Arkitektur og design

This edited volume foregrounds new and vital scholarship shaping Scandinavian art historical research on the representations of the natural world.

Tate Modern exhibition: 8 October 2024 - 16 March 2025

Tate Modern exhibition: 1 February - 5 May 2025

Few artists' letters are as self-revelatory as Vincent van Gogh's. From the humanistic inspiration behind The Potato Eaters to his long-time obsession with painting the vision that eventually became The Starry Night, the letters in this selection paint an intense personal narrative of his artistic development and creative process across the years. They reveal a man of great spiritual and emotional depths who - in his own words - did everything 'for art and for life itself'.

Following the career of the Irish lace designer and inspector Emily Anderson (1856-1948), and exploring the contemporary relevance of her work, this book charts a path through the many institutions, organizations, philanthropic initiatives and government bodies that supported, promoted and monitored the crafting and design of lace in Ireland from the late 19th century onwards.The story of lace's introduction in Ireland to provide work and sustenance during the Irish Famine is a well-known element of social history, yet the development of the craft - as a set of techniques and designs, with a supporting infrastructure of inspection and education - has never been the subject of a comprehensive study. Where did designs for Irish lace come from? Who decided how and to whom it would be taught? How were the aesthetics and institutions of lace design and lacemaking shaped by contemporary concerns about gender, politics and class? This interdisciplinary book gathers little-studied textual and material sources to explore these questions, informed by recent critical work in craft and design studies as well as by pattern books and local, embodied knowledge from practitioner communities.This narrative highlights the craft's development and cultural meaning as well as its interconnectedness with deeply politicized, gendered and class-based discourses surrounding design, education, taste and industry. Weaving together a network of exchanges between Irish institutions such as the Cork School of Art, Irish Agricultural Organisation Society, and Department of Agriculture and Technical Instruction, and by following Anderson's career, author Molly-Claire Gillet traces early feminism in craft and how lace facilitated a path to female professionalization in Irish industry. The book concludes with a consideration of contemporary Irish lacemaking - now proudly claimed as a part of Ireland's intangible cultural heritage - and charts a shift through the 20th century in the conception of lace design as 'art for industry', and lacemaking as an economic necessity to both practices as expressions of identity, creativity and networked community-building.

A beautifully illustrated catalogue to a major exhibition at the Fitzwilliam Museum, Cambridge, exploring enslavement, rebellion, revolution and Abolitionism through art, 1750-1850.

In this detailed biography, Rüdiger Görner masterfully depicts Kokoschka's multifaceted life and long career.

We are excited to present ALL BLACK FLEXING TOUR BUS ESC KEY FILTER SYSTEM; A BLANKET E-SCOOTER. A multi-medium project by designers Frederic Coomes and Matt Empringham. All the looks we reassembled and disassembled over a 10-day period. Nothing is sewn, instead the recycled materials are held through rings, tape, magnets, glue, and clips. The construction methods are integral to each look and its ability to remain a temporary act of expression, often with the look being realised intuitively on the model. ALL BLACK FLEXING TOUR BUS takes shape in a book. Published by Ayvan, the book, and work, is deliberately designed to evoke a sense of finished/beginning. It is designed to feel quick, a snapshot of collaboration and current taste - the garments are interpreted in many forms with primary photography by Marius Uhlig and text by Robert Smith, as well as iphone images the designers have taken throughout their process. Frederic Coomes and Matt Empringham are in their final year of BA Fashion at Central Saint Martins. This book showcases their 5th collaborative collection as a duo

What role do the visual arts play in the emerging commercial spaceflight industry? Regarded widely as an irreverent luxury accessible to only a select few, commercial space exploration seems an unlikely setting for art practices. However, faced with the inevitability of this developing industry and the new environments it presents, a new field of creative practice is emerging. In Art in Orbit design theorist Barbara Brownie argues that these new environments offer novel opportunities that are yet to be fully recognized by the creative industries.Throughout the book, Brownie explores the contexts, questions, challenges and opportunities for creative exploration of form, materials, and the body, in space. Drawing on original research in the STEAM subjects, the book highlights how artists, engineers, and theorists have begun working in close collaboration to reconsider practices that have been taken for granted throughout the history of art practice, demonstrating how ideas about orientation, weight, balance, and the familiar behaviours of art and craft materials are all radically altered in the microgravity of orbital space.The research presented is supplemented by 9 original case studies from sculpture, craft, performance, and land art that has been shaped by the unique physical and psychological environments of space. Each case study is informed by exclusive interviews with artists who have produced work for space, and illustrate the real-world impact of the contexts and challenges explored elsewhere in the book. Taking an original, critical approach to the relationship between the creative and spaceflight sectors, Art in Orbit sets out to define a new field of artistic practice and the real-world impact of collaboration between art and the space sector. In turn, it provides a template for developing new narrative strategies for space projects which will engage artists, scientists, and collaborative teams from across disciplines.

