This volume comprises published papers from the Ninth International Insular Art Conference held in Durham in 2022. It brings together the latest scholarship on early medieval (AD 400–1100) art in Britain, Ireland and beyond. Perspectives taken include classical art historical analysis of form, style and design, but also a close attention to the materials used and the complex process of production and artisan skill required to create these objects. This volume focuses on manuscripts, metalwork and other media, with research on stone sculpture appearing in Volume 2.

This volume comprises published papers from the Ninth International Insular Art Conference held in Durham in 2022. It brings together the latest scholarship on early medieval (AD 400–1100) art in Britain, Ireland and beyond. Perspectives taken include classical art historical analysis of form, style and design, but also a close attention to the materials used and the complex process of production and artisan skill required to create these objects. This volume focuses on stone sculpture and carving, with research on manuscripts, metalwork and other media appearing in Volume 1.

This portrait of Santa Isabel in over 600 pictures shows an island transformed by its colonial history yet maintaining a confident and distinctive identity within Solomon Islands and the Pacific Island region.Santa Isabel is one of the largest islands that make up the island nation of Solomon Islands in the southwest Pacific. Politically it is now one of nine provinces, each with its own variation of a shared history. In a country divided among many Christian denominations, Isabel is distinctive for its early acceptance of the Anglican Church, which united most of the island and its six language groups by the 1920s and then shaped its history up to the present.This book traces Santa Isabel history through a selection of the many hundreds of pictures of the island made first by Europeans and increasingly by its own people. These begin with the drawings and paintings of voyagers from the late 18th century, gradually succeeded by photos from the 1860s onwards showing the arrival of missionaries, traders and warships. From the 1900s there are photos made by the Europeans who established plantations on Isabel and colonial officers asserting British colonial authority. However, the pictorial record is dominated by photos from the Anglican Melanesian Mission. The Second World War, portrayed mainly by military photos, was followed closely by economic and political developments leading up to Solomon Islands independence in 1978 – developments portrayed in both church and government photos. Photos of more recent social, ceremonial and political activities show the unique combination of church, chiefs and local government in Isabel life. A renewed interest in local culture in the 21st century is revealed through photos of festivals and cultural research by both visiting and local researchers as Isabel people explore the possibilities of tourism, resource extraction and environmental conservation.

“Animation” implies that the image or figural object is alive, endowed with anima: a “soul”, “spirit” or “vital principle.” In the Middle Ages, holy or emphatically unholy imagery often possessed an ability to come to life, to act and do things, to move and gesticulate, to speak and exude. This “life” might be a result of natural or supernatural principles; it might be a work of magic, a work of mechanics or a miracle (a divine work). This book is about the different modes of animation that made medieval images perform their spectacular wonders of locomotion and physical transformation, ranging from mechanical machinery to magical conjuration and miraculous ensoulment. Talking and bleeding crucifixes are investigated alongside robot Redeemers, weeping Madonnas, automated devils and self-propelled statues – “statuas animatas” – that enacted their visible and audible animations in monasteries and churches, in historical technologies and treatises, in theurgical tales and demonologies. With its confessed reinvigoration of animism, this book will animate anyone with an interest in medieval art and art history, culture, ideas, religion, anthropology, philosophy and theology.

Carl Nielsen (1865-1931) occupies a prominent place among European modern composers of the early twentieth century. He represents the generation of Richard Strauss, Ferruccio Busoni, Jean Sibelius and Gustav Mahler. His music is performed all over the world. With Carl Nielsen. A Cultural Biography, for the first time a thoroughly researched, all-encompassing biography of Nielsen is available for international readers. Carl Nielsen took part in the lively cultural circles in Copenhagen in the late nineteenth century at a time when Scandinavian authors were fashionable in all of Europe. He travelled extensively throughout his life – and kept a firm connection to his cultural heritage. As a cultural biography the book introduces to music and cultural life in the Danish capital of Copenhagen and to cultural activities among ordinary people into the farthest corner of the countryside.

Melchior Lorck (1526/27-1583?) is an extraordinary artist with an unusual career. Born in Flensburg on the border between Denmark and Germany, he grew up far from the artistic centers of his time. Supported by a travelling fund from the Danish king, he set out on an itinerary that would continue much longer and further than planned, leading him through Germany and Italy all the way to the Ottoman Empire, to Constantinople. Here, he laid the foundations of a life’s work that stands out to this day.This volume concludes the total survey of Lorck’s life and work, the remainder of which was published in 2009 in four volumes. The first presents Lorck's biography and all the known documents about him. The next three volumes catalogue his two most well-known outputs: The so-called “Turkish Publication” (vol. 2 & 3) and the Prospect of Constantinople (vol. 4). The present volume 5 surveys the rest of Lorck's manifold production – from his earliest to latest works, from Lutheran propaganda to projects for costume books, from designs for imperial entries to portraits of sultans and scholars, from emblematic images to cartography. The emerging image is as rich as it is fascinating.

