When women were admitted to the Royal Academy Schools in 1860, female art students gained a foothold in the most conservative art institution in England. The Royal Female College of Art, the South Kensington Schools and the Slade School of Fine Art also produced increasing numbers of women artists. Their entry into a male-dominated art world altered the perspective of other artists and the public. They came from disparate levels of society--Princess Louise, the fourth daughter of Queen Victoria, studied sculpture at the National Art Training School--yet they all shared ambition, talent and courage. Analyzing their education and careers, this book argues that the women who attended the art schools during the 1860s and 1870s--including Kate Greenaway, Elizabeth Butler, Helen Allingham, Evelyn De Morgan and Henrietta Rae--produced work that would accommodate yet subtly challenge the orthodoxies of the fine art establishment. Without their contributions, Victorian art would be not simply the poorer but hardly recognizable to us today.

Transnational Belonging and Female Agency in the Arts interrogates the politics of space expressed via womxn's artistic practices, which prioritise solidarity and collaboration across borders, imagining attentive geographies of difference. It considers belonging as a manifestation of processes of becoming that traverse borders and generate new spaces and forms of difference. In doing so, the book aims to catalyse mutual social relations founded upon responsibility and response-ability to each other. The transnational framework activates concerns around belonging at a time of intensified divisions, partitioning global narratives, unequal trajectories and increasing violence against bodies of the most vulnerable, largely founded on Eurocentric paradigms of political, economic and cultural superiority. The contributors engage in a conversation signalling transversal thinking and artmaking in order to articulate and activate 'in-between' spaces. This is to welcome co-affective models of belonging that question versatile embodiments of subjectivity as both agentic and as interrelational. Organised around the triangulation of modes of belonging: spatial, affective and collective, overarched by a transnational lens that acknowledges non-hierarchical, local and socially relevant genealogies against universalising politics of globalisation, these essays consider afresh ways in which female agency disrupts borders and activates concerns around different forms of belonging, citizenship and transnationalisms. Cover Image credit: Keren Anavy, Garden of Living Images (2018), general installation view (detail). Courtesy of the artist and Wave Hill. Photographer: Stefan Hagen

This market-leading practical text helps student teachers develop their confidence, understanding and skills to effectively and authentically teach arts. With a strong balance between theory and practice, Delivering Authentic Arts Education outlines the true nature of the key learning area of arts education and its importance in the curriculum, emphasising the arts as forms of creative activity, meaning-making and expression in a cultural context. Initial chapters discuss how to recognise and build on existing artistic abilities and pedagogical skills, how to encourage children’s creativity, how to lead arts appreciation experiences, and the general principles of planning and assessment. Part 2 specifically examines the five arts areas: dance, drama, media arts, music and visual arts. The final part of the text, Units of Inquiry, contains valuable sample learning activities and resources that demonstrate how to plan an effective lesson within a unit of inquiry.

What makes a cult artist? Whether pioneering in their craft, fiercely and undeniably unique, or critically divisive, cult artists come in all shapes and guises. Some gain instant fame, others instant notoriety, and more still remain anonymous until a chance change in fashion sees their work propelled into the limelight. Cult Artists handpicks 50 notable figures in the modern art world and explores the creative genius that earned them the 'cult' label, while celebrating the works that made their names. From the iconic Salvador Dalí and Frida Kahlo, to radical activists such as the Guerrilla Girls and Ana Mendieta. The artistic mediums explored are similarly varied, with sculptors, performance, graffiti and fine artists alike. From little knowns with small, devout followings, to superstars gracing the covers of magazines, each is special in their individuality and their ability to inspire, antagonise and delight. Cult Artists is an essential addition to any art lover's library, as well as an entertaining introduction to our weird and wonderful art world. The artists: Dan Attoe, Balthus, Jean-Michel Basquiat, Jospeh Beuys, Christian Boltanski, Louise Bourgeois, Leigh Bowery, Chris Burden, Sophie Calle, Chapman Brothers, Judy Chicago, Joseph Cornell, Molly Crabapple, Salvador Dali, Niki de Saint Phalle, Marcel Duchamp, El Anatsui, James Ensor, H. R. Giger, Gilbert & George, Guerrilla Girls, Nan Goldin, Jenny Holzer, Donna Huanca, Dorothy Iannone, Frida Kahlo, Allan Kaprow, Mike Kelley, Yves Klein, Barbara Kruger, Yayoi Kusama, Kazimir Malevich, Christian Marclay, Ana Mendieta, Alice Neel, Herman Nitsch, Yoko Ono, Orlan, Genesis P-orridge, Carol Rama, Faith Ringgold, Mark Rothko, Mark Ryden, Carolee Schneemann, Yinka Shonibare, Malick Sidibe, Stelarc, Florine Stettheimer, Kara Walker, David Wojnarowicz.

Behind rolling hills, overlooking the fjord and the islands of Southern Funen in Denmark, lies the Faaborg Museum. With its boldly coloured walls and decorative tile floors made from local clay, the building has quite literally sprung from Funen's soil in a symbiosis of local nature and culture. Inside, visitors will find art by the 'Funen Painters', created during the period 1880 to 1928, when Faaborg was home to one of Denmark's pre-eminent artists' colonies. With their paintings of rural Funen, farmworkers and domestic scenes, the artists Peter Hansen, Fritz and Anna Syberg, Jens Birkholm and Johannes Larsen introduced new subject matter and new methods of painting to Danish art. Faaborg Museum and the Artists' Colony presents the history of Faaborg Museum, its architecture, collection and artists to international audiences for the first time. Lavishly illustrated, the book features architectural photographs and plans as well as pictures of the museum's art.

Although numerous studies have examined biblical and theological rationales for using the visual arts in worship, this book by Lisa J. DeBoer fills in a piece of the picture missing so far — the social dimensions of both our churches and the various art worlds represented in our congregations. The first part of the book looks at Orthodoxy, Catholicism, and Protestantism in turn — including case studies of specific congregations — showing how each tradition’s use of the visual arts reveals an underlying ecclesiology. DeBoer then focuses on six themes that emerge when Orthodox, Catholic, and Protestant uses of the visual arts are examined together — the arts as expressions of the church’s local and universal character, the meanings attributed to particular styles of art for the church, the role of the arts in enculturating the gospel, and more. DeBoer’s Visual Arts in the Worshiping Church will focus and deepen the thinking of pastors, worship leaders, artists, students, and laypeople regarding what the arts might do in the midst of their congregations.

Just because the art is beautiful doesn't mean the artist was a saint . . . Scoundrels, Cads, and Other Great Artists examines the lives of nine great artists who were less than exemplary human beings in their lives outside of their art. It explores the question, “Why do we like magnificent art from artists who were awful human beings?” For example, the great Baroque painter, Caravaggio, who developed the chiaroscuro style of painting, was in constant trouble with the law, even having killed a man in a duel. Frederick Remington, the great painter of the American West, was an incredible racist and bigot. His evocative paintings of Native Americans on the trail on horseback give no hint of Remington’s enmity toward them and other ethnic groups in America. Jackson Pollock? His irascibility and petulance were compounded by a lifelong battle with alcoholism, ultimately leading to a fatal automobile accident. Whistler and Courbet were philanderers and libertines. Scoundrels introduces people to great art by showing the more salacious side of the personal lives of great artists over time. This book not only tells the stories of a dozen artists, but explores how to look at art and the separation between art and artist. This lively narrative is enhanced by over 100 full-color reproductions of great paintings and details from them.