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Arsène Lupin vs Herlock Sholmes (1910) is a novel by Maurice Leblanc. Forced to change the name of his antagonist following a legal challenge by Holmes’ creator, Leblanc still manages to pull off one of the greatest fictional mashups of all time. Partly based on the life of French anarchist Marius Jacob, Arsène Lupin first appeared in print in 1905 as an answer to Sir Arthur Conan Doyle’s Sherlock Holmes. Blending crime fiction, fantasy, and mystery, Leblanc crafts original and entertaining tales of adventure starring one of the greatest literary characters of all time—Arsène Lupin, gentleman thief.

Arsène Lupin is the world’s greatest thief, an unmatched force for good whose exploits threaten the wealth and standing of France’s most wicked men. In this installment of Leblanc’s beloved series, Lupin uses his remarkable wit and chameleon-like ability to move undetected through aristocratic society in order to steal, trick, and cheat his way through life. Despite his criminal nature, he operates under a strict moral code, only taking from those who have taken from the poor all their lives. In this novel, Lupin forces French authorities to bring in an investigator capable of put a stop to his escapades. Across the English Channel comes Herlock Sholmes, the legendary British detective, and his trusted assistant Wilson. Although they are of a different breed than their adversary, who remains focused and stoic throughout, Sholmes and Wilson, despite their humorous outlook, prove more than capable of catching the gentleman thief. Arsène Lupin vs Herlock Sholmes is a story of romance, mystery, and crime that continues to astound over a century after it was published.

Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book.

With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

Arsène Lupin vs Herlock Sholmes (1910) is a novel by Maurice Leblanc. Forced to change the name of his antagonist following a legal challenge by Holmes’ creator, Leblanc still manages to pull off one of the greatest fictional mashups of all time. Partly based on the life of French anarchist Marius Jacob, Arsène Lupin first appeared in print in 1905 as an answer to Sir Arthur Conan Doyle’s Sherlock Holmes. Blending crime fiction, fantasy, and mystery, Leblanc crafts original and entertaining tales of adventure starring one of the greatest literary characters of all time—Arsène Lupin, gentleman thief.

Arsène Lupin is the world’s greatest thief, an unmatched force for good whose exploits threaten the wealth and standing of France’s most wicked men. In this installment of Leblanc’s beloved series, Lupin uses his remarkable wit and chameleon-like ability to move undetected through aristocratic society in order to steal, trick, and cheat his way through life. Despite his criminal nature, he operates under a strict moral code, only taking from those who have taken from the poor all their lives. In this novel, Lupin forces French authorities to bring in an investigator capable of put a stop to his escapades. Across the English Channel comes Herlock Sholmes, the legendary British detective, and his trusted assistant Wilson. Although they are of a different breed than their adversary, who remains focused and stoic throughout, Sholmes and Wilson, despite their humorous outlook, prove more than capable of catching the gentleman thief. Arsène Lupin vs Herlock Sholmes is a story of romance, mystery, and crime that continues to astound over a century after it was published.

This edition of Maurice Leblanc’s Arsène Lupin vs Herlock Sholmes is a classic of French literature reimagined for modern readers.

Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book.

With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

LARGE PRINT EDITION. Arsène Lupin vs Herlock Sholmes (1910) is a novel by Maurice Leblanc. Forced to change the name of his antagonist following a legal challenge by Holmes’ creator, Leblanc still manages to pull off one of the greatest fictional mashups of all time. Partly based on the life of French anarchist Marius Jacob, Arsène Lupin first appeared in print in 1905 as an answer to Sir Arthur Conan Doyle’s Sherlock Holmes. Blending crime fiction, fantasy, and mystery, Leblanc crafts original and entertaining tales of adventure starring one of the greatest literary characters of all time—Arsène Lupin, gentleman thief.

