On March 11, 2011 one of the most powerful earthquakes in recorded history devastated Japan, triggering a massive tsunami and nuclear meltdowns at three reactors in the Fukushima Daiichi Nuclear Power Plant complex in a triple disaster known as 3.11. On five separate journeys, Japanese-born performer and dancer Eiko Otake and historian and photographer William Johnston visited multiple locations across Fukushima, creating 200 transformative color photographs that document the irradiated landscape, accentuated by Eiko's poses depicting both the sorrow and dignity of the land. The book also includes essays and commentary reflecting on art, disaster, and grief. "By placing my body in these places, I thought of the generations of people who used to live there. Now desolate, only time and wind continue to move." - Eiko Otake "This book is of people who had lived in Fukushima and had to leave, and of people who had died there before the disaster. This book is of Fukushima, of a dancer, of a performance, of a gaze. A gaze of a dancer, of time, and of a photographer. And this book is of you, your gaze. When you take time to look at and look into each photograph, we hope it becomes a performance for you and with you, of Fukushima. By witnessing events and places, we actually change them and ourselves in ways that may not always be apparent but are important. Through photographing Eiko in these places in Fukushima, we are witnessing not only her and the places themselves, but the people whose lives crossed with those places." - William Johnston

Diana Armfield RA Hon RWS NEAC has a highly personal attachment to subject and a subtly distinctive affinity with the rhythms of form and tone. These qualities make her an important, influential figure in modern British art - and a very popular one. Flower paintings have brought her wide acclaim, but this book - created to mark her 100th birthday - also richly represents Diana's feeling for landscape and place. Including an inspiring number of more recent works, it brings her fascinating artistic and life story up to date. 'I think I was born making things', Diana comments to Andrew Lambirth, whose absorbing interview with her forms the narrative thread of Diana Armfi eld: A Lyrical Eye. Diana's was a creative childhood steeped in experiments with drawing, pottery and embroidery, played out against the backdrop of a picture-fi lled house, a lovely garden and an artistic family. She studied at Bournemouth, Slade and Central art schools, starting out as a talented textile designer - a legacy that lent her a unique approach to the geometry, cadences and colour qualities of a painting. After organising cultural activities for workers and troops in World War II, Diana became one half of a successful partnership designing textiles and wallpaper, whose work featured in the Festival of Britain in 1951. The 1960s brought a turn to painting and from 1966 Diana has been a regular exhibitor at the prestigious Royal Academy Summer Exhibition. She has continued to paint and draw throughout her life and, as this book clearly demonstrates, always thinks afresh about each subject she tackles in order to respond to it with a close,warm sincerity. Diana Armfi eld: A Lyrical Eye charts Diana's personal and artistic journey with over 200 beautiful reproductions of her work, tracing favourite subjects and events - from a Welsh landscape to an informal fl ower display or the much-loved location of a painting trip in Italy or France. Andrew Lambirth's interview also explores the unique bond with her husband, painter Bernard Dunstan, who died in 2017, looking at how two leading artists interwove their personal and creative lives over a marriage of almost 70 years. As well as this interview, Andrew has contributed an essay on Diana's work to the book. Diana's standing and popularity have led to regular exhibitions, especially at prominent London gallery Browse& Darby. Her work is held in private and public collections worldwide, from London's V&Ato the Yale Center for British Art.

Experimental cinema, as well as experimental video practices, have always been art forms widely explored by women. Yet, while the field of cinema studies has devoted research - although only recently - to women involved in narrative and commercial films, as directors, actresses, screenwriters and in other roles of cinema industry, the history of women’s experimental audio-visual production is still little explored and would benefit from being retraced and framed in a wider historical and theoretical perspective. This special issue of Cinéma&Cie is therefore aimed at tracing women’s experimental practices at the intersection of cinema and the arts by intertwining a theoretical and historical approach through the analysis of cases studies from the mid-century up to the present time.

