A New Art from Emerging Markets
Iain Robertson
How can the world's emerging markets, with newly acquired wealth, develop contemporary art which is both 'modern' and reflects their long cultural traditions and complex histories? A New Art From Emerging Markets sets out to address this question with specific reference to the contemporary art markets of China, South-East Asia, India, the Middle East and Central Asia.
Iain Robertson introduces and examines three types of emerging market for contemporary art: the very recently established, the maturing and the mature. In temporal terms, the youngest are no more than five years old; the maturing, fifteen years old; and the mature up to twenty-five years old. But time is only one measure of the market, because size and speed of growth provide other means of establishing where the market is placed.
As well as providing a survey of emerging art markets throughout the world, the book is concerned with looking at how value in non-Western contemporary art is constructed largely by external political events and economic factors rather than aesthetic considerations. For instance, Dubai's political risk has increased markedly with the threat of a terrorist attack in the Emirate: this has repercussions for one of the world's newest art-market hubs and will undoubtedly affect the progress of prices for Middle-Eastern and Indian art. The book also considers whether it is better to let a new art market grow organically, driven by commercial imperatives, or for the government to step in to construct a cultural and economic infrastructure within which an art market can be placed.
Written accessibly and engagingly for general readers as well as art professionals and investors, this book presents a fascinating overview of the historical context, cultural traditions and current political and economic factors affecting the market for contemporary art in these regions. It offers the collector, investor, speculator, observer and culturally interested individual a unique insight into where the new markets are and how they are likely to develop.
Contents:
Foreword; Acknowledgements; Chapter 1: Introduction. All Change in the Art Market; Chapter 2: The East Asian democracies: Taiwan, South Korea and Japan; Chapter 3: Greater China; Chapter 4: The Persianate Zone: Iran, Iraq, Pakistan and Afghanistan; Chapter 5: Hindustan: India; Chapter 6: South East Asia: Indonesia, Thailand, Vietnam, Philippines and Malaysia; Chapter 7: The Offshore Exchanges: Hong Kong, Singapore and the United Arab Emirates; Bibliography; Index.
About the Author:
Dr Iain Robertson is Head of Art Business Studies at Sotheby's Institute of Art, London. He is art- market editor and feature writer for The Art Market Report and adviser to the Asia Art Archive, Hong Kong. His previous publications include Understanding International Art Markets and Management (2005) and The Art Business (2008, co-edited with Derrick Chong).
Subjects:
Art and Visual Studies:
Art Business; Contemporary Art and Visual Studies; Asian Art; Middle Eastern Art and Visual Studies
Dewey Code:BIC Code:ABQ
Rights:Worldwide Exclusive
Includes 35 b&w illustrations
March 2011244 x 172 mm208 pages
Paperback978-1-84822-019-5c. £25.00
LH9B01NBI1012A
LUND HUMPHRIES
Clive Hicks-Jenkins
Edited by Peter Wakelin, with essays by Simon Callow, Damian Walford Davies, Andrew Green, Rex Harley, Kathe Koja, Anita Mills, Montserrat Prat, Jacqueline Thalmann and Marly Youmans.
Critic Nicholas Usherwood has described the painting of Clive Hicks-Jenkins (b.1951) as 'reflective, expressive painting of the highest order'. From a background as a choreographer and theatre director, Hicks-Jenkins has since the 1990s become increasingly well-known as a painter, producing exploratory sequences of works that embrace diverse subject-matter with a consistent and distinctive vision. His paintings are now held in all the principal public collections in Wales and his artists' books are in libraries worldwide; he is a Royal Cambrian Academician and an Honorary Fellow of Aberystwyth University.
This book is the first to survey Clive Hicks-Jenkins' work as a whole, and is published in celebration of the artist's 60th birthday. Its wide-ranging texts, written by poets, novelists and art historians based in Britain and the USA, address the themes inherent in Hicks-Jenkins' different bodies of work: the use of locations in his paintings; his interest in creating theatrical ensembles from familiar objects; the sequence of huge drawings inspired by the Welsh folk tradition of the Mari Lwyd; the important sequence of works made in response to the fragments of a Tuscan altarpiece at Christ Church Picture Gallery; paintings exploring stories of the miraculous; the influence of theatre in the artist's use of puppets as preparatory maquettes; the important role of drawing; the production of artist's books; and Hicks-Jenkins' dialogues with contemporary poets.
