The Dutch painter Barend Graat lived his entire life in Amsterdam and worked as an artist from 1645 until 1709. He produced drawings and paintings, well over a hundred of which are currently known. He was trained by his uncle Hand Bodt as a landscape and animal painter but developed and a genre and historic painter as well. Also he produced many portraits of wealthy Amsterdam merchants (mostly) and their families. This monograph consist of five chapters and a catalogue raisoné. Six appendices contain all relevant documents with regards to Graats life and work. The first three chapters discuss the life and work of the artist. Chapters 4 and 5 present his oeuvre and etchings. The catalogue raisoné presents all known artworks in the form of paintings, drawings and etchings. TEXT IN DUTCH

Published to accompany an exhibition at Salisbury Museum and Art Gallery,this volume explores the most significant works of art engaged with prehistoricmoments across Britain from the 18th century to the 21st. While some of theworks in the earlier period may be familiar to readers – especially Turner andConstable’s famous watercolours of Stonehenge – the varied responses to BritishAntiquity since 1900 are much less well known and have never been groupedtogether.The author aims to show the significance of antiquity for 20th-century artists,demonstrating how they responded to the observable features of prehistoricBritain and exploited their potential for imaginative re-interpretation. Theclassic phase of modernist interest in these sites and monuments was the1930s, but a number of artists working after WWII developed this legacy orwere stimulated to explore that landscape in new ways. Indeed, it continues tostimulate responses and the book concludes with an examination of works madewithin the last few years.An introductory essay looks at the changing artistic approach to Britishprehistoric remains over the last 250 years, emphasizing the artistic significanceof this body of work and examining the very different contexts that broughtit into being. The cultural intersections between the prehistoric landscape, itsrepresentation by fine artists and the emergence of its most famous sites asfamiliar locations in public consciousness will also be examined. For example,engraved topographical illustrations from the 18th and 19th centuries and Shelladvertising posters from the 20th century will be considered.Artists represented include: JMW Turner, John Constable, Thomas Hearne,William Blake, Samuel Prout, William Geller, Richard Tongue, Thomas Guest,John William Inchbold, George Shepherd, William Andrews Nesfield, CopleyFielding, Yoshijiro (Mokuchu) Urushibara, Alan Sorrell, Edward McKnightKauffer, Frank Dobson, Paul Nash, Eric Ravilious, John Piper, Henry Moore,Barbara Hepworth, Ithell Colquhoun, Gertrude Hermes, Norman Stevens,Norman Ackroyd, Bill Brandt, Derek Jarman, Richard Long, Joe Tilson, DavidInshaw and Jeremy Deller.

One of the most distinctive features of Islamic design is the evolution of an increasingly abstract and repetitive repertoire of motifs, which are shared among all media – metalwork, woodwork, ceramics, tilework and textiles. In textiles the main themes are based on angular and geometric shapes – vertical and horizontal striped bands; hexagons and octagons, which can be linked and infinitely extended; stylized and rhythmic scrolls of foliage and flowers; and Arabic calligraphy, of which the letters can be formed into continuous borders, panels and medallions. These motifs can be used separately or combined into complex patterns, of which the repetitive and two-dimensional features are ideal for textile production, especially where varying lengths are required – for hangings, curtains, robes and shawls. Valued for their role in the subtleties of court ceremonial and fashion, these textiles were also much admired beyond the Islamic lands.The exceptional collection published here ranges widely in region, material and technique. There are textiles and garments from North Africa, Syria, Arabia, Iran, Turkey and the Indian subcontinent linked by a shared vocabulary of ornament – evidence of the international nature of Islamic design. Materials represented are silk – the most prestigious of fibres, requiring highly respected weavers – wool, cotton and linen. Decoration is based on variations of weave and colour and embellishment through embroidery, printing and appliqué and illustrates the work of both professional and domestic workers.The strengths of the collection are concentrated in the textile production of the nineteenth and early twentieth centuries, which, thanks to the basically conservative nature of textile technique and design, preserve and continue the traditions established in the medieval Islamic world. They are important in an assessment of Islamic textiles both for their quality and as illustrations of survival and adaptation in a major industry. Their heritage reaches back well over a thousand years, even though their very high perishability means that for the earlier part of the tradition our knowledge is reliant very largely on written sources. These, however, attest to the superb quality and quantity of textiles at the courts of the period.

