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The rich variety of essays in Abject Visions: Powers of Horror in Art and Visual Culture demonstrate that abjection as a concept continues to hold great value as an aid to cultural understanding and a prompt to critical reflection. They communicate the enduring power and relevance of the abject by explaining how it conveys ideas about aesthetic, social and moral conventions with regards to representation and viewing. Theories of the abject are key to understanding the contemporary. This is because abject art and literature are not bound to a particular period or geographical location. They adapt to reflect changing times and contexts. The essays in this volume cumulatively demonstrate that abjection is not singular but plural and multiform. In their chosen themes and artists, the contributors draw on the ideas of Georges Bataille and Julia Kristeva, and others such as Judith Butler, Hal Foster and Rosalind Krauss, as part of their approach to extending current ways of conceiving abjection. The majority of the essays focus on the visual arts although there are also considerations of how attending to the abject can inform readings of film, theatre and literature, a fact which attests to its interdisciplinary relevance.

Shanghai, long known as mainland China’s most cosmopolitan metropolis, has recently re-emerged as a global capital. Above sea: Contemporary art, urban culture, and the fashioning of global Shanghai offers the first in-depth examination of turn of the twenty-first century Shanghai-based art and design – from state-sponsored exhibitions to fashionable cultural complexes to cutting edge films and installations. This book offers a counter-touristic view of one of the world’s fastest developing megacities that penetrates the contradictions and buried layers of specific locales and artifacts of visual culture. Informed by years of in-situ research including interviews with artists and designers, the book looks beyond contemporary art’s global hype to reveal persistent socio-political tensions accompanying Shanghai’s explosive transitions from semi-colonial capitalism to Maoist socialism to Communist Party-sponsored capitalism. Analyses of exemplary design projects such as Xintiandi and Shanghai Tang, and artworks by Liu Jianhua, Yang Fudong, Gu Wenda and more reveal how Shanghai’s global aesthetics construct glamorizing artifices that mask historically-rooted cross-cultural conflicts between vying notions of foreign-influenced modernity versus anti-colonialist nationalism, and the city’s repressed socialist past versus consumerist present. The book focuses on Shanghai-based art and design from the 1990s-2000s, the decades of the city’s most rapid post-socialist development, while also attending to pivotal Republican and Mao Era examples. Challenging the “East-meets-West” clichés that characterize discussions of urban Shanghai and contemporary Chinese art, this book illuminates critical issues facing today’s artists, architects, and designers, and provides an essential field guide for students of art, design, art history, urban studies, and Chinese culture.

This book analyses how three artists – Adrian Piper, Nancy Spero, and Mary Kelly – worked with the visual dimensions of language in the 1960s and 1970s. These artists used text and images of writing to challenge female stereotypes, addressing viewers and asking them to participate in the project of imagining women beyond familiar words and images of subordination. The book explores this dimension of their work through the concept of ‘the other woman,’ a utopian wish to reach women and correspond with them across similarities and differences. To make the artwork’s aspirations more concrete, it places the artists in correspondence with three writers – Angela Davis, Valerie Solanas, and Laura Mulvey – who also addressed the limited range of images through which women are allowed to become visible.

This book proposes a new reading of contemporary art between 1958 and 2009 by sketching out a trajectory of ‘precarious’ art practices. Such practices risk being dismissed as ‘almost nothing’ because they look like trash about to be thrown out, because they present objects and events that are so commonplace as to be confused with our ordinary surroundings, or because they are fleeting gestures that vanish into the fabric of everyday life. What is the status of such fragile, nearly invisible, artworks? In what ways do they engage with the precarious modes of existence that have emerged and evolved in the socio-economic context of an increasingly globalised capitalism? Works discussed in this study range from Allan Kaprow’s assemblages and happenings, Fluxus event scores and Hélio Oiticica’s wearable Parangolé capes in the 1960s, to Thomas Hirschhorn’s sprawling environments and participatory projects, Francis Alÿs’s filmed performances and Gabriel Orozco’s objects and photographs in the 1990s. Significant similarities among these different practices will be drawn out, while crucial shifts will be outlined in the evolution of this trajectory from the early 1960s to the turn of the twenty-first century. This book will give students and amateurs of contemporary art and culture new insights into the radical specificities of these practices, by situating them within an original set of historical and critical issues. In particular, this study addresses essential questions such as the art object’s ‘dematerialisation’, relations between art and everyday life, including the three fields of work, labour and action first outlined by Hannah Arendt in 1958.

