An Audience of Artists turns this time line for the postwar New York art world on its head, presenting a new pedigree for these artistic movements. Drawing on an array of previously unpublished material, Catherine Craft reveals that Neo-Dada, far from being a reaction to Abstract Expressionism, actually originated at the heart of that movement's concerns about viewers, originality, and artists' debts to the past and one another. Furthermore, she argues, the original Dada movement was not incompatible with Abstract Expressionism. In fact, Dada provided a vital historical reference for artists and critics seeking to come to terms with the radical departure from tradition that Abstract Expressionism seemed to represent. Tracing the activities of artists such as Robert Motherwell, Barnett Newman, and Jackson Pollock alongside Marcel Duchamp's renewed embrace of Dada in the late 1940s, Craft explores the challenges facing artists trying to work in the wake of a destructive world war and the paintings, objects, writings, and installations that resulted from their efforts."--Jacket.
Terry Castle's recent study of masquerade follows Bakhtin's analysis of the carnivalesque to conclude that, for women, masquerade offered exciting possibilities for social and sexual freedom. Castle's interpretation conforms to the fears expressed by male writers during the period—Addison, Steele, and Fielding all insisted that masquerade allowed women to usurp the privileges of men. Female authors, however, often mistrusted these claims, perceiving that masquerade's apparent freedoms were frequently nothing more than sophisticated forms of oppression. Catherine Craft-Fairchild's work provides a useful corrective to Castle's treatment of masquerade. She argues that, in fictions by Aphra Behn, Mary Davys, Eliza Haywood, Elizabeth Inchbald, and Frances Burney, masquerade is double-sided. It is represented in some cases as a disempowering capitulation to patriarchal strictures that posit female subordination. Often within the same text, however, masquerade is also depicted as an empowering defiance of the dominant norms for female behavior. Heroines who attempt to separate themselves from the image of womanhood they consciously construct escape victimization. In both cases, masquerade is the condition of femininity: gender in the woman's novel is constructed rather than essential. Craft-Fairchild examines the guises in which womanhood appears, analyzing the ways in which women writers both construct and deconstruct eighteenth-century cultural conceptions of femininity. She offers a careful and engaging textual analysis of both canonical and noncanonical eighteenth-century texts, thereby setting lesser-read fictions into a critical dialogue with more widely known novels. Detailed readings are informed throughout by the ideas of current feminist theorists, including Luce Irigaray, Julia Kristeva, Mary Ann Doane, and Kaja Silverman. Instead of assuming that fictions about women were based on biological fact, Craft-Fairchild stresses the opposite: the domestic novel itself constructs the domestic woman.
At a time when the dominant mode of painting, Abstract Expressionism, emphasised expressive drama through bold brushwork and largely abstract compositions, Johns’ paintings of the American flag, targets, numbers and the alphabet demonstrated a decided departure from convention. Despite being painted with obvious care, they seemed emotionally reticent, cool and quiet, far from the emotional fireworks then fashionable. “It all began... with my painting a picture of an American flag. Using this design took care of a great deal for me because I didn’t have to design it. So I went on to similar things like the targets - things the mind already knows. That gave me room to work on other levels. For instance, I’ve always thought of painting as a surface; painting it in one color made this very clear. Then I decided that looking at a painting should not require a special kind of focus like going to church. A picture ought to be looked at the same way you look at a radiator.” Unlike most artists’ statements in New York during the 1950s, Johns’ remarks contained none of the familiar talk of doubt and angst, and his selection of subject matter appeared deliberate, thoughtful, and far removed from emotional attachments and desires. To younger artists, his art seemed not so much cold and unfeeling as clear-eyed and honest after the excesses of Abstract Expressionism. Furthermore, in selecting recognisable subjects, Johns seemed to reject prevailing abstract modes of painting, yet his subjects themselves - flags, targets, numbers - each possessed a vital characteristic of classic abstraction, namely, a flatness rendering them all but indistinguishable from the picture plane itself. This book underlines how Johns’s work made the polarity between abstraction and representation that had dominated debates about modern art for decades seem suddenly obsolete, opening up other ways of thinking about art’s relation to the world. It also tries to understand why, since his first exhibition at the Leo Castelli Gallery at the age of twenty-seven, he has remained one of the major artists of the contemporary artistic scene.