Veit Harlan (1899--1964) was one of Germany's most controversial and loathed directors. After studying with theatre and film pioneer Max Reinhardt and beginning a promising career, he became one of Joseph Goebbels's leading filmmakers under the National Socialist regime. Harlan's Jud Süss ( Jew Suss, 1940), in particular, stands as one of the most artistically distinct and morally reprehensible films produced by the Third Reich. His involvement with this movie has led to many critical questions: Was the director truly forced to make the film under penalty of death? Is anti-Semitism a theme in his other productions? Can and should his work be studied in light of the horrors of Nazism and the Holocaust?The first English-language biography of the notorious director, Veit Harlan presents an in-depth portrait of the man who is arguably the only Nazi filmmaker with a distinct authorial style and body of work. Author Frank Noack reveals that both Harlan's life and work were marked by creative vision, startling ambiguities, and deep moral flaws. His meticulously detailed study explores the director's influence on German cinema and places his work within the contexts of World War II and film history as a whole.Rivaled only by Leni Riefenstahl, Veit Harlan remains one of Germany's most infamous filmmakers, and virtually every book on Nazi cinema contains at least one chapter about Harlan or an analysis of one of his movies. This biography -- supplemented by production histories and rare interviews with actors, actresses, and cameramen -- offers the first comprehensive analysis of the director and his work and adds new perspective to the growing body of scholarship on filmmaking under the Third Reich.

In the wars in Afghanistan and Iraq, recent technological developments in music listening enabled troops to carry with them vast amounts of music and easily acquire new music, for themselves and to share with their fellow troops as well as friends and loved ones far away. This ethnographic study examines U.S. troops’ musical-listening habits during and after war, and the accompanying fear, domination, violence, isolation, pain, and loss that troops experienced. My Music, My War is a moving ethnographic account of what war was like for those most intimately involved. It shows how individuals survive in the messy webs of conflicting thoughts and emotions that are intricately part of the moment-to-moment and day-to-day phenomenon of war, and the pervasive memories in its aftermath. It gives fresh insight into musical listening as it relates to social dynamics, gender, community formation, memory, trauma, and politics.

James Bawden: Seeing the way people behave when they're around you, is it still fun being Cary Grant?Cary Grant: I don't like to disappoint people. Because he's a completely made-up character and I'm playing a part. It's a part I've been playing a long time, but no way am I really Cary Grant. A friend told me once, "I always wanted to be Cary Grant." And I said, "So did I." -- from the bookIn Conversations with Classic Film Stars, retired journalists James Bawden and Ron Miller present an astonishing collection of rare interviews with the greatest celebrities of Hollywood's golden age. Conducted over the course of more than fifty years, they recount intimate conversations with some of the most famous leading men and women of the era, including Douglas Fairbanks Jr., Joseph Cotten, Cary Grant, Gloria Swanson, Joan Fontaine, Loretta Young, Kirk Douglas, and many more.Each interview takes readers behind the scenes with some of cinema's most iconic stars. The actors convey unforgettable stories, from Maureen O'Hara discussing Charles Laughton's request that she change her last name, to Bob Hope candidly commenting on the presidential honors bestowed upon him. Humorous, enlightening, and poignant, Conversations with Classic Film Stars is essential reading for anyone who loves classic movies.

As the institutionalization of the avant-garde took place, postmoderntheory both reacted to and helped create the forces that erodedreason and even taste, labelled them quaint in the name of apostmodern theory, at the same time that mass commodity form wasinscribing exchange value on all work of the imagination. In fact, thereality is that the system, the society of domination has enclosed discoursein such a way that, coupled to new social media and electronicplatforms, all radical, all working class or under class voices are prevetted or erased, and only the most craven corporate financializedkitsch is validated. The collusion of galleries, collectors and curators,following the model of studio film and network TV, has equated popularitywith quality. The problem then is to recuperate something of thelost radical conscience of art and culture. There is now an amnesiaabout the prehistory of society, of our own psyches, and of the imagination.The colonizing of consciousness has rendered the imaginationof the west atrophied and almost inert. All art is a recreationof our own psychic formation (mimesis) as well as being shaped byits ‘otherness’, by a purposelessness. All stories are crime stories,all stories are about exile, and all stories are about homesickness.And all art contains a narrative. For only by having no purpose canthe artwork posit the direction to which society must look to createan ‘other’ or elsewhere. To retain something of that utopian promisethat is foundational in culture. The world is being dis-enchanted. TheUtopian promise is not kept.

