The exceptional bronzes presented here have been carefully selected, over the course of many years, to represent the Tomasso Bothers’ passion for this most fascinating material, and they range from the dawn of Italian humanism in the early 15th century to the high point of the Italian late Baroque. Highlights include a remarkable and rare relief depicting the Triumph of Caesar over King Juba by Italian artist Filarete (c. 1433), an exceptional and commanding Mars by Giambologna, Florence’s most prominent sculptor of the late Renaissance, and an exquisite and newly published autograph version of the Abduction of Proserpina by François Girardon, King Louis XIV’s court sculptor. These are accompanied by further testimonies of the extraordinary development of European sculpture in bronze, such as a unique pair of allegorical statuettes by Francesco da Sangallo, a student and contemporary of Michelangelo, a rare Cristo Benedicente by Northern Italian master Giulio del Moro, and sacred and secular subjects by the most gifted heirs to Giambologna’s tradition, Antonio and Gianfrancesco Susini in Florence and, further North, Hans Reichle in Germany. The catalogue accompanies the exhibition Important European Bronzes, which was on display at Carlton Hobbs LLC in New York, 21–30 January 2016. Following on from the Tomassos’ three successful Scultura exhibitions in the United States, this is the company’s first major retrospective dedicated exclusively to sculpture in bronze.

Megalithic monuments are among the most striking remains of the Neolithic period of northern and western Europe and are scattered across landscapes from Pomerania to Portugal. Antiquarians and archaeologists early recognised the family resemblance of the different groups of tombs, attributing them to maritime peoples moving along the western seaways. More recent research sees them rather as the product of established early farming communities in their individual regions. Yet the diversity of the tombs, their chronologies and their varied cultural contexts complicates any straightforward understanding of their origins and distribution. Megalithic Architectures provides new insight by focusing on the construction and design of European megalithic tombs – on the tomb as an architectural project. It shows how much is to be learned from detailed attention to the stages and the techniques through which tombs were built, modified and enlarged, and often intentionally dismantled or decommissioned. The large slabs that were employed, often unshaped, may suggest an opportunistic approach by the Neolithic builders, but this was clearly far from the case. Each building project was unique, and detailed study of individual sites exposes the way in which tombs were built as architectural, social and symbolic undertakings. Alongside the manner in which the materials were used, it reveals a store of knowledge that sometimes differed considerably from one structure to another, even between contemporary monuments within a single region. The volume brings together regional specialists from Scandinavia, Germany, Britain, France, Belgium and Iberia to offer a series of uniquely authoritative studies. Results of recent fieldwork are fully incorporated and much of the material is published here for the first time in English. It provides an invaluable overview of the current state of research on European megalithic tombs.

Building Modern Turkey offers a critical account of how the built environment mediated Turkey's transition from a pluralistic (multiethnic and multireligious) empire into a modern, homogenized nation-state following the collapse of the Ottoman Empire at the end of World War I. Zeynep Kezer argues that the deliberate dismantling of ethnic and religious enclaves and the spatial practices that ensued were as integral to conjuring up a sense of national unity and facilitating the operations of a modern nation-state as were the creation of a new capital, Ankara, and other sites and services that embodied a new modern way of life. The book breaks new ground by examining both the creative and destructive forces at play in the making of modern Turkey and by addressing the overwhelming frictions during this profound transformation and their long-term consequences. By considering spatial transformations at different scales—from the experience of the individual self in space to that of international geopolitical disputes—Kezer also illuminates the concrete and performative dimensions of fortifying a political ideology, one that instills in the population a sense of membership in and allegiance to the nation above all competing loyalties and ensures its longevity.

