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Applied Arts in British Exile from 1933

Changing Visual and Material Culture

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Edited by Marian Malet, Rachel Dickson, Sarah MacDougall and Anna Nyburg

Yearbook Volume 19 continues an investigation which began with Arts in Exile in Britain 1933-45 (Volume 6, 2004). Twelve chapters, ten in English and two in German, address and analyse the significant contribution of émigrés across the applied arts, embracing mainstream practices such as photography, architecture, advertising, graphics, printing, textiles and illustration, alongside less well known fields of animation, typography and puppetry. New research adds to narratives surrounding familiar émigré names such as Oskar Kokoschka and Wolf Suschitzky, while revealing previously hidden contributions from lesser known practitioners. Overall, the volume provides a valuable addition to the understanding of the applied arts in Britain from the 1930s onwards, particularly highlighting difficulties faced by refugees attempting to continue fractured careers in a new homeland.

Contributors are: Rachel Dickson, Burcu Dogramaci, Deirdre Fernand, Fran Lloyd, David Low, John March, Sarah MacDougall, Anna Nyburg, Pauline Paucker, Ines Schlenker, Wilfried Weinke, and Julia Winckler.

Picturing America

Photography and the Sense of Place

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Edited by Kerstin Schmidt and Julia Isabel Faisst

Picturing America: Photography and the Sense of Place argues that photography is a prevalent practice of making American places. Its collected essays epitomize not only how pictures situate us in a specific place, but also how they create a sense of such mutable place-worlds. Understanding photographs as prime sites of knowledge production and advocates of socio-political transformations, a transnational set of scholars reveals how images enact both our perception and conception of American environments. They investigate the power photography yields in shaping our ideas of self, nation, and empire, of private and public space, through urban, landscape, wasteland and portrait photography. The volume radically reconfigures how pictures alter the development of American places in the past, present, and future.

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Edited by Isabelle Roussel-Gillet and Évelyne Thoizet

Dirigé par Roussel-Gillet et Evelyne Thoizet, La miniature, dispositif artistique et modèle épistémologique s’interroge sur les nouvelles fonctions de la miniature à la croisée des arts, de l’architecture, de la littérature, des sciences et des techniques, depuis le début des années 1960. Ludique, cognitive, didactique, la miniature permet d’abord d’approcher, de comprendre et de dominer la complexité du réel (maquette, modèle réduit, maison de poupée, diorama, aquarium, etc.) mais elle constitue aussi une œuvre d’art à part entière qui change notre rapport au monde et modifie notre regard. Contrairement au fragment et au détail, souvent étudiés, elle représente l’objet dans sa totalité en changeant d’échelle, et ouvre la connaissance et l’imagination à de nouveaux mondes.

Co-edited by Isabelle Roussel-Gillet and Evelyne Thoizet, La miniature, dispositif artistique et modèle épistémologique focuses on the new functions of the miniature at the crossroads of visual arts, architecture, literature, technology and sciences since the early 1960s. Playful, cognitive or didactic, the miniature (as model, dollhouse, aquarium, diorama…) allows us to approach, understand and perhaps dominate a complex reality. Many contemporary artists consider the miniature as a fully-fledged work of art which changes our relationships with the world and modifies our perception. Contrary to the often-studied detail, ornament or fragment, the miniature provides a complete vision of the depicted object in a different scale, and opens knowledge and imagination to new worlds.

The Rhetoric of Photography in Modern Japanese Literature

Materiality in the Visual Register as Narrated by Tanizaki Jun’ichirō, Abe Kōbō, Horie Toshiyuki and Kanai Mieko

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Atsuko Sakaki

In The Rhetoric of Photography in Modern Japanese Literature, Atsuko Sakaki closely examines photography-inspired texts by four Japanese novelists: Tanizaki Jun’ichirō (1886-1965), Abe Kōbō (1924-93), Horie Toshiyuki (b. 1964) and Kanai Mieko (b. 1947). As connoisseurs, practitioners or critics of this visual medium, these authors look beyond photographs’ status as images that document and verify empirical incidents and existences, articulating instead the physical process of photographic production and photographs’ material presence in human lives. This book offers insight into the engagement with photography in Japanese literary texts as a means of bringing forgotten subject-object dynamics to light. It calls for a fundamental reconfiguration of the parameters of modern print culture and its presumption of the transparency of agents of representation.

