Bloomsbury Visual Arts – serie

Teaching Fashion Studies is the definitive resource for instructors of fashion studies at the undergraduate level and beyond. The first of its kind, it offers extensive, practical support for both seasoned instructors and those at the start of an academic career, in addition to interdisciplinary educators looking to integrate fashion into their classes.Informed by the latest research in the field and written by an international team of experts, Teaching Fashion Studies equips educators with a diverse collection of exercises, assignments, and pedagogical reflections on teaching fashion across disciplines. Each chapter offers an assignment, with guidance on how to effectively implement it in the classroom, as well as reflections on pedagogical strategies and student learning outcomes.Facilitating the integration of practice and theory in the classroom, topics include: the business of fashion; the media and popular culture; ethics and sustainability; globalization; history; identity; trend forecasting; and fashion design.

Gone are the days when fashion relied on a runway launch with coinciding press promotions to show a couturier’s new range. Today, design houses are thinking beyond traditional methods of display to stimulate interest in their collections, such as to the internet, fashion film and, more recently, fashion installations. This book offers a critical evaluation of the changing ways in which fashion has been exhibited, focusing specifically on the recent turn toward installation, whether in the form of static presentations, interactive performances or the more conventional curated designer exhibition. Connecting viewers – and consumers – on an immersive level, the fashion world has begun to appropriate installation methods traditionally associated with displays of experimental art, transcending the runway system and its constraints. This book turns to the designers who have pioneered fashion installations, such as Aitor Throup, Muccia Prada, Walter Van Beirendonck and Hussein Chalayan among others, and also looks back to the early influential fashion displays by designers such as Worth and Poiret to provide historical context. Divided into three parts, and covering a variety of installations from Vivienne Westwood’s fashioned ‘concept’ stores to Gareth Pugh’s immersive films, this ground-breaking book positions the designer as the curator and exhibition-maker and offers the first focused study of the pertinent concept of fashion installation.

CRITS: A Student Manual is a practical guide to help art and design students obtain maximum benefits from the most common method of teaching these subjects in college: the studio critique. CRITS positions studio critiques as positive, productive, and inspirational means to foster development – not occasions to be feared. It explains the requisite skills, knowledge, and attitudes for meaningful and motivational participation in critiques. CRITS teaches students the hows and whys of critiques so that they can gain enriching benefits from their instructors and peers during and after critiques.Renowned author Terry Barrett informs, guides, and reassures students on the potential value of studio critiques. Filled with real-life examples of what works well, and what doesn’t, Barrett provides readers with the tools to see crits as opportunities to participate, observe, reflect, and develop – improving art and design engagement at all levels.

This book takes a timely look at how Scotland’s national politics have been expressed in its buildings, exploring the role the architecture of Scotland – in particular its world-famous ‘castle architecture’ – has played the ongoing narrative of Scots national identity.Scotch Baronial examines many of the country’s most important historic buildings – from the palaces left behind by the ‘lost’ monarchy, to revivalist castles and proud town halls – examining their architectural styles and tracing their wildly fluctuating political and national connotations. An introduction to a key episode in British architectural history, and a valuable resource for anyone studying the role of architecture in narratives of nationalism and empire globally, Scotch Baronial ends by bringing the story into the 21st century, exploring how contemporary ‘neo-modernist’ architecture in today’s Scotland, as exemplified in the Holyrood parliament, relates to concepts of national identity in architecture over the previous centuries.

This is the first book to closely examine the curatorial work that the celebrated poet Frank O’Hara (1926-1966) undertook for the Museum of Modern Art in New York and abroad.Upon his premature death, the New York Times obituary ran with the headline: ‘Frank O’Hara, 40, Museum Curator / Exhibitions Aide at Modern Art Dies – Also a Poet’. However, in the half a century since, O’Hara’s fascinating career as a curator, where he oversaw exhibitions of the likes of Jackson Pollock, Helen Frankenthaler, David Smith, and Larry Rivers, among others, has been eclipsed by the critical attention given over to his poetry. Drawing on a broad range of unpublished archival material, the book reveals the impact O’Hara’s curatorial work had both on the reception of American modern art abroad and on the curatorial profession itself.It focuses on his travelling exhibitions for MoMA’s International Program, a vehicle for soft power during the fraught years of the cultural Cold War, exposing him to new art, artists, and cities, while developing important transnational networks far from New York, from Madrid to Venice, Zagreb to Otterlo.Bringing together close readings of O’Hara’s poems and unpublished letters with a selection of archival illustrations, Holman argues for O’Hara’s sense of exuberant continuity between life as a writer and a curator, an American and a cosmopolitan – revealing that he was so much more besides the quintessential New York poet. It is perfect reading for anyone interested in American art in the mid-20th century, curatorial and museum studies, or simply this lesser known but fascinating aspect of the legendary poet’s career.

Architectural Encounters in Asia Pacific explores the architecture of colonial trade and industry, revealing a complex network of transnational connections across the built heritage of the world’s most dispersed and culturally diverse region.A wide-ranging collection of case studies uncover these forgotten connections, drawing together stories of migratory architects, imperial commodities, and indentured labour. From Iran to Tasmania, Japan to Java, and Imperial China to the Pacific Islands, the chapters reveal how remnants of colonial trade and industry shed light on the many multi-faceted mobilities of the imperial age, and their enduring legacy in the postcolonial built environments of Australasia, the Pacific, Southeast Asia and beyond. The chapters also reveal deep strands of cultural influences and material imprints long neglected by national histories of architecture, and showcase new methodologies to analyse the interconnectivities and bordering practices which are shaping our experiences of the 21st century.With almost every chapter arising from new archival sources, this richly interdisciplinary volume brings together the work of architectural historians, geographers and heritage practitioners to provide a new understanding of the rich and contested history of this region.