James Turrell is widely acknowledged as one of the most important artists working today. From the mid 1960s onwards his principal concern has been the way we apprehend light and space. His study of mathematics and perceptual psychology, as well as his Quaker upbringing and background as a pilot, inform his practice. His first exhibition in 1967 of ‘projection pieces’ used high-intensity light projectors to give the illusion of a solid geometrical object, often seemingly floating in space. From these investigations of light, Turrell went on to begin his series of ‘Skyspaces’. These are enclosed viewing chambers that affect our perception of the sky. Since then he has continued to create works using light as his medium. Perhaps his most celebrated works are his ‘Ganzfeld’ chambers, whole spaces immersed in light; as well as his more recent ‘Tall Glass’ series, which resemble windows of slowly changing colour. Meanwhile, Turrell continues work on a monumental project at Roden Crater, an extinct volcano in Arizona. Here he has created a series of viewing chambers, tunnels and apertures to heighten our sense of the heavens and earth in one of the most ambitious artistic endeavours of modern times. In summer/autumn 2015, Houghton Hall, Norfolk, hosted an ambitious and significant exhibition of James Turrell's light pieces, many collected by the Marquess of Cholmondeley, owner of Houghton, who has long been an admirer of his work. This publication has been produced to document and to accompany the exhibition – a project devoted to James Turrell’s work has been a long-held ambition of Lord Cholmondeley. He first discovered Turrell’s work twenty years ago, and in 2000 invited him to Houghton to install a ‘Skyspace’ amongst the trees on the west side of the house. Soon afterwards, a rusty water tank was removed from an eighteenth-century folly in the park to make way for his atmospheric interior space, ‘St Elmo’s Breath’. The exhibition was centred around works from the Houghton collection, which also includes projections, a ‘Tall Glass’, holograms and prints. The exhibition was complemented by further loans to help illustrate the broad spectrum of Turrell’s work; and a unique, site-specific installation was created especially for Houghton – ‘The Illumination’– lighting the whole west façade of the house that could be viewed from dusk. LightScape follows three highly acclaimed exhibitions by Turrell in 2013/14 at the Guggenheim, New York, the Los Angeles County Museum of Art and the Museum of Fine Arts, Houston. The National Museum of Australia, Canberra has also hosted a major retrospective of his work which closed just as the exhibition at Houghton Hall opened. The publication includes a foreword by David Cholmondeley, a text by Peter Murray, and an interview with the artist by Hiram C. Butler. Designed by Peter B. Willberg and printed in Italy, this hardback, cloth-covered publication is essential reading for all admirers of Turrell’s oeuvre.

This beautiful and extensively illustrated catalogue presents in-depth case studies of twenty-four rare and remarkable Late Medieval panel paintings, many from the German-speaking regions of Europe, but also from Spain, France and the Southern Netherlands. These works – often fragments of larger altarpieces designed for liturgical performance and communal or private devotion – can be monumental and dramatic or small and intimate, but all on close examination prove to be rich in meaning – even in cases where the painters remain anonymous, and the precise contexts of their creation have become obscured or fragmented. The collected essays will encompass a broad spectrum of artistic styles, techniques, and interests, including in some instances the works’ original frames, and the attendant meanings they give to the imagery housed within. The group will also be augmented by a rare and important small-scale tapestry altarpiece with close links to panel painting. The inclusion of such a piece, one of the many newly resurfaced works to be included in the catalogue, will offer an innovative approach to the scholarship of Medieval paintings, and enrich our understanding of the cross-pollination of ideas between mediums and the role played by painters in tapestry production at the turn of the sixteenth century.The book, a follow-up to Susie Nash’s important 2011 catalogue, considers the physical history, original form, condition and technique of the assembled works, using wood analysis and dendrochronology, paint samples, infra-red, x-rays and macro photography to document the materials and methods involved in their making and the alterations and transformations they have undergone with time. This new information is combined with close readings of their imagery and its presentation to explore issues of meaning, creative process, patronal intervention and artistic intention, leading in many cases to new reconstructions, attributions, dates and iconographic readings.The text is extensively illustrated with a series of images of all of the works, along with technical photographs and comparative material.

A collaboration between the Firtash Foundation of the Ukraine and Saatchi Gallery, UK/ RAINE presents an overview of emerging artists from both countries, chosen by a panel of eminent international experts. Including some of the most imaginative new talent from the UK and Ukraine's contemporary art scenes. The selected 30 young artists reveal shared concerns and challenges despite the very different socio-political and artistic environments in which they work.

They've traded punches in knockdown brawls, crashed biplanes through barns, and raced to the rescue in fast cars. They add suspense and drama to the story, portraying the swimmer stalked by the menacing shark, the heroine dangling twenty feet below a soaring hot air balloon, or the woman leaping nine feet over a wall to escape a dog attack. Only an expert can make such feats of daring look easy, and stuntwomen with the skills to perform -- and survive -- great moments of action in movies have been hitting their mark in Hollywood since the beginning of film. Here, Mollie Gregory presents the first history of stuntwomen in the film industry from the silent era to the twenty-first century. In the early years of motion pictures, women were highly involved in all aspects of film production, but they were marginalized as movies became popular, and more important, profitable. Capable stuntwomen were replaced by men in wigs, and very few worked between the 1930s and 1960s. As late as the 1990s, men wore wigs and women's clothes to double as actresses, and were even "painted down" for some performances, while men and women of color were regularly denied stunt work.For decades, stuntwomen have faced institutional discrimination, unequal pay, and sexual harassment even as they jumped from speeding trains and raced horse-drawn carriages away from burning buildings. Featuring sixty-five interviews, Stuntwomen showcases the absorbing stories and uncommon courage of women who make their living planning and performing action-packed sequences that keep viewers' hearts racing.