“Pulse is essential to life. Everything we do as humans is influenced by the phenomenon of rhythm.”The Hildebrandt Method is about rhythm – or more precisely polyrhythm. A polyrhythm is the rhythmic pattern that results when two or more independent rhythm or tempo layers are played simultaneously. Polyrhythms are used in virtually every culture throughout the world, from Polynesian folk music to Beethoven symphonies, and from avant-garde compositions to jazz, pop and electronica.This book presents a polyrhythmic method that guides the reader through the jungle of polyrhythms, equipping them with tools to understand and execute even the most challenging constellations of rhythms.The Hildebrandt Method sets new standards of what is possible within the field of polyrhythms. Through analyses of rhythm structures, polyrhythm is presented in a new and simplified light. The method is for anyone who wishes to improve their polyrhythmic ability.

How can exhibitions stage encounters between art and science that not only make sense for visitors but encourage them to explore the intricate relationship between themselves and the world further? This book presents a collection of texts that explore exhibitions as a medium for new insights into connections between aesthetic and scientific knowledge production and how such insights facilitate new, more holistic understandings of entanglements between self and lifeworld. The texts all take their outset in a series of three exhibitions called Wunderkammer at Esbjerg Art Museum in Denmark from 2018 to 2022. The three main texts cover the conception, presentation, and reception of the exhibitions, respectively elaborating the curatorial process, the aesthetics of the exhibitions and the reception of the exhibitions by individual visitors. Also included is a written dialogue of a more associative nature between members of the research group of art historians who were invited to experience the exhibitions and contemplate and discuss the implications of the series of exhibitions.

To study the built environment of the Americas is to wrestle with an inherent contradiction. While the disciplines of architecture, urban design, landscape, and planning share the fundamental belief that space and place matter, the overwhelming majority of canonical knowledge and the vernacular used to describe these disciplines comes from another, very different, continent. With this book, Fernando Luiz Lara discusses several theories of space—drawing on cartography, geography, anthropology, and mostly architecture—and proposes counterweights to five centuries of Eurocentrism. The first part of Spatial Theories for the Americas offers a critique of Eurocentrism in the discipline of architecture, problematizing its theoretical foundation in relation to the inseparability of modernization and colonization. The second part makes explicit the insufficiencies of a hegemonic Western tradition at the core of spatial theories by discussing a long list of authors who have thought about the Americas. To overcome centuries of Eurocentrism, Lara concludes, will require a tremendous effort, but, nonetheless, we have the responsibility of looking at the built environment of the Americas through our own lenses. Spatial Theories for the Americas proposes a fundamental step in that direction.

The botanical drawings of the American naturalist William Bartram.

Watching the River Run, A Photographic Journey Down the Youghiogheny, is the perfect photographic companion to Palmer's classic Youghiogheny, Appalachian River

Evocative new photographs of Connecticut by celebrated photographer William Earle Williams provide insight to the stories of Black American historyTheir Kindred Earth gathers images of Black Connecticut's historic sites by celebrated photographer William Earle Williams. A series of connected essays illuminate how these sites connect to the larger national and international narrative of Black American history. Over the past forty years artist William Earle Williams (born 1950) has made sites of African American history more visible through his exquisite photographs. Mentored in the 1970s by the famed photographer Walker Evans, who had a home in Lyme, Williams attended the Yale School of Art at Evans's suggestion. From that Connecticut inception, Williams embarked on a decades-long journey to identify and photograph places across the country that hold histories of the slave trade, the Underground Railroad, and emancipation. Many remain unmarked and largely overlooked in a society that has long ignored Black history. New archival research has yielded revelations about how we understand Connecticut history. In this book, Williams creates photographs that bring visibility and pay tribute to the unrecognized people who contributed to Connecticut culture and its landscape. The book includes photographs from New London, Old Lyme, Farmington, Middletown, Norwich, New Haven, Hartford, Canterbury, Brooklyn (CT), and Greenwich, including sites of importance to Black figures in the state, such as Venture Smith and David Ruggles. It features essays by Cheryl Finley, Frank Mitchell, Jennifer Stettler Parsons, Carolyn Wakeman, and Deborah Willis.

Next Size Up is a brand new book exploring the world of fashion, sport, design, art and music through the unique and powerful prism of contemporary Sneaker Culture as it enters another phase in its evolution. The world of sneakers has taken centre stage of not only youth culture, but also the mainstream creative industries including luxury fashion and music. Next Size Up talks to the protagonists who made this happen and also explores what happens next. Providing a platform to celebrate and discuss some of the most compelling issues surrounding the creative industries today, it will appeal to those interested in cutting edge design, illustration and contemporary art as well as the ever-expanding world of sneaker enthusiasts. This new book embodies the story, collaborating with designers, photographers, artists and writers including, amongst others, Paul Smith, Sarah Andelman, Antony Burrill, Alexander McQueen, Nike, Vans, Prada, At Last Clothing and many more.Size Isn’t Everything published 20 years ago is reprinted to complete this two volume set – the very first book of it’s kind, it set the template for all others to follow. Back then it was completely uncharted territory, an underground movement of which the mainstream, including the Sneaker brands themselves, knew nothing about. Size Isn’t Everything not only examined its heroes, codes, boundaries and contradictions, but also embodied the culture’s ethos of putting creativity, design and collaboration at its very heart. Working with some of the most innovative names of the time Size Isn’t features such names as The Chapman Brothers, Anthony Burrill, Tomato, Snoop Dogg, Glen E Friedman, Tony Hawk or Spike Jonze. The book was and is still beautiful.

