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The Memory Factory Cover

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The Memory Factory

The Forgotten Women Artists of Vienna 1900

by Julie M. Johnson

The Memory Factory introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan: despite men-only policies in its main art institutions, it offered a myriad of unexpected ways for women artists to forge successful public careers. Women artists came from the provinces, Russia, and Germany to participate in its vibrant art scene. However, and especially because so many of the artists were Jewish, their contributions were actively obscured beginning in the late 1930s. Many had to flee Austria, losing their studios and lifework in the process. Some were killed in concentration camps. Along with the stories of individual women artists, the author reconstructs the history of separate women artists’ associations and their exhibitions. Chapters covering the careers of Tina Blau, Elena Luksch-Makowsky, Helene Funke, and Teresa Ries (among others) point to a more integrated and cosmopolitan art world than previously thought; one where women became part of the avant-garde, accepted and even highlighted in major exhibitions at the Secession and with the Klimt group. “This is an excellent addition to the literature on fin-de-siècle Vienna, well-researched and well-argued. It highlights little-known artists and situates them in a novel interpretation of women’s roles in the art world. The author challenges dominant tropes of feminist historiography and thus sheds new light on twentieth-century art history and historiography,” Michael Gubser, James Madison University.

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MFS Modern Fiction Studies

Vol. 31, no. 1 (1985) through current issue

MFS publishes theoretically engaged and historically informed articles on modernist and contemporary fiction. The journal's substantial book review section keeps readers informed about current scholarship in the field. MFS alternates general issues with special issues focused on individual novelists or topics that challenge and expand the concept of "modern fiction."

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Modernism/modernity

Vol. 1 (1994) through current issue

Concentrating on the period extending roughly from 1860 to the mid-twentieth century, Modernism/modernity focuses on the methodological, archival, and theoretical approaches particular to modernist studies. It encourages an interdisciplinary approach linking music, architecture, the visual arts, literature, and social and intellectual history. The journal's broad scope fosters dialogue between social scientists and humanists about the history of modernism and its relations to modernization. Each issue features a section of thematic essays as well as book reviews and a list of books received. Modernism/modernity is the official journal of the Modernist Studies Association (MSA). Winner of six awards from CELJ!

Old Red Cover

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Old Red

Pioneering Medical Education in Texas

Heather Green Wooten

Tucked away in a corner of the University of Texas Medical Branch campus stands a majestic relic of an era long past. Constructed of red pressed brick, sandstone, and ruddy Texas granite, the Ashbel Smith Building, fondly known as Old Red, represents a fascinating page in Galveston and Texas history. It has been more than a century since Old Red welcomed the first group of visionary faculty and students inside its halls. For decades, the medical school building existed at the heart of UTMB campus life, even through periods of dramatic growth and change. In time, however, the building lost much of its original function to larger, more contemporary facilities. Today, as the oldest medical school building west of the Mississippi River, the intricately ornate Old Red sits in sharp contrast to its sleeker neighbors. 

Old Red: Pioneering Medical Education in Texas examines the life and legacy of the Ashbel Smith Building from its beginnings through modern-day efforts to preserve it. Chapters explore the nascence of medical education in Texas; the supreme talent and genius of Old Red architect, Nicholas J. Clayton; and the lives of faculty and students as they labored and learned in the midst of budget crises, classroom and fraternity antics, death-rendering storms, and threats of closure. The education of the state’s first professional female and minority physicians and the nationally acclaimed work of physician-scientists and researchers are also highlighted. Most of all, the reader is invited to step inside Old Red and mingle with ghosts of the past—to ascend the magnificent cedar staircase, wander the long, paneled hallways, and take a seat in the tiered amphitheater as pigeons fly in and out of windows overhead.

The Once and Future New York Cover

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The Once and Future New York

Historic Preservation and the Modern City

Randall Mason

In the popular imagination, the controversial 1963 demolition of Pennsylvania Station gave birth to New York City’s historic preservation movement. As Randall Mason reveals, however, historic preservation has been a persistent force in the development of New York since the 1890s, when the city’s leading politicians, planners, and architects first recognized the need to preserve the rapidly evolving city’s past. Rich with archival research, The Once and Future New York documents the emergence of historic preservation in New York at the turn of the twentieth century. Between 1890 and 1920, preservationists saved and restored buildings, parks, and monuments throughout the city’s five boroughs that represented continuity with the past. Mason argues these efforts created a “memory infrastructure” that established a framework for New York’s collective memory and fused celebrations of the city’s past with optimism about its future. Focusing on three major projects—the restoration of City Hall Park, the ultimately failed attempt to save historic St. John’s Chapel, and the construction of the Bronx River Parkway— Mason challenges several myths about historic preservation. Against the charge that preservationists were antiquarians concerned only with architecturally significant buildings, Mason instead asserts that many were social reformers interested in recovering the city’s collective history. Even more important, he demonstrates that historic preservation in this period, rather than being fundamentally opposed to growth, was integral to modern urban development.

Original Copies Cover

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Original Copies

Architectural Mimicry in Contemporary China

Bianca Bosker

A 108-meter high Eiffel Tower rises above Champs Elysées Square in Hangzhou. A Chengdu residential complex for 200,000 recreates Dorchester, England. An ersatz Queen’s Guard patrols Shanghai’s Thames Town, where pubs and statues of Winston Churchill abound. Gleaming replicas of the White House dot Chinese cities from Fuyang to Shenzhen. These examples are but a sampling of China’s most popular and startling architectural movement: the construction of monumental themed communities that replicate towns and cities in the West.