Arsène Lupin is the world’s greatest thief, an unmatched force for good whose exploits threaten the wealth and standing of France’s most wicked men. In this installment of Leblanc’s beloved series, Lupin uses his remarkable wit and chameleon-like ability to move undetected through aristocratic society in order to steal, trick, and cheat his way through life. Despite his criminal nature, he operates under a strict moral code, only taking from those who have taken from the poor all their lives. In this novel, Lupin forces French authorities to bring in an investigator capable of put a stop to his escapades. Across the English Channel comes Herlock Sholmes, the legendary British detective, and his trusted assistant Wilson. Although they are of a different breed than their adversary, who remains focused and stoic throughout, Sholmes and Wilson, despite their humorous outlook, prove more than capable of catching the gentleman thief. Arsène Lupin vs Herlock Sholmes is a story of romance, mystery, and crime that continues to astound over a century after it was published.

This edition of Maurice Leblanc’s Arsène Lupin vs Herlock Sholmes is a classic of French literature reimagined for modern readers.

Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book.

With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

Arsène Lupin vs Herlock Sholmes (1910) is a novel by Maurice Leblanc. Forced to change the name of his antagonist following a legal challenge by Holmes’ creator, Leblanc still manages to pull off one of the greatest fictional mashups of all time. Partly based on the life of French anarchist Marius Jacob, Arsène Lupin first appeared in print in 1905 as an answer to Sir Arthur Conan Doyle’s Sherlock Holmes. Blending crime fiction, fantasy, and mystery, Leblanc crafts original and entertaining tales of adventure starring one of the greatest literary characters of all time—Arsène Lupin, gentleman thief.

Arsène Lupin is the world’s greatest thief, an unmatched force for good whose exploits threaten the wealth and standing of France’s most wicked men. In this installment of Leblanc’s beloved series, Lupin uses his remarkable wit and chameleon-like ability to move undetected through aristocratic society in order to steal, trick, and cheat his way through life. Despite his criminal nature, he operates under a strict moral code, only taking from those who have taken from the poor all their lives. In this novel, Lupin forces French authorities to bring in an investigator capable of put a stop to his escapades. Across the English Channel comes Herlock Sholmes, the legendary British detective, and his trusted assistant Wilson. Although they are of a different breed than their adversary, who remains focused and stoic throughout, Sholmes and Wilson, despite their humorous outlook, prove more than capable of catching the gentleman thief. Arsène Lupin vs Herlock Sholmes is a story of romance, mystery, and crime that continues to astound over a century after it was published.

This edition of Maurice Leblanc’s Arsène Lupin vs Herlock Sholmes is a classic of French literature reimagined for modern readers.

Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book.

With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

Arsène Lupin, Gentleman Burglar (1907) is a collection of short stories by Maurice Leblanc. Originally published in Je sais tout, a popular French magazine, these stories launched Leblanc’s career as a leading international writer of crime fiction. Partly based on the life of French anarchist Marius Jacob, Arsène Lupin first appeared in print in 1905 as an answer to Sir Arthur Conan Doyle’s Sherlock Holmes. Blending crime fiction, fantasy, and mystery, Leblanc crafts original and entertaining tales of adventure starring one of the greatest literary characters of all time—Arsène Lupin, gentleman thief.

Arsène Lupin is the world’s greatest thief, an unmatched force for good whose exploits threaten the wealth and standing of France’s most wicked men. In this debut installment of Leblanc’s beloved series, Lupin uses his remarkable wit and chameleon-like ability to move undetected through aristocratic society in order to steal, trick, and cheat his way through life. Despite his criminal nature, he operates under a strict moral code, only taking from those who have taken from the poor all their lives. In this collection of early short stories, Lupin is sentenced to prison, makes a daring escape, cracks an impregnable safe, and makes the acquaintance of Sherlock Holmes, the legendary British detective. These nine tales are the perfect introduction to Leblanc’s legendary literary universe. Arsène Lupin, Gentleman Burglar is a story of romance, mystery, and crime that continues to astound over a century after it was published.

This edition of Maurice Leblanc’s Arsène Lupin, Gentleman Burglar is a classic of French literature reimagined for modern readers.

Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book.