Material and visual culture of China’s long 19th century is understandably overshadowed by the traumatic warfare, land shortages, famines and uprisings which impacted the lives of a population of around 400 million people. However, innovation can be seen in material culture (including print, painting, calligraphy, textiles, fashion, jewellery, ceramics, lacquer, glass, arms and armour, rugs, silver, money, and photography) during a century in which China’s art, literature, crafts and technology faced unprecedented exposure to global influences. Despite this however, until recently, the 19th century in China has been often defined – and dismissed – as an era of cultural decline. Building on the critically acclaimed British Museum exhibition China’s hidden century: 1796–1912, this publication seeks to redefine perceptions about 19th-century Qing arts. Essays by some of the world’s leading authorities on Qing culture reveal the social, cultural, religious, creative, economic and political history of makers, users, owners and collectors. Areas of focus include painting and patronage; calligraphy and seal carving; commerce and fashion; and craft technology and technology ensuring that the book will be a manual for the arts of China’s long 19th century.

This book sheds new light on one of the most important artworks of the early Italian Renaissance, Ambrogio Lorenzetti’s fresco cycle of Good and Bad Government in the Palazzo Pubblico in Siena. By connecting the images with the Hymn to Justice inscribed on the walls and highlighting Ambrogio’s ingenuity and personal approach to the subject the volume presents a fresh reading of its rich artistic message. In 1338 Ambrogio Lorenzetti painted three huge frescoes, known today as Good and Bad Government, on the walls of the Sala dei Nove, the Room of the Nine, in the Palazzo Pubblico in Siena, where the city’s nine executive magistrates presided over the destiny of this famous commune. The frescoes were meant to be strong visual reminders of the Nove’s duties and an admonishment of the nefarious effects of bad government. Boasting the largest artist’s signature of all time, the frescoes are testament to the extremely high esteem in which Ambrogio’s art was held by his fellow citizens. Nowadays Good and Bad Government has become one of the most widely reproduced works of the early Renaissance and is recognized for its many innovations, including the first European panorama of a cityscape and countryside. But what sort of visual journey was Ambrogio asking the Nove to make through this expanse? In pursuit of an elusive answer, the murals have become one of art’s great puzzles, challenging scholars and public alike. Scant attention, however, has been paid to the images themselves. They have been studied merely as symbols and allegories of abstract political concepts in which good and bad government are starkly juxtaposed. Despite his enormous signature, Ambrogio has been treated more as a servile illustrator than a creative artist, disregarding his highly personal approach to painting and the way his visual ingenuity, from composition to brushwork, shaped a far more complex and fascinating message. This book attempts finally to illuminate Ambrogio’s pictorial strategy by reading it in light of the Hymn to Justice inscribed upon the walls. The frescoes enrich the poet’s message, subtly changing and even subverting it. Instead of a pictorial lecture straightforwardly contrasting a utopia with a dystopia, Ambrogio blurs the binaries and invites the viewer to look beneath the idyllic surface of Sienese civic life.

Following the success of The Anomie Review of Contemporary British Painting in 2018 and The Anomie Review of Contemporary British Painting 2 in 2021, a third volume has been created to showcase solo exhibitions that have defined contemporary painting since the second volume. This new, even larger anthology presents the work of eighty-five artists born or living in Britain through documentation and discussion of solo exhibitions of their work in museums and galleries nationally and internationally. Featuring artists at different stages of their careers, from senior figures exhibiting at major museums to emerging artists presenting some of their first commercial gallery exhibitions, The Anomie Review of Contemporary British Painting 3 offers an overview of recent activity in the medium of painting in Britain. Artists and venues featured in this new volume include Andrew Cranston at Ingleby, Edinburgh; Jadé Fadojutimi at The Hepworth Wakefield; Sahara Longe at Timothy Taylor, London; Kathryn Maple at The Walker Art Gallery, Liverpool; Mohammed Sami at Camden Art Centre, London; Lucy Stein at Spike Island, Bristol; Caroline Walker at the Fitzrovia Chapel and Stephen Friedman Gallery, London; and Jonathan Wateridge at Nino Mier, Brussels.The anthology, which features cover artwork by Louise Giovanelli from her autumn 2021 exhibition at GRIMM, New York, has been selected by London-based publisher and writer Matt Price, who in addition to editing dozens of catalogues, monographs and books including Phaidon’s international anthologies of painting and drawing Vitamin P2 and Vitamin D2, authored the first two volumes of The Anomie Review of Contemporary British Painting.The publication, which has been project edited by Birmingham-based editor, curator and writer Anneka French, features text entries by Amah-Rose Abrams, Melissa Baksh, Holly Black, Lauren Dei, Yasmina Floyer, Anneka French, Kathryn Lloyd, Anna McNay, Matthew James Holman and Matt Price.