![]() ![]() The pic was shot by none other than fellow Brit and architectural photographer extraordinaire. Our living room circa 1982 or 3? by Mick and his wife Ros, who's also a very cool artist. who went to 's high school down the street.Mick won a Grammy in 1979 for Supertramp's Breakfast in America album cover and was nominated four other times including for the GoGo's Vacation cover, and video! We're slacking:) He's a cool guy - did album covers and vids and hung out with a great LA punk band.who just got into the Rock and Roll Hall of Fame. He used to own our house in Beachwood around 1978. Soaking up the rays will appeal to those intrigued by medicine’s visual culture, especially academics and students of the histories of art and visual culture, material cultures, medicine, science and technology, and popular culture.This is, a designer. By analysing archival photographs, illustrated medical texts, advertisements, lamps, and goggles and their visual representation of how light acted upon the body, Woloshyn assesses their complicated contribution to the founding of light therapy. Bodily exposure to light, whether for therapeutic or aesthetic ends, persists as a contested subject to this day: recommended to counter psoriasis and other skin conditions as well as Seasonal Affective Disorder (SAD) and depression closely linked to notions of beauty, happiness and well-being, fuelling tourism to sunny locales abroad and the tanning industry at home and yet with repeated health warnings that it is a dangerous carcinogen. 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. This book can be described as an 'oblique memoir'. ![]()
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