With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

Arsène Lupin, Gentleman Burglar (1907) is a collection of short stories by Maurice Leblanc. Originally published in Je sais tout, a popular French magazine, these stories launched Leblanc’s career as a leading international writer of crime fiction. Partly based on the life of French anarchist Marius Jacob, Arsène Lupin first appeared in print in 1905 as an answer to Sir Arthur Conan Doyle’s Sherlock Holmes. Blending crime fiction, fantasy, and mystery, Leblanc crafts original and entertaining tales of adventure starring one of the greatest literary characters of all time—Arsène Lupin, gentleman thief.

Arsène Lupin is the world’s greatest thief, an unmatched force for good whose exploits threaten the wealth and standing of France’s most wicked men. In this debut installment of Leblanc’s beloved series, Lupin uses his remarkable wit and chameleon-like ability to move undetected through aristocratic society in order to steal, trick, and cheat his way through life. Despite his criminal nature, he operates under a strict moral code, only taking from those who have taken from the poor all their lives. In this collection of early short stories, Lupin is sentenced to prison, makes a daring escape, cracks an impregnable safe, and makes the acquaintance of Sherlock Holmes, the legendary British detective. These nine tales are the perfect introduction to Leblanc’s legendary literary universe. Arsène Lupin, Gentleman Burglar is a story of romance, mystery, and crime that continues to astound over a century after it was published.

Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book.

With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

LARGE PRINT EDITION. Arsène Lupin is the greatest thief in the world. With his abundant wit and brilliance, Lupin gleefully disrupts the lives of France’s cultural elite with his daring escapades. In his debut collection, Lupin escapes prison, obtains a priceless royal necklace, and meets legendary detective Sherlock Holmes. Arsène Lupin, Gentleman Burglar is a collection of stories by Maurice Leblanc.

Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book.

With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

Arsène Lupin, Gentleman Burglar (1907) is a collection of short stories by Maurice Leblanc. Originally published in Je sais tout, a popular French magazine, these stories launched Leblanc’s career as a leading international writer of crime fiction. Partly based on the life of French anarchist Marius Jacob, Arsène Lupin first appeared in print in 1905 as an answer to Sir Arthur Conan Doyle’s Sherlock Holmes. Blending crime fiction, fantasy, and mystery, Leblanc crafts original and entertaining tales of adventure starring one of the greatest literary characters of all time—Arsène Lupin, gentleman thief.

Arsène Lupin is the world’s greatest thief, an unmatched force for good whose exploits threaten the wealth and standing of France’s most wicked men. In this debut installment of Leblanc’s beloved series, Lupin uses his remarkable wit and chameleon-like ability to move undetected through aristocratic society in order to steal, trick, and cheat his way through life. Despite his criminal nature, he operates under a strict moral code, only taking from those who have taken from the poor all their lives. In this collection of early short stories, Lupin is sentenced to prison, makes a daring escape, cracks an impregnable safe, and makes the acquaintance of Sherlock Holmes, the legendary British detective. These nine tales are the perfect introduction to Leblanc’s legendary literary universe. Arsène Lupin, Gentleman Burglar is a story of romance, mystery, and crime that continues to astound over a century after it was published.

This edition of Maurice Leblanc’s Arsène Lupin, Gentleman Burglar is a classic of French literature reimagined for modern readers.

Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book.

With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

Environmental Mineralogy and Bio-Geochemistry of Arsenic provides a comprehensive understanding of arsenic geochemistry in the near-surface environment. Topics covered include the mineralogy, thermodynamics, geochemistry, analysis, microbiology, and bioavailability of arsenic, with emphasis on implications for arsenic toxicity, geochemistry in natural ground waters, and mine-associated impacts and possible mitigation options. This volume is useful for those seeking to understand arsenic geochemistry and biological interactions in the near-surface environment, Clay Minerals does not use an online manuscript tracking/submission system. as well those working for mining companies, the chemicals industry, NGO’s or government bodies concerned with reducing the impact of arsenic on the environment.

