This ground-breaking case study examines record production as ethnographic work. Since its founding in 2003, Seattle-based record label Sublime Frequencies has produced world music recordings that have been received as radical, sometimes problematic critiques of the practices of sound ethnography. Founded by punk rocker brothers Alan and Richard Bishop, along with filmmaker Hisham Mayet, the label’s releases encompass collagist sound travelogues; individual artist compilations; national, regional and genre surveys, and DVDs—all designed in a distinctive graphic style recalling the DIY aesthetic of punk and indie rock. Sublime Frequencies’ producers position themselves as heirs to canonical ethnographic labels such as Folkways, Nonesuch, and Musique du Monde, but their aesthetic and philosophical roots in punk, indie rock, and experimental music effectively distinguish their work from more conventional ethnographic norms. Situated at the intersection of ethnomusicology, sound studies, cultural anthropology, and popular music studies, the essays in this volume explore the issues surrounding the label—including appropriation and intellectual property—while providing critical commentary and charting the impact of the label through listener interviews.

The importance of Evelyn Dunbar (1906-1960) in the history of British 20th century art is continually being reassessed and belatedly recognised. A gifted draughtswoman: youthful prodigy; brilliant student at the Royal College of Art under Sir William Rothenstein and a galaxy of teaching staff including Allan Gwynne-Jones, Alan Sorrell and Charles Mahoney; principal muralist at Brockley School; book illustrator; devout Christian Scientist; official World War 2 artist, the only woman artist to be salaried throughout the war; post-war allegorist and much-loved teacher; subtly insistent feminist; devoted plantswoman, gardener and inspired advocate of 'green' values; warm and witty but self-effacing personality with many accomplishments including, unexpectedly, rock-climbing and playing the banjo; but above all a very individual artist of spirited imagination and consummate technique, whose work, which hangs in all major UK galleries and several overseas, defies ready classification.Dunbar's nephew Christopher Campbell-Howes gives a sparkling, scholarly and measured account of her life and work in a richly illustrated book that combines biography, memoir and catalogue raisonné.

For a long time, comparisons of cinema and photography have been predominantly a question of contrast, both of their forms and their ways of seeing. This special issue of Cinéma & Cie reverses the perspective, by addressing some of the fundamental spaces of convergence and coexistence betweenthe two languages. While they have always been somewhat present in the history of thetwo arts (not only in chronophotography, but also astronomic photography, photographic series, and still photography), the photocinematic forms have become particularly relevant in the archaeology of post-media culture that has characterised much scholarship lately. What tools should we employ to study these confluences today? Is it possible to perceive overlapping images also in strictly cinematic or photographic works? From this perspective, the special issue deals with borderline authors, such as Jeff Wall; post-filmic aesthetics, such as the cinematic tableau vivant and innovative examples of contemporary, experimental audiovisual production.

This book is published on the eve of the seventy-fifth anniversary of the launch of the War Artists’ Advisory Committee and the iconic War Pictures by British Artists series. The scheme, devised by Kenneth Clark, played a vital role in both how the war was perceived at the time and how it has been perceived by future generations. The WAAC initiative also changed the course of the careers of the 400 artists whom became involved, 37 of whom were salaried. Brian Foss’s introductory essay gives a fascinating account of the origins of the scheme and its aims and evolution. Using the format established in the War Pictures by British Artists’ publications the chapters are organised into 8 sections, (as per the eight books in the original series). Alongside the work of the better known Official War Artists this publication will also include examples of work by less well know (unofficial) war artists adding resonance to the remarkable story of War Pictures by British Artists. The book is completed by an appendix providing a statistical analysis of how many artists were involved, who they were and what they produced.

“These poems erupted in the East Greenlanders heart–the human sea at the outer limit of the north–on Earth's most desolate and rugged shores. They were found in the living tradition of a small, recently discovered Eskimo people that I (Thalbitzer) had gone to study. For the first time I heard their language as it sounded on people's lips, as it must have sounded through many generations. I understood that this was part of the Inuit people’s ancient poetry, and these songs and poems deserved to be written down for greater humanity.” —from the introduction

