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The history of modernity written as a philosophy if fashion, set in the cultural framework of Paris.
A cultural and historical philosophy of fashion in economic and social life from the 1830s to the present day Ulrich Lehmann brings together methods and ideas from social sciences and material production to offer a new political reading of fashion in today's post-democracy. Accessing rare source material across a wide range of European languages and cultures, he offers insight into new working structures in the manufacture of garments and textiles.
Between the two world wars, Paris served as the setting for unparalleled freedom for expatriate as well as native-born French women, who enjoyed unprecedented access to education and opportunities to participate in public, artistic and intellectual life. Many of these women--including Colette, Tamara de Lempicka, Sonia Delaunay, Djuna Barnes, Augusta Savage, and Lee Miller--made lasting contributions to art and literature.
Fashioned in the North showcases stories of images, photographers, publications and institutions that have attracted minimal attention outside the local Nordic academic community. The authors of the book examine the reasons for, and implications of this underexposure – to use a photographic metaphor. The domain of fashion photography studies is widened here and the texts challenge often taken for granted ideas of centre and periphery in the discipline. The hybridity of this approach adds new nuances that enrich the knowledge in the field. The contributors discuss fashion photography as a trans national phenomenon, a material object, as medium and part of a media system, and as the result of archival systems and history writings. They show how in depth studies of this kind can offer so much more than focusing on but a few agents, iconic images, individual or periodic style. Indeed, case studies like these serve as a prism through which we can reveal cultural, social, economic and ideological aspects of society as these are reflected in fashion photography.
The contributions in this volume are all related to one of Ulrich Broich's main fields of research and teaching, the way stories are told in the various literary genres. The papers range from Chaucer to 20th-century literature; they discuss poems, prologues, plays and novels, French philosophers and English sermons, the Anglo-Boer War and totalitarianism.
Assembling the foremost scholars in this innovative, distinctive and expanding subject, internationally well-known critical theorists John Armitage and Joanne Roberts present a ground-breaking aesthetic, design-led and media-related examination of the relations between historical and, crucially, contemporary ideas of luxury. Critical Luxury Studies offers a technoculturally inspired survey of the mediated arts and design, as well as a means of comprehending the socio-economic order with novel philosophical tools and critical methods of interrogation that are re-defining the concept of luxury in the 21st century.
Nan Goldin shoots campaigns for Prada, David LaChapelle does Camel cigarette ads, and Jurgen Teller got his start photographing models in i-D, W, and The Face. The debate between aesthetic images and commercial pressure has perhaps never been so relevant and complex as it is today, with the increasing commercialization of the art world, the not insignificant exploratory aspects of fashion photography, and our constantly expanding realm of visual references. To study these tensions and overlaps, Chic Clicks invited some 40 photographers to present both their free work and their published editorials from fashion magazines and advertising campaigns. Photographers well-known for their commercial work offer personal and exploratory prints; those who gained prominence in the fine arts display work they were subsequently hired to do for fashion companies and magazines. Accompanying essays approach fashion photography from various perspectives, from that of cutting-edge fashion magazines to the field of contemporary art photography.
Tracey Emin has undergone an extraordinary metamorphosis from a young, unknown artist into the 'bad girl' of the Young British Art (yBA) movement, challenging the complacency of the art establishment in both her work and her life. Today she is arguably the doyenne of the British art scene and attracts more acclaim than controversy. Her work is known by a wide audience, yet rarely receives the critical attention it deserves. In Art Into Life: Essays on Tracey Emin writers from a range of art historical, artistic and curatorial perspectives examine how Emin's art, life and celebrity status have become inextricably intertwined. This innovative collection explores Emin's intersectional identity, including her Turkish-Cypriot heritage, ageing and sexuality, reflects on her early years as an artist, and debates issues of autobiography, self-presentation and performativity alongside the multi-media exchanges of her work and the tensions between art and craft. With its discussions of the central themes of Emin's art, attention to key works such as My Bed, and accessible theorization of her creative practice, Art into Life will interest a broad readership.