Rethinking art and design education

• A wide range of approaches to art and design education
• Global perspectives, with comparisons between countries
• Current empirical studies, detailed models, and visionary strategies

Die Neubearbeitung enthält neben Erläuterungen zum zeitlichen und räumlichen Geltungsbereich des BGB vor allem die Kommentierung der Bestimmungen, die sich mit dem Verhältnis des BGB zum Landesrecht befassen. Sie sind für die Praxis nach wie vor von erheblicher Bedeutung und erfahren daher im Staudinger eine Vollkommentierung.

Besonders hervorzuheben sind die Kommentierungen von Art. 2 (Begriff des Gesetzes) und von Art. 96 mit einer ausführlichen Darstellung des Leibgedings-/Altenteilsrechts sowie Art. 124 mit einer vergleichenden Darstellung der im Bundesgebiet geltenden landesrechtlichen Nachbarrechte samt Rechtsprechungshinweisen. Umfassend dargestellt wird auch der Inhalt altrechtlicher Dienstbarkeiten und sonstiger dinglicher Rechte. Nicht zuletzt bietet die Kommentierung umfassende und aktualisierte Nachweise zu den einschlägigen landesrechtlichen Bestimmungen sowie eine eingehende Darstellung der entsprechenden Rechtsentwicklung und der aktuellen Rechtslage.

Die Rom II-Verordnung regelt das praxisrelevante Internationale Recht der außervertraglichen Schuldverhältnisse. Band I behandelt das internationale Recht der unerlaubten Handlungen, der ungerechtfertigten Bereicherung, der GoA und der cic. Zudem wird die freie Rechtswahl ausführlich kommentiert. Die dynamische Entwicklung der Rechtsprechung des EuGH und mitgliedstaatlicher Gerichte ist auf aktuellem Stand berücksichtigt.

Einen wichtigen Schwerpunkt der Neukommentierung bildet das IPR der Forderungsabtretung. Nachdem der EuGH klargestellt hat, dass Art. 14 Rom I-VO die Drittwirkungen der Zession nicht regelt, waren Lösungen nach dem insoweit fortgeltenden autonomen deutschen IPR zu entwickeln. Ferner wird der bereits vorliegende Kommissionsvorschlag von 2018 zur Regelung dieser Drittwirkungen auf EU-Ebene kritisch kommentiert.

Besonders reichhaltig und innovativ war die Rechtsprechung in den letzten vier Jahren auf dem Gebiet des internationalen Vertragsverfahrensrechts. In diesen Abschnitt wurde mehr als 100 neue Entscheidungen des EuGH und von Obergerichten der Mitgliedstaaten eingearbeitet. Als Beispiel dafür diene nur die BGH-Entscheidung von 2019, mit der erstmals nach deutschem Recht Schadensersatz wegen Verletzung einer ausschließlichen Gerichtsstandsvereinbarung durch Klage vor einem derogierten ausländischen Gericht zugesprochen wurde.

Darüber hinaus wird der umfangreiche neue Art. 46c EGBGB erstmals kommentiert, der IPR-Fragen zu Pauschalreisen und verbundenen Reiseleistungen behandelt.

Die Rom I-VO ist das zentrale Instrument zum Internationalen Vertragsrecht, das für den Binnenmarkt erhebliche Bedeutung hat. Entsprechend dynamisch und vielfältig ist die Entwicklung der nationalen und der EuGH-Rechtsprechung – etwa zur objektiven Anknüpfung –, die auf aktuellem Stand eingehend mit eigenständiger Stellungnahme eingearbeitet ist. So hat sich etwa zum Anwendungsbereich von Art. 7 Rom I-VO, zur Anknüpfung von Fahrzeugversicherungen, zur Risikobelegenheit bei der Fremdversicherung, zu den Grenzen und Erweiterungen der Rechtswahl, zur Anknüpfung bei Mehrfachbelegenheit sowie zu Eingriffsnormen Aktualisierungsbedarf ergeben.