Winner of the Mark A. Roglán Publication Award 2025 for exemplary scholarship on Spanish art between 1820 and 1920 from the Meadows Museum’s Custard Institute for Spanish Art and Culture, Dallas.Richly illustrated, this is the first study in English to explore the longevity of Orientalist art in Spain over a period of 120 years.It highlights how artists in Spain shaped perceptions of Al-Andalus (Iberia under Islam 711–1492) and northern Morocco, from Spain’s liberal revolution of the 1830s to the end of the Protectorate of Morocco in 1956. Combining art history with a cultural studies approach, and using exemplary case studies, Hopkins foregrounds the diverse issues that underpin Orientalist expression: reflections on history and the nation, cultural nationalism, gender and sexuality, aesthetics and art commerce, colonialism and racial thinking. In the process, the book challenges over-familiar understandings of Western Orientalism.Beyond Fortuny and Sorolla, many unfamiliar artists and exhibitions are introduced, amongst them Villaamil, whose nostalgic landscapes evoked the loss of Andalusi culture; Bécquer, who celebrated Spanish-Moroccan peace-making through the lens of Velázquez; the Symbolist Rusiñol, whose images of the Alhambra are infused with melancholy; Morcillo, whose extraordinary camp images opened a new space for male subjectivity; Tapiró and Bertuchi, who dedicated their lives to Morocco, and the Moroccan Sarghini, who participated in the state-funded Painters of Africa exhibitions in Franco’s Madrid – an annual exhibition that served the colonial concept of a Hispano-Moroccan brotherhood under the dictatorship.This book traces the shifting impulses and meanings of Orientalist expression in Spain. It makes an original intervention in the field of Spanish art studies and contributes new material to the ongoing debates about Western Orientalism.

Drawing new lines between the creative practices of influential Antwerp designers from the 1980s to the 2020s, this vibrant study dissects how menswear, male bodies, and male sexuality have been radically queered through the lens of a crucial epicentre of avant-garde fashion.Retracing and updating historical narratives of the Antwerp fashion scene, Queering Masculinities in Antwerp Fashion expands the focus from the ‘Antwerp Six’ to a new generation of radical designers. From Walter Van Beirendonck and Dirk Bikkembergs to Raf Simons, Bernhard Willhelm, and Glenn Martens, these designers variously use disruptive fashion practices to move beyond gender binaries, affirm non-normative bodies, and embody queer sexual politics through coded and explicit sexual references. Through archival material from Belgian and international fashion museums – from fashion show and campaign photographs to invitations and look-books – and interviews with key figures from the scene, Antwerp emerges as a major, vibrant context for questioning and queering masculinities through vanguardist fashion practice.Integrating rich case studies with key theoretical perspectives, Nicola Brajato offers a conceptual framework for engaging critically with cultural shifts in masculinities, men’s fashion, and identity.

Over the course of the last 180 years, designers have transformed fashion from an elite craft into a cornerstone of global popular culture.This brilliantly written classic guide to the lives and collections of 59 iconic fashion designers was first published in 2009 and is now available in this fully revised and expanded third edition. It draws on the latest academic research and the best of fashion journalism, including the authors’ own interviews with designers. Beginning with Charles Frederick Worth and concluding with the star names of the twenty-first century, the book details each designer's working methods and career highlights with engaging essays that capture the spirit of their times.This new edition widens its remit to explore designers making waves beyond the Western world. It features six new designer profiles: Virgil Abloh, Iris van Herpen, Japan’s Nigo, China’s Uma Wang, India’s Sabyasachi and Nigeria’s Shade Thomas-Fahm. The text has also been updated throughout to reflect growing concern within the fashion world over sustainability issues, and to document a business in constant ferment, with designers swapping jobs and fashion houses at unprecedented speed. The Great Fashion Designers explores these designers' passion and flair, showcasing fashion at its most inspirational.

"Full of surprises [and] evocative." The Spectator "Passionately written." Apollo "An extraordinary accomplishment." Edmund de Waal "Monumental." Times Literary Supplement"An epic reshaping of ceramic art." Crafts "An important book." The Arts Society Magazine In his major new history, Paul Greenhalgh tells the story of ceramics as a story of human civilisation, from the Ancient Greeks to the present day. As a core craft technology, pottery has underpinned domesticity, business, religion, recreation, architecture, and art for millennia. Indeed, the history of ceramics parallels the development of human society.This fascinating and very human history traces the story of ceramic art and industry from the Ancient Greeks to the Romans and the medieval world; Islamic ceramic cultures and their influence on the Italian Renaissance; Chinese and European porcelain production; modernity and Art Nouveau; the rise of the studio potter, Art Deco, International Style and Mid-Century Modern, and finally, the contemporary explosion of ceramic making and the postmodern potter. Interwoven in this journey through time and place is the story of the pots themselves, the culture of the ceramics, and their character and meaning. Ceramics have had a presence in virtually every country and historical period, and have worked as a commodity servicing every social class. They are omnipresent: a ubiquitous art. Ceramic culture is a clear, unique, definable thing, and has an internal logic that holds it together through millennia. Hence ceramics is the most peculiar and extraordinary of all the arts. At once cheap, expensive, elite, plebeian, high-tech, low-tech, exotic, eccentric, comic, tragic, spiritual, and secular, it has revealed itself to be as fluid as the mud it is made from.Ceramics are the very stuff of how civilized life was, and is, led. This then is the story of human society's most surprising core causes and effects.