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.

A new addition to the University of Pittsburgh Press award winning Culture Politics & the Built Environment series

At a time when division, polarization, and antagonisms pervade the United States, here is hope for the future. Landscapes of Hope shows how people from all walks of life and backgrounds can come together, talk and work out details, compromise, and do something special for generations to come: safeguarding 900,000 acres of spectacular wild country in Utah.Perched on the western edge of the Colorado Plateau, the Greater San Rafael Swell spans 8,000 square miles in south-central Utah and showcases a rich tapestry of landscapes. Its colorful geological strata span 350 million years of Earth’s history and contain a remarkably well-preserved fossil record from times when primitive marine species first emerged, to the era of dinosaurs and the appearance of large mammals. The region’s arid climate and isolation have also worked together to preserve cultural artifacts left by Indigenous peoples who occupied the area for more than ten millennia.As the treasures of the Greater San Rafael Swell became widely known during the 1960s, conservationists undertook campaigns to designate large tracts of public lands in the region as wilderness, where “the earth and its community of life are untrammeled by man, where man himself is a visitor who does not remain.” Initially, some residents of Emery County, located at the heart of the Greater Swell, strongly opposed these efforts, concerned that wilderness designations could limit ranching and mining, undermine residents' livelihoods, and sever their cultural ties to the lands.At first, reconciling these opposing views seemed impossible, but, starting in the late 1990s, Emery County leaders and residents engaged a wide spectrum of stakeholders in discussions spanning more than two decades. In 2019, their efforts to find common ground culminated in the passage of the John D. Dingell Jr. Conservation, Management, and Recreation Act. This comprehensive federal legislation designated substantial portions of public lands for multiple uses, while creating twenty-five new wilderness and other protected areas, safeguarding nearly 900,000 acres.Landscapes of Hope celebrates the commitment of those who take rightful pride in their legacy and who forged the legislation, conserving landscapes of extraordinary beauty and profound cultural importance. The fruits of their endeavors are portrayed in photographs and stories that showcase the sublime grandeur of the areas now protected in perpetuity.

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.

Anna Freeman Bentley (b. 1982) is an artist based in London. Her painting practice explores the built environment, architecture and interiors, inviting emotive, psychological and semiotic readings of space. This publication, Complete Reality, documents Freeman Bentley’s latest series of paintings, which she created after visiting the film set for My Driver and I (2024), a coming-of-age drama set in the port city of Jeddah in Saudi Arabia.Over the course of the shoot, Freeman Bentley took over two thousand photographs, which she edited and worked from in her London studio. The paintings show lavish rooms, filled with fringed lamps, dusty chandeliers, vast mirrors and ornate furniture, juxtaposed with the incongruous signs of a film set: screens, leads, computers and plastic chairs. Exploring the relationship between ‘reality’ and ‘fabrication’, the series continues the artist’s interest in spaces that have an inherent tension or transience.Alongside the paintings that comprise Complete Reality, the publication also includes a series of oil studies on paper that explore additional rooms, angles and spaces from the film set. Installation images of the artist’s most recent solo exhibitions – Video Village at MASSIMODECARLO Pièce Unique, Paris (2024), make shift at Monica de Cardenas, Zuoz (2024), and Complete Reality at Anat Ebgi, Los Angeles (2024–25) – showcase the works staged in different configurations and gallery environments.In her introduction, Jennifer Higgie considers the interiority of Freeman Bentley’s elusive scenes, and her interest in temporary and unreal spaces. The curator and writer Elisabetta Fabrizi interviews Freeman Bentley about the interplay of reality and illusion in her paintings. They reflect on themes of authenticity and narrative tension, and discuss Freeman Bentley’s earlier explorations of cinema, particularly Andrei Tarkovsky’s Stalker (1979). Kathryn Lloyd writes about the conceptual and historical relationships between cinema, photography and painting. She analyses how Freeman Bentley forges an interdependence between these three distinct media, creating an unmistakably painterly language that somehow distils the essence of both film and photography.In an interview with Michele Robecchi, the artist discusses her recent solo exhibition in Switzerland, make shift. Freeman Bentley reflects on her personal connections to the work, the significance of the temporary and transitory nature of the film set and her use of triptychs, mirrors and fragmentation to disrupt conventional readings of space. In her contribution, the film producer Georgie Paget offers a speculative film script based on the exhibition Video Village at MASSIMODECARLO Pièce Unique, Paris.Edited by Matt Price and designed by Joanna Deans, the book is published by Anomie Publishing, London.

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.

Ceramics in America 2024 continues to publish new research on ceramics made, used, or collected in America. Articles in this issue include several on Thomas Commeraw, the free Black potter working in New York from about 1797 to 1819; a newly-discovered French porcelain figure that belonged to George Washington that descended in an African American family; new discoveries about porcelain figures of characters from Uncle Tom’s Cabin; the long history of face vessels in America; how a baby squirrel inspired a collection of tin-glazed earthenware.