Die Neubearbeitung des internationalen Eherechts berücksichtigt die aktuellen Entwicklungen zu Eheschließung, Verlöbnis, Ehewirkungen, Ehegüterrecht, Auflösung der Ehe und eheliche Lebensgemeinschaft. Dabei werden auch ganz konkrete Problemfälle thematisiert, so z.B. die Abgrenzung der Inlands- von der Auslandsscheidung für den Fall, dass der inländische Wohnsitz oder der gewöhnliche Inlandsaufenthalt einen Inlandsbezug herstellt und der (Erklärungs-)Akt, welcher die Ehe endgültig auflöst, im Ausland erfolgt. Unentbehrlich für Richter und Anwälte.

Im vorliegenden Band werden die im Fünften Teil des EGBGB enthaltenen, die neueren Änderungen des BGB und EGBGB betreffenden Übergangsvorschriften kommentiert. Der Benutzer findet jeweils eine ausführliche Erörterung der intertemporalen Problematik und damit präzise Antworten auf die sich anlässlich jeder Gesetzesänderung unter anderen Vorzeichen stellenden Frage, auf welche Sachverhalte das neue Recht Anwendung findet und inwieweit es bei der Geltung des alten Rechts verbleibt. Die in Artikel 229 EGBGB geregelten „Weiteren Überleitungsvorschriften“ sind seit der letzten Bearbeitung 2003 von neun auf 35 angewachsen und umfassen wichtige Änderungen des BGB (wie z.B. die Übergangsvorschriften zum MietNovG 2015). Zum Übergangsrecht im Beitrittsgebiet (6. Teil des EGBGB) ist weiterhin beachtlich viel Rechtsprechung ergangen, die wiederum gründlich ausgewertet wurde. Der vorliegende Band berücksichtigt diese Materie bis einschließlich Art 232 EGBGB (Recht der Schuldverhältnisse).

Band 2 der Kommentierung der Übergangsvorschriften enthält zu den Artikeln 233 bis 237 EGBGB eine umfassende Erläuterung des intertemporalen Sachen-, Familien-, Erb- und Internationalen Privatrechts für das Beitrittsgebiet, welche die Rechtsprechung noch immer beschäftigen. Schwerpunkt des Siebten Teils des EGBGB (Verordnungsermächtigungen/Informationspflichten) bildet die detaillierte und bislang ausführlichste Darstellung des Art. 248 EGBGB, der die Informationspflichten bei der Erbringung von Zahlungsdienstleistungen regelt und damit eine ebenso aktuelle wie unverzichtbare Ergänzung zu den im BGB enthaltenen Vorschriften über die Umsetzung der Zahlungsdiensterichtlinie darstellt.

Vor dem Hintergrund wachsender internationaler Mobilität und eines nicht unbeträchtlichen Auslandsvermögens der Nachkriegsgeneration gewinnt das Internationale Erbrecht immer größere Bedeutung. Es werden alle einschlägigen Kollisionsnormen sowie eine Darstellung des Internationalen Nachlassverfahrensrechts kommentiert und die Schnittstellen zu den Allgemeinen Lehren des IPR aufgezeigt. Außerdem wird der Leser über die Auswirkungen der jüngsten Gesetzgebung (z.°B. Lebenspartnerschaftsgesetz), über das Grünbuch „Erb- und Testamentsrecht“ der Europäischen Kommission sowie die geplanten Reformbestrebungen auf europäischer Ebene informiert. Der Anhang mit Länderberichten enthält Darstellungen des Erbkollisionsrechts von 160 Staaten.

Die Neubearbeitung behandelt ausführlich das Verhältnis des EGBGB zum immer wichtiger werdenden Kollisionsrecht der Europäischen Union und der Staatsverträge. Ferner informiert eine Länderübersicht im Anhang zu Art 4 EGBGB weltweit über das internationale Personen-, Familien- und Erbrecht der wichtigsten Rechtsordnungen und sich hieraus ergebende Rück- oder Weiterverweisungen nach Art. 4 EGBGB bzw. Art. 34 EuErbVO.

Die Neubearbeitung 2013 informiert nicht nur über den aktuellen Stand und die Entwicklung des deutschen Rechts, sondern öffnet, was die Stärke des Bandes ausmacht, weit über die Grenzen Europas hinaus den Blick auf fremde Rechtsordnungen.