A Career of Japan

Baron Raimund von Stillfried and Early Yokohama Photography

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Luke Gartlan

A Career of Japan is the first study of one of the major photographers and personalities of nineteenth-century Japan. Baron Raimund von Stillfried was the most important foreign-born photographer of the Meiji era and one of the first globally active photographers of his generation. He played a key role in the international image of Japan and the adoption of photography within Japanese society itself. Yet, the lack of a thorough study of his activities, travels, and work has been a fundamental gap in both Japanese- and Western-language scholarship. Based on extensive new primary sources and unpublished documents from archives around the world, this book examines von Stillfried’s significance as a cultural mediator between Japan and Central Europe. It highlights the tensions and fierce competition that underpinned the globalising photographic industry at a site of cultural contact and exchange – treaty-port Yokohama. In the process, it raises key questions for Japanese visual culture, Habsburg studies, and cross-cultural histories of photography and globalisation.

A Career of Japan is the winner of the 2nd Professor Josef Kreiner Hosei University Award for International Studies (Kreiner Award).

“Luke Gartlan’s book is a compelling and enjoyable read, and contributes major new perspectives to the growing field of Meiji photography. It will certainly be the authoritative work on Raimund von Stillfried, but it is also impressive for its contributions to other important areas of Meiji cultural studies, including representations of the emperor, photography of Hokkaido, and world’s fairs.” Bert Winther-Tamaki (University of California, Irvine)

Photography in Asia is a peer reviewed book series dedicated to original scholarship on the history of photography in Asia, ranging from the appearance of the first daguerrotypes in the 19th century to contemporary photography.

This is a new series with an average of 0,5 volumes per year.

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Edited by Paul Pickowicz, Kuiyi SHEN and Yingjin ZHANG

This collection of original essays explores the rise of popular print media in China as it relates to the quest for modernity in the global metropolis of Shanghai from 1926 to 1945. It does this by offering the first extended look at the phenomenal influence of the Liangyou pictorial, The Young Companion, arguably the most exciting monthly periodical ever published in China. Special emphasis is placed on the profound social and cultural impact of this glittering publication at a pivotal time in China.

The essays explore the dynamic concept of "kaleidoscopic modernity" and offer individual case studies on the rise of "art" photography, the appeals of slick patent medicines, the resilience of female artists, the allure of aviation celebrities, the feistiness of women athletes, representations of modern masculinity, efforts to regulate the female body and female sexuality, and innovative research that locates the stunning impact of Liangyou in the broader context of related cultural developments in Tokyo and Seoul.

Contributors include: Paul W. Ricketts, Timothy J. Shea, Emily Baum, Maura Elizabeth Cunningham, Jun Lei, Amy O'Keefe, Hongjian Wang, Ha Yoon Jung, Lesley W. Ma, Tongyun Yin, and Wang Chuchu.

Through the Eye of Time

Photographs of Arunachal Pradesh, 1859-2006

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Stuart Blackburn and Michael Tarr

This is the first visual history of Arunachal Pradesh, a state in northeast India bordering on Tibet/China, Burma and Bhutan. Based on archival and field research, it illustrates a century and a half of cultural change in this culturally diverse and little-known region of the Himalayas.
More than 200 photographs, half archival and half contemporary, reveal that tribal cultures in this remote mountainous region have been continually reacting to external forces and initiating internal innovations.
The Introduction places the archival photographs in their wider context, emphasising the complexity of the colonial encounter and uncovering personal stories behind many of the images. The sequence of photographs, juxtaposing the historical and the contemporary, shows us the uneven and sometimes confusing mixture of past and present that is emerging in Arunachal Pradesh.

Edited by W.M. van Haarlem

Early Photographs from Egypt, 1880-1910

Selected photographs of ancient monuments, architecture, country and city life, and flora and fauna of Egypt; includes some of Greece and Turkey.

