INDEPENDENT PUBLISHER OF BILINGUAL SCHOLARLY BOOKS IN THE HUMANITIES AND SOCIAL SCIENCES

Search

Browse

Anthropology (22) Art (136) Business and Finance (34) Cognitive Science and Psychology (42) Communication and Journalism (33) Economics (106) Education (50) History (123) Human Geography (19) Interdisciplinary (29) Language and Linguistics (120) Law (12) Music Studies (14) Philosophy (176) Political Science and International Relations (92) Sociology (287) Statistics and Quantitative Methods (17) Philosophy (48) Series in Literary Studies (37) Education (37) Sociology (32) Politics (23) World History (21) Language and Linguistics (18) Bridging Languages and Scholarship (17) Art (17) Cognitive Science and Psychology (15) Series in American History (14) Philosophy of Religion (14) Critical Perspectives on Social Science (12) Anthropology (11) Business and Finance (11) Cinema and Culture (11) Economics (11) Curating and Interpreting Culture (10) History of Art (10) Music (9) Law (8) Series in Critical Media Studies (7) Economic Methodology (7) Vernon Classics in Economics (6) Communication (6) Philosophy of Forgiveness (5) Philosophy of Personalism (5) Series on Climate Change and Society (5) Economic Development (5) Economic History (5) Performing Arts (5) Series in Built Environment (4) History of Science (4) Series in Contemporary History (3) Series in Creative Writing Studies (3) Women's Studies (3) Serie en Sociología (2) Series in Innovation Studies (2) Series in Philosophy of Science (2) The Interdisciplinary Built Environment (2) Serie en Entorno Construido (1) Serie en Estudios Culturales (1) Serie En Estudios Literarios (1) Serie en Filosofía (1) Series in Classical Studies (1) Series in Design (1) Series in Heritage Studies (1) Series in Social Equality and Justice (1) Series in Urban Studies (1) Economics of Technological Change (1) English Spanish
by Author


Browsing with filters

Series: Vernon Series on the History of Art

Ephemeral Coast: Visualizing Coastal Climate Change

Edited by Celina Jeffery, University of Ottawa

March 2022 / ISBN: 978-1-64889-424-4
Availability: In stock
204pp. [Color] ¦ $113 £86 €95

'Ephemeral Coast: Visualizing Coastal Climate Change' considers the ways that art can offer a means through which to discover, analyze, re-imagine and re-frame emotive discourses about the ecological and cultural transformations of the coastline. This edited anthology takes ephemerality as its central conceptual and methodological framework and presents a series of essays that create interconnections between environmental and social considerations of the coast, a succession of embodied creative practices, and shifting regional geographic identities. The book presents a series of specific case studies of artistic practices and strategies that seek to capture the rewriting of cartographic maps that are being reshaped by rising seas, coastal flooding and catastrophic weather. The essays in this edited volume engender creative strategies for understanding new and uncertain coastal ecologies and the loss, expulsion or destruction of their associated cultures, habitats, species and ecosystems. The anthology also looks at the historical, mnemonic and contemporary transitional conditions of ‘conflicted’ coastal spaces in which empire, modernity and globalization press on coastal erosion and incursions, proliferate it with trivial plastics, pollution and disposable attitudes, and bring vulnerable communities into uncertain futures.

Ephemeral Coast: Visualizing Coastal Climate Change

Edited by Celina Jeffery, University of Ottawa

March 2022 / ISBN: 978-1-64889-409-1
Availability: In stock
204pp. ¦ $81 £63 €70

'Ephemeral Coast: Visualizing Coastal Climate Change' considers the ways that art can offer a means through which to discover, analyze, re-imagine and re-frame emotive discourses about the ecological and cultural transformations of the coastline. This edited anthology takes ephemerality as its central conceptual and methodological framework and presents a series of essays that create interconnections between environmental and social considerations of the coast, a succession of embodied creative practices, and shifting regional geographic identities. The book presents a series of specific case studies of artistic practices and strategies that seek to capture the rewriting of cartographic maps that are being reshaped by rising seas, coastal flooding and catastrophic weather. The essays in this edited volume engender creative strategies for understanding new and uncertain coastal ecologies and the loss, expulsion or destruction of their associated cultures, habitats, species and ecosystems. The anthology also looks at the historical, mnemonic and contemporary transitional conditions of ‘conflicted’ coastal spaces in which empire, modernity and globalization press on coastal erosion and incursions, proliferate it with trivial plastics, pollution and disposable attitudes, and bring vulnerable communities into uncertain futures.