Für die Neuauflage 2013 wurde der Vorgängerband geteilt. Neben der „Einl zum IPR" erscheint nun in Folge der Band mit den Kommentierungen zu den Art.3-6 EGBGB.

Die Neubearbeitung behandelt zu Art. 3 EGBGB das Verhältnis des EGBGB zum Kollisionsrecht der Europäischen Union und der Staatsverträge. Zu Art. 4 EGBGB werden neueste Entwicklungen zum Renvoi und zur Verweisung auf interlokal bzw. interpersonal gespaltene Rechtsordnungen behandelt. Im Anhang zu Art 4 EGBGB gibt die Länderübersicht einen aktualisierten Überblick über das internationale Personen-, Familien- und Erbrecht von mehr als 90 Staaten.

In addition to being a medical, political, and social crisis, the AIDS epidemic in the United States also led to a crisis of artistic representation. This book reveals the important political and moral role of American photographers in the social discourse on AIDS based on the 1989 New York exhibition, “Witnesses: Against Our Vanishing” curated by photographer Nan Goldin.

• Artist perceptions of AIDS-related issues
• With photographs by Philip-Lorca di Corcia, Peter Hujar, Mark Morrisroe and David Wojnarowicz
• The New York art scene of East Village

Abstraction shook Western art to its core. In the early part of the 20th century, it refuted the reign of clear, indisputable forms and confronted audiences instead with vivid visual poems devoid of conventional representational imagery and characterized by allegories of emotion and sensation.

This radical artistic adventure established new artistic means, as much as narratives. Expression became characterized by shocking juxtapositions of color, light, and line. Artists abandoned the conventions of brush and easel and played with new materials and methods of artistic gesture: commercial paints and housepainter’s brushes, working on unstretched and unprimed canvases, moving the canvas to the floor, and applying paint with hands.

This essential introduction spans the international breadth, conceptual depth, and seismic impact of abstract art with a thorough survey not only of the big names such as Picasso, Klee, Kline, Rothko, and Pollock, but also lesser-known figures who made equally significant contributions, including Antoni Tàpies, K. O. Götz, Ad Reinhardt, and Sophie Taeuber-Arp.

Art after Liberalism is an account of creative practice at a moment of converging social crises. It is also an inquiry into emergent ways of living, acting, and making art in the company of others.

The apparent failures of liberal thinking mark its starting point. No longer can the framework of the nation-state, the figure of the enterprising individual, and the premise of limitless development be counted on to produce a world worth living in. No longer can talk of inclusion, representation, or a neutral public sphere pass for something like equality.

It is increasingly clear that these commonplace liberal conceptions have failed to improve life in any lasting way. In fact, they conceal fundamental connections to enslavement, conscription, colonization, moral debt, and ecological devastation. Now we must decide what comes after.

The essays in this book attempt to register these connections by following itinerant artists, artworks, and art publics as they move across comparative political environments. The book thus provides a range of speculations about art and social experience after liberal modernity.

Featuring a conversation with Amin Husain and Nitasha Dhillon of MTL Collective.

Art therapy for the soul. One of the most unexpectedly useful things we can do when we’re feeling glum or out of sorts is to look at pictures. The best works of art can lift our spirits, remind us of what we love and return perspective to our situation. A few moments in front of the right picture can rescue us. Art is one of the most unexpected and beautiful defenses we have against despair. 

Each of the uplifting images in this collection comes paired with a brief inspirational essay. The images range widely across time and space: from ancient to modern art, east to west, and north to south. They include photography, paintings, abstract and figurative art. Each image has been carefully chosen with a particular problem in mind: a broken heart, career challenges, relationship troubles, and more.

This is a portable museum dedicated to beauty and consolation, a unique book about art which is also about psychology and healing: a true piece of art therapy.

