of the world was constantly altered by the art that touched him. Correspondingly, his mode of depiction was subject to an ever-persistent evolution but with the materiality of paint and the primacy of process always at the heart of his practice. In Coker’s words: “I think when you see exhibitions…you challenge your own thoughts, you refurbish the mind and eye, you are remoulded.”The publication includes an introductory essay, a catalogue of carefully selected works with accompanying descriptions, a chronology, a bibliography, and numerous colour illustrations.

History of Cinema Without Names is an editorial project which gathers research papers presented at Gorizia Conference. It promotes a new research perspective on the notions of film authorship, style, and genre, with the aim of re-articulating their theoretical definition.

The Mountains in Art History is the first English-language work to focus on the mountains as subject matter and source of aesthetic and spiritual inspiration for painters. This collection of original essays is written entirely by Wesleyan University students of art history. The essays examine how artistic representation of mountains has varied through the lens of specific depictions in English and American literature, and consider how images of mountains functioned in conjunction with religion, the sublime, and Romanticism. These essays by student authors adeptly ruminate on works by individuals such as William Wordsworth, John Frederick Kensett, Alexander van Humboldt, Emil Nolde, and Arnold Fanck. Includes an introduction by professor Peter Mark and a helpful appendix of the course syllabus and narrative description.

In 1995, in Chicago, Mary Jacob curated “Culture in action”, an experience of participatory Public Art which left a mark on the contemporary artistic research and criticism. Over the last twenty years, this “new genre of public art” (Lacy 1995) has developed. In these “dialogical” and “connective” aesthetics (Kester 1999, Gablik 1992), public artists have involved citizens in creative performances that aim to modify citizens’ perceptions of the places where they live, to create new relations within and toward the territory, and to transform (often temporarily) the physical spaces. The book moves from the first outcomes of a two-year interdisciplinary research programme on the Italian contemporary Public Art, funded by the Sardinia Region (Italy). Moving beyond the traditional ladders of formal citizen participation to territory governance, the research investigates how public artists have involved citizens in creative performances that aim to modify citizens’ perceptions of the places where they live, to create new relations within and toward the territory, and to transform (often temporarily) the physical spaces. A book particularly useful to international students who have strong interests in the ongoing debates on political participation and communication from a multidisciplinary perspective, Performative Citizenship is the product of extensive teaching experience in the field of political participation and communication, and stems from continuous comparisons between students of sociology, cultural and media studies, political sciences, arts, architecture, and urban planning.

Matters of Life and Death is a limited-edition publication documenting the remarkable new and recent paintings of celebrated Dallas-based British artist Richard Patterson (b.1963). An engaging introduction by Paul Moorhouse, Senior Curator at the National Portrait Gallery, London, discusses the dynamic and complex relationship between figuration and abstraction in Patterson’s oeuvre. Moorhouse observes: ‘Visual ambiguity defines Patterson’s art, and its most conspicuous feature is the interaction between figurative painting, abstraction and photography that his recent work continues. From the outset he moved between these disparate visual languages, combining them in ways that seemed deliberately oppositional and subversive.’ Patterson’s latest works are as provocative as ever, and as he enters mid-career, have become increasingly accomplished, cryptic and, at times, haunting. In his illuminating essay, art historian James Cahill explores the subjects of portraiture and personae within the artist’s works, asserting that ‘his strategy of distancing his figures – whether through a broken veil (or enclosing frame) of abstract paint, or the gauze-like intercession of a photographic source – throws into relief the idea that selfhood is ultimately a succession of masks.’ Curator and critic Jane Neal deftly navigates ideas of gender and sexuality in Patterson’s practice, taking us into the realms of fetish and the male gaze, proposing that his painting overtly ‘points towards the patriarchal and often misogynistic attitude to women’s bodies still prevalent in magazines, films and social media, even in the twenty-first century. Patterson sets us up to confront the darkness that often underlies the male gaze, even affording it physical form.’ Featuring a selection of works executed between 2013 and 2016, many of which are published here for the first time, the cloth-covered book is presented in a specially printed hard slipcase and has been published in an edition of just 500 copies. Born in the UK in 1963, Patterson graduated from Goldsmiths College in 1986. He was included in Damien Hirst’s renowned Freeze, Surrey Docks, London (1988); as well as Sensation: Young British Artists from the Saatchi Collection, Royal Academy of Arts, London, UK; Hamburger Bahnhof – Museum für Gegenwart, Berlin, Germany; Brooklyn Museum of Art, New York, USA (1997-00). Other notable exhibitions include The Rowan Collection: Contemporary British & Irish Art, Irish Museum of Modern Art, Dublin, Ireland (2002); Painting Pictures, Kunstmuseum Wolfsburg, Germany (2003); Nexus Texas, Contemporary Arts Museum Houston, Texas, USA (2007) and Attention to Detail, curated by Chuck Close, the FLAG Art Foundation, New York, USA. Patterson has had solo exhibitions at Anthony d’Offay Gallery, London (1997); James Cohan Gallery, New York, USA (1999 and 2002); Dallas Museum of Art, Dallas, Texas, USA (2000), Timothy Taylor Gallery, London (2005, 2008 and 2013); the Goss-Michael Foundation, Dallas, USA (2009); and the FLAG Art Foundation, New York (2014). In February 2017 he will present new and recent works at Timothy Taylor 16x34, New York.

Peter Eisenman (Yale School of Architecture, New Haven, Eisenman Architects, New York, USA) discusses with architects and philosophers: Jörg H. Gleiter (Germany), Kim Förster (Switzerland), Preston Scott Cohen (USA), Emmanuel Petit (USA), Mario Carpo (USA), Sarah M. Whiting (USA), Manuel Orazi (Italy), John McMorrough (USA), Gabriele Mastrigli (Italy), Panayotis Pangalos (Greece), Cynthia Davidson (USA), Ingeborg M. Rocker (USA), Alejandro Zaera-Polo (USA), Djordje Stojanović (Serbia), Greg Lynn (USA) performing on the stage for two days in Belgrade.