We want to move beyond thinking of architecture as an object. Architecture is not separate from us--it is not something to be judged merely by its formal properties, its satisfaction of programmatic concerns or its performance in terms of technical parameters. We are not dismissing the importance of these factors but wish to enrich them, to understand and articulate how architecture can capture and express unseen layers of meaning and purpose. We want to think of architecture as a verb, a mover, a shaper, an active agent in human flourishing. In order to appreciate the potential power of architecture we want to explore the experience of architecture, and the intimately related experience of making architecture. Turning our attention to experience requires that we listen to and consider knowledge from a full array of disciplines. Experience is multi-dimensional, multi-directional, irreducible. Experience always supercedes, flows over any boundary that attempts to circumscribe it.

For nearly a century, members of three generations of the Bibiena family were the most highly sought theater designers in Europe. Their elaborate stage designs were used for operas, festivals, and courtly performances across Europe: from their native Italy to cites as far afi eld as Vienna, Prague, Stockholm, St. Petersburg, and Lisbon. Beyond these performances, the distinctive Bibiena style survives through their remarkable drawings. Architecture, Theater, and Fantasy marks the promised gift to the Morgan Library& Museum of a group of Bibiena drawings from the collection of Jules Fisher, the Tony Award-winning lighting designer, and commemorates an exhibition of these works, the first in the United States in over thirty years to celebrate these talented draftsmen. These drawings demonstrate the range of the Bibienas' output, from energetic sketches to highly finished watercolors. With representations of imagined palace interiors and lavish illusionistic architecture, this group of drawings highlights the visual splendor of the Baroque stage. The catalogue opens with Diane Kelder's introductory essay about the Bibiena family. Laurel Peterson then discusses the Bibienas as draftsmen, underscoring the drawings from the Fisher collection. Arnold Aronson, in turn, explores the family's contribution to the theater, setting them within a history of European stage design and explaining the significance of the dynamic angled perspective of their scena per angolo sets. John Marciari's essay considers the Fisher gift among the many Bibiena drawings already at the Morgan, mainly from the Oenslager collection, and looks at the collecting of Bibiena drawings more generally. Finally, Diane Kelder's checklist off ers information regarding the attribution and provenance of the works in the exhibition.

This absorbing book explores the crown jewel of the Isabella Stewart Gardner Museum's collection of rare books and manuscripts: Jean Bourdichon's Boston Hours. As court artist to King François I of France, Bourdichon produced paintings, books and even parade floats for the sovereign and his entourage. This publication accompanies the museum’s first ever exhibition dedicated to this spectacular illuminated manuscript. Painter to two kings, Jean Bourdichon remains today one of the most celebrated artists of the French Renaissance. By age twenty-four, he was already serving as "peintre du roy," a title which Bourdichon held for the rest of his life. His illustrious career at the French royal court led to a wide range of commissions - from portraits to wall maps to stained glass - but he is remembered principally for astonishing illuminated manuscripts. The peerless Grandes Heures for Queen Anne of Brittany remains the touchstone of this group which includes some of the most lavishly painted books of hours ever produced. One of these masterpieces - Bourdichon's Boston Hours - in the collection of the Isabella Stewart Gardner Museum is the subject of this book. Bourdichon's only intact book of hours in the United States was acquired by Isabella Stewart Gardner in 1890 and became the crown jewel of her collection of rare books and manuscripts. Leading scholars Nicholas Herman and Anne-Marie Eze explore its history in depth, shedding new light on the book’s patronage and provenance - from the shelves of a wealthy Catholic landowner in Lincolnshire to the shop of a Venetian art and antiques dealer. This book is the latest in the Gardner's Close Up series, each installment focusing on an individual, outstanding work of art in the collection. This publication is the first dedicated to this rare treasure, and precedes an exhibition opening in summer 2022.