Featuring an interview with Sina Najafi, an essay by Martin Herbert, and designed by Dominique Clausen, this is the first major monograph on the British-born, New Yorkbased artist Oliver Clegg. An eclectic, polyphonic and multidisciplinary artist, Clegg’s oeuvre stretches from painting, drawing and printmaking to sculpture, installation, site-specific art, participatory projects and beyond. Indeed, his practice is in many ways a shining example of ‘post-medium’ creativity today, pursuing the essence of art itself beyond any specific medium or artform. The irony is, he’s pretty damn good with each artform too. With his erudite, surprising and striking repertoire, and his diverse materials and methods (from glass, wood and steel to neon, resin and concrete, weaving and casting to engraving and industrial manufacture), Clegg offers the viewer a complex, sometimes playful, other times moving journey into existential and ontological notions of objecthood and matter, images and signs, languageand communication, creation and being. From the studio and gallery walls to the streets of London and New York,from Freud’s house to the Joshua Tree National Park, from foosball tables to state asylums, Clegg turns up to do remarkable things with the fabric of spacetime. And yes, it’s an emotional rollercoaster of a ride – in fact, Clegg’s oeuvre spans a significant proportion of the spectrum of human emotion, his unique trans-Atlantic blend of humour, sarcasm and wit coming face to face with the much more serious matters of memory, psychology, truth, belief, meaning, love, life and death. Nostalgia, childhood, games, play and sentimentality career headlong into the realms of kitsch, Pop and the history of the avantgarde, resulting in a delightful yet challenging range of responses from the viewer, whether amusement, camaraderie, joy, bemusement, outrage, disillusionment or a call to arms. Clegg is an artist with great energy, incredible spirit, and one of the most engaging, curious, cryptic and entertaining oeuvres currently making waves in the world of art. In many ways an exploration of the id, ego and superego, Clegg’s practice plays out the struggle between our basic desires, our rational minds, and the underlying mores that keep us in check. Not unlike Freudian notions of the psyche, Clegg’s practice articulates the battle that takes place inside us all on a daily basis, spilling into the outside world in myriad ways. It is a fight, yes, but it is play too.

Published to accompany the exhibition Peter Salter: Drawing Walmer Yard at Piano Nobile marking the launch of Peter Salter's first residential building in Britain, this fully illustrated catalogue presents a selection of Salter's extraordinary drawings for the project. With a new essay by Peter Salter on his drawings and an introduction by architectural associate Fenella Collingridge, the catalogue reveals the intrinsic importance of Salter's drawings to the process of his architectural practice. Exploratory, indicative, and instructive, Salter’s drawings oscillate between place and detail, idea and representation, strategy and materiality. Persuasively imaging a lived environment, Salter effortlessly shifts between high level planning and intricate detail – an overarching idea is formulated through the exposition of detail. One sheet of tracing paper might encompass scales of 1:100, 1:20 and 1:1 as a problem is worked through; controlled struggle to enable critical development resides on the surface of the tracing paper. The integrity of the idea manifests through the removal of extraneous information, variation in stress and weighting of pen lines, and the whimsical figures that populate the drawings, sleeping, sitting, and reading. Salter writes “Because of the fragmentary nature of idea and detail, the drawing becomes a compound of notions. Intuition becomes honed by redrawing, the judgement of the eye tuned by retracing the familiar, and sometimes a critical reading achieved through erasure.” Peter Salter AADipl (Hons) was educated at and taught at the AA for 13 years, in Intermediate and Diploma School. In the early years of his career he worked for Alison and Peter Smithson, and his work attempts to carry the convictions of that practice. In 2004 he was jointly awarded the Annie Spinks prize for Excellence in Teaching, reaffirmed by the award of an Honorary Fellow of the RIBA in 2012. Following seven years as Head of School (Architecture) at the University of East London, he was appointed Professor of Architecture at the Welsh School of Architecture, Cardiff, where he still teaches. His early built projects were in Japan, including the Inami Woodcarving Museum and Kamiichi Pavilion; Walmer Yard is his first building in the UK.

Historic New England’s jewellery collection spans centuries of family tales, industrial development, and artistic expression. Some of these adornments bear designer names and museum-worthy pedigrees. Some are well used, with stories embedded in every nick and missing stone. Some represent up-to-the-minute trends. Some embody deeply held spiritual beliefs. Through full-color photographs and engaging stories, Keepsakes and Treasures is a gorgeous overview of what jewelry looked like for New Englanders from the mid-1700s to the present. Each piece illuminates a new facet of New England life across the centuries.