This book illuminates how technique serves 'story logic,' the particular way fiction makes meaning. Writers raid the cupboard of theory looking for what works, and generic rules don't account for the rich variety of strategies they employ. For writers who are past the beginner stage, Brady offers a closer look at craft fundamentals, including plot, characterization, patterns of imagery, and style. The lively, lucid discussion draws on vivid examples from classic and contemporary fiction, ranging from George Eliot and William Faulkner to Haruki Murakami and Toni Morrison. Because it supplies the analytical tools needed to read as a writer, this text will enrich the reader's approach to any work of fiction, energizing discussion in a workshop or craft course.
In today’s thriving maker culture, kids are hungry for hands-on guidance in creating stylish wearables and practical objects, or hacking and customizing existing ones. Authors Nicole Blum and Catherine Newman get them started with complete instructions for mastering six favorite fiber crafts. Step-by-step photos teach kids ages 9–14 the basics of how to sew, knit, crochet, felt, embroider, and weave, plus how to make three projects for each craft. From woven patches and a knitted backpack to embroidered merit badges and a crocheted bracelet, the fresh, kid-approved projects encourage creative variations and build confidence along with valuable life skills.
The Victorian era provided few opportunities for women in the professional world. The American Arts and Crafts movement, which began in the late nineteenth century to promote handcraftsmanship over mass production, was a major factor in changing the status of women as professional workers. In Professional Pursuits, Catherine Zipf examines the participation of women in this significant design movement and the role they played in revolutionizing the position of women in the professional world. She also shows how, in turn, the Arts and Crafts movement set the stage for social and political change in future years. Zipf focuses on five gifted women in various parts of the country. In San Diego, Hazel Wood Waterman parlayed her Arts and Crafts training into a career in architecture. Cincinnati's Mary Louise McLaughlin expanded on her interest in Arts and Crafts pottery by inventing new ceramic technology. New York's Candace Wheeler established four businesses that used Arts and Crafts production to help other women earn a living. In Syracuse, both Adelaide Alsop Robineau and Irene Sargent were responsible for disseminating Arts and Crafts-related information through the movement's publications. Each woman's story is different, but each played an important part in the creation of professional opportunities for women in a male-dominated society. Professional Pursuits will be of interest to scholars and students of material culture and of the Arts and Crafts movement. More importantly, it chronicles a very significant, little-understood aspect of the development of Victorian capitalism: the integration of women into the professional workforce. Catherine Zipf is an assistant professor in the Department of Cultural and Historic Preservation at Salve Regina University. She has published articles in Women's Art News and the Journal of the Society of Architectural Historians.
Between 1890 and 1930, Arts and Crafts architecture proliferated within the Cotswolds. The range and quality of the buildings was exceptional as the region provided the perfect environment for the Movement's ideals and principles. Arts and Crafts architects relished the robust vernacular precedent as it channelled their ideas and stimulated their imaginations. Its rational basis and dependence on craft skills had lasting value, and it was no coincidence that the most influential aspect of their work was its emphasis on conservation. The Arts and Crafts Movement in the Cotswolds has attracted much interest in recent decades, the appeal of the simple life and of traditional values detached from the pressures of modern society having as much allure now as it did a century ago. Most of these studies have referred to the work of architects in the region, but the subject has not received the specialist attention it deserves. Until now. This book examines the impact of the Movement on the Cotswold landscape, on the survival of its building traditions and on modern attitudes to building conservation. After an introductory section which outlines the Movement's origins and beliefs and its architectural principles, the main part of the book provides a guide to the general characteristics associated with Arts and Crafts building in the Cotswolds. There are separate chapters on the various types of new commission that were undertaken, from small and large country houses and cottages to village halls and almshouses, not to mention the numerous repair and remodelling jobs on existing buildings that had become derelict following the social and economic upheavals of industrialisation. The final chapter looks at the late flowering of architectural work in the region during the interwar period and beyond, and the legacy of this important body of work at a local and national level.