Art Judgements: Art on Trial in Russia after Perestroika

Sandra Frimmel, University of Zurich

November 2021 / ISBN: 978-1-62273-277-7
Availability: In stock
318pp. ¦ $69 £50 €57

An unusually large number of court cases against art, artists, and curators have taken place in Russia since the turn of the century. In reference to two of the most prominent, against the organizers of the exhibitions 'Caution, Religion!' and 'Forbidden Art 2006', the author examines the ways in which the meaning of art and its socio-political effects are argued in court: How do these trials attempt to establish a normative concept of art, and furthermore a binding juridical understanding of art? How is the discussion of what is permissible in art being framed in Russia today? Research into the post-Soviet art trials has been mainly journal-driven until today. Only the fairly recent trials of the Pussy Riot activists and Pyotr Pavlensky provoked lengthy publications, but these are mostly concerned with explicitly political and activist art rather than its particular discourse when on trial. This book, however, takes a scholarly approach towards (Russian) art on trial. It puts the cases in a national-historical context, which is compared from international perspectives, and particularly focuses on the way in which these proceedings have intensified juridical power over artistic freedom (of speech) in the production of art in Russia. This book will appeal to academics and students in the areas of art history, cultural science, sociology, and Slavic studies, as well as jurists, curators and museum specialists, researchers and employees in cultural institutions.

Duncan and Marjorie Phillips and America’s First Museum of Modern Art

Pamela Carter-Birken

March 2021 / ISBN: 978-1-64889-212-7
Availability: In stock
176pp. [Color] ¦ $75 £55 €62

He was born to privilege and sought the world of art. She lived at the center of that world—a working artist encouraged by the famous artists in her extended family. Together, Duncan Phillips and Marjorie Acker Phillips founded The Phillips Collection in Washington, D.C., the first museum of modern art in America. It opened in the grand Phillips family home in 1921, eight years before New York City’s Museum of Modern Art and only a few weeks after they wed. Duncan took the lead in developing the collection and showcasing it. Marjorie kept space and time to paint. Duncan considered Marjorie a partner in the museum even though she was not directly involved in all purchasing and presentation decisions. To him, her influence was omnipresent. Although Duncan’s writings on artists and art history were widely published, he chose not to provide much instruction for visitors to the museum. Instead, he combined signature methods of displaying art which live on at The Phillips Collection. Phillips had viewers in mind when he hung American art with European art—or art of the past with modern art, and he frequently rearranged works to stimulate fresh encounters. With unfettered access to archival material, author Pamela Carter-Birken argues that The Phillips Collection’s relevancy comes from Duncan Phillips’s commitment to providing optimal conditions for personal exploration of art. In-depth collecting of certain artists was one of Phillips’s methods of encouraging independent thinking in viewers. Paintings by Pierre Bonnard, Arthur Dove, Georgia O’Keeffe, John Marin, Jacob Lawrence, and Mark Rothko provide testament to the power of America’s first museum of modern art.

Duncan and Marjorie Phillips and America’s First Museum of Modern Art

Pamela Carter-Birken

March 2021 / ISBN: 978-1-64889-107-6
Availability: In stock
176pp. ¦ $43 £32 €36

He was born to privilege and sought the world of art. She lived at the center of that world—a working artist encouraged by the famous artists in her extended family. Together, Duncan Phillips and Marjorie Acker Phillips founded The Phillips Collection in Washington, D.C., the first museum of modern art in America. It opened in the grand Phillips family home in 1921, eight years before New York City’s Museum of Modern Art and only a few weeks after they wed. Duncan took the lead in developing the collection and showcasing it. Marjorie kept space and time to paint. Duncan considered Marjorie a partner in the museum even though she was not directly involved in all purchasing and presentation decisions. To him, her influence was omnipresent. Although Duncan’s writings on artists and art history were widely published, he chose not to provide much instruction for visitors to the museum. Instead, he combined signature methods of displaying art which live on at The Phillips Collection. Phillips had viewers in mind when he hung American art with European art—or art of the past with modern art, and he frequently rearranged works to stimulate fresh encounters. With unfettered access to archival material, author Pamela Carter-Birken argues that The Phillips Collection’s relevancy comes from Duncan Phillips’s commitment to providing optimal conditions for personal exploration of art. In-depth collecting of certain artists was one of Phillips’s methods of encouraging independent thinking in viewers. Paintings by Pierre Bonnard, Arthur Dove, Georgia O’Keeffe, John Marin, Jacob Lawrence, and Mark Rothko provide testament to the power of America’s first museum of modern art.

EV MDC SSL