"A shed is the shortest line between need and shelter," writes Howard Mansfield. Drawing on material from his recent book Dwelling in Possibility, Mansfield explores the different types of sheds found around New England and beyond: covered bridges, barns, worksheds, "worship sheds" (meeting houses), extended farmhouses, bob houses for ice fishing. In lyrical style and supported by photographs by Joanna Eldredge Morrissey, Mansfield shows the connection between the design of these structures and their roles in our lives. "Sheds are like our lives - not the grandest building or the most graceful. Sheds are ordinary - and in that they are exalted."Anyone who has ever traveled the back roads of America will enjoy this beautifully photographed exploration of simple, useful structures.

This book has been conceived from a series of speeches which took place during the Filmforum Festival of Udine and Gorizia whose main theme was the use of moving images in the space of contemporary art. The aim of this publication is to create a scientific framework of some of the most important artistic experiences: from the use of archive images to the newest participatory practices. The book consists of essays selected during the Filmforum Festival and the MAGIS International Film Studies Spring School and texts from invited researchers. It examines the ways in which the transient qualities of time have been used in contemporary moving images production and in their display.

An important and strikingly beautiful book about the sacred Hindu practice of threshold drawing!In the Hindu world-view, threshold is a profoundly important concept that represents a passage between one space and place and another, creating a visual bridge between the secular and the sacred. Accordingly, the literal threshold a person crosses when entering and exiting a home or business symbolizes the threshold one crosses between the physical and spiritual realms of existence. Hindus have long believed it is possible to affect a person's well-being by using diagrams to sanctify the "threshold space." The diagrams do so by "trapping" ill will, evil, bad luck, or negative energy within their colorful and elaborate configurations, thereby cleansing those who traverse the space and sending them on their way with renewed spirit, positive energy, and good luck and fortune.The creation of the threshold diagrams is steeped in Indian history and culture going back thousands of years. Practiced by women, it was long considered a vernacular art. But, as this pioneering book reveals, the diagrams represent highly sophisticated mathematical and cosmological underpinnings that have been handed down from one generation of women to the next. As India has modernized and rapidly become more urban, however, more Indian women have acquired more complicated lives, allowing less time to continue the practice of threshold drawing and relying, increasingly, on homogenized pattern books. And so a long-standing and critically important expression of Indian life, religion, and culture is becoming less common to the point the tradition is threatened.Across the Threshold of India reveals, the story of the threshold drawings for the first time, history of how the threshold drawings evolved, what they have meant and represent in Indian and Hindu culture, and how the practice became a high form of vernacular art for religious and everyday life. By combining her unforgettable photographs—most of which are in the permanent collection of the Indira Gandhi National Centre for the Arts, the nation's foremost research center for Indian culture and art—with the most recent scholarship on the history and art of the threshold drawings, Martha A. Strawn has given the world a unique and enduring gift. Her book is a work of visual ecology that perceptively portrays one of India's and the world's longest and least-known religious practices—the art of sanctifying space through the creation of threshold diagrams.By presenting the most recent scholarship on the history and art of the threshold drawings and combining that engaging tale with her wonderful fine-art and documentary photographs, Martha Strawn has given the world a unique and enduring gift: a work of visual ecology that perceptively portrays one of India's and the world's longest and least-known religious practices: the art of sanctifying space through threshold drawings.

The Work Beyond examines the extraordinary work of French-born artist Henri Barande. Edited by art critic David Galloway, the book contains stunning reproductions of Barande s sculptures and paintings, together with a collection of essays by Henri Claude Cousseau, Romaric Sulger Buel and Michel Weemans that explore Barande s artistic achievements. This extensive monograph is published on September 8th 2016 and coincides with an exhibition at Saatchi Gallery which opens on October 4th. Booth-Clibborn Editions have chosen to reflect the extraordinary breadth and sequential nature of Barande s work in the book design. Each of the 3,500 book covers, all based on Barande s paintings , will be unique and numbered.

The Christopher Small Reader is the fourth and final book in Christopher Small’s legacy as a composer, pianist, teacher, friend, provocateur, and influential outsider in classical music studies. It is at once a compendium of, a complement to, and an important addition to Small’s prior books: Musicking; Music, Society, Education; and Music of the Common Tongue. The Christopher Small Reader brings previously published work, some of it available in disparate locations, together with key excerpts from his three books, and other writings that remained unpublished at his passing in 2011, making available ideas that were not included in the earlier books and presenting an overview of his thought over the course of his life. The collection is a fitting capstone, providing rich insights into Small’s understanding of musicking as a crucial way of relating to the world.

