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The New Republic
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Pamela Colman Smith
Pamela Colman Smith’s illustrations for the Rider Waite tarot deck are known to millions worldwide, but her work took her from art galleries in New York and Europe to salons with luminaries of the English suffrage movement, the Irish literary revival, and friendships with Bram Stoker, W. B. Yeats, and G. K. Chesterton. A feminist artist, poet, folklorist, editor, publisher, and stage designer who was active from 1896 through the 1920s, Colman Smith became popular for her live performances of Jamaican folktales in both England and the U.S., using the creole of the island to capture the dramatic power of these tales while driving speculation about her purposefully indeterminate racial and sexual identity. She also travelled in - and was expelled from – occult circles, and her ability to take on and cast aside a wide range of identities was central to her life’s work. Colman Smith illustrated more than 20 books and well over a hundred magazine articles, wrote two collections of Jamaican folktales, and edited two magazines. Her paintings were exhibited in galleries in the U.S. and Europe.
Anthropological Perspectives on Technology
These fourteen original essays accept a dual premise: technology pervades and is embedded in all human activities. By taking that approach, studies of technology address two questions central in anthropological and archaeological research today-accounting for variability and change. These diverse yet interrelated chapters show that to understand human lives, researchers must deal with the material world that all peoples create and inhabit. Therefore an anthropology of technology is not a separate, discrete inquiry; instead, it is a way to connect how people make and use things to any activity studied, ranging from religion, to enculturation, to communication, to art. Each contributor discuss...
Dorothy Morland
This is the first, full-length biography of Dorothy Morland (1906-1999) who remains the only female Director of the Institute of Contemporary Arts (ICA) in London. The book traces her busy private and public life throughout the 1930s up until the 1990s. It is based on unpublished letters and other archival sources, as well as interviews and personal recollections. It tells the story of one of the unacknowledged contributors to the success of the ICA and to the understanding of the international avant garde in post-war Britain. As an arts administrator and a woman, Dorothy Morland's contribution has been largely overlooked and this book aims to highlight her significant contribution to the pu...
Art Historiography and Iconologies Between West and East
This volume explores a basic question in the historiography of art: the extent to which iconology was a homogenous research method in its own immutable right. By contributing to the rejection of the universalizing narrative, these case studies argue that there were many strands of iconology. Methods that differed from the ‘canonised’ approach of Panofsky were proposed by Godefridus Johannes Hoogewerff and Hans Sedlmayr. Researchers affiliated with the Warburg Institute in London also chose to distance themselves from Panofsky’s work. Poland, in turn, was the breeding ground for yet another distinct variety of iconology. In Communist Czechoslovakia there were attempts to develop a ‘Ma...
Artists Re:thinking the Blockchain
Artists Re:Thinking the Blockchain is the first book of its kind, intersecting artistic, speculative, conceptual and technical engagements with the the technology heralded as 2the new internet3. The book features a range of newly commissioned essays, fictions, illustration and art documentation exploring what the blockchain should and could mean for our collective futures. Imagined as a future-artefact of a time before the blockchain changed the world, and a protocol by which a community of thinkers can transform what that future might be, Artists Re:Thinking The Blockchain acts as a gathering and focusing of contemporary ideas surrounding this still largely mythical technology. The full col...
A Gust of Photo-Philia
The first transnational history of photography’s accommodation in the art museum Photography was long regarded as a “middle-brow” art by the art institution. Yet, at the turn of the millennium, it became the hot, global art of our time. In this book—part institutional history, part account of shifting photographic theories and practices—Alexandra Moschovi tells the story of photography’s accommodation in and as contemporary art in the art museum. Archival research of key exhibitions and the contrasting collecting policies of MoMA, Tate, the Guggenheim, the V&A, and the Centre Pompidou offer new insights into how art as photography and photography as art have been collected and exhibited since the 1930s. Moschovi argues that this accommodation not only changed photography’s status in art, culture, and society, but also played a significant role in the rebranding of the art museum as a cultural and social site.
