Angels Of Anarchy

The most comprehensive and up-to-date survey available about women Surrealists features an outstanding array of artists from the early twentieth century to modern times.

Our homes contain us, but they are also within us. They can represent places to be ourselves, to recollect childhood memories, or to withdraw into adult spaces of intimacy; they can be sites for developing rituals, family relationships, and acting out cultural expectations. Like the personal, social, and cultural elements out of which they are constructed, homes can be not only comforting, but threatening too. The home is a rich theme running through post-war western art, and it continues to engage contemporary artists today - yet it has been the subject of relatively little critical writing. Art and the Home: Comfort, Alienation and the Everyday is the first single-authored, up-to-date book on the subject. Imogen Racz provides a theme-led discussion about how the physical experience of the dwelling space and the psychological complexities of the domestic are manifested in art, focusing mainly on sculpture, installation and object-based practice; discussing the work and ideas of artists as diverse as Louise Bourgeois, Gordon Matta-Clark, George Segal and Cornelia Parker within their artistic and cultural contexts.

This book explores the ethical, clinical and legal issues surrounding the care and treatment of children with identity disorder (GID), proposing ways of valuing gender diversity, and stressing the responsibilities that a civil society should have towards trans-youth.

Whether dancing on the rooftops in Paris, sharing ideas with Pablo Picasso, or gathering starfish on the beaches of Cornwall, Eileen Agar (18991991) transformed the everyday into the extraordinary. Her legacy as a pioneering figure in the Surrealist movement is firmly established, and her work continues to captivate audiences with its otherworldly beauty and imaginative power. Agars life was no less extraordinary than her art. Here, she traces her life from her birth in Argentina to the late 1980s. She gives an intimate account of very different worlds: grand house parties in Buenos Aires and Belgravia as a young girl give way to la vie bohème in London and Paris, and a peripatetic existence with her lifelong partner, Hungarian writer Joseph Bard. She enjoyed enriching friendships with contemporaries Paul Nash, Ezra Pound, Evelyn Waugh, Gertrude Hermes and Henry Moore, while a summer spent in the South of France with Picasso, Lee Miller and Man Ray had a lasting impact. Agar introduces them and many others into the narrative of her artistic development; above all, it is Agars own unwavering resilience, infectious energy and drive that permeates this compelling memoir. Bringing her work to life in all its vibrancy and variety, this updated autobiography is populated with Agars own personal selection of photographs of family, friends and lovers alongside over fifty colour illustrations of collages, paintings and assemblages spanning her lifes work.

Rooted in a long and diverse genealogy, biographical approaches have developed from a focus upon a single story, a ‘life story’ and personal documents (e.g. diaries), to encompass (more routinely) autobiographical secondary and archival research and analysis - as well as multi-media, arts based creative multi-sensory methods. Biographical Research and practices as part of human understanding helps people to make sense of what has been and what is happening in their lives, cultures, communities and societies. Advances in Biographical Methods: Creative Applications takes up these themes: theorising, doing and applying current advances in biographical methods. It demonstrates the momentum with which they areas are developing as a field of scholarship, especially in relation to creative innovations and applications, such as in new forms of interview and other practices, and debates on its interlinking with art, performance and digital methods.

It's common knowledge that Eve gave Adam an apple. Everyone knows that George Washington was the first president of the United States. And when your mother told you not to go swimming right after you ate, you took it as a matter of life and death. But you've been myth-informed by legend, by history . . . even by your mother! The truth is: * Milk chocolate may actually help prevent tooth decay! * If you "eat like a bird," you may eat up to one-half your body weight every single day! * The largest city in America is not New York or Los Angeles, it's Jacksonville, Florida! Now you can face the facts -- on everything from aphrodisiacs to zip codes -- in this alphabetically arranged collection of more than 590 fabulous fallacies and memorable misconceptions. You won't know what you're missing until you've mastered MYTH INFORMATION.

Focusing on the later work of the American photographer Francesca Woodman (1958-1981), Claire Raymond takes up the question of the disintegrative condition of the art she produced in the last year of her life. Departing from the techniques of her earlier compositions, Woodman worked in the diazotype process for many of these late pieces, most importantly the monumental Blueprint for a Temple. Raymond shows that through her use of diazotype, a medium that breaks down when exposed to light, Woodman created art that is both supremely evocative aesthetically and inherently unstable physically. Woodman, Raymond contends, was imaginatively responding to the end of the durable image, a historical reality acknowledged in the way her work plays the ephemeral and evanescent against the monumental and enduring. Raymond focuses on the theoretical and the curatorial issues surrounding Woodman's diazotypes, a thematic and practical distress that haunts much of her later art, especially the artist's book and photo series Some Disordered Interior Geometries and Portrait of a Reputation. Rather than conceiving of Woodman herself as fragile, an artist chronicling and seeming to yearn for her own disappearance, Raymond juxtaposes Woodman's career-spanning documentation of her own image against other post-war witnesses of trauma - an artist standing in the museum ruins where she emerges most distinctly as a figure of postmodernity.