This lively, lavishly illustrated volume presents rare decorative arts from Asia – all of exceptional quality – from ornate handled daggers and exquisite silver fi ligree boxes to diamond-studded jewels, magnifi cent embroidered silk and divination bowls bymaster craftsmen. The decorative arts of South and Southeast Asia, and especially those of the 18th and 19th centuries, and trade items produced during the same period, constitute a much neglected area. Such items, which in a Europeanized context tend to be labelled objets de vertu, are under-represented in public and private collections. While the decorative arts of later Western Europe and North America might be strongly represented, when it comes to South and Southeast Asia, there is a bias towards the ancient, thereligious and the sculptural. And yet the decorative arts of Asia of recent centuries is a more accessible and tangible fi eld for many. The relative attractiveness of more recent Asian decorative arts, for which provenance issues need not be so acute, grows as the movement of archaeological and other early material across international borders becomes evermore complex and problematic, be it for commercial or for exhibition purposes. Seeking to redress the balance, this volume presents objects of exceptional quality that are often incredibly rare – ranging from ornate handled daggers and exquisite silver fi ligree boxes to diamond-studded jewels and magnifi cent embroidered silk. Only some of these objects were made for religious reasons, and, though old, few are ancient. Instead, they are the product of cultural infl uences that have crossed borders, produced in the quest for beauty. The catalogue also includes a selection of items usually designated as ‘tribal’ art. Many of these have a decorative as much as a ritualistic component. Among the objects from Nigeria are a stunning 19th-century processional staff , topped with the figure of a queen, two museum-quality divination bowls carved by master craftsmen, and a striking and possibly unique fi ve-headed dance costume. Most have been sourced from old UK and European collections, and most are likely to have been collected during the colonial era. This is important. Overwhelmingly, most ‘tribal’ art items available commercially today are reproduction pieces and have no place inserious collections. Michael Backman is widely published on Asian culture, art and politics. He is the author of six books that cover all aspects of Asia. His Asian Eclipse was named by The Economist among its ‘Books of the Year’ and appeared on several bestseller lists. His gallery in central London specializes in works of art from India, Southeast Asia, Central Asia, the Himalayas, the Islamic World, and Colonial and Tribal art. The gallery sells to museums and important private collections across the world.

Exceptional colour photographs of the mid-twentieth-century motels of Wildwood, New Jersey, USA, the largest concentration of the exuberant architectural style sometimes known as 'doo wop' complete with neon signs and plastic palms. The images in this book are the result of a ten-year project by Mark Havens to capture the essence of these vanishing treasures. A number of the motels were photographed at the end of their last season, just prior to demolition. The images are accompanied by essays from Joseph Giovanni and Jamer Hunt.

There was a time when museums might have been regarded as rather forbidding and austere centres of learning, but today they are more likely to position themselves firmly within the tourism and leisure industry with all manner of food, fun and familyentertainment on offer. A high-profile museum brand often relies on a fast-changing menu of temporary exhibitions with an attractive programme of activities, cleverly marketed to ever-growing numbers of visitors. Many of these changes have been positive and beneficial but they have not been without risk to the central purpose of museums as repositories for collections that are looked after, researched anddisplayed with knowledge and sensitivity. The permanent collection should be the heart and soul of any museum. Nurtured and developed with intelligence, a collection can be an endless source of surprise and delight as well as a focus of local and national pride. The museum in this view is a setting for sustained encounters with objects and works of art, somewhere to be visited and revisited over the courseof a lifetime, a place that helps to bind communities, with collections that are cared for and shared as a reminder of the past and a source of inspiration for the present. The process of acquiring works for public collections is rarely easy in any setting. In the face of escalating prices on the art market and diminishing public funds it is all too easy for complacency and apathy to settle upon the museum community. But the task of building collections of national or local importance is never finished. It should not be about casual ‘shopping’ or satisfying the whims of museum directors or sponsors. It is about building a heritage that is richer, more complete and more relevant for future generations; with every successful acquisition, a museum’s collection gains in strength and character. The volume is dedicated to Peter Hecht, the great champion of public art collections, who throughout his career has worked to show us why museums matter and how their collections, large or small, national or local, can make a profound difference to the lives of those who use them. We hope that it will bring people the world over to realise the importance of collecting for the public, locally, nationally and internationally, and to acknowledge and encourage the role of private individuals, associations and institutions, as well as public bodies, in this vital endeavour.