582 photographs.
The Freya Stark Photograph Collection

This collection of photographs, which this edition is publishing in its entirety for the first time, is a fascinating record of the remarkable travels of Dame Freya Stark, who died in May 1993 at the age of 100. After her death, the entire collection, which documents Freya's many visits to the Middle East and beyond, and consists of nearly 6,000 prints in 42 separate albums, was deposited in the archives of the Middle East Centre at St. Antony's College, Oxford. A point of special interest is that most of the photographs were taken with the same camera: a Leica III, which she bought in 1933 and used on all her travels.
Growing up in a liberal household - her parents were bohemian artists - Freya and her sister Vera enjoyed an unconventional childhood. Their mother Flora had been brought up in Italy, and the two sisters spent part of each year either at their grandmother's house in Genoa, or at the home of a friend of their father in Asolo, near Venice. Although Freya had no formal education until she entered London University's Bedford College at the age of eighteen, by the time she was seven she could already converse in four languages. This unusual accomplishment, and the long walks that she took on Dartmoor and in the Dolomites, made her a natural traveller. She was also a keen mountaineer, and climbed the Matterhorn shortly after the First World War. During the Great War she had worked as a nurse on the Italian-Austrian front.

The Levant
Freya had her first experience of the Middle East in 1927, when she spent three months with the Quaker Mission on the outskirts of Beirut improving the Arabic she had begun learning at home in 1921. In 1928 she moved to Damascus, and travelled on to Amman and Jerusalem before returning to Europe via Cairo. She was to make many return visits to the Levant: in 1977, at the age of 84, she visited it for the last time, when she made her famous journey down the Euphrates on a raft made of reeds.

Iraq and Kuwait
Freya visited Iraq for the first time in March 1929. Three years later she worked for a short time as a sub-editor on the English-language newspaper, The Baghdad Times. She made many subsequent visits to the country before, during and after the Second World War. She made her first visit to Kuwait in 1932 and returned to that country in 1937.

Persia
In 1930 she made her first visit to Persia, the present-day Iran. After a month in Hamadan improving her Farsi, she visited Alamut. In September 1931 she returned to Teheran after being informed of her father's death. She was to visit Teheran on one further occasion, in 1943, while she was on leave from her work for the Ministry of Information.

The Arabian Peninsula
It was in 1935 that Freya first visited the Hadrhamaut region of Yemen, returning in 1938 in the company of the archaeologist Gertrude Caton Thompson. In 1939 she was sent to Aden as Stewart Perowne's assistant in the Government Information Department. Freya married Stewart Perowne in 1947, but the marriage was not a success and they divorced in 1952. She visited Sana'a and North Yemen for the last time in 1976.

Egypt
On her way back to Europe following her first visit to the Middle East in 1927, Freya decided to make a short stay in Egypt. Later, in 1940, she was transferred to Cairo from Aden while working for the Ministry of Information. She visited Egypt for the last time in 1961.

Turkey
Freya made frequent visits to Turkey between 1952 and 1976, often combining them with side-trips either to Greece or, occasionally, to Syria and Iraq. The Collection includes no fewer than eleven albums of photographs of Turkey by far the largest number of photographs in the Collection to be devoted to a single country.

Libya, Greece and Tunisia
Freya's husband Stewart Perowne was appointed adviser to King Idris of Libya in 1950, and Freya joined him in Libya in March of that year. This was also to be the year that she made her first visit to Greece, a country she was to return to on several further occasions during the fifties and sixties. She visited Tunisia in 1960.
Over the course of her long life, Freya also visited Nepal, Afghanistan, India, Cambodia, China, Kenya and Cyprus. In 1948 she also spent five months in Barbados while her then husband was serving as Deputy Governor.
Freya Stark was the author of numerous travel books and several volumes of autobiography. Her strong personality enabled her to survive in societies that were both male-dominated and suspicious of outsiders. It would no longer be possible for a woman, travelling alone except for native helpers, to make the sort of journeys she made. She was indeed a remarkable character, and these photographs are a fitting testimony to her life, as well as being an invaluable record of a rapidly changing Middle East.

Diane Ring, St. Antony's College, The Middle East Centre