Intertwining is an international, interdisciplinary journal dedicated to understanding the experience and making of architecture. It includes the voices of science alongside those of the arts - as both ways of knowing are critical to the multidimensional nature of our inquiry."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."Contributors: Alessandro Gattara, Sarah Robinson, Davide Ruzzon, Juhani Pallasmaa, Barbara Lamprecht, Kevin Kelley Rooney, Olafur Eliasson, Harry Francis Mallgrave, Colin Ellard, Susan Magsamen, Raymond Richard Neutra, Sarah Robinson, Elnaz Ghazi.

Montage, today, is a widespread procedure that doesn’t concern just artistic production, but also our daily lives and the use everyone makes of that huge visual archive contemporary media places at our disposal. In a technologically advanced society, where the notion of postproduction regulates our relationship with images and objects, it is therefore necessary to thoroughly investigate the role, possibilities, and, most of all, anthropological and politic connotations of montage; and to ask ourselves whether – in comparison to the heroic years of the first avant-gardes – montage has become a faded and standardized practice or if it is a more and more effective means to understand and reprogram the world, especially in relation to the technical possibilities offered by new media and remix practices.

This trans-historical exhibition of drawings is devoted to the subject of the artist at work. Drawn principally from a very fine specialist private collection, this display will focus on the depictions of artists’ studios, their own portraits, models and assistants in symbolic, as well as from life, representations of the métier of drawing, painting and sculpture. Art historians have interpreted these themes variously as the means of elevating the social and economic status of artists; of illustrating the marriage of intellectual knowledge and practical skill proposed by academic theorists, or as sophisticated allegories of the philosophical significance of visual art. Even at the most pragmatic level of recording the clutter of the everyday studio, drawing human models or antique casts in an academy, or small figures sketching in landscape, works with these subjects are imbued with layers of meaning. This focused exhibition, spanning from the 16th to the 20th centuries, proposes to explore this rich subject matter through a carefully selected group of graphic works.

In terms of antiquarian fame, the Farnese Sarcophagus – elaborately carved with satyrs and maenads gathering grapes – may be the most important work of art in the Gardner collection, and perhaps of its type in America. A large, rectangular coffin of Pentelic marble, the Farnese Sarcophagus was exported from Athens to the area of Rome in the late Severan period, between c. 222 and 235 AD. Thecarving of the satyrs and maenads was especially suited to the artistic tastes of Mannerist and Baroque Rome, providing one of the most elegant examples of Greek imperial optic elongation to have survived from ancient times. Life Death& Revelry will offer a multi-disciplinary, multi-era look at this important monument. Published to accompany an exhibition at the Isabella Steward Gardner Museum, Boston, it will bring together archaeological analyses of the piece and its previous restorations, and numerous Renaissance prints anddrawings depicting the sarcophagus during its time in Rome.

Danish director Lars von Trier has produced more than 20 films since his first appearance with The Elements of Crime in 1984. One of the most acknowledged – and most controversial – film directors of our time, Trier’s films often escape the representational production of meaning. In Lars von Trier’s Renewal of Film 1984-2014. Signal, Pixel, Diagram scholar Bodil Marie Stavning Thomsen offers a comprehensive discussion of Lars von Trier’s collected works. Examining Trier’s experiments with narrative forms, genre, camera usage, light, and colour tones, she shows how Trier’s unique ethically involving style activates the viewer’s entire perception apparatus. In understanding this affective involvement, the author frames the discussion around concepts from Gilles Deleuze, Alois Riegl, Brian Massumi and others on the haptic image, the diagram, affect and the signaletic material.

This collection of essays provides the first in-depth examination of camp as it relates to a wide variety of twentieth and twenty-first century music and musical performances. Located at the convergence of popular and queer musicology, the book provides new research into camp’s presence, techniques, discourses, and potential meanings across a broad spectrum of musical genres, including: musical theatre, classical music, film music, opera, instrumental music, the Broadway musical, rock, pop, hip-hop, and Christmas carols. This significant contribution to the field of camp studies investigates why and how music has served as an expressive and political vehicle for both the aesthetic characteristics and the receptive modes that have been associated with camp throughout twentieth and twenty-first-century culture. Hardcover is un-jacketed.