Castles and the Anglo-Norman World draws together a series of 20 papers by 26 French and English specialists in the field of Anglo-Norman studies. It includes summaries of current knowledge and new research into important Norman castles in England and Normandy, drawing on information from recent excavations. Sections consider the evolution of Anglo-Norman castles, the architecture and archaeology of Norman monuments, Romanesque architecture and artefacts, the Bayeux Tapestry and the presentation of historic sites to the public. These studies are presented together with a consideration of the 12th century cross-Channel Norman Empire, which provides a broader context. This work is the result of a conference held at Norwich Castle in 2012, which was part of a collaboration between professionals in the fields of archaeology, architecture, museums and heritage, under the banner of the Norman Connections Project.

John Raimondi (b. 1948) is a contemporary American artist whose more than 100 monumental works of outdoor sculpture have earned him international distinction and acclaim. During his forty-five year career, he has experimented with a wide variety of styles, ranging from the simplicity of strong, angular lines and planes to the more graceful, curvilinear renditions of the natural world and human figure, to improvisational elements in his dignified series on American jazz greats and Indian chiefs. A constant in every style and approach in Raimondi's sculpture is his classical sense of design and craftsmanship along with his keen appreciation for scale and a subject's social meaning. His sculptural works are also distinctive in how they are made not cast in bronze but formed, rolled, welded, and fabricated into shape from large sheets of bronze or Cor-Ten steel. The results are unforgettable pieces that are monumental yet elegant, solid yet ethereal.Behind most of Raimondi's sculptural pieces are his conceptual drawings, which are works of art in their own right. These drawings—based on astute observations in the field and an immersion into scholarly readings—become fundamental, singular translations of the artist's feel for and understanding of a subject. The drawings are then rendered into cardboard models that become templates for larger-scale models for the eventual work of art. Raimondi then makes new drawings of the completed sculpture in order to provide a sense of closure and complete the artistic process.John Raimondi: Drawing to Sculpture is a seminal new book that presents not only an unprecedented number of Raimondi's sculptures and drawings, but also a sense of his ever-evolving career and creative approach to making unforgettable art. The book also complements a forty-five-year retrospective of Raimondi's work at the Boca Raton Museum of Art.

Sensory Systems documents an engaging group exhibition presented at the Grundy Art Gallery, Blackpool, in autumn 2015. The exhibition is the first in a new annual programme by the gallery each autumn that will revolve around the theme of light, and timed to coincide with the famous Blackpool Illuminations – a six-mile-long outdoor display of lights that has drawn many visitors to the town each year since it was first switched on in 1912. The exhibition and publication feature works by internationally acclaimed artists interested in the technology and science of light, and how this can be used to affect our perceptual experiences of space. Whether through sculpture, projection or immersive architecture, eachartwork presented in the exhibition invited a dialogue with the viewer, utilising colour, pattern, movement and other factors to evoke a variety of spatial and sensory experiences. The selection of prominent figures working internationally today who feature in the exhibition and publication are: Angela Bulloch, Rafael Lozano-Hemmer, Ann Veronica Janssens, Anthony McCall and Conrad Shawcross. Among these, Anthony McCall was one ofthe early pioneers in the field, alongside figures such as James Turrell, Mary Corse, Robert Irwin, Carlos Cruz-Diez and Dan Flavin. McCall, who moved to New York from England in the early 1970s, was highly influential with his ‘solid light’ installations. In this exhibition and publication, McCall presents You and I, Horizontal (2005), a slowly evolving, curving sculpture made of light. The publication includes a foreword by Richard Parry, Curator at the Grundy Art Gallery, an essay by Dr. Luke Skrebowski, Director of Studies in History of Art at Churchill College at the University of Cambridge, and has been designed by Joe Gilmore / Qubik. The project has been supported by Blackpool Council, Coastal Communities Fund, Arts Council England, and is co-published by the Grundy Art Gallery and Anomie Publishing. The publication is distributed internationally by Casemate Art.