Known for his visual style as well as for his experimentation in virtually every genre of narrative cinema, award-winning director Sidney J. Furie also has the distinction of having made Canada's first ever feature-length fictional film in English, A Dangerous Age (1957). With a body of work that includes The Ipcress File (1965), Lady Sings the Blues (1972), and The Entity (1982), he has collaborated with major stars such as Marlon Brando, Frank Sinatra, Robert Redford, and Michael Caine, and his films have inspired some of Hollywood's most celebrated directors, including Stanley Kubrick and Quentin Tarantino. In this first biography of the prolific filmmaker, author Daniel Kremer offers a comprehensive look at the director's unique career. Furie pioneered techniques such as improvisation in large-scale film productions, and sometimes shot his films in sequence to develop the characters from the ground up and improve the performers' in-the-moment spontaneity. Not only has Stanley Kubrick acknowledged that Furie's The Boys in Company C (1978) informed and influenced Full Metal Jacket (1987), but Martin Scorsese has said that he considers The Entity to be one of the scariest horror films of all time. However, Furie was often later criticized for accepting lowbrow work, and as a result, little serious study has been devoted to the director.Meticulously researched and enhanced by Kremer's close relationship with the filmmaker, this definitive biography captures the highs and lows of an exceptional but underexamined career, taking readers behind the scenes with a director who was often ahead of his time.

Radicalism and Music offers a convincing argument for music's transformational impact on the radicalization, reinforcement, and motivational techniques of violent political activists. It makes a case for the careful examination of music's roles in radical cultures, roles that have serious impacts, as evidenced by the actions of the Frankfurt Airport shooter Arid Uka, Sikh Temple murderer Wade Page, white supremacist Matthew Hale, and animal-rights activist Walter Bond, among others. Such cases bring up difficult questions about how those involved in radical groups can be stirred to feel or act under the influence of music. Radicalism and Music is based on interviews, email correspondence, concerts, and videos. As a "sound strategy," music is exploited to its fullest potential as a tool for recruiting and retaining members by members of al-Qa'ida, the Hammerskin Nation, Christian Identity, Kids in Ministry International, Earth First!, and Vegan Straight Edge. But, as the book points out, the coercive use of music is not isolated to radical cultures, but in political propaganda, sporting events, and popular music as well. Ultimately, Radicalism and Music shows how music affects us through our emotions, and how it triggers violence and enables hateful ideology.

Over the last two decades, discoveries made in the field of cognitive neuroscience have begun to permeate humanities and social sciences. This special issue of Cinéma & Cie focuses on major conceptual and epistemological arguments arising from the dialogue between audiovisual studies and neurosciences. In the context of this intersection, Neurofilmology is an interdisciplinary research program that arises at the encounter between two models of viewer: the viewer-as-mind (deriving from a cognitive/ analytical approach) and the viewer-as-body (typical of the phenomenological/continental approach). Accordingly, Neurofilmology focuses on the viewer-as-organism, by investigating with both empirical and speculative epistemological tools the subject of audiovisual experience, postulated as embodied, embedded, enacted, extended, emerging, affective, and relational.

First published to accompany the exhibition at Piano Nobile, John Armstrong: Paintings 1938-1958; An Enchanted Distance is a fully illustrated catalogue re-establishing John Armstrong A.R.A. as a pre-eminent Surrealist. Propelled to the forefront of British Modernism as a member of Unit One, Armstrong later rejected the confinement of artistic groups yet was at the heart of inter-war and post-war British art. Consistently producing prophetic, dreamlike paintings of emotional and political insight, Armstrong’s works speak of the universal through his own individual language. The most significant exhibition of Armstrong's works in over thirty years, the catalogue focuses on two decades of immense productivity, creativity and innovation.