This beautifully and thoroughly illustrated book, which constitutes the first serious investigation of the relationship between Benjamin West and John Singleton Copley, will be of considerable interest to both British and American art historians, and appeal to art lovers from both countries. West and Copley have always and properly been viewed as the two pre-eminent eighteenth-century American artists, despite the fact that, at the age of twenty-one, West left his native shores in 1760, never to return. He went on to become immensely successful in England, becoming, among other things, the second president of the Royal Academy of Arts. Copley spent half his working life also in England. However, before making the move across the Atlantic, he made his mark as an exceptionally talented artist, who, without any real training, painted likenesses of fellow Bostonians, including ones of figures such as John Hancock and Paul Revere, that have become icons of American history. While those portraits remain his most widely admired works, after 1775 and his resettling in England, he started painting distinctly different types of pictures, initially showing modern historical subjects in emulation of the model provided him by West, following, for example, West's celebrated Death of General Wolfe, exhibited in 1771, with his own Death of the Earl of Chatham, begun in 1779. For a brief span of time, the two expatriate Americans had a close working relationship, that we can see substantiallyreflected in both the formal language and the subject matter of many of their best works, but it eventually and inevitably turned into rivalry. The book begins with a brief prologue discussing the earliest of West's depictions of recent historical events and of subjects set in America, painted prior to Copley's arrival in England. It then follows the year-by-year evolution of Copley's painting from 1775 to his death in 1815, with an underlying focus upon his ongoing give-and-take with West, and it ends with examination of hitherto little-known and unstudied major late paintings, from after 1800, by both artists.

In a single volume, Dance in Cuba is the one and only complete reference. It explores all the currents and genres of Cuban dance, from their beginnings to today: from the Ballet Nacional de Cuba to Danza Contempóranea de Cuba; from the many dance companies – such as the extraordinary Acosta Danza – to entertainment dancing. All the facets of the fascinating universe of rhythms and “born to dance” artists of the Big Island.

This is the most respected and most widely-read Russian ballet manual in the world, written in 1938 by Agrippina Vaganova (Russia’s most influential ballet teacher of all time) and published in its final version (renowned as the 3rd edition) in U.S.

Part art book and part biography, Magnetic Woman examines the life and work of the artist Toyen (Marie Čermínová, 1902-80), a founding member of the Prague surrealist group, and focuses on her construction of gender and eroticism. Toyen’s early life in Prague enabled her to become a force in three avant-garde groups - Devětsil, Prague surrealism, and Paris surrealism - yet, unusually for a female artist of her generation, Toyen presented both her gender and sexuality as ambiguous and often emphasized erotic themes in her work. Despite her importance and ground-breaking work, Toyen has been notoriously difficult to study. Using primary sources gathered from disparate disciplines and studies of the artist’s own work, Magnetic Woman is organized both chronologically and thematically, moving through Toyen’s career with attention to specific historical circumstances and intellectual developments approximately as they entered her life. Karla Huebner offers a re-evaluation of surrealism, the Central European contribution to modernism, and the role of female artists in the avant-garde, along with a complex and nuanced view of women’s roles in and treatment by the surrealist movement.

This welcome catalogue presents exciting new scholarship on the work of Mexican and American artist Elizabeth Catlett (1915–2012). Accompanying an exhibition at the Memphis Brooks Museum of Art, Persevere and Resist: The Strong Black Women of Elizabeth Catlett reconsiders her works through the lens of contemporary psychology and sociology. Catlett was one of the most important visual chroniclers of the African American experience in the 20th century. In 1946, she was awarded the prestigious Rosenwald Fund Fellowship to travel to Mexico. Her early experiments with printmaking with the Taller de Gráfica Popular resulted in a series of 15 prints titled, The Black Woman(1946-1947) of which the Memphis Brooks Museum of Art is one of only three known American arts institutions to own a full series. In addition to her print and drawing practice, Catlett was also an accomplished sculptor working in stone, wood, and clay in her lengthy career, which spanned over six decades. Taking The Black Woman series as a point of departure, Heather Nickels will explore Catlett's oeuvre as illustrative of such contemporary phenomena as the "StrongBlackWoman" (SBW) trope, Afrofemcentrism, and misogynoir. Nickels will off er an alternative reading of the stances, postures, and expressions of Catlett's women, considering the impact of intergenerational trauma, with its roots in chattel slavery, onAfrican Americans. After examining the SBW trope and its paradoxes, she poses the question "What now?" and considers possible remedies through an examination of the ways in which Black artists have mined pain and sorrow to inform and inspire literary, performing and visual production, creating Black joy in spaces made by and for Black women. On view at the Memphis Brooks Museum of Art from June 5 to August 29, 2021, the exhibition will feature approximately 35 prints and sculptures, fully illustrated in the catalogue. Persevere and Resist is curated by Heather Nickels, the Joyce Blackmon Curatorial Fellow of African American Art and Art of the African Diaspora at the Memphis Brooks Museum of Art (MBMA) in Memphis, Tennessee. This publication will also include an essay by noted Catlett expert Dr. Melanie Herzog who will explore Catlett's life through the lens of today's social concerns.