Between 1890 and 1930, Arts and Crafts architecture proliferated within the Cotswolds. The range and quality of the buildings was exceptional as the region provided the perfect environment for the Movement's ideals and principles. Arts and Crafts architects relished the robust vernacular precedent as it channelled their ideas and stimulated their imaginations. Its rational basis and dependence on craft skills had lasting value, and it was no coincidence that the most influential aspect of their work was its emphasis on conservation. The Arts and Crafts Movement in the Cotswolds has attracted much interest in recent decades, the appeal of the simple life and of traditional values detached from the pressures of modern society having as much allure now as it did a century ago. Most of these studies have referred to the work of architects in the region, but the subject has not received the specialist attention it deserves. Until now. This book examines the impact of the Movement on the Cotswold landscape, on the survival of its building traditions and on modern attitudes to building conservation. After an introductory section which outlines the Movement's origins and beliefs and its architectural principles, the main part of the book provides a guide to the general characteristics associated with Arts and Crafts building in the Cotswolds. There are separate chapters on the various types of new commission that were undertaken, from small and large country houses and cottages to village halls and almshouses, not to mention the numerous repair and remodelling jobs on existing buildings that had become derelict following the social and economic upheavals of industrialisation. The final chapter looks at the late flowering of architectural work in the region during the interwar period and beyond, and the legacy of this important body of work at a local and national level.
Today's bride is always looking for innovative ways to put her personal stamp on every part of the wedding, to create a day filled with fun and unusual touches. She'll find plenty of great ideas, inspiration, and projects in this bright and glorious collection, as festive as the event it celebrates. It's all here, from "save the date" notices to flowers and favours. Fashion beautiful bird's nest place cards, embellished with tinsel, candied almonds, and guests' photos. Decorate tables with bead-encrusted pens, hand-designed toasting glasses, and a paper flowers centrepiece. These 40 fabulous items are not only easy and quick to craft (important for the busy bride) but also beautiful.
Today's bride is always looking for innovative ways to put her personal stamp on every part of the wedding, to create a day filled with fun and unusual touches. She'll find plenty of great ideas, inspiration, and projects in this bright and glorious collection, as festive as the event it celebrates. It's all here, from "save the date" notices to flowers and favours. Fashion beautiful bird's nest place cards, embellished with tinsel, candied almonds, and guests' photos. Decorate tables with bead-encrusted pens, hand-designed toasting glasses, and a paper flowers centrepiece. These 40 fabulous items are not only easy and quick to craft (important for the busy bride) but also beautiful.
Christmas is the perfect time for kids to get creative - so let them craft and bake their way to the most magical of Christmases. Catherine Woram's craft projects put busy little hands to work on perfect gifts to give, as well as great ideas for wrapping them and greetings cards to make. Kids can deck the halls with colourful garlands and make a stocking to hang up for Santa! Annie Rigg's tasty Christmas treats - from Marshmallow Snowmen to Coconut Ice - are perfect for giving as gifts, if they last that long! Irresistible edible decorations include snowflake cookies to hang on the tree and an adorable gingerbread house, while party foods will help get the festivities underway. Including over 60 exciting festive projects, which are suitable for children from ages 3 up to 11, this is the perfect guide to introducing kids to a world of exciting homemade Christmas crafts. Catherine Woram studied fashion at St Martins School of Art in London, followed by a masters in fashion at the Royal College of Art. She writes for many publications, including the Telegraph magazine, Ideal Home and Prima. Annie Rigg is an experienced freelance food stylist and writer. She has worked on numerous books and best-selling magazines, such as Sainsbury's Magazine, Olive, Delicious, Country Living and Good Food Magazine. She has worked with a number of top chefs, and used to cook for world-famous singers and bands on tour, including Tom Jones, Paul McCartney, Pink Floyd and The Rolling Stones.