Pigments described by the English chemist, Robert Dossie, the French artists' colourman, Jean Félix Watin, and the London-based pigment maker, Constant de Massoul. 18th century European painting saw the introduction of new pigments to the painters’ palettes, from Prussian Blue to the early synthetics such as Patent Yellow. It was a century rich in pigments, the authors of the treatises listing over 150 pigments that could be bought in the shops in London and Paris.

The Chester Beatty Library’s 16th-century Ruzbihan Qur’an—produced in the city of Shiraz in southwest Iran—is one of the finest Islamic manuscripts known. In terms of both materials and workmanship, it is exquisite: lapis lazuli and gold, the two most expensive pigments available, are used on every page, while the rendering of the decoration is exceptionally fine. This is the most detailed and comprehensive study of any Islamic manuscript—and it is well worthy of such scrutiny. Praised in a 16th-century account as one of the finest calligraphers of his time, Ruzbihan Muhammad al-Tab‘i al-Shirazi would have produced numerous Qur’ans during the course of his career, but only five signed by him have survived. Much of the study of this, surely his finest manuscript, is focussed on understanding the processes and procedures involved in the production of the manuscript and thus on gaining an insight into the problems faced by Ruzbihan and the other artists and how they resolved them. Certain surprising and never-before-seen techniques of production and ‘tricks-of-the trade’ have been uncovered. A large portion of the information presented is the result of very close examination, under high magnification, of the manuscript’s 445 folios (890 pages). Many of the reproductions included are of minute details of the decoration that are difficult, or even impossible, to see with the unaided eye. The book follows the order in which work on the manuscript would have progressed, beginning with an examination of Ruzbihan’s calligraphy, the various scripts he used to copy the text and the problems he faced, such as the spacing of the text and his errors and omissions. Additions, such as marginal notations, recitation marks and decorative devices indicating the divisions of the text, all of which guide the reciter in his reading of the Qur’an, are also considered. Although the manuscript’s renown has traditionally rested with the name of its calligrapher, it is equally the quality, extent, diversity and complexity of its superb decorative programme—the work of a team of highly skilled, yet anonymous artists and artisans—that sets the manuscript apart from most other 16th-century Persian Qur’ans. Fittingly, therefore, the bulk of the study focuses on this aspect of the manuscript. Major aspects of the illumination, such as its lavish beginning, middle and end illuminations, are examined as well as more minor elements such as the ‘rays’ that emerge from the frontis- and finispiece; even the tiniest of details are revealed, such as what are, in the book, termed ‘squiggles and eyes’, hidden amongst the illuminations and a challenge to find for the even the most eagle-eyed viewer. However, while many of the secrets of the production of the manuscript were revealed, many mysteries remain. Chief among these is the startling change in aesthetic evident in the illuminations of the final ten openings of the manuscript. Why such as change was undertaken—and then halted—is not known. As was increasingly revealed as study of the manuscript progressed—and as the reader of the book will quickly come to realise—Chester Beatty’s Ruzbihan Qur’an is an intriguing and very special manuscript.

Frits Lugt (1884–1970) had a passion for miniatures that began early on in his life. Hedemonstrated it in the small but ardent Le portrait-miniature of 1917, the year in which hebought the first portrait miniature for his collection. Since then it has been constantlyenriched, and now numbers more than 100 works by artists from Great Britain, the LowCountries, France, Germany, Italy, Denmark and Switzerland, covering the period fromthe sixteenth to the nineteenth centuries. Thanks to the expertise of specialist Karen Schaffers-Bodenhausen, who has studiedthe growing collection in recent years with great dedication and patience, we now havethis first catalogue of the portrait miniatures in the Frits Lugt Collection, FondationCustodia, Paris.In addition to a foreword by director Ger Luijten, the first volume containsdetailed descriptions and exhaustive analyses of the portraits, their attributions, andidentifications of the sitters. The author also examines the techniques employedand sets out to establish a date for each portrait. The volume closes with a table ofconcordance, a detailed index of proper names and a comprehensive bibliography.Comparative illustrations are incorporated in the descriptions. The second volume hascolour plates of all the works in the collection, almost all of them full size, and concludeswith reproductions of the backs of the miniatures if they provide additional supportinginformation.

