Penny Florence – författare

This innovative book poses two, deceptively simple, questions: what is a sculpture garden, and what happens when you give equal weight to the main elements of landscape, planting and artwork? Its wide-ranging frame of reference, including the USA, Europe and Japan, is brought into focus through Tremenheere Sculpture Garden, Cornwall, with which the book begins and ends. Effectively less than 15 years old, and largely the work of one man, Tremenheere affords an opportunity to examine as work-in-progress the creation of a new kind of sculpture garden. Including a historical overview, the book traverses multiple ways of seeing and experiencing sculpture gardens, culminating in an exploration of their relevance as 'cultural ecology' in the context of globalisation, urbanisation and climate change. The thinking here is non-dualist and broadly aligned with New Materialisms and Material Feminisms to explore our place as humans in the non-human world on which we depend. Eminent contributors, including John Dixon Hunt, George Descombes, Bernard Lassus and David Leatherbarrow, approach these issues through practices and theories of landscape architecture; garden and art making; history and writing; and philosophy.Richly illustrated with over 100 images, including a colour plate section, the book will primarily appeal to those engaged in professional or academic research, along with sculpture garden visitors, who will find new and surprising ways of experiencing plants and art in natural and urban settings.

This innovative book poses two, deceptively simple, questions: what is a sculpture garden, and what happens when you give equal weight to the main elements of landscape, planting and artwork? Its wide-ranging frame of reference, including the USA, Europe and Japan, is brought into focus through Tremenheere Sculpture Garden, Cornwall, with which the book begins and ends. Effectively less than 15 years old, and largely the work of one man, Tremenheere affords an opportunity to examine as work-in-progress the creation of a new kind of sculpture garden. Including a historical overview, the book traverses multiple ways of seeing and experiencing sculpture gardens, culminating in an exploration of their relevance as 'cultural ecology' in the context of globalisation, urbanisation and climate change. The thinking here is non-dualist and broadly aligned with New Materialisms and Material Feminisms to explore our place as humans in the non-human world on which we depend. Eminent contributors, including John Dixon Hunt, George Descombes, Bernard Lassus and David Leatherbarrow, approach these issues through practices and theories of landscape architecture; garden and art making; history and writing; and philosophy.Richly illustrated with over 100 images, including a colour plate section, the book will primarily appeal to those engaged in professional or academic research, along with sculpture garden visitors, who will find new and surprising ways of experiencing plants and art in natural and urban settings.

This study, first published in 1986, is an examination of the many facets of Mallarmés relationship to the visual arts. Dr Florence proceeds by analysing Mallarmés writing on painting and literature, and its bearing on specific paintings, lithographs, and poems. These analyses reveal and define important common structures and innovatory developments, the coherence of which is masked by conventional histories of art. A new relationship is revealed between the word and the image, which has significant implications for an understanding of the self and the world in these texts. The book is particularly original in two respects: first, it shows how developments in verbal and visual innovation are interdependent in Mallarmés work; second, it integrates hitherto discrete traditions of the avant-garde in painting to present a new perspective on the history of modernism.

This title was first published in 2000. This is an interdisciplinary and international collection on aesthetics with contributions from artists and philosophers and the range of thinkers about art in between. It aims to provide a forum for the kinds of question that used to be addressed within traditional aesthetics, but which have until recently been sidelined in critical writing about art and indeed in many of the most important art practices. The collection as a whole is situated in relation to feminists' approaches, but the editors hope that it will not be read as limited to them.

This title was first published in 2000. This is an interdisciplinary and international collection on aesthetics with contributions from artists and philosophers and the range of thinkers about art in between. It aims to provide a forum for the kinds of question that used to be addressed within traditional aesthetics, but which have until recently been sidelined in critical writing about art and indeed in many of the most important art practices. The collection as a whole is situated in relation to feminists' approaches, but the editors hope that it will not be read as limited to them.

In this selection of recent essays, Pollock insightfully engages all major areas of contemporary theory, especially focusing on sexed subjectivities, post-colonialism and Marxist-informed history. In her commentary, Penny Florence places Pollock's critique of modernism, art history, and criticism within the context of the social, political, and ideological developments that have taken place since the 1970s. Florence recognizes in Pollock's work a critical model that moves beyond the contradictions that take place within the history of art. Pollock's own essays and Florence's commentary elaborate the complexities in evaluating this prominent theorist and feminist, whose work demands a capacity to sustain contradiction.