• A CURATED COLLECTION OF ARTWORKS from artists around the world, each accompanied by an essay.
• ARTISTS INCLUDE Edgar Degas, Cy Twombly, Gustave Caillebotte, Louise Bourgeois, Hiroshi Yoshida, Johannes Vermeer, Georgia O’Keeffe and more.
• ART AS THERAPY FOR THE SOUL this book highlights the therapeutic benefit of art. Artworks featured from galleries including The Metropolitan Museum of Art, Los Angeles County Museum of Art, Musée d'Orsay, Paris, San Francisco Museum of Modern Art, The National Gallery, London and Tate Museum, London.

How can the performing arts add value to peacebuilding programs? Is it possible to use participatory theatre to reconnect and reconcile enemies? What is the trauma-healing effect for those acting in a theatre troupe?

Claus Schrowange has explored these questions and the opportunities of using forum theatre in peace work in Uganda, South Sudan, Rwanda, and DR Congo. His conclusion is that forum theatre is more than mere entertainment. It is an aesthetic tool for social change. But the value of theatre is not generated automatically, the way it is done matters. If it is done in a participatory manner with an authentic, believable acting style, involving both the audience and stage actor in a vivid and touching experience, the impact is immediately felt. This book presents the approach Schrowange developed together with a team of African theatre practitioners in a variety of circumstances and environments. It is illustrated with case studies taken from the author's direct experience of using the approach he describes in Eastern DR Congo and Rwanda.

When Robert Rauschenberg reminisced about Josef Albers teaching students that their art had to do with “the entire visual world,” he was suggesting an inclusive realm of visual expression from which Albers intended his students to draw. Beyond finding inspiration only in fine art objects, Albers pushed them to look outside the confines of their studios and classrooms and onto the streets where they would be confronted with the visuality of mass culture; Albers therefore developed assignments using examples of typographic design and printed imagery drawn from popular publications of the day. In looking closely at these printed images, though, artists like Rauschenberg learned not only that visual inspiration could be found in quotidian objects, but that those objects were also the products of aesthetic decision making, that they were designed. Although the visual workings of mass imagery have sometimes been met with discomfort by art historians and critics, culture’s simultaneous engagement with design and art objects has a long and significant history. My book would be among the first to examine a moment of that history through an exploration of the critical intersection between art and graphic design in New York in the years between 1959 and 1972.

It may seem most expedient to discuss the connection between art and design through formal congruences, but this strategy can limit the deeper investigation of the mutual influence shared by these two areas of production. Indeed, the presumption that there exists simply – and only – a visual connection between design and art has driven most of the art history that has taken up the subject. This methodology, however, assumes that the influence of popular imagery on fine art works only in one direction, and that movements such as Pop art borrow motifs from mass culture and then “elevate” them into high art. This ignores any influence that art might have on design and designers, an influence that has considerable impact on our visual world. In addition, it serves to place mass imagery consistently in the lesser, negative position because it always presupposes design’s complicity in the culture industry. Yet I show that not all design is made for commercial purposes. Design with civic intentions – that developed for signage, street furniture, and subway maps – has had no place in such a formulation, and therefore has never been seriously included in art historical discussions, even those that take design into account.

Given the limitations of a formalist approach, I go beyond the visual similarities of art and design to uncover the logic systems shared between artists and designers as well as their processes. I assume a family resemblance between design

and art and therefore use such resemblances to expose the syntax they hold in common. I employ, therefore, a more inclusive look at the “visual world” of 1960s New York and examine design and art side-by-side to explore how their relationship manifested itself in deeper ways than have been previously realized. The isolated, frontal, mechanically-reproduced image, for example, is shared by both Doyle Dane Bernbach’s late-1950s advertising campaign for Volkswagen as well as Andy Warhol’s screen print imagery. The mid-century anti-billboard movement provides an opportunity to investigate Robert Rauschenberg’s awareness of the visual culture that existed outside his downtown New York studio by way of his use of street signs in his urban combines, but also opens a path to exploring designers such as Peter Chermayeff and Milton Glaser’s own discomfort with outdoor advertising. The logic behind the placement of signage – in which designers follow unwitting pedestrians to see where signs fail them – is echoed in Vito Acconci’s performance Following Piece, in which the artist followed his targets until they entered a private place. The design firm Unimark International carried out such following in the New York City subway system at the very same moment that Acconci’s performance occurred. In each of these examples, I reveal the correspondence between artists and designers to be their practices and their decision making; the objects that result permit us to examine these relationships in fresh ways.