Public spaces have long been the object of countless studies. Yet, most of these have focused almost exclusively on the metropolitan setting, while neglecting the nature and function of public spaces in rural areas. This volume addresses precisely this gap, drawing from Henri Lefebvre’s theories in order to propose an alternative vision of public spaces – one which is centered on the local rhythms of rural areas and on their peculiar complexities. Rural public spaces can present all features of a Lefebvrian abstract space, in a way that is akin to that of cities. However, at the same time, their specific ‘otherness’ allows them to offer communal and organic responses to the pressure of global challenges, in a way that is largely precluded to cities.

This book concerns objects that were “meaningful” jewels, a term we choose to designate a wide range of precious wearable objects that had particular meaning. An Anglo-Saxon glass pendant, a Spanish “magic belt,” a Mexican lantern pendant (once adorned with New World feathers), and an Imperial Memento Mori Skull, these are just a few of the remarkable objects included. These intimate meaningfuljewels are meant to be opened, touched, manipulated, pinned, gathered and strung. In the same series of books on jewelry inaugurated in 2007 with Toward an Art History of Medieval Rings (repr. 2014), the present volume divides the jewels into six sections (such as “Ways and Means of Prayer,” “Hidden and Revealed,” “Kissed and Touched”) that creatively explore the complex meanings these objectsheld for their owners. Cynthia Hahn, internationally known for her explorative ground-breaking studies of the reliquary arts, has written the stimulating essays and accompanying entries in the body of the book. She has collaborated here with Beatriz Chadour-Sampson, who, with her great mastery of the history of jewelry, has contributed a scholarly catalogue that authenticates, describes, and situates eachobject. Together the essays, entries, and catalogue create a context that helps us see this jewelry in a new way and adds new research that establishes the historical and artistic importance of a relatively little-studied group of “meaningful jewels.” In the words of Cynthia Hahn, “Jewels, and that word here includes jewelry, are literally the foundation of art in the Middle Ages. It is surely not irrelevant thatthese things are so beautiful.” Sandra Hindman, Founder and President of Les Enluminures states “I have bought these pieces one by one over a period of fi fteen years (and put them aside with this project in mind), and to my knowledge no such collection has been assembled, studied, and exhibited in modern times”. She goes on to say, “Not at all unlike the medieval manuscripts I also present, they are some of the most intimateof art objects from the Middle Ages.”

William Jackson, one of Gainsborough’s closest friends and biographers, noted that if he had “to rest his [Gainsborough] reputation on one point, it should be on his Drawings”. Gainsborough was indeed a draftsman of rare talent and creativity, and his experiments in drawing inspired an entire generation of British artists, from John Constable (1776–1837) to J. M. W. Turner (1775–1851). When not occupied with his lucrative portrait business, Gainsborough devoted much of his time to his true passion, the depiction of landscapes, and more than 600 of the artist’s approximately 800 surviving drawings depict the British countryside. Like most artists from his generation, Gainsborough did not draw directly from nature but instead re-invented landscape “of his own brain,” laying out on his work table stones,branches, leaves, and soil of various colors. His passion for drawing extended to technical experimentation. Gainsborough mixed diff erent kind of media and invented recipes to make drawings in his own personal fashion: he would sometimes immerse his drawing paper in milk, or varnish it to give his landscapes a lucent tint. The exhibition is based on the group of Gainsborough drawings in the permanent collection of the Morgan Library& Museum, one of the richest holdings of Gainsborough drawing in the United States. Additional drawings from private and public collections, among them some borrowed for the exhibition, are included in the introductory essay of the catalogue.

