A title exploring the isolated expanses of the British coastline and countryside and featuring new works by leading contemporary artists such as L.S. Lowry, Paul Nash, Tim MacMillan, Tania Kovats and Edward Burra. These artists have developed a close bondwith the places that nourish their vision.

SEEING THE UNSEEN. GEOPHYSICS AND LANDSCAPE ARCHAEOLOGY is a collection of papers presented at the advanced XV International Summer School in ArchaeologyGeophysics for Landscape Archaeology (Grosseto, Italy, 10-18 July 2006). Bringing together the experience of some of the worlds greatest experts in the field of archaeological prospection, the

Sites Unseen challenges conventions for viewing and interpreting the landscape, using visual theory to move beyond traditional practices of describing and classifying objects to explore notions of audience and context. While other fields, such as art history and geography, have engaged poststructuralist theory to consider vision and representation, the application of such inquiry to the natural or built environment has lagged behind. This book, by treating landscape as a spatial, psychological, and sensory encounter, aims to bridge this gap, opening a new dialogue for discussing the landscape outside the boundaries of current art criticism and theory. As the contributors reveal, the landscape is a widely adaptable medium that can be employed literally or metaphorically to convey personal or institutional ideologies. Walls, gates, churchyards, and arches become framing devices for a staged aesthetic experience or to suit a sociopolitical agenda. The optic stimulation of signs, symbols, bodies, and objects combines with physical acts of climbing and walking and sensory acts of touching, smelling, and hearing to evoke an overall "vision" of landscape.Sites Unseen considers a variety of different perspectives, including ancient Roman visions of landscape, the framing techniques of a Moghul palace, and a contemporary case study of Christo's The Gates, as examples of human attempts to shape our sensory, cognitive, and emotional experiences in the landscape.

A study of the production, circulation and consumption of English ghost stories during the Age of Reason. This work examines a variety of mediums: ballads and chapbooks, newspapers, sermons, medical treatises and scientific journals, novels and plays. It relates the telling of ghost stories to changes associated with the Enlightenment.

Textile Landscapes demonstrates how to develop your approach to textile art with a focus on using found objects and paint and stitch on cloth and paper. Cas explains how to exploit the contrast between the hands-on textural quality of working with fabrics and threads and the spontaneity and movement of brush marks to lend a painterly quality to your work. She begins with the basics – keeping a sketchbook to generate ideas, painting and stitching on cloth and on paper and working digitally; Inspiring Landscapes looks at natural and urban space, the changing seasons and great landscapes as well as intimate spaces and travel diaries; Painting and Marking with Cloth explains the practical aspects of painting and dyeing cloth and how to make connections between paint, print, dye, stencil and stitch; Stitch-scapes looks at the different forms of landscape, experimenting with photographs and prints and how to translate those images using ink, stitch, abstract and collage techniques and then at how to transform the image using digital techniques; On Closer Inspection covers using elements and details from landscape and the environment as found objects and for research; finally People and Place explores the relationship we have with the outdoors and the built environment, as well as personal interpretations of place. The book includes artworks by the author that explore the UK, USA, Europe and Australia, as well as works by other internationally renowned textile artists. A creative guide ideal for textile artists of all levels – students, teachers and practising artists and makers – to make unique and beautiful work inspired by the world around us.

Derek Jarman's place in the history of film is assured by virtue of his vibrant, defiant films that experiment with the very process of film-making and create new forms. His paintings, their excitements and their profundity, are less well known. Michael Charlesworth sheds light on the varied ramifications of Jarman's artistic practice from his years at Prospect Cottage, Dungeness, and provides the first book-length study of his interest in depth psychology. He draws on Jarman's paintings, especially his landscapes from the 1960s and 70s, his multiple series such as 'black' and 'broken glass', GBH, Queer and Evil Queen, and his last Ecstatic Landscapes (1991-3). He also showcases Jarman's excellence as a writer with respect to his memoir, Kicking the Pricks. In a novel approach to Jarman's cinema, selecting films such as Journey to Avebury (1973), Caravaggio (1986), The Garden (1990) and Blue (1993), Charlesworth emphasizes themes and artistry rather than narrative. Exploring the ways in which Jungian and post-Jungian psychology were absorbed into Jarman's varied works, Derek Jarman's Visionary Arts provides a fresh perspective on his painting, film and writing. It celebrates him as one of the major British artists of the late 20th century, engaging with current debates about queer sexualities, environmentalism and climate catastrophe.

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.

This is a critical edition of the art writings of the painter Paul Nash (1889-1946). Alongside the very different Wyndham Lewis, Nash was the only major British artist of his generation who was also a regular critic of, and essayist on, art. He knew and read the leading critics of his day,and evolved a distinctive position in relation to them. His relationship to British modernism and the mutual stimulus of art and criticism, the opening up of his criticism and that of others to poetic and literary influences under the influence of Surrealism is discussed by Andrew Causey. Nash'swritings span the years 1919 to 1946, with the majority dating from the 1930s; they were framed by his profession of painting and his activities as an art teacher, a product designer, and his involvement, as organiser and polemicist, in the art world. All of these helped for form the individualityof his writing.

John C. Frémont was the most celebrated explorer of his era. In 1842, on the first of five expeditions he would lead to the Far West, Frémont and a small party of men journeyed up the Kansas and Platte Rivers to the Wind River Range in Wyoming. At the time, virtually this entire region was known as the Great Desert, and many Americans viewed it and the Rocky Mountains beyond as natural barriers to the United States. After Congress published Frémont’s official report of the expedition, however, few doubted the nation should expand to the Pacific. The first in-depth study of this remarkable report, Sight Unseen argues that Frémont used both a radical form of the picturesque and an imaginary map to create an aesthetic craving for expansion. Not only did he redefine the Great Desert as a novel and complex environment, but on a summit of the Wind River Range he envisioned the Continental Divide as a feature that would unify rather than obstruct a larger nation. In addition to provoking the great migration to Oregon and providing an aesthetic justification for the national park system, Frémont’s report profoundly altered American views of geography, progress, and the need for a transcontinental railroad. By helping to shape the very notion of Manifest Destiny, the report became one of the most important documents in the history of American landscape.

Sites Unseen examines the complex intertwining of race and architecture in nineteenth and early-twentieth century American culture, the period not only in which American architecture came of age professionally in the U.S. but also in which ideas about architecture became a prominent part of broader conversations about American culture, history, politics, and—although we have not yet understood this clearly—race relations. This rich and copiously illustrated interdisciplinary study explores the ways that American writing between roughly 1850 and 1930 concerned itself, often intensely, with the racial implications of architectural space primarily, but not exclusively, through domestic architecture. In addition to identifying an archive of provocative primary materials, Sites Unseen draws significantly on important recent scholarship in multiple fields ranging from literature, history, and material culture to architecture, cultural geography, and urban planning. Together the chapters interrogate a variety of expressive American vernacular forms, including the dialect tale, the novel of empire, letters, and pulp stories, along with the plantation cabin, the West Indian cottage, the Latin American plaza, and the “Oriental” parlor. These are some of the overlooked plots and structures that can and should inform a more comprehensive consideration of the literary and cultural meanings of American architecture. Making sense of the relations between architecture, race, and American writing of the long nineteenth century—in their regional, national, and hemispheric contexts—Sites Unseen provides a clearer view not only of this catalytic era but also more broadly of what architectural historian Dell Upton has aptly termed the social experience of the built environment.