Despite rapidly becoming a leading treatment for tuberculosis, rickets and other infections and skin diseases, light therapy was a contentious medical practice. Soaking up the rays forges a new path for exploring Britain’s fickle love of the light by investigating the beginnings of light therapy in the country from c.1890-1940. Interested in modern aesthetics, art and design, and/or the legacy of socialist Museum and gallery curators, artists and designers, and the broader public Scholars of material culture, historians of Russia and the USSR, as well as The book is addressed to design historians, art historians, Material culture studies, this book elucidates the complexities andĬontradictions of Soviet design that echoed international tendencies of the late Situated at the intersection of intellectual history, social history and Unique, utilitarian as well as challenging the conventional notion of utility. It introduces a shared history ofĭomestic objects, handmade as well as machine-made, mass-produced as well as Object’ as an agent of progressive social relations that state-sponsored Sovietĭesign inherited from the avant-garde. History of Soviet material culture by focusing on the notion of the ‘comradely Identifies the second historical attempt at creating a powerful alternative toĬapitalist commodities in the Cold War era. InĬontrast, Soviet design of the post-war period is often dismissed as hackworkĪnd plagiarism that resulted in a shabby world of commodities. Have been Russia’s first truly original contribution to world culture. The Russian avant-garde of the 1920s is broadly recognised to Russia that were concerned with material objects: industrial design andĭecorative art. This book is about two distinct but related professional cultures in late Soviet The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. The book focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations. It showcases the differences between English and American cultures. The book also explains how forced exile persists through generations through a family history. The text is supplemented and interrupted throughout by images (photographs, paintings, facsimile documents), some of which serve to illustrate the story, others engaging indirectly with the written word. It also includes the industrialist and philanthropist, Henry Simon of Manchester, including his relationship with the Norwegian explorer, Fridtjof Nansen the liberal British campaigner and MP of the 1940s, Eleanor Rathbone reflections on the lives and images of spinsters. Stories mobilised, and people encountered, in the course of the narrative include: the internment of aliens in Britain during the Second World War cultural life in Rochester, New York, in the 1920s the social and personal meanings of colour(s). The central underlying and repeated themes of the book are exile and displacement lives (and deaths) during the Third Reich mother-daughter and sibling relationships the generational transmission of trauma and experience transatlantic reflections and the struggle for creative expression. “You had to learn to do that or not be afraid of it.” Click through the slideshow to see her photographs from the pages of Slash magazine.This book can be described as an 'oblique memoir'. And there were the Kipper Kids, artists who performed completely naked.Īt concerts, “You had to fight through mosh pits and get pushed and shoved and punched, and your camera kind of wrecked,” she said. There were Mohawks and big jewelry, two-tone hair, buttons, glitter, and bondage pants. Everybody made their own and everything was hand-done: torn, put together, scissored, pasted.” Men and women wore heavy makeup and DayGlo with black leather jackets. “It was sort of ‘everything goes,’” Nissen told the Cut. Of her many memories from the era (shoving through mosh pits with her camera backup-dancing with Belinda Carlisle, lead singer of the Go-Go’s), she remembers the era’s fashion most. Nissen, then a single working mother in her 30s, was the magazine’s main photographer for the first few years. The book Slash: A Punk Magazine From Los Angeles, 1977–80, out in July from Hat & Beard Press, is a tribute to the fanzine. Co-founded in 1977 by then-couple Steve Samiof and Melanie Nissen, Slash ran band interviews, raw portraits, and live-concert photographs over 29 issues. Punk style might be most closely associated with New York and the Ramones, or London and Vivienne Westwood, but there was a flourishing scene in Los Angeles in the ‘70s as well, and Slash magazine faithfully documented every moment.
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