The Great Houses of the prehistoric and early medieval periods were enormous structures whose forms were modelled on those of domestic dwellings. Most were built of wood rather than stone; they were used over comparatively short periods; they were frequently replaced in the same positions; and some were associated with exceptional groups of artefacts. Their construction made considerable demands on human labour and approached the limits of what was possible at the time. They seem to have played specialised roles in ancient society, but they have been difficult to interpret. Were they public buildings or the dwellings of important people? Were they temples or military bases, and why were they erected during times of crisis or change? How were their sites selected, and how were they related to the remains of a more ancient past? Although their currency extended from the time of the first farmers to the Viking Age, the similarities between the Great Houses are as striking as the differences. This study focuses on the monumental buildings of northern and northwestern Europe, but draws on structures over a wide area, extending from Anatolia as far as Brittany and Norway. It employs ethnography as a source of ideas and discusses the concept of the House Society and its usefulness in archaeology. The main examples are taken from the Neolithic and Iron Age periods, but this account also draws on the archaeology of the first millennium AD. The book emphasises the importance of comparing archaeological sequences with one another rather than identifying ideal social types. In doing so, it features a range of famous and less famous sites, from Stonehenge to the Hill of Tara, and from Old Uppsala to Yeavering.

Pevsner calls it ‘marvellous’. Yet the reredos of the fifteenth-century chapel of All Souls College, Oxford, with its combination of medieval niches and statuary by George Gilbert Scott, has remained one of the unsung glories of both medieval perpendicular architecture and Victorian restoration. Informed by recent scientific investigation of its stonework and its surviving medieval polychromy, this volume traces for the first time the entire history of the reredos in its architectural and religious context – from the phases of its medieval and early Tudor construction, through its covering up with a succession of baroque and neoclassical decorative schemes, to its uncovering and restoration in the 1870s. The book provides a novel and revealing vantage point on the artistic, cultural and ecclesiological history of Britain across four centuries.

This substantial catalogue is the final of a three-volume set exploring a remarkable collection of leaves and miniatures from medieval manuscripts. Richly detailed with plentiful illustrations, this notable contribution to medieval scholarship describes French material from c. 1100 to the 15th century, with particular strength in the 13th and 14th centuries. The McCarthy collection is arguably the largest and most important private collection of illuminated cuttings, miniatures, and leaves in the world. Following the publication in 2018 of Italian and Byzantine Miniatures and in 2019 Spanish, English, Flemish and Central European Miniatures, the third volume covers illumination from France. Volume I (published 2018) has eighty Italian and eight Byzantine entries; Volume II (published 2019) is the smallest, with sixty-three entries, divided between eight Spanish (and perhaps Portuguese) entries, eleven English ones, ten from the southern Netherlands, and finally thirty-four from across Germany, Austria, Switzerland and Bohemia; the present volume is the largest, with approximately ninety-five French entries. The fact that the French material is the largest group overall is partly a reflection of Robert McCarthy’s early interest in French Gothic art, inspired by youthful visits to Chartres and other Gothic cathedrals. In many cases the recto and verso of each item is reproduced, as the verso often provides vital textual, palaeographical or art historical clues to the date and place of origin, or traces of a later provenance and lists parent volumes, sister leaves and cuttings, some of which are also reproduced.