Many people in the West can recognise an image of Mao Zedong (1894–1976) and know that he was an important Chinese leader, but few appreciate the breadth and depth of his political and cultural significance. Fewer still know what the Chinese Cultural Revolution (1966–76) was, or understand the extent of its influence on art in the West or in China today. This anthology, which is the first of its kind, contends that Maoism and the Chinese Cultural Revolution were dominant cultural and political forces in the second half of the twentieth century – and that they continue to exert influence, globally, right up to the present. In particular, the book claims that the Chinese Cultural Revolution deserves a more prominent place in twentieth-century art history. Exploring the dimensions of Mao’s cultural influence through case studies, and delineating the core of his aesthetic programme, in both the East and the West, constitute the heart of this project. While being rooted in the tradition of social art history and history, the essays, which have been written by an international community of scholars, foreground a distinctively multidisciplinary approach. Collectively they account for local, regional and national differences in the reception, adoption and dissemination of – or resistance to – Maoist aesthetics.

This book advances an innovative look at a well known, if arguably often misunderstood, historic building typology: the eighteenth-century brick terraced (or row) house. Created for the upper tier of the social spectrum, these houses were largely designed and built by what is customarily regarded as the lower tier of the architectural hierarchy; that is, by artisan communities of bricklayers, carpenters, plasterers and related tradesmen. From London and Dublin to Boston and Philadelphia, these houses collectively formed the streets and squares that became the links and pivots of ‘enlightened’ city plans, and remain central to their respective historic and cultural identities. But while the scenographic quality of Bath and the stuccoed interiors of Dublin have long enjoyed critical approbation, the ‘typical’ house is understood less in terms of design and more in terms of production: consequently, historians have emphasized the commercial motivations of this artisan class at the expense of how they satisfied the demands of an elite, and taste-conscious, real estate market. Drawing on extensive primary source material, from property deeds and architectural drawings to trade cards and newspaper advertising, this book rehabilitates the status of the house builder by examining his negotiation of both the manual and intellectual dimensions of the building process. For the first time, Building Reputations considers the artisan as both a figure of building production and an agent of architectural taste.

The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.

Colouring the Caribbean offers the first comprehensive study of Agostino Brunias’s intriguing pictures of colonial West Indians of colour – so called ‘Red’ and ‘Black’ Caribs, dark-skinned Africans and Afro-Creoles, and people of mixed race – made for colonial officials and plantocratic elites during the late-eighteenth century. Although Brunias’s paintings have often been understood as straightforward documents of visual ethnography that functioned as field guides for reading race, this book investigates how the images both reflected and refracted ideas about race commonly held by eighteenth-century Britons, helping to construct racial categories while simultaneously exposing their constructedness and underscoring their contradictions. The book offers provocative new insights about Brunias’s work gleaned from a broad survey of his paintings, many of which are reproduced here for the first time.

Beyond its simple valorisation as a symbol of knowledge and progress in post-Enlightenment narratives, light was central to the visual politics and imaginative geographies of empire. Empires of Light describes how imperial designations of ‘cities of light’ and ‘hearts of darkness’ were consonant with the dynamic material culture of light in the nineteenth-century industrialisation of light (in homes, streets, theatres, etc.) and its instrumentalisation through industries of representation. Empires of Light studies the material effects of light as power through the drama of imperial vision and its engagement with colonial India. It evaluates responses by the celebrated Indian painter Ravi Varma (1848–1906) to claim the centrality of light in imperial technologies of vision, not merely as an ideological effect but as a material presence that produces spaces and inscribes bodies.

