Sweeping across countries, class and music, Eva Ibboton's classic historical romance, Magic Flutes, is a richly imagined tale of intrigue and identity, with a new introduction from Harriet Evans. In the spring of 1922, young Austrian Princess Theresa-Maria – known to her ancient aunts as 'Putzerl' – abandons her crumbling castle and her royal duties. Disguising herself simply as Tessa, she enrolls as under wardrobe mistress of the International Opera Company and soon loses herself in the intoxicating world of the Viennese opera. But when Guy Farne, an Englishman looking to impress his new fiance, arrives in Austria and employs the Company to perform at his newly purchased Austrian estate, he finds himself fascinated by the under wardrobe mistress, and Tessa finds it increasingly difficult to keep her two lives separate . . . 'I have binged on Eva Ibbotson . . . her elegantly written, witty and well-observed fables' Nigella Lawson, The Times Rediscover Eva Ibbotson, award-winning author of Journey to the River Sea, in her sweeping historical romances, including The Morning Gift, A Song For Summer, The Secret Countess (originally published as A Countess Below Stairs), Madensky Square and A Company of Swans. Magic Flutes was originally published as The Reluctant Heiress.
This book examines contemporary artistic practices since 1990 that engage with, depict, and conceptualize history. Examining artworks by Kader Attia, Yael Bartana, Zarina Bhimji, Michael Blum, Matthew Buckingham, Tacita Dean, Harun Farocki and Andrei Ujica, Omer Fast, Andrea Geyer, Liam Gillick and Philippe Parreno, Hiwa K, Amar Kanwar, Bouchra Khalili, Deimantas Narkevičius, Wendelien van Oldenborgh, Walid Raad, Dierk Schmidt, Erika Tan, and Apichatpong Weerasethakul, Art, History, and Anachronic Interventions since 1990 undertakes a thorough methodological reexamination of the contribution of art to history writing and to its theoretical foundations. The analytical instrument of anachrony comes to the fore as an experimental method, as will (para)fiction, counterfactual history, testimonies, ghosts and spectres of the past, utopia, and the "juridification" of history. Eva Kernbauer argues that contemporary art—developing its own conceptual approaches to temporality and to historical research—offers fruitful strategies for creating historical consciousness and perspectives for political agency. The book will be of interest to scholars working in art history, historiography, and contemporary art. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial 4.0 license.
Lebanese artist Walid Raad is one of the leading artists of his generation and an influential voice in art from the Middle East. Published to accompany the first comprehensive exhibition of his work in the United States, this catalogue surveys three decades of Raad's unique practice in a variety of mediums - including photography, video and performance - and examines the critical intersections that have defined the notable career of this inventive artist. Beginning with his groundbreaking project The Altas Group (1989-2004), to his recent sweeping work on the history of art in the Arab world (2007-ongoing), the publication offers an overview of Raad's career and features his most momentous bodies of work. Essays by curators and scholars place Raad's art in the context of contemporary image making in photography and video, as well as art made in Lebanon since the 1960s; provide an overview of Raad's performance lectures in relationship to his oeuvre; and examine Raad's most recent bodies of work made in the Islamic galleries at the Louvre and Metropolitan Museum of Art, which explores the history, collecting, and display of historical and modern art and artifacts from the Arab world and Iran. A special 10 page contribution by Raad presents a fictional interview with multiple artists, which provides rare insight into the artist's working method and addresses various themes that run throughout his work.
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