The book will be welcomed by the artist's growing following of supporters and collectors and by all those with an interest in contemporary narrative painting.
Contents:
Introduction; 'Places remember events'; What is a Still Life?; The Motions of Desire; Leaps of Faith - of Dancing and Drawing; The Mari Lwyd; The Temptations of Solitude; Fire in the Labyrinth; The Artist's Books; Hicks-Jenkins and Contemporary Poets; Autobiographical Note; Exhibitions and Collections; Bibliography; Index.
About the Author:
Peter Wakelin (editor) has written art criticism for various publications including Modern Painters and the Guardian, and has curated two exhibitions on 20th-century art for the National Museum of Wales, also writing the accompanying catalogues. Simon Callow is an acclaimed actor, director and writer, whose books include Being an Actor, Love is Where it Falls, My Life in Pieces and highly-regarded biographies of Charles Laughton and Orson Welles. Damian Walford Davies is Reader in English at the Department of English & Creative Writing at AberystwythUniversity and author of three collections of poetry. Andrew Green is Librarian of the National Library of Wales and writes and lectures widely on the transmission of culture and information. Rex Harley is a writer whose published work includes fiction, poetry and articles on the visual arts and music. Kathe Koja is a novelist based in Michigan whose published books include The Cipher, Skin and Headlong. Anita Mills was formerly Associate Professor and Chair of the ArtDepartment at St Cloud State University, Minnesota, where she taught drawing, design and printmaking. Montserrat Prat is a television producer whose recent work has included a documentary on religious art across Europe and a music film of Haydn's Seven Last Words. Jacqueline Thalmann is Curator of the Picture Gallery at ChristChurch, Oxford. Marly Youmans is a published poet, novelist and short-story writer described as 'the best-kept secret among contemporary American writers'.
Subjects:
Fine Art:
Modern British Painting; Painting; Contemporary Art and Visual Studies
Dewey Code:BIC Code:ACXJ
Rights:Worldwide Exclusive
Includes c. 150 colour illustrations
April 2011270 x 230 mmc. 200 pages
Hardback978-1-84822-082-9c. £35.00
LH9B01NBI1012A
LUND HUMPHRIES
Reading Photography
A Sourcebook of Critical Texts
Edited by Sri-Kartini Leet, University of Northampton, UK
The relatively new medium of photography has generated, from its inception, intense debate over its merits as an art form. (It was not until late in the twentieth century, for example, that colour photography was accepted in the canon of art historical scholarship.) In Reading Photography, Sri-Kartini Leet brings together over 100 extracts from writings on different themes in the medium to explore the art of photography.
Beginning with the historical origins of photography, she charts the changes from daguerrotype and formal portraits to the everyday and the emergence of modernism. By the 1920s well-known surrealist artists were using the photograph to develop experimental techniques. Colour, frequently sidelined in early photography, is considered in its various incarnations of advertising, amateur pictures and its adoption in the 1960s as an expressive media. The concept of the photo as a commodifying practice, blurring the boundaries between the artistic and the prosaic, is discussed. Photography was included in the post-modernist movement to question traditional notions of what constitutes art, and several authors have been selected to illustrate this development. Landscape and the city are juxtaposed to demonstrate how location was used in the representation of political, social and psychological states. The role of the individual in these settings is expressed in a chapter on identity and photography. Preceeded by a discussion of its means of rendering the subject an object, a chapter on anthropological photography demonstrates the unattainable desire to achieve an objective view of the different natures of man. Equally, the nature of photography enables artists to dismember the body and thereby dehumanise it. Feminism and the role of the female photographer are implicated in this chapter. The final section considers the impact of the digital age.
Sri-Kartini Leet's judicious selection of articles introduces the reader to a broad and enriching range of art historical comment engendered by the photograph, and makes Reading Photography an indispensable aid to the study of photography.