Engendering an avant-garde: the unsettled landscapes of Vancouver photo-conceptualism is the first book to comprehensively examine the origins of Vancouver photo-conceptualism in its regional context between 1968 and 1990. Employing discourse analysis of texts written by and about artists, feminist critique, and settler colonial theory, the book discusses the historical transition from artists’ creation of ‘defeatured landscapes’ between 1968-1971 to their cinematographic photographs of the late 1970s, and the backlash against such work by other artists in the late 1980s. This book analyses Jeff Wall and Ian Wallace’s strategic framing of their photography as avant-garde, and considers their rejection of the history of regional landscape painting (such as Emily Carr’s work), the rejection of the counter-cultural experiments of their peers, and the integration of feminist challenges to figurative representation into their work. It is the first study to provide a structural accounting for why the group remains all-male. It accomplishes this by demonstrating that the importation of a European discourse of avant-garde activity, which assumed masculine social privilege and public activity, effectively excluded women artists from membership. In doing so, it intervenes in formalist art critics’ validation of the technical innovation of the Vancouver School as a universal phenomenon of global importance by revealing the social exclusions that empowered it in the past and continue to invest it with authority. This book will appeal to scholars and students interested in Canadian art history, photography, the history of the avant-garde, and the role visual culture plays in establishing and maintaining control over discursive and physical territories.

Throughout the history of European painting, skin has been the most significant surface for artistic imitation, and flesh has been a privileged site of lifelikeness. Skin and flesh entertain complex metaphorical relationships with artefacts, images, their making and materiality: fabricated surfaces are often described as skins, skin and colour have a longstanding connection, and paint is frequently associated with flesh. This book considers flesh and skin in art theory, image making and medical discourse and focuses on seventeenth to nineteenth-century France. It describes a gradual shift between the early modern and the modern period and argues that what artists made when imitating human nakedness was not always the same. Initially understood in terms of the body’s substance, of flesh tones and body colour, it became increasingly a matter of skin, skin colour and surfaces. This shift is traced in the terminology of art theory and in the practices of painting, as well as engraving, colour printing and drawing. Each chapter is dedicated to a different notion of skin and its colour, from flesh tones via a membrane imbued with nervous energy to hermetic borderline. Looking in particular at works by Fragonard, David, Girodet, Benoist and Ingres, the focus is on portraits, as facial skin is a special arena for testing and theorising painterly skills and a site where the body and the image made of it become equally expressive.

During the nineteenth century industrial Lancashire became a leading national and international art centre. In 1857 Manchester hosted the international Art Treasures Exhibition at Old Trafford, arguably the single most important art exhibition every held. By the end of the century almost every major Lancashire town possessed an art gallery, while Lancashire art schools and artists were recognised nationally and internationally. This book examines the reasons for the remarkable rise of visual art in Lancashire and its relationship to the rise of the commercial and professional classes who supported it. Lancashire is rarely seen by outsiders as a major cultural centre but the creation of a network of art institutions facilitated a vibrant cultural life and shaped the civic identity of its people. The modern industrial towns of Lancashire often looked to the cultural history of other great civilisations to understand the rapidly changing world around them. Roscoe’s Liverpool of the late eighteenth century emulated Medici’s Florence, Fairbairn’s Manchester looked to Rome, while a century later Preston built an art gallery as a tribute to Periclean Athens. Yet the art institutions and movements of the county were also distinctively modern. Many embraced the British fashions of the time, while some looked to new art movements abroad. Art institutions also became a cultural battleground for alternative visions of the future, from those that embraced modern mass production technologies and ‘commercial art’ to those that feared technology and capitalism would destroy artistic creativity and corrode standards of excellence.

This book analyzes the early stages of the interior design profession as articulated within the circles involved in the decoration of the private home in the second half of nineteenth-century France. It argues that the increased presence of the modern, domestic interior in the visual culture of the nineteenth century enabled the profession to take shape. Upholsterers, cabinet-makers, architects, stage designers, department stores, taste advisors, collectors, and illustrators, came together to “sell” the idea of the unified interior as an image and a total work of art. The ideal domestic interior took several media as its outlet, including taste manuals, pattern books, illustrated magazines, art and architectural exhibitions, and department store catalogs. The chapters outline the terms of reception within which the work of each professional group involved in the appearance and design of the nineteenth-century French domestic interior emerged and focus on specific works by members of each group. If Chapter 1 concentrates on collectors and taste advisors, outlining the new definitions of the modern interior they developed, Chapter 2 focuses on the response of upholsterers, architects, and cabinet-makers to the same new conceptions of the ideal private interior. Chapter 3 considers the contribution of the world of entertainment to the field of interior design while Chapter 4 moves into the world of commerce to study how department stores popularized the modern interior with the middle classes. Chapter 5 returns to architects to understand how their engagement with popular journals shaped new interior decorating styles.

