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One of the key themes in this book is the relationship between the 'homely' and the 'exotic', in the innovative mix of poetry and ethnography in Mass-Observation for example, or the shadowed England constructed in the world of Bill Brandt.
Mass-Observation and Visual Culture: Depicting Everyday Lives in Britain critically analyses the role that visual culture played in the early development of Mass-Observation, the innovative British anthropological research group founded in 1937. The group?s production and use of painting, collage, photography, and other media illustrates not only the broad scope of Mass-Observation?s efforts to document everyday life, but also, more specifically, the centrality of visual elements to its efforts at understanding national identity in the 1930s. Although much interest has previously focused on Mass-Observation?s use of written reports and opinion surveys, as well as diaries that were kept by hundreds of volunteer observers, this book is the first full-length study of the group?s engagement with visual culture. Exploring the paintings of Graham Bell and William Coldstream; the photographs of Humphrey Spender; the paintings, collages, and photographs of Julian Trevelyan; and Humphrey Spender?s photographs and widely recognized ?Mass-Observation film?, Spare Time, among other sources, Mass-Observation and Visual Culture: Depicting Everyday Lives in Britain positions these works as key sources of information with regard to illuminating the complex character of British identity during the Depression era.
Lee Miller (1907-1977) was an American-born Surrealist and war photographer who, through her role as a model for Vogue magazine, became the apprentice of Man Ray in Paris, and later one of the few women war correspondents to cover the Second World War from the frontline. Her comprehensive understanding of art enabled her to photograph vivid representations of Europe at war – the changing gender roles of women in war work, the destruction caused by enemy fire during the London Blitz, and the horrors of the concentration camps – that embraced and adapted the principles and methods of Surrealism. This book examines how Miller’s war photographs can be interpreted as ‘surreal documentary’ combining a surrealist sensibility with a need to inform. Each chapter contains a close analysis of specific photographs in a generally chronological study with a thematic focus, using comparisons with other photographers, documentary artists, and Surrealists, such as Margaret Bourke-White, Dorothea Lange, Walker Evans, George Rodger, Cecil Beaton, Bill Brandt, Henry Moore, Humphrey Jennings and Man Ray. In addition, Miller’s photographs are explored through André Breton’s theory of ‘convulsive beauty’ – his credence that any subject, no matter how horrible, may be interpreted as art – and his notion of the ‘marvellous’.
NEW YORK TIMES BESTSELLER • A thoroughly modern guide to becoming a better, faster, more creative cook, featuring fun, flavorful recipes anyone can make. ONE OF THE BEST COOKBOOKS OF THE YEAR: NPR, Food52, Taste of Home “Surprising no one, Molly has written a book as smart, stylish, and entertaining as she is.”—Carla Lalli Music, author of Where Cooking Begins If you seek out, celebrate, and obsess over good food but lack the skills and confidence necessary to make it at home, you’ve just won a ticket to a life filled with supreme deliciousness. Cook This Book is a new kind of foundational cookbook from Molly Baz, who’s here to teach you absolutely everything she knows and equip you with the tools to become a better, more efficient cook. Molly breaks the essentials of cooking down to clear and uncomplicated recipes that deliver big flavor with little effort and a side of education, including dishes like Pastrami Roast Chicken with Schmaltzy Onions and Dill, Chorizo and Chickpea Carbonara, and of course, her signature Cae Sal. But this is not your average cookbook. More than a collection of recipes, Cook This Book teaches you the invaluable superpower of improvisation though visually compelling lessons on such topics as the importance of salt and how to balance flavor, giving you all the tools necessary to make food taste great every time. Throughout, you’ll encounter dozens of QR codes, accessed through the camera app on your smartphone, that link to short technique-driven videos hosted by Molly to help illuminate some of the trickier skills. As Molly says, “Cooking is really fun, I swear. You simply need to set yourself up for success to truly enjoy it.” Cook This Book will help you do just that, inspiring a new generation to find joy in the kitchen and take pride in putting a home-cooked meal on the table, all with the unbridled fun and spirit that only Molly could inspire.