Christmas is the perfect time for kids to get creative - so let them craft and bake their way to the most magical of Christmases. Catherine Woram's craft projects put busy little hands to work on perfect gifts to give, as well as great ideas for wrapping them and greetings cards to make. Kids can deck the halls with colourful garlands and make a stocking to hang up for Santa! Annie Rigg's tasty Christmas treats - from Marshmallow Snowmen to Coconut Ice - are perfect for giving as gifts, if they last that long! Irresistible edible decorations include snowflake cookies to hang on the tree and an adorable gingerbread house, while party foods will help get the festivities underway. Including over 60 exciting festive projects, which are suitable for children from ages 3 up to 11, this is the perfect guide to introducing kids to a world of exciting homemade Christmas crafts. Catherine Woram studied fashion at St Martins School of Art in London, followed by a masters in fashion at the Royal College of Art. She writes for many publications, including the Telegraph magazine, Ideal Home and Prima. Annie Rigg is an experienced freelance food stylist and writer. She has worked on numerous books and best-selling magazines, such as Sainsbury's Magazine, Olive, Delicious, Country Living and Good Food Magazine. She has worked with a number of top chefs, and used to cook for world-famous singers and bands on tour, including Tom Jones, Paul McCartney, Pink Floyd and The Rolling Stones.
Terry Castle's recent study of masquerade follows Bakhtin's analysis of the carnivalesque to conclude that, for women, masquerade offered exciting possibilities for social and sexual freedom. Castle's interpretation conforms to the fears expressed by male writers during the period&—Addison, Steele, and Fielding all insisted that masquerade allowed women to usurp the privileges of men. Female authors, however, often mistrusted these claims, perceiving that masquerade's apparent freedoms were frequently nothing more than sophisticated forms of oppression. Catherine Craft-Fairchild's work provides a useful corrective to Castle's treatment of masquerade. She argues that, in fictions by Aphra Behn, Mary Davys, Eliza Haywood, Elizabeth Inchbald, and Frances Burney, masquerade is double-sided. It is represented in some cases as a disempowering capitulation to patriarchal strictures that posit female subordination. Often within the same text, however, masquerade is also depicted as an empowering defiance of the dominant norms for female behavior. Heroines who attempt to separate themselves from the image of womanhood they consciously construct escape victimization. In both cases, masquerade is the condition of femininity: gender in the woman's novel is constructed rather than essential. Craft-Fairchild examines the guises in which womanhood appears, analyzing the ways in which women writers both construct and deconstruct eighteenth-century cultural conceptions of femininity. She offers a careful and engaging textual analysis of both canonical and noncanonical eighteenth-century texts, thereby setting lesser-read fictions into a critical dialogue with more widely known novels. Detailed readings are informed throughout by the ideas of current feminist theorists, including Luce Irigaray, Julia Kristeva, Mary Ann Doane, and Kaja Silverman. Instead of assuming that fictions about women were based on biological fact, Craft-Fairchild stresses the opposite: the domestic novel itself constructs the domestic woman.
Encourage your kids to get in touch with their creative side with What Shall We Do Today? For children, the experience of creating is every bit as important as the end result. Crafting will fire their imagination and offer an inspiring alternative to endless hours in front of the computer or TV screen. What Shall We Do Today? is packed with more than 60 colorful, fun, and imaginative projects designed for boys and girls aged between 3-12 years. The book is arranged by season, and each section is crammed full of vibrant, appealing ideas for fun crafting activities, great gifts and pretty decorations. Every project can be completed using readily available materials - just follow the step-by-step instructions and you can't go wrong.Catherine Woram studied fashion at St Martins School of Art in London, followed by a masters in fashion at the Royal College of Art. She writes for many publications, including the Telegraph magazine, Ideal Home and Prima. Her earlier books include Crafting with Kids, Gardening with Kids, Christmas Crafting with Kids and What Shall we Do Today? and Felt Button Bead, all published by Ryland Peters & Small.
