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Visual Culture in Shanghai, 1850s-1930s is a study of formal and informal meanings of Haipai ("Shanghai School" or "Shanghai Style"), as seen through the paintings of the Shanghai school as well as other media of visual representation. The book provides us a point of entry into the nexus of relationships that structured the encounter between China and the West as experienced by the treaty-port Chinese in their everyday life. Exploring such relationships gives us a better sense of the ultimate significance of Shanghai's rise as China's dominant metropolitan center. This book will appeal not only to art historians, but also to students of history, gender studies, women's studies, and culture studies who are interested in modern China as well as questions of art patronage, nationalism, colonialism, visual culture, and representation of women. "This book constitutes a significant contribution to the literature about a period and a city that were pivotal to the emergence of modern China." -Richard K. Kent, Franklin & Marshall College. "This book navigates the complexity of Chinese modernity.. It bridges, conceptually and visually, the China of the past to present-day Shanghai, the symbol of the urban economy of 21st-century China." -Chao-Hui Jenny Liu, New York University. "Shanghai was the rising and dynamic metropolis, where many aspects of modernity were embraced with enthusiasm. Pictorial art was no longer the domain of the elite, but professionalization, commercialization, popularization, and Westernization contributed to the dissemination of images to a larger and diverse audience." -Minna Törmä, University of Helsinki.

This book is an analysis of the movement's functions and activities. It presents the history of the movement as it has been captured and recorded by the first generation of people who have been involved. Second edition with a new Introduction. It has been twenty-five years from the first printing of The Community Arts Council Movement: History, Opinions and Issues. So, what has changed? What is similar? Reviewing recent summaries of anniversaries and activities, one is struck by the resonance of the original concerns and the progress made: recognizing and keeping community arts issues a priority on all levels-in these years, they have become central; enabling the partnership among federal, state and local partnerships to grow and flourish perhaps beyond all expectation; developing a voice for effective advocacy-we've come a long way. But like everything else we have experienced on these levels, there is always work ahead and the "now" changes as people come into and exit the picture. No one, and no one group, is really independent of the others in the support fabric. The Community Arts Council Movement is a history of the movement which traces its beginnings to models in the health and welfare fields. It presents the history of the movement as it has been captured and recorded from people who have been involved. Research for the book includes written materials from various councils; about 150 discussions with specialists and practitioners from urban councils and regional, county and rural organizations; and questionnaires completed by movement founders, community arts administrator trainers, and local and national political figures who have promoted community arts to their peers. "This book should be required reading in order to understand the historical context of our own efforts as we map the future of the arts in our communities." - Peggy Spaeth, Director of Heights Arts "From arts administrators and arts educators, to government officials and interested citizens, this book has played a key role in illuminating the work of the nonprofit arts in America." - Robert L. Lynch, President and CEO, Americans for the Arts

The aims of this volume are to reflect on the fundamental issues in the theory and practice of connoisseurship of Chinese painting in particular and those of connoisseurship of art in general. One of the most important challenges facing art historians and museum professionals today is that graduate schools have produced art historians with serious weakness, particularly a lack of direct firsthand experience with works of art in the original. If we base our construction of art history on works of calligraphy and painting and on the inscriptions, colophons, and seal impressions that accompany them, we must first make sure of their authorship and identity. "This fascinating book, the first one in which connoisseurship in Chinese painting and in European painting are discussed together, enables us not only to confront several approaches in the authentication of Chinese painting, but also to benefit from the Western art studies in connoisseurial analysis and the complex nature of copywork." -Michèle Pirazzoli-t'Serstevens, formerly Curator of Far Eastern Art of the Musée Guimet, Paris, currently Directeur d'études, École Pratique des Hautes Études, Paris, author of La Civilisation du Royaume de Dian à l'époque Han, La Chine des Han:histoire et civilization, Giuseppe Castiglione (1688-1766): Peintre et Architecte à la Cour de Chine, and editor of Storia Universale dell'Arte : La Cina. "These thoughtful essays, addressing a range of historical, cultural, and philosophical issues, should remind all of us that the objectness of objects is the starting point from which all else follows." -Peter Sturman, Chair, Department of the History of Art and Architecture, University of California, Santa Barbara, and author of Mi Fu: Style and the Art of Calligraphy in Northern Song China. "Connoisseurship is the most fundamental yet often overlooked aspect of art history: it has the ability to affirm or completely change our understanding of an art work, the artist's oeuvre, or even art history itself. This volume is the first extensive investigation of Chinese connoisseurship as a general and theoretical discipline." -Pauline Lin, Bryn Mawr College, has published articles in The Review of Politics and Dictionary of Literary Biography: Classical Chinese Writers and is working on a book, Nature Inside Out: The Culture of Landscape from the City of Ye (196-240). "Connoisseurship is the necessary base of art history, for until we know who made what when, we cannot engage in interpretation of paintings. Bringing together scholars from diverse backgrounds, this volume provides the necessary basis for the most important task facing art historians today, the creation of a true world art history." - David Carrier, Champney Family Professor, Case Western Reserve University/Cleveland Institute of Art and author of Sean Scully, Museum Skepticism: A History of the Display of Art in Public Galleries, and A World Art History.

Pan-Africanism in Barbados is a pioneering work. This is the first book exclusively on Pan-Africanism within Barbados, an island that is noted for its conservatism. The book traces the development of Pan-Africanism in Barbados during the 20th century, by looking at the major socio-political Pan-African formations in Barbados: the Universal Negro Improvement Association, the Workingmen's Association, Clement Payne and the loose Pan-African organization that played a leading role in workers struggle in 1937 before the disturbances in Barbados, the People's Progressive Movement/Black Star newspaper, Black Nights, the Southern African Liberation Committee, Rastafarians, the Marcus Garvey Hundredth Anniversary Committee, the Clement Payne Movement and the Pan-African Movement of Barbados. The work also examines the creation of the Commission for Pan-African Affairs, a government created institution to helped to promote the cause of Pan-Africanism. Worrell looks at the objectives, activities, rhetoric, weaknesses, important ideologues, what caused the demise of the various groupings and the lessons to be learnt.

This is the second edition of Russian Futurism through Its Manifestoes 1912-1928, originally published by Cornell University Press (1988). Futurism as a world movement profoundly affected the course of twentieth-century art and culture. This collection made available for the first time in English the writings of the Russian Futurists, which supplied the theoretical base of their movement. In her extensive introduction, Lawton has highlighted the historical development of the movement and has related Futurism both to the Russian national scene and to avant-garde movements worldwide. She describes how the Russian Futurists declared their enmity to the aesthetic canons of nineteenth-century realism and to the mysticism of the Symbolists. Eagle's concluding essay discusses how Futurism's most significant theoretical ideas, through the medium of Russian Formalism, had a lasting impact on the subsequent development of structuralism and semiotics. The lively and imaginative translations by Lawton and Eagle capture the distinctive polemical style of the Russian Futurists-jarring, provocative, neologistic-and reproduce their often idiosyncratic typography. Among many Futurists represented are Vladimir Mayakovsky, Viktor Khlebnikov, Aleksei Kruchenykh, David Burliuk, Vadim Shershenevich, and Boris Pasternak.