Mina Loy, Twentieth-Century Photography, and Contemporary Women Poets- Front Cover -- Mina Loy, Twentieth-Century Photography, and Contemporary Women Poets -- Title Page -- Copyright Page -- Dedication -- Contents -- List of figures -- Acknowledgements -- Permissions -- Introduction -- Notes -- Chapter 1: Loy among the photographers: poetry, perception, and the camera -- Portraits and photographers -- Julien Levy and the modern photograph -- Islands in the Air and the figure of the photographer -- Vision and poetry -- Notes -- Chapter 2: Surrealism and the female body: economies of violence -- Surrealist contexts and contextualized Surrealism -- Surrealist cameras -- Loy and the female body of Surrealism -- The Surrealist mannequin -- Hans Bellmer, bodies, and war -- Notes -- Chapter 3: Portraits of the poor: the Bowery poems and the rise of documentary photography -- The 1930s and the rise of documentary -- Urban documentary and the visual rhetoric of poverty -- Portraits of the poor -- "Hot Cross Bum" and the tabloids: Sequence as portrait -- Notes -- Chapter 4: From patriotism to atrocity: the war poems and photojournalism -- Patriotism and the poetics of the mural photo-exhibit -- The rise of photojournalism -- The female gaze and the gendered body -- Atrocity and the female body -- Photographing the bomb -- Notes -- Chapter 5: Gendering the camera: Kathleen Fraser and Caroline Bergvall -- Kathleen Fraser and visual reassembly: "[T]he screen was carried inside her"--Caroline Bergvall's rearticulated bodies: Photography and the graphic page -- Coda: Looking back to Loy -- Notes -- Bibliography -- Index
Studies the work of British film-maker and writer Patrick Keiller, German writer W. G. Sebald, and Welsh writer and film-maker Iain Sinclair to illustrate how they represent a highly significant moment in English literature and film's engagement with landscape and environment.
This book offers the first in-depth analysis of the relationship between art and design, which led to the creation of 'pop'. Challenging accepted boundaries and definitions, the authors seek out various commonalities and points of connection between these two exciting areas. Confronting the all-pervasive 'high art / low culture' divide, Pop Art and Design brings a fresh understanding of visual culture during the vibrant 1950s and 60s. This was an era when commercial art became graphic design, illustration was superseded by photography and high fashion became street fashion, all against the backdrop of a rapidly-evolving economic and political landscape, a glamorous youth scene and an effervescent popular culture. The book's central argument is that pop art relied on and drew inspiration from pop design, and vice versa. Massey and Seago assert that this relationship was articulated through the artwork, design, publications and exhibitions of a network of key practitioners. Pop Art and Design provides a case study in the broader inter-relationship between art and design, and constitutes the first interdisciplinary publication on the subject.
This book uses the contradictions, fractures and coincidences of a twentieth-century rural landscape to explore new methods of writing place beyond 'new nature writing'. In doing so it opens up new ways of reading modernist artists and writers such as Vanessa Bell, Mary Butts and Paul Nash.
The source of any photograph is not the camera or even the scene viewed through the viewfinder-it is the mind of the photographer: this is where an image is created before it is committed to a memory card or film. In The Photographer's Mind, the follow-up to the international best-seller, The Photographer's Eye, photographer and author Michael Freeman unravels the mystery behind the creation of a photograph. The nature of photography demands that the viewer constantly be intrigued and surprised by new imagery and different interpretations, more so than in any other art form. The aim of this book is to answer what makes a photograph great, and to explore the ways that top photographers achieve this goal time and time again. As you delve deeper into this subject, The Photographer's Mind will provide you with invaluable knowledge on avoiding cliché, the cyclical nature of fashion, style and mannerism, light, and even how to handle the unexpected. Michael Freeman is the author of the global bestseller, The Photographer's Eye. Now published in sixteen languages, The Photographer's Eye continues to speak to photographers everywhere. Reaching 100,000 copies in print in the US alone, and 300,000+ worldwide, it shows how anyone can develop the ability to see and shoot great digital photographs.
This book provides a conceptual and global overview of the field of Surrealist studies. Methodologically, the companion considers Surrealism’s many achievements, but also its historical shortcomings, to illuminate its connections to the historical and cultural moment(s) from which it originated and to assess both the ways in which it still shapes our world in inspiring ways and the ways in which it might appear problematic as we look back at it from a twenty-first-century vantage point. Contributions from experienced scholars will enable professors to teach the subject more broadly, by opening their eyes to aspects of the field that are on the margins of their expertise, and it will enable scholars to identify new areas of study in their own work, by indicating lines of research at a tangent to their own. The companion will reflect the interdisciplinarity of Surrealism by incorporating discussions pertaining to the visual arts, as well as literature, film, and political and intellectual history.