The Victorians admired Julia Margaret Cameron for her evocative photographic portraits of eminent men like Tennyson, Carlyle, and Darwin. But Cameron also made numerous photographs called ‘fancy subjects’ that depicted scenes from literature, personifications from classical mythology, and biblical parables from the Old and New Testament. Julia Margaret Cameron’s ‘fancy subjects’ is the first comprehensive study of these works, examining Cameron’s use of historical allegories and popular iconography to embed moral, intellectual, and political narratives in her photographs. A work of cultural history as much as art history, this book examines cartoons from Punch and line drawings from the Illustrated London News; cabinet photographs and Autotype prints; textiles and wall paper; book illustrations and engravings from period folios, all as a way to contextualize the allegorical subjects that Cameron represented, revealing connections between her ‘fancy subjects’ and popular debates about such topics as biblical interpretation, democratic government, national identity, and colonial expansion.

This book brings together essays on the burgeoning array of local antiquarian practices developed across Europe in the early modern era (c. 1400-1700). Adopting an interdisciplinary and comparative method it investigates how individuals, communities and regions invented their own ancient pasts according to concerns they faced in the present. A wide range of 'antiquities' -- real or fictive, Roman, or pre-Roman, unintentionally confused or deliberately forged -- emerged through archaeological investigations, new works of art and architecture, collections, history-writing and literature. This book is the first to explore the concept of local concepts of antiquity across Europe in a period that has been defined as a uniform 'Renaissance'. Contributions take a new novel approach to the revival of the antique in different parts of Italy and also extend to other, less widely studied antiquarian traditions in France, the Netherlands, Spain, Portugal, Britain and Poland. They examine how ruins, inscriptions, and literary works were used to provide evidence of a particular idea of local origins, rewrite history or vaunt civic pride. They consider municipal antiquities collections in Southern Italy and Southern France, the antiquarian response to the pagan, Christian and Islamic past on the Iberian Peninsula, or Netherlandish interest in megalithic ruins thought to be traces of a prehistoric race of Giants. This interdisciplinary book is of interest for students and scholars of Early modern art history, architectural history, literary studies and history, as well as classics and the reception of antiquity.

This book addresses a topic of increasing importance to artists, art historians and scholars of cultural studies, migration studies and international relations: migration as a profoundly world-transforming force that has remodelled artistic and art institutional practices across the world. It explores contemporary art’s entanglement and critical engagement with migration and globalisation as a key source to improving our understanding of how these processes transform identities, cultures, institutions and geopolitics. Focusing on the interrelations between transcultural identities, the paradoxes of globalisation and the experience of migration as structured by both mobility and settlement, longing and belonging, identification and disidentification, it contributes knowledge about three interwoven issues of enduring interest. Firstly, it is concerned with identity and belonging because migration challenges the identities of the people who migrate but also of the communities where migrants settle. The second set of issues revolves around visibility and recognition. Which impact does increased mobility have on the art world and the careers and works of artists? How have the discursive, structural and artistic changes paved the way for the idea of ‘global art’ and a growing institutional visibility and recognition of artists with a migrant background? Thirdly, the book is concerned with the question of the interrelations between aesthetics and politics and how aesthetics, politics and ethics may be balanced in artistic representations of migration, especially forced migration.

Mixed Messages presents and interrogates ten distinct moments from the arts of nineteenth, twentieth and twenty-first century America where visual and verbal forms blend and clash. Charting correspondences concerned with the expression and meaning of human experience, this volume moves beyond standard interdisciplinary theoretical approaches to consider the written and visual artwork in embodied, cognitive, and contextual terms. Offering a genuinely interdisciplinary contribution to the intersecting fields of art history, avant-garde studies, word-image relations, and literary studies, Mixed Messages takes in architecture, notebooks, poetry, painting, conceptual art, contemporary art, comic books, photographs and installations, ending with a speculative conclusion on the role of the body in the experience of digital mixed media. Each of the ten case studies explores the juxtaposition of visual and verbal forms in a manner that moves away from treating verbal and visual symbols as operating in binary or oppositional systems, and towards a consideration of mixed media, multi-media and intermedia work as brought together in acts of creation, exhibition, reading, viewing, and immersion. The collection advances research into embodiment theory, affect, pragmatist aesthetics, as well as into the continuing legacy of romanticism and of dada, conceptual art and surrealism in an American context.