Contents:
Introduction; Chronology; Selected Bibliographies; Acknowledgements; Section 1: Photography as Art; Section 2: Modernist Visions: Avant-garde Photography; Section 3: Photography and Surrealism; Section 4: The Renaissance of Colour; Section 5: Critical Readings: Reflections on Photography; Section 6: Photography and Postmodernism; Section 7: Negotiating Identities: The Portrait as Representation; Section 8: Observations of the 'Other' - Contemporary Cultural Interventions; Section 9: The Body and the Gaze; Section 10: Photography, Time and Narrative; Section 11: On Memory; Section 12: Photography as a Commercial Practice; Section 13: The Idea of the Everyday; Section 14: Landscape; Section 15: Photography and the City; Section 16: The Photograph as a Cultural Document; Section 17: Shooting War; Section 18: Photography Beyond the Darkroom; Index.
About the Author:
Sri-Kartini Leet is Senior Lecturer in Photography and Media at the University of Northampton, UK.
Subjects:
Photography:
Photography; Twentieth-Century Art and Visual Studies; Modernism in Art and Visual Studies;
Art Reference
Dewey Code:770.9-dc22BIC Code:AJACX
Rights:Worldwide Exclusive
Includes 12 colour and 68 b&w illustrations
April 2011234 x 156 mm344 pages
Hardback978-0-85331-976-4c. £125.00
LH9B02NBI1012A
LUND HUMPHRIES
Richard Rome
Martin Holman
This is the first illustrated overview of the forty-year career of British sculptor Richard Rome (b.1943), who has made an important contribution to the development of modernist metal sculpture since the 1960s.
A leading artist whose first one-person show took place at London's Serpentine Gallery in 1975, Rome is most commonly associated with bold and open abstract shapes, often in public spaces and often in steel. His contemporaries are sculptors Phillip King, Tim Scott, Katherine Gili and Justin Knowles, and Rome himself cites as fundamental to his outlook the example of Anthony Caro, a generation older and a common factor in the careers of all these sculptors. Rome's work is also visibly influenced by post-war modernist American art, in particular the sculpture of David Smith.
Martin Holman relates Rome's development as a sculptor to the changing scene of sculptural practice, from the contrasting traditions of modernism and the figurative, through the influences of New Generation sculpture in the mid-1960s and the onslaught of Conceptualism and Minimalism at the end of the decade. Rome's work has not received the critical attention given to his contemporaries and this book will therefore be welcomed by all those with an interest in modern and contemporary British sculpture.
Contents:
Acknowledgements; Preface; 'A Kind of Energy'; Chronology; Bibliography; List of Plates.
About the Author:
Martin Holman is a writer on art and exhibition organiser. After studying at Bristol and London universities, he held senior positions at the WhitechapelArtGallery and Camden Arts Centre, London, before becoming an independent specialist in contemporary art in 1992. A regular contributor to art journals and exhibition catalogues, he has written extensively about British post-war artists including Prunella Clough, Kim Lim, Alexis Harding and Danny Rolph. As Director of Art Works in Wimbledon, he has organised temporary installations of new work in public locations by Keith Wilson, Jon Griffiths, Richard Woods and Martin Newth, and a permanent artwork by Richard Rome. He is the author of Graham Crowley and Terry Setch, which are also published by Lund Humphries in association with Broken Glass.
Subjects:
Fine Art:
Sculpture; Modern British Sculpture; Contemporary Art and Visual Studies;
Twentieth-Century Art and Visual Studies
Dewey Code:BIC Code:AFKB
Rights:Worldwide Exclusive
Includes c.80 colour and b&w illustrations
March 2011297 x 245 mm96 pages
Hardback978-1-84822-081-2c. £30.00
LH9B01NBI1012A
LUND HUMPHRIES
Simultaneous Paperback
Welfare and Religion in 21st Century Europe
Volume 2: Gendered, Religious and Social Change
Grace Davie, University of Exeter, UK, Ninna Edgardh and Per Pettersson, University of UppsalaSweden
This book considers the changing nature of both religion and welfare in Europe. It is the second of two volumes. Together they examine the function of majority churches as agents of social welfare in eight European societies (Sweden, Finland, Norway, England, Germany, France, Italy and Greece). Volume 2 explores the connections between religion and welfare from three perspectives: sociology, gender and theology.