The greatest treasure of the City of London has been, until now, the least known. The unique Crystal Sceptre of c.1420 - seen only at the inauguration of the Lord Mayor and at coronations, and never photographed before - is here presented with as much as is known of its history, its materials and their origins and its first recorded outing, to the coronation of Catherine of Valois, the wife of King Henry V, in 1421 at Westminster Abbey. Timed to coinicide with the first ever public exhibition of the Crystal Sceptre, which opens on the occasion of the 600-year anniversary of the Battle of Agincourt, this new book will present the Sceptre and over 80 of the finest and most historic pieces in the plate collection at Mansion House - the home, office and centre of entertainment for the Lord Mayor of the City of London. The regalia includes several famous items, notably the 16th-century gold and enamel Chain of Esses, the great Mace of 1735-36 and the Pearl Sword of the 1570s, carried by the Lord Mayor before the Sovereign on visits to the City. The silver-gilt and silver, used constantly during the year, includes pieces by some of the greatest names of English silversmithing - Paul de Lamerie and Paul Storr, for example - but also rare ones by more modern masters - Latino Movio and Omar Ramsden - including masterpieces previously completely unknown to silver historians. An inscription on a silver-gilt cup presented to the Lord Mayor in 1741 records that the intention of the gift was to increas - the Honour and Grandeur - of the City of London. It is just one piece of a vast, eclectic and exceptional collection of plate, which is constantly in use at the Guildhall and Mansion House today to uphold that honour and in the grandest way possible - a rare survival of medieval practices of display. The quality and quantity of the 19th- and 20th-century pieces in particular is extraordinary. This volume is the third in the series on the treasures of Mansion House, following The Harold Samuel Collection of Dutch and Flemish Paintings (2012) and Magnificent Marble Statutes: A Guide to the Sculpture at the Mansion House (2013). Intended to introduce to a broad audience the plate collection - as well as the history of the Lord Mayors, the City guilds and Mansion House itself, and the formation of the collection, it will also be of interest to specialists in silver, who will discover many masterpieces of style and technique.

Jia Zhangke Speaks Out is a collection of writings by China's most acclaimed film director, Jia Zhangke. The book, originally published in 2009 by Peking University Press, contains Jia's selections of his own writings on film. While he has given numerous film-specific interviews throughout the years, his own notes on cinema, on his own production, and on Chinese culture are unknown to non-Chinese readers. This collection gives access to the key scenes of his life, films, and meetings with other filmmakers, from Hou Hsiao-hsien to Martin Scorsese. From his point of view, we get an insightful and profoundly original take on China's film history, its ruptures and failings, as well as on the post-Tiananmen filmmaking industry, with its blockbusters on one side and indie films (like his) on the other.

The French Impressionist painters discovered new means for painting light – they used a “solar palette”, the pigments matched to the colours the eyes see. They are the colours of a ray of light. This little book reproduces palettes by 8 of the plein-air painters – Cézanne, Manet, Monet, Pissarro, Renoir, Seurat, Signac, and Van Gogh. It describes the pigments they used, and includes short excerpts by the scientists whose work was the foundation of the new painting – complementary colours, optical mixing, and the pigment-colour correspondences.

The British Museum citole is a unique example of medieval craftsmanship and is one of very few surviving instruments from the Middle Ages. This new publication includes selected papers from the first international symposium on the British Museum citole, held in November 2010 to highlight recent new research, conservation work and scientific findings related to the British Museum citole. Highly illustrated to reflect the visual richness of this beautiful instrument, The British Museum Citole: New Perspectives features a wide range of academic approaches to the subject, drawing together experts from the fields of history, art history, music, organology, conservation and science and performance practice.

Near the homes of photographers John Willis and Tom Young is a paper mill that sits in the otherwise pristine and picturesque climes of western Massachusetts. For Willis and Young, this site is one of both aesthetic and philosophical contradictions: despite its verdant locale, the mill—with its smokestacks and countless bales of discarded paper—brings to mind the dreariness of industrialization and the impermanence of life itself. But the factory is actually one where such litter is reborn as reusable paper. Willis and Young’s quadtone photographs transform this mill and the innumerable mounds of recyclable waste it processes daily into an indelible and evocative landscape. Recycled Realities is not a jeremiad foretelling the consequences of excessive waste, rampant pollution, or unbridled consumption but rather a profound meditation on the hidden connections and meanings that linger beneath the debris and detritus of everyday life. These unforgettable images of discarded paper from the printed world trace the processes of emergence, revelation, and redemption that make the cycle of life possible.