When Robert Rauschenberg reminisced about Josef Albers teaching students that their art had to do with “the entire visual world,” he was suggesting an inclusive realm of visual expression from which Albers intended his students to draw. Beyond finding inspiration only in fine art objects, Albers pushed them to look outside the confines of their studios and classrooms and onto the streets where they would be confronted with the visuality of mass culture; Albers therefore developed assignments using examples of typographic design and printed imagery drawn from popular publications of the day. In looking closely at these printed images, though, artists like Rauschenberg learned not only that visual inspiration could be found in quotidian objects, but that those objects were also the products of aesthetic decision making, that they were designed. Although the visual workings of mass imagery have sometimes been met with discomfort by art historians and critics, culture’s simultaneous engagement with design and art objects has a long and significant history. My book would be among the first to examine a moment of that history through an exploration of the critical intersection between art and graphic design in New York in the years between 1959 and 1972.

It may seem most expedient to discuss the connection between art and design through formal congruences, but this strategy can limit the deeper investigation of the mutual influence shared by these two areas of production. Indeed, the presumption that there exists simply – and only – a visual connection between design and art has driven most of the art history that has taken up the subject. This methodology, however, assumes that the influence of popular imagery on fine art works only in one direction, and that movements such as Pop art borrow motifs from mass culture and then “elevate” them into high art. This ignores any influence that art might have on design and designers, an influence that has considerable impact on our visual world. In addition, it serves to place mass imagery consistently in the lesser, negative position because it always presupposes design’s complicity in the culture industry. Yet I show that not all design is made for commercial purposes. Design with civic intentions – that developed for signage, street furniture, and subway maps – has had no place in such a formulation, and therefore has never been seriously included in art historical discussions, even those that take design into account.

Given the limitations of a formalist approach, I go beyond the visual similarities of art and design to uncover the logic systems shared between artists and designers as well as their processes. I assume a family resemblance between design

and art and therefore use such resemblances to expose the syntax they hold in common. I employ, therefore, a more inclusive look at the “visual world” of 1960s New York and examine design and art side-by-side to explore how their relationship manifested itself in deeper ways than have been previously realized. The isolated, frontal, mechanically-reproduced image, for example, is shared by both Doyle Dane Bernbach’s late-1950s advertising campaign for Volkswagen as well as Andy Warhol’s screen print imagery. The mid-century anti-billboard movement provides an opportunity to investigate Robert Rauschenberg’s awareness of the visual culture that existed outside his downtown New York studio by way of his use of street signs in his urban combines, but also opens a path to exploring designers such as Peter Chermayeff and Milton Glaser’s own discomfort with outdoor advertising. The logic behind the placement of signage – in which designers follow unwitting pedestrians to see where signs fail them – is echoed in Vito Acconci’s performance Following Piece, in which the artist followed his targets until they entered a private place. The design firm Unimark International carried out such following in the New York City subway system at the very same moment that Acconci’s performance occurred. In each of these examples, I reveal the correspondence between artists and designers to be their practices and their decision making; the objects that result permit us to examine these relationships in fresh ways.

With little scholarly attention having been given to the late medieval iconography that features on rood screens in the southwest of England, the significance of the figures painted at Berry Pomeroy has long been underappreciated. The unlocking of their meaning by the author has led to the discovery of a unique iconographic program. The gestures adopted by many of these figures belong to a common visual culture in the art and drama of the medieval church. The iconography, which reflects a Gothic Mannerist style of the early sixteenth century, displays a marked theatricality giving expression to the mysteries of the faith in the form of a drama. The narrative recorded has notable similarities to that found in a dramatic trilogy which was once performed in Cornwall called the Ordinalia. This book makes an important contribution to scholarship in the genre of mysticism in art and to our understanding of popular devotional practices on the eve of the Reformation.