This richly illustrated publication reproduces and describes effectively every early modern German colour print held at the British Museum. It is one of the world’s most significant collections of these rare milestones of cultural heritage and technology. New photography reveals 150 impressions in jaw-dropping detail, most life-size. Some have never been seen in public or reproduced. It is the first major study of the first wave of German colour printing. It spans medieval printing in the late 1400s through the Renaissance and Reformation of the 1500s. Early Colour Printing features masterpieces by leading figures like Erhard Ratdolt, Lucas Cranach, Hans Baldung Grien, and Hans Burgkmair, as well as unfairly overlooked entrepreneurs and innovators like Erasmus Loy (and his daughter Anna). Their breakthroughs reproduced artworks and simplified astronomical calculations. They created trends in interior design and signalled ‘red-letter days’. They helped musicians sight-read and they colour-coded metals for goldsmiths. These diverse new functions and markets might seem unrelated. But they are connected, and they cannot be understood in isolation. From artworks to missals, icons to wallpapers, this book breaks new ground by revealing the fascinating underlying technologies that enabled the production of these colour-printed objects.The many inventions of colour printing in the German-speaking lands began with medieval novel solutions. They were devised long before colour printing inks could be formulated. Then, colour printing techniques transformed how printed material could be used during the technological and cultural revolutions of the sixteenth century. Later designers and artists around Europe celebrated these techniques’ heritage for centuries, from the ‘Dürer Renaissance’ until chromolithography revolutionised the print market in the nineteenth century. Early Colour Printing captures this story in rich detail. It sets the stage for second wave of German colour woodcut, which was triggered by the Expressionist revival at the turn of the twentieth century. Thoroughly researched and engagingly written, this collection guide will be a standard reference on German graphic art, early modern visual culture, and the history of printing itself. Early Colour Printing: German Renaissance Woodcuts at the British Museum offers significant new research, including previously unidentified examples of early modern colour-printing. Some are believed to be unique in the world; others were made decades before the landmark invention of colourful chiaroscuro woodcut in Italy in 1516. By modelling a printer- and technology-based approach to the history of printing, it contributes to scholarship by pinpointing attributions to printers—not just to artists or designers. In doing so, it lays the groundwork for a new understanding of the history of print, one that encompasses all forms of printed material. This publication derives from an exhibition at the British Museum curated by Elizabeth Savage.

"Hallum's painting is charged with delight in colour, line, surface and composition, in powerfully unconventional ways." - Hettie Judah This is the first monograph on the London-born, Devon-based artist Jacqui Hallum. The publication documents Hallum's solo exhibition at The Walker Art Gallery, Liverpool (10 October 2019 - 1 March 2020), along with a series of solo, two-person and group exhibitions held between 2014 and 2020. Hallum is best-known for her mixed-media paintings on textiles - techniques she has developed and refined over the course of twenty years since completing her studies. Incorporating imagery and visual languages ranging from medieval woodcuts and stained-glass windows to Art Nouveau children's illustrations, tarot cards and Berber rugs, Hallum employs ink staining, painting, drawing and printing to create layers of pattern, abstraction and passages of figurative imagery. As part of her working process, Hallum often leaves the fabrics in the open air, exposed to the elements, in order to introduce weathering into the works. History, religion, mysticism and the beliefs and creativity of past civilisations are among the themes that overlap - often in a literal sense of pieces of fabrics layered, pinned, draped and hung together - to form painterly palimpsests that carry a sense of the past with them into the present. Along with a foreword by Professor Caroline Wilkinson, Director of the School of Art and Design at Liverpool John Moores University, and an introductory essay by artist, curator and director of Kingsgate Workshops and Project Space in London, Dan Howard-Birt, the publication features newly commissioned essays by arts journalist and critic Hettie Judah and by Andrew Hunt, Professor of Fine Art and Curating at the University of Manchester. Also featured is the edited transcript of a conversation between Hallum and Howard-Birt held at The Walker Art Gallery, Liverpool. Jacqui Hallum (b.1977, London) graduated with a BA in Fine Art from Coventry School of Art& Design, Coventry University, in 1999, and an MFA in Painting from the Slade School of Fine Art, University of London, in 2002. Hallum’s solo exhibition at The Walker Art Gallery followed a three-month fellowship at Liverpool John Moores University, which resulted from winning the prestigious John Moores Painting Prize in 2018. The monograph, designed by work-form and edited by Susan Taylor, has been produced by Kingsgate Project Space and co-published with Anomie Publishing.