Sport and modernism in the visual arts in Europe, <i>c</i>. 1909–39

This publication is the first and the only survey of methods of ecocritical analysis in art history. It is an essential reading for anyone interested in understanding why ecocritical art history is a vital nexus for the discipline, and for the environmental humanities. The geographical and chronological range covered in twenty-three essays means this is a state-of-the-discipline snapshot like no other. The essays are framed by a series of editorial introductions that provide orientation within a disciplinary territory that is still in the state of flux, yet already complex. Illustrated in colour and black & white.

This publication is the first and the only survey of methods of ecocritical analysis in art history. It is an essential reading for anyone interested in understanding why ecocritical art history is a vital nexus for the discipline, and for the environmental humanities. The geographical and chronological range covered in twenty-three essays means this is a state-of-the-discipline snapshot like no other. The essays are framed by a series of editorial introductions that provide orientation within a disciplinary territory that is still in the state of flux, yet already complex. Illustrated in colour and black & white.

Dieses Buch beleuchtet die Werke der "Verrerie artistique" von Saint-Prex, entstanden zwischen 1930 und 1964 und heute in öffentlichen Schweizer Sammlungen aufbewahrt. Basierend auf der Analyse erst kürzlich zugänglicher Quellen, Interviews mit ehemaligen Angestellten oder deren Nachkommen und der Untersuchung der technischen, stilistischen und formalen Aspekte der Werke, präsentiert es die erste detaillierte Chronologie der Produktion. Augenfällig ist in Saint-Prex ebenfalls die Rezeption der internationalen Glaskunst sowie der zeitgenössischen Schweizer Keramik. Die Bedeutung dieser Waadtländer Glashütte im Kontext der Schweizer Glaskunst wird herausgearbeitet.

Danylo Movchan’s watercolors, born from the ashes of Ukraine’s 2022 invasion by Russia, capture the soul of a nation in turmoil. His art, a poignant diary of war, transcends mere imagery, touching hearts where news broadcasts cannot reach. One observer remarked: »The artist conveys his personal feelings about the terrible war in Ukraine with such precision. His symbolic representations resonate far beyond the many images in the media.« From the moment Movchan shared his first painting on social media, his work has been a beacon of expression, subtly illustrating the profound impact of conflict on his homeland. Each stroke of his brush tells a story, weaving a narrative that continues to unfold with each passing day.

This volume not only showcases Movchan’s art but also includes intimate conversations with Max Hartmann and Julian Chaplinsky, an architect from Lviv, whose insights frame the paintings in a broader historical and political context. Movchan himself warns of the creeping revival of totalitarianism, a threat to liberalism and democracy, should we fail to act. Dive into a narrative where art and war collide, offering new perspectives on resilience, loss, and the undying spirit of a people. The cover features a haunting tribute to the artist's brother, lost in the battlefields of Bakhmut in 2023, encapsulating the personal cost of this enduring conflict.

The Ukrainian response to the 2022 Russian invasion has inspired a new appreciation for their country both within and beyond Ukraine. The steadfastness of Ukrainians in the defense of their country no longer surprises observers as Ukrainians have demonstrated a deep commitment to their country for more than two years. The stories presented here from the war’s third year highlight the ways in which Ukrainians have explored the meaning of their country and culture through the arts; and the manner in which the arts and their creators have empowered Ukrainians to confront the Russian invaders. They represent an extension of the artistic efforts during the war’s first and second years—chronicled in The Arts of War: Ukrainian Artists Confront Russia. Year One, and Year Two—to bolster Ukraine’s war efforts.

Research-based art has become one of the defining genres of the century. Taking the collective Forensic Architecture as a case study, Emily Watlington, senior editor at Art in America, argues against what she sees as the dangerous slippage between artistic research and alternative facts. Turning to the work of Walid Raad, she nonetheless argues for the importance of possible other realities. Watlington describes Raad's work as a kind of “surrealism for the information age,” and persuasively argues that this is distinct from fake news. The differences in Watlington’s two case studies are somewhat subtle, but the stakes of the distinctions are profound. As faith in facts declines rapidly and fascism and autocracy are on the rise, it is clear that shared realities are essential to democracy’s future. And yet, imagining alternatives to our present is as important as ever. What’s an image maker to do now that seeing has so little to do with believing?