Now in its fifteenth year of publication, Ceramics in America is considered the journal of record for historical ceramics scholarship in the American context and is intended for collectors, historical archaeologists, curators, decorative arts students, social historians, and contemporary potters.

Nominated for the 2016 IPPY Award in both the Photography and Current Events categories.Memento Mori: Testament to Life is a poignant tribute to the victims of Colombia’s armed conflict that has claimed more than 250,000 people during the last fifty years. The book is presented as four bodies of photographic work in a two-volume, bi-lingual edition: English and Spanish. The first volume includes hauntingly beautiful images of Diettes’s photographic work on display at museums and at memorials in areas where the victims “disappeared,” a moving statement by the artist herself, an essay by Mexican scholar Ileana Diéguez, and an extensive conversation with the artist by Anne Wilkes Tucker, former Curator of Photography at the Museum of Fine Arts, Houston.The second volume showcases the plates from three photographic series: Sudarios (Shrouds), photographs printed on linen of women who have witnessed atrocities committed against their loved ones, Río Abajo (Drifting Away), images of articles of clothing of “the disappeared,” photographed in water and embedded in glass, and Relicarios (Reliquaries), three-dimensional works of polymer containing mementos and personal effects of the victims. At once majestic, accessible, and deeply moving, this book makes a significant contribution not only to documentary art, contemporary Latin American studies, and social anthropology but also to those wanting to understand, at a very basic level, the human cost of terrorism. As Anne Wilkes Tucker writes, Erika Diettes’s unforgettable book speaks “of universal loss from violent death.” And it is through her art that we learn how to grieve from such loss.

Rare Light is a collection of essays exploring little known facets of the life and career of a major American Impressionist painter. J. Alden Weir (1852–1919) painted some of his finest canvases while living in Windham in eastern Connecticut’s picturesque “Quiet Corner,” and this rural location played a crucial role in Weir’s artistic development. The four essays that comprise this book offer in-depth contextual information about the architecture, culture, environment, and history of the region, allowing us to see Connecticut as it appeared in Weir’s lifetime. Interweaving photos, paintings, and letters—some never before published—Rare Light documents the artist’s sense of Windham as a place for social gatherings, physical and psychic rest, and art making. Taken together, the essays celebrate the interconnectedness of art, architecture, family, history, and place. Includes essays by Charles Burlingham Jr., Rachel Carley, Anne E. Dawson, and Jamie Eves.

The first book to appear on the 20th century British artist Charles Cundall, this publication examines aspects of Cundall work done at home in England, abroad - Cundall made numerous painting trips to the continent, but also to the United States - and during the war. Well illustrated, the book also includes a chronology and a reproduction of a text by William Gaunt dating from the 1960s and commissioned for a book on Cundall that never came to be.

David Sylvian may be seen as a philosopher, accordingly to the postmodern spirit, who invalidates identity, while preserving it at the level of “non-sound”, in a troubled relationship between the ego and the others. His most recent songs have been analysed, as well as the lyrics and Sylvian’s way of life. Music is the goal of a path of self-realization, which brought Sylvian to conceive a new view of arrangement, increasingly deprived of its frills and capable of magnifying his voice, which that it is uncontainable. Sylvian shows everybody that silence may become an integral part of music towards nonsense, or the recovery of existential nudity.

This book, which is an excerpt of the author’s Ph.D. dissertation, deals with the popular reception of early Italian television, during the years of the so-called “lungo miracolo” (1954-1969). To do so, the author focuses on the Catholic and Communist audiences’ perception of the first TV programs. The investigation into these two main groups’ reception is conducted through analysis of all TV references, tracked in the reader’s columns of the two most popular magazines of those years: the Catholic “Famiglia Cristiana” and the Communist “Vie Nuove”. The text ise introduced by a preface written by professor Stephen Gundle, one of the major experts on the circulation and reception of mass culture in modern Italy.