The authors ask new questions about the religious and the secular and the implications of each for the process known as secularization. Looking carefully at the gendered nature of care, they ask why women predominate so noticeably in both religion and welfare at least in the delivery of service. With regard to theological discourse, they explore the ways in which religious belief operates as an independent variable in the construction of welfare systems?
The issues raised in this book are of immediate topical importance: they include the increased visibility of religion in the public sphere, the anxieties of European populations about the welfare state and the centrality of gender to both questions. The policy implications are huge.
Contents:
Preface; The WREP project: building bridges, Anders Bäckström, Grace Davie, Ninna Edgardh and Per Pettersson; Majority churches as agents of European welfare: a sociological approach, Per Pettersson; A gendered perspective on welfare and religion in Europe, Ninna Edgardh; Thinking theologically about welfare and religion, Thomas Ekstrand; Welfare and religion in Europe: themes, theories and tensions, Anders Bäckström and Grace Davie; Appendix; Index.
About the Author:
Anders Bäckström, Grace Davie, Ninna Edgardh and Per Pettersson have worked together on a number of projects. These include: From State Church to FreeFolkChurch (a study of the constitutional changes in the Church of Sweden), Welfare and Religion in a European Perspective and Welfare and Values in Europe (an EU funded project). They are currently engaged in a new Linneaus Research Programme, entitled The Impact of Religion: Challenges for Society, Law and Democracy. This is based at UppsalaUniversity and is funded by the Swedish Research Council. See for more details.
Subjects:
Religion & Theology:
Religion & Society; Sociology of Religion; Welfare; Practical and Pastoral Theology
Dewey Code:261.8'32'094-dc22BIC Code:HRLP5
Rights:Worldwide Exclusive
Includes 4 b&w illustrations and 1 map
May 2011234 x 156 mmc. 240 pages
Hardback978-0-7546-6107-8c. £50.00
Paperback978-0-7546-6108-5c. £19.99
ebook978-0-7546-9257-7
H5F03NBI1012A
ASHGATE
The Divisions of French Catholicism, 1629–1645
'The Parting of the Ways'
Anthony D. Wright, University of Leeds, UK
For much of the sixteenth-century, France was wracked with religious strife, as the Wars of Religion pitted Catholic against Protestant. Whilst the conversion of Henri IV to Catholicism ended much of the conflict, the ensuing peace highlighted the fractious nature of French Catholicism and the many competing threads that ran through it. This book investigates the gradual division of the French Catholic reform movement, often associated with those known as the 'devots' during the first half of the seventeenth century. Such division, it is argued, was emerging before the publication in France (1641) of the posthumous 'Augustinus' of Jansenius, not simply as a sequel to that. Those who were already distinguishing themselves from other 'devots' before that date were thus not yet identifiable as 'Jansenists'. Rather, the initial defining sentiment was increasing French hostility towards Jesuit involvement in Catholic Reform, both at home and abroad.
Drawing on sources from the Jesuit archives in Rome and on Port-Royal material in Paris, the book begins with an investigation into the development of Catholic Reform in France, showing the problems that emerged before 1629 and the degree to which these were or were not resolved. The second half of the book contrasts the fragmentation of the movement in the years beyond 1629, and the context of Richelieu's new directions in French foreign policy.
Covering a crucial period in the lead up to the establishment of an absolute monarchy in France, this book provides a rich new explanation of the development of French political and ecclesiastical history. It will be of interest not only to those studying the early modern period, but to anyone wishing to understand the roots of French secular society.
Contents:
Part I Prologomena: The historical context; The original context; The Dévot movement; The progress of the Dévots, 1615-1629. Part II The Heart of the Matter: The political pressures; The emerging tensions; The defining critique; The outcome; Select bibliography; Index.