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Established in the belief that imperialism as a cultural phenomenon had as significant an effect on the dominant as it did on the subordinate societies, the "Studies in Imperialism" series seeks to develop the new socio-cultural approach which has emerged through cross-disciplinary work on popular culture, media studies, art history, the study of education and religion, sports history and children's literature. The cultural emphasis embraces studies of migration and race, while the older political, and constitutional, economic and military concerns are never far away. It incorporates comparative work on European and American empire-building, with the chronological focus primarily, though not exclusively, on the 19th and 20th centuries, when these cultural exchanges were most powerfully at work.

Empire Art Direct's collection of printed, frame-less, free floating, tempered glass was inspired by the French technique of Verre Eglomise in which artist's literally painted the back of clear glass so that when viewed from the front the painting is brought to life under the depth of the glass. This piece of a beautiful colorful abstract takes that same tempered glass and displays a beveled mirror in front of it. 4 strong steel hangers are attached to the back of the mirror for a quick and easy vertical or horizontal installation.

Introducing the Ephemeral Sunset I Tapis D' Art by celebrated artist Ishita Banerjee, a vibrant piece that brings a touch of modern elegance and abstract beauty to any home. This rug features an abstract design with bold, overlapping circular motifs and dynamic brushstrokes in shades of blue, orange, red, and grey, creating a visually captivating and harmonious effect reminiscent of a stunning sunset. Crafted from 100% polyester with a 2 mm pile, it offers a soft and comfortable feel underfoot. Power loomed for durability; it includes a non-slip backing to ensure it stays securely in place even in high-traffic areas. Measuring 5 ft.0 x 7 ft.7, it fits perfectly in living rooms, bedrooms, and dining areas. Each rug bears the artist 's signature on the print, adding a unique and personal touch to your decor. The vibrant color palette and abstract design make this rug a standout piece that complements contemporary interiors. Transform your space with the artistic elegance of the Ephemeral Sunset I Tapis D' Art and enjoy the perfect blend of style and functionality in your home. Its bold design and soft texture create an inviting atmosphere, making it ideal for relaxation and comfort. Enhance your home with this elegant and durable rug, designed to provide both aesthetic appeal and practical benefits. Color: Multi-Colored. Pattern: Geometric.

Introducing the Ephemeral Linear I Tapis D'Art by celebrated artist Ishita Banerjee, a vibrant piece that brings a touch of modern elegance and abstract beauty to any home. This rug features an abstract design with bold, linear patterns and dynamic brushstrokes in shades of teal, orange, red, yellow, purple, and white, creating a visually captivating and harmonious effect. Crafted from 100% polyester with a 2 mm pile, it offers a soft and comfortable feel underfoot. Power loomed for durability, it includes a non-slip backing to ensure it stays securely in place even in high-traffic areas. Measuring 5 ft. 0 in. x 7 ft. 7 in., it fits perfectly in living rooms, bedrooms, and dining areas. Each rug bears the artist's signature on the print, adding a unique and personal touch to your decor. The vibrant color palette and abstract design make this rug a standout piece that complements contemporary interiors. Transform your space with the artistic elegance of the Ephemeral Linear I Tapis D'Art, and enjoy the perfect blend of style and functionality in your home. Its bold design and soft texture create an inviting atmosphere, making it ideal for relaxation and comfort. Enhance your home with this elegant and durable rug, designed to provide both aesthetic appeal and practical benefits. Color: Multi-Colored.

Introducing the Ephemeral Linear Tapis D' Art by celebrated artist Ishita Banerjee, a vibrant piece that brings a touch of modern elegance and abstract beauty to any home. This rug features an abstract design with bold, linear patterns and dynamic brushstrokes in shades of teal, orange, red, yellow, purple, and white, creating a visually captivating and harmonious effect. Crafted from 100% polyester with a 2 mm pile, it offers a soft and comfortable feel underfoot. Power loomed for durability; it includes a non-slip backing to ensure it stays securely in place even in high-traffic areas. Measuring 7 ft.7 x 10 ft.5, it fits perfectly in living rooms, bedrooms, and dining areas. Each rug bears the artist 's signature on the print, adding a unique and personal touch to your decor. The vibrant color palette and abstract design make this rug a standout piece that complements contemporary interiors. Transform your space with the artistic elegance of the Ephemeral Linear Tapis D' Art and enjoy the perfect blend of style and functionality in your home. Its bold design and soft texture create an inviting atmosphere, making it ideal for relaxation and comfort. Enhance your home with this elegant and durable rug, designed to provide both aesthetic appeal and practical benefits. Color: Multi-Colored.

The study of the last remaining Ute wickiups, or brush shelters, along with the historic artifacts found with them has uncovered an understudied chapter of Native American history—the early years of contact with European invaders and the final years of Ute sovereignty. Ephemeral Bounty is the result of this archaeological research and its findings on the protohistoric and early historic Ute Indians of Colorado.  The Colorado Wickiup Project is documenting ephemeral wooden features such as wickiups, tree-platforms, and brush horse corrals that remain scattered throughout the mesas, canyons, and mountains of the state. They date from when European newcomers first arrived with a bounty of new things—horses, metal knives and axes, guns, and brightly colored glass beads—which were readily adopted by the Utes.  The Project is unique in using the techniques of metal detection, historic trade ware analysis, and tree-ring dating of metal ax–cut wickiup poles to distinguish the Ute sites from historic Euro–American ones. Through this analysis, researchers have demonstrated that not all Utes left Colorado for the reservations in Utah during the “final removal” in 1881, as has been generally believed. A significant number remained on their homelands well into the early decades of the twentieth century, building brush shelters and living much as they had for generations, but with new tools and weapons. Appendix B Form: Aboriginal Wooden Feature Component Form

I said to the PathGuide meAnd the Path saidJust Walk – You are your own best guide...I walk this path One step at a timeIn search ofThe sublime Light...And put forth theseEphemeral musingsFrom my life...

Ephemeral Inherit Disease - LP 856066006056

Politics under Salvador Allende was a battle fought in the streets. Everyday attempts to “ganar la calle” allowed a wide range of urban residents to voice potent political opinions. Santiaguinos marched through the streets chanting slogans, seized public squares, and plastered city walls with graffiti, posters, and murals. Urban art might only last a few hours or a day before being torn down or painted over, but such activism allowed a wide range of city dwellers to participate in the national political arena. These popular political strategies were developed under democracy, only to be reimagined under the Pinochet dictatorship. Ephemeral Histories places urban conflict at the heart of Chilean history, exploring how marches and protests, posters and murals, documentary film and street photography, became the basis of a new form of political change in Latin America in the late twentieth century.

Established in the belief that imperialism as a cultural phenomenon had as significant an effect on the dominant as it did on the subordinate societies, the "Studies in Imperialism" series seeks to develop the new socio-cultural approach which has emerged through cross-disciplinary work on popular culture, media studies, art history, the study of education and religion, sports history and children's literature