All good things come in small packages; is the thinking behind this crochet book from expert crafts teacher, Catherine Hirst. Meet Ekaterina, Elena and Eva three sisters who live in the highest onion dome of a very old building in St Petersburg, Russia although they are only two inches tall. They are best friends with the three bears Mama, Papa and Baby Bear who love to snuggle up at night under their beautifully crocheted blankets. And although they don t know it, they share their house with the Catnip Mouse, who measures a teeny, tiny one inch from the tips of his whiskers to the end of his tail. Working with fine yarn and using the smallest of crochet hooks, here is an adorable collection of 35 projects, from miniature amigurumistyle animals to tiny accessories. Crafts teacher Catherine Hirst has created a menagerie of small-scale pets, a whole host of families, and beautiful accessories. There are crocheted cakes which really do look good enough to eat, plus pretty flowers which can be worn as brooches or hair decorations and cute decorations for the Christmas tree. You'll also learn how to crochet miniature beads so you can make your own jewellery. As well as 35 easy-to-follow patterns, there is a comprehensive basic techniques section which will help beginners to master the art of crochet. This book really does prove that all good things come in small packages!Catherine Hirst was taught crochet at a young age by her grandmother and took to it immediately - she quickly learned to knit and embroider as well, and has been hand-making clothing, accessories, and gifts ever since.
Rather than buying expensive, mass-produced Christmas decorations, follow the ideas and projects in Christmas Crafts and make your own stylish and fun creations. Decorating the Christmas tree always kickstarts the festive celebrations, and in the first chapter you will find masses of new ideas, from chandelier beads suspended from velvet ribbons to felt stars and cinnamon stick bundles. The next chapter focuses on wrapping presents, and here there are giftwrap projects using boxes and bows, paper and fabric, buttons and ricrac. The third chapter on cards also features labels and gift tags, and the projects range from fun snowmen greetings cards to stencilled cards which you can easily make in large numbers. The dining table takes centre stage on Christmas Day itself, and the chapter on table settings suggests different themes and colour schemes, from sophisticated silver to red-and-white country style, to traditional red, green and gold. There's nothing nicer than receiving a homemade present, so the section on foodie gifts includes chocolates, festive cupcakes, chocolate brownies and biscuits to hang from the Christmas tree. And finally, as Christmas is the time for children of all ages, there is a chapter on makes for kids, including brightly coloured paper chains, paper snowflakes and pompom decorations.
The Laboring of Communication examines the transformation of work and of worker organizations in today's Information Society. The book focuses on how traditional trade unions and new worker associations growing out of social movements are coming together to address the crisis of organized labor. It concentrates on the creative responses of the technical and cultural workers in the mass media, telecommunications, and information technology industries. Concentrating on political economy, labor process, and feminist theory, it proceeds to offer several ways of thinking about communication workers and the nature of the society in which they work. Drawing on interviews and the documentary record, the book offers case studies of successful and unsuccessful efforts among both traditional and alternative worker organizations in the United States and Canada. It concludes by addressing the thorny issue of outsourcing, describing how global labor federations and nascent worker organizations in the developing world are coming together to develop creative solutions.
Groups of people abandoned sites in different ways, and for different reasons. And what they did when they left a settlement or area had a direct bearing on the kind and quality of cultural remains that entered the archaeological record, for example, whether buildings were dismantled or left standing, or tools buried, destroyed or removed from the site. Contributors to this unique collection on site abandonment draw on ethnoarchaeological and archaeological data from North and South America, Europe, Africa, and the Near East.
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