Original Copies presents the first definitive chronicle of this remarkable phenomenon in which entire townships appear to have been airlifted from their historic and geographic foundations in Europe and the Americas, and spot-welded to Chinese cities. These copycat constructions are not theme parks but thriving communities where Chinese families raise children, cook dinners, and simulate the experiences of a pseudo-Orange County or Oxford.

In recounting the untold and evolving story of China’s predilection for replicating the greatest architectural hits of the West, Bianca Bosker explores what this unprecedented experiment in “duplitecture” implies for the social, political, architectural, and commercial landscape of contemporary China. With her lively, authoritative narrative, the author shows us how, in subtle but important ways, these homes and public spaces shape the behavior of their residents, as they reflect the achievements, dreams, and anxieties of those who inhabit them, as well as those of their developers and designers.

From Chinese philosophical perspectives on copying to twenty-first century market forces, Bosker details the factors giving rise to China’s new breed of building. Her analysis draws on insights from the world’s leading architects, critics and city planners, and on interviews with the residents of these developments.

69 illus., 54 in color

For sale in East Asia, Australia, and New Zealand by Hong Kong University Press

The Origins of Comics Cover

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The Origins of Comics

From William Hogarth to Winsor McCay

Thierry Smolderen

In The Origins of Comics: From William Hogarth to Winsor McCay, Thierry Smolderen presents a cultural landscape whose narrative differs in many ways from those presented by other historians of the comic strip. Rather than beginning his inquiry with the popularly accepted "sequential art" definition of the comic strip, Smolderen instead wishes to engage with the historical dimensions that inform that definition. His goal is to understand the processes that led to the twentieth-century comic strip, the highly recognizable species of picture stories that he sees crystallizing around 1900 in the United States.

Featuring close readings of the picture stories, caricatures, and humoristic illustrations of William Hogarth, Rodolphe Töpffer, Gustave Doré, and their many contemporaries, Smolderen establishes how these artists were immersed in a very old visual culture in which images--satirical images in particular--were deciphered in a way that was often described as hieroglyphical. Across eight chapters, he acutely points out how the effect of the printing press and the mass advent of audiovisual technologies (photography, audio recording, and cinema) at the end of the nineteenth century led to a new twentieth-century visual culture. In tracing this evolution, Smolderen distinguishes himself from other comics historians by following a methodology that explains the present state of the form of comics on the basis of its history, rather than presenting the history of the form on the basis of its present state. This study remaps the history of this influential art form.

Painting Modernism Cover

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Painting Modernism

Ivan A. Schulman

Studies the influence of the plastic arts on the major writers of Latin American modernism.

Photographic Architecture in the Twentieth Century Cover

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Photographic Architecture in the Twentieth Century

Claire Zimmerman

One hundred years ago, architects found in the medium of photography—so good at representing a building’s lines and planes—a necessary way to promote their practices. It soon became apparent, however, that photography did more than reproduce what it depicted. It altered both subject and reception, as architecture in the twentieth century was enlisted as a form of mass communication.

Claire Zimmerman reveals how photography profoundly influenced architectural design in the past century, playing an instrumental role in the evolution of modern architecture. Her “picture anthropology” demonstrates how buildings changed irrevocably and substantially through their interaction with photography, beginning with the emergence of mass-printed photographically illustrated texts in Germany before World War II and concluding with the postwar age of commercial advertising. In taking up “photographic architecture,” Zimmerman considers two interconnected topics: first, architectural photography and its circulation; and second, the impact of photography on architectural design. She describes how architectural photographic protocols developed in Germany in the early twentieth century, expanded significantly in the wartime and postwar diaspora, and accelerated dramatically with the advent of postmodernism.

In modern architecture, she argues, how buildings looked and how photographs made them look overlapped in consequential ways. In architecture and photography, the modernist concepts that were visible to the largest number over the widest terrain with the greatest clarity carried the day. This richly illustrated work shows, for the first time, how new ideas and new buildings arose from the interplay of photography and architecture—transforming how we see the world and how we act on it.

Poster Cover

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Poster

Art, Advertising, Design, and Collecting, 1860s–1900s

Ruth E. Iskin

The Poster: Art, Advertising, Design, and Collecting, 1860s–1900s is a cultural history that situates the poster at the crossroads of art, design, advertising, and collecting. Though international in scope, the book focuses especially on France and England. Ruth E. Iskin argues that the avant-garde poster and the original art print played an important role in the development of a modernist language of art in the 1890s, as well as in the adaptation of art to an era of mass media. She moreover contends that this new form of visual communication fundamentally redefined relations between word and image: poster designers embedded words within the graphic, rather than using images to illustrate a text. Posters had to function as effective advertising in the hectic environment of the urban street. Even though initially commissioned as advertisements, they were soon coveted by collectors. Iskin introduces readers to the late nineteenth-century “iconophile”—a new type of collector/curator/archivist who discovered in poster collecting an ephemeral archaeology of modernity. Bridging the separation between the fields of art, design, advertising, and collecting, Iskin’s insightful study proposes that the poster played a constitutive role in the modern culture of spectacle.

This stunningly illustrated book will appeal to art historians and students of visual culture, as well as social and cultural history, media, and advertising.

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