First performed on 21 May 1850, the satirical play Novelty Fair; or Hints for 1851 opened at almost exactly the middle of the 19^th century. Its plot juxtaposes 1848, Chartism and republicanism, with 1851 and the coming Great Exhibition. Using Novelty Fair as inspiration, this book brings together Victorian people, things and places typically understood to be unrelated. By juxtaposing urban fairs and the Great Exhibition, daguerreotypes and ballads, satirical shilling books and government backed design reform, blackface performers and middle-class paterfamilias, a strikingly different picture of mid 19^th-century culture emerges. Rather than a clean break between revolution and exhibition, class-consciousness and consumerism, popular and didactic, risqué and respectable, an examination of a wide range of sources reveals these themes to be interdependent and mutually defined. As a result, the years of Chartism and the Great Exhibition are shown to be far more contested than previously recognized, with bourgeois forms and strategies under stress in a period that has often been seen as a triumphant one for that class.

The book addresses late-Soviet and post-Soviet art in Armenia in the context of turbulent social, political and cultural transformations in the late 1980s, throughout the 1990s and in early 2000s through the aesthetic figure of the ‘painterly real’ and its conceptual transformations. It explores the emergence of ‘contemporary art’ in Armenia from within and in opposition to the practices, aesthetics and institutions of Socialist Realism and National Modernism. The book presents the argument that avant-garde art best captures the historical and social contradictions of the period of the so-called ‘transition,’ especially if one considers ‘transition’ from the perspective of the former Soviet republics that have been consistently marginalized in Russian- and East European-dominated post-Socialist studies. Throughout the two decades that encompass the chronological scope of this work, contemporary art has encapsulated the difficult dilemmas of autonomy and social participation, innovation and tradition, progressive political ethos and national identification, the problematic of communication with the world outside of Armenia’s borders, dreams of subjective freedom and the imperative to find an identity in the new circumstances after the collapse of the Soviet Union. This historical study outlines the politics (liberal democracy), aesthetics (autonomous art secured by the gesture of the individual artist), and ethics (ideals of absolute freedom and radical individualism) of contemporary art in Armenia. Through the historical investigation, a theory of post-Soviet art historiography is developed, one that is based on a dialectic of rupture and continuity in relation to the Soviet past. As the first English-language study on contemporary art in Armenia, the book is of prime interest for artists, scholars, curators and critics interested in post-Soviet art and culture and in global art historiography.

Staging art and Chineseness is about the politics of borders ascribed to Chinese contemporary art and the identification of artists by locations and exhibitions. The paradoxical subject of Chineseness is central to this inquiry, which begins with the question, what does the term Chinese Art mean in the aftermath of the globalized shift in art? Through an exploration of embodied and performative representations (including eco-feminist performances) by artists from China and diasporic locations, the case studies in this book put to the test the very premise of the genealogical inscription for cultural objects attributed to the residency, homeland, or citizenship of the Chinese artist. Acknowledging the orientalist assumptions and appropriations that Chineseness also signifies, this study connects the artistic performance to the greater historical scope of ‘geographical consciousness’ envisioned by past and present global expositions. The emergence of China’s shiyan meishu experimental art movement in the 1980s–1990s has largely been the defining focus for ‘global art’ during the period when artfairs, biennials, and triennials also came into prominence as the new globalized art institution (exemplified by China’s first biennial in Guangzhou). The political aim is to recognize the multiple contradictions and repetitions of history engendered by art, nationalism, and capital in the legacy of Althusserian/Maoist interpellations – the reifications of global capitalist illusions in the twenty-first century are conveyed in this book by performative artistic expressions and the temporal space of the exposition.