Infuse your watercolor paintings with the ephemeral beauty of wildflower meadows and lush gardens-by adding pressed flowers! Perfect for beginners, this stunning mixed media technique from botanical artist Karly Murphy combines the basics of each medium to create frame-worthy results. With this complete guide, you'll learn everything you need to create floral masterpieces, from foolproof tips on painting watercolor landscapes to pressing flowers and mounting them to paper without losing a petal. With each finished artwork, pressed flowers pop in the foreground bringing texture and an eye-catching 3-D effect to your dreamy landscapes. Capture the magic of a bluebell meadow blooming in a mountain valley. Layer paint and plants to recreate the rich, wild greenery of a fern forest. Or, highlight the beauty of vibrant daffodils in a bright greenhouse scene. Plus, with Karly's innovative technique, you'll be able to create thoughtful keepsakes that preserve blooms from special occasions. These gorgeous projects will open up a whole new world of possibilities for your watercolor art!

All Things Considered is a joyful collection of interiors that mix prints, color, and style with gusto. In All Things Considered, Emilio Pimentel-Reid invites you into the homes of sixteen international artists, designers, and creatives that place a curated sense of personality above all else. Explore their distinctive spaces—some historically influenced and others at the cutting edge of contemporary design, some serene and several provocative. Each home is uplifting and has been presented with great thought, confidence, and flair. Designers featured include some of the world’s top talents in architecture and interior design, such as Philip Hooper, Willow Kemp, Timothy Corrigan, and Gert Voorjans, an iconic Belgian tastemaker. All Things Considered reveals how our homes serve as self-portraits of creative, individual style. This inspiring book encourages you to embrace your unique interior design personality and play by your own rules.

Originally published in 1974, this book examines in detail some of the finest plays from the great cycles of York, Wakefield and Chester. By considering the plays as plays rather than literary relics of a past age, he throws new light both on their aims and intentions as drama and on the intriguing problems of stage techniques.

Originally published in 1984, this book recreates the unique atmosphere of the Restoration playhouses in order to demonstrate how theatrical conditions spurred authors into creating new forms of tragedy, comedy and opera.

This project is the culmination of my six-month writing fellowship with the ARAK Collection. I worked on it from May to October 2023. With my experiences embedded in it, the project adopts an informal and subjective style of writing aimed at making it accessible to a broad audience.When the works in the ARAK Collection were unveiled to me, I opted to research on a quintet of artists from five different countries in the Southern African Development Community (SADC). They are Botswana's Thebe Phetogo (b. 1993), the Democratic Republic of Congo's Lutanda Zemba Luzamba (b. 1973), Namibia's Rudolf Seibeb (b. 1964), Mozambique's Nelly Guambe (b. 1987), and Zambia's Victor Kalinosi Mutale (b. 1971). I deliberately skirted over the many South African artists in the collection because most of the writings on art from the SADC region focus on the country. This is due to its high concentration of art institutions in the form of galleries, museums, and universities, art historians and critics, as well as publishing platforms. Thus, South Africa leads the charge when it comes to activity and writings on art history and the contemporary arts scene. Therefore, this project aims to expand the canon by directing the reader towards artists from nations neighbouring South Africa.On the 19th of July, I left Cape Town on a road trip that took me to Windhoek past the Noordoewer/Vioolsdrif border crossing, proceeding to Gaborone via Buitepos border post, then to Lusaka past the multinational Kazungula Bridge. From Zambia's capital city, I headed to Chimoio past the Forbes border post, after some brief stopovers in Livingstone, Victoria Falls, Bulawayo, and Mutare. From Chimoio, I then proceeded to Maputo before returning to South Africa past the Lebombo border on the 11th of August. This was my fieldwork research trip during which I met and engaged with the selected artists and cultural practitioners in the art sector.My interviews with them were semi-structured, allowing me to draw as much information as possible from them. The main motivation for the trip was to gain an in-depth understanding of parts of the Southern African region, or the selected artists' respective contexts which inform their practices. In the process, I also engaged strangers on the buses, the taxis, and on the streets. At times, I also diverted to outlying areas like Okahandja, where I met Seibeb, Matsieng, the heritage site referenced by Phetogo and Ndeke Village, where Mutale resides and works from.I realised that immigration officials were only allowing me a maximum of ten days, of which I required less. At the Mozambican border, I was asked to produce a COVID-19 vaccination certificate, which was quite unusual. I did not have to travel to the Democratic Republic of Congo as Luzamba is based in Cape Town. Where necessary, I did follow-up engagements with the artists via WhatsApp. In the process, one thing led to another and ideas and theories developed as the interactions ensued. I then travelled to Doha, Qatar in November to take a closer look at the artworks of the selected artists, and to have a cultural experience of the city and country where the collection is housed.The research employs a biographical approach. Oral historian Joanna Bornat indicates that "biographical methods is an umbrella term for an assembly of loosely related, variously titled activities [which include]: narrative, life history, oral history, autobiography, biographical interpretive methods, storytelling, auto/biography, reminiscence" (2008: 344). This project is quite experimental in that it brings together three artists who do figurative work and two who are into abstraction. It is an attempt to find common ground in their diverse practices through an exploration of their respective local contexts.

As more companies go digital and conduct their business online, this book provides practical examples of how companies can better manage their data and use it to generate maximum value. The book offers an integrated approach by treating data as an asset and discusses how to preserve and protect it just like any other corporate asset.