In this publication, British artist Anna Freeman Bentley presents a series of new paintings and works on paper documenting her journey into the exclusive realm of private members clubs. Having started out in her home city of London, her research took her to California, and in particular to some of the most desirable clubs of Los Angeles, where through friends, professional networks and a number of courteous emails, doors were temporarily opened to her. In places where photography is often strictly forbidden, Freeman Bentley was authorized to document some of the many luxurious lounges, well-stocked bars, and high-end restaurants that are second homes to the members who pay considerable fees to use them. Whether celebrities, self-made business people or those born into lavish lifestyles, members clubs are synonymous with wealth and success, where people can relax, socialize or do deals in a smart and protected environment free from fans, paparazzi or the general public. It is a world of affluence and glamour tailor-made for the jet-set, a meeting place where artists and art collectors fly in and drink cocktails, where high-net worth individuals and media moguls hang out with the great and the good from Hollywood or the music industry, and where social media stars can switch their phones to flight mode for a while and chat freely with friends. Freeman Bentley uses the photographs she takes of these interior and exterior spaces out of hours as the starting point for unpeopled drawings, collages and painted sketches, transforming her studies of members clubs into complex paintings that hover between reality and invention.Freeman Bentley is known for her paintings of architecture and interiors, not only exploring the physical attributes of the built environment, but also raising questions about how and why they are used, and how this is reflected in the ambiance and dynamics of a given space. At a time of heightened awareness of wealth inequality, through her painterly works Freeman Bentley gives us a glimpse inside the spaces of the social milieu of the financially successful, the movers and shakers, the leaders and trend setters, inviting us to respond as viewers in whatever ways we choose. For some, it may be a matter of curiosity or of desire and aspiration; for others the very idea of members clubs might be elitist or snobbish. Yet for others it might be an occasional treat, or simply an everyday occurrence, the norm. With her characteristic combination of matter-of-fact observation, critical reflection, and atmospheric perception, Freeman Bentley presents us with a body of work that is as enigmatic as it is intriguing, asking us not only about issues of individuality and communality, private and public life, exclusivity and inclusivity, but also about how we each fit into such dialectics, and what this says about our inner and outer lives.'Exclusive' has been co-published by Pinatubo Press, Inc., and Anomie Publishing, and released to coincide with an exhibition of the same name at the Ahmanson Gallery, Irvine, California, in spring 2018. This hardback publication showcases images of approximately twenty paintings and as many works on paper, alongside a foreword from collector and patron Roberta Ahmanson, an introduction by the exhibition curator John Silvis, and a specially commissioned essay from critic Jane Neal. Anna Freeman Bentley (b.1982) is an artist based in London. She studied painting at Chelsea College of Art and Design before graduating with an MA from the Royal College of Art in 2010. She has had solo exhibitions at venues including Wolfson College, Oxford (2017), Husk Project Space, London (2015), Workshop Gallery, Venice (2012), and Galerie Kollaborativ, Berlin (2007). Selected group exhibitions include ‘London Now’ at Space K, Seoul, South Korea (2017), ‘Der Kuhle Glanz’ at 68projects, Berlin (2017), the East London Painting Prize (2015 and 2014), the Prague Biennale 5 (2011), and Bloomberg New Contemporaries (2009). Freeman Bentley has been the recipient of numerous awards and residencies, including Breathing SPACE Residency, London (2015-16), the ERDF New Creative Markets Programme, London (2013-14); Artist in Restaurant at Pied à Terre, London (2012); The Florence Trust Artists Residency, London (2010-11) and The Chelsea Arts Club Trust Award, London (2009).

The Brazilian television industry is one of the most productive and commercially successful in the world. At the forefront of this industry is TV Globo and its production of standardized telenovelas, which millions of Brazilians and viewers from over 130 countries watch nightly. Eli Lee Carter examines the field of television production by focusing on the work of one of Brazil's greatest living directors, Luiz Fernando Carvalho. Through an emphasis on Carvalho's thirty-plus year career working for TV Globo, his unique mode of production, and his development of a singular aesthetic as a reaction to the dominant telenovela genre, Carter sheds new light on Brazilian television's history, its current state, and where it is going—as new legislation and technology push it increasingly toward a post-network era.

Patron Saints: Collecting Stanley Spencer is a revealing new exhibition at the renowned Stanley Spencer Gallery in Cookham – Spencer’s spiritual home and major source of inspiration. The exhibition draws together a spectacular collection of loans, including The Centurion’s Servant (Tate); Love on the Moor (Fitzwilliam); John Donne Arriving in Heaven, (Fitzwilliam) and one work not seen in the public domain in over 50 years. The exhibition and catalogue examine the often complex relationships between Spencer and his patrons and what drove them to collect his work. Spencer was a single-minded genius, but the influence of his patrons on his painting is far greater than has hitherto been realised. At the turn of the century, collecting art was no longer the preserve of the aristocracy and the upper classes, but Spencer’s art appealed to a broad spectrum of art lovers, fellow artists, businessmen and politicians. Many of his patrons lived in Cookham, where he lived and found artistic inspiration, and many of his paintings were influenced by his spiritual feelings for that place. His idiosyncratic and deeplypersonal approach gave him a wide and enduring appeal, and he was patronised by some of the most important cultural figures and taste-makers of that time. Curator Amanda Bradley comments, “Behind Stanley Spencer, one of the greatest Modern British artists, were a group of individuals who enabled his very existence – both artistically and emotionally. They were not wildly rich, but they were powerful, cultivated, intellectual and artistic. Some bought on spec, others were true patrons, giving him the freedom to fulfil his artistic genius. Most fostered long-lived relationships with the artist, influencing his life and work more than has hitherto been realised. These were the patron saints.” Patron Saints: Collecting Stanley Spencer explores the emergence of Spencer as an artistic personality, looking at those who helped him and why he – and his popularity – was a product of the zeitgeist (first half of the twentieth century) characterised by social and economic anxiety.

This catalogue presents a selection of important European terracotta sculptures from the neolithic to the neoclassical periods. The accompaning exhibition traces the history of ‘fired clay’ starting with the Vinca civilisation of South-Eastern Europe in the fifth millennium BC, which produced the fascinating Idol of a Mother and Child in the show and from there, via the ancient classical period and the Renaissance, to the high baroque, ending with the neoclassical era. Among the works included is a North Italian idealised Portrait Relief of a Lady from the late fifteenth century, and an attentively described Portrait Bust of a Man from Emilia in Northern Italy, ca. 1500. Both testify to the birth of terracotta as a medium for portraiture which continued well into the early modern era. Among further highlights is a Portrait Bust of a Gentleman by the rare Flemish sculptor Servatius Cardon (1608–1649) and a poignant Portrait of a Young Man attributed to the great French artist Philippe-Laurent Roland (1746–1816). The latter work is a beautiful representation of the birth of the modern portrait, where hierarchy and status give way to the expression of individuality and emotion. Parallel to this, the exhibition and catalogue demonstrate how terracotta was essentialto artistic practice as a means for sculptors to develop ideas and compositions, shown by a recently rediscovered terracotta model for an allegorical representation of Winter, by the Venetian baroque master Giovanni Bonazza (1654–1736), which offers a crucial insight intothe work of the sculptor, presenting a highly accomplished model for a finished work to be carved in either stone or marble. A similar case is illustrated by a Character Head executed by Antonio Canova (1757–1822) around 1780, when he was still a young sculptor on the cusp of greatness. Inspired by the famous Laocoön group in the Vatican, this terracotta exists as an invenzione in its own right, and so a testimony to the sculptor’s search for his own artistic vocabulary. Deeply and richly modelled, the Character Head betrays a preoccupation with the representation of emotions, framed within a wider exploration of antiquity that would be a central themethroughout Canova’s career. Another remarkable discovery and a highlight is a terracotta model for a figure of Saint Mark by Giuseppe Piamontini (1664–1742), a colossal marble statue carved for the new baroque church of Santi Michele e Gaetano in Piazza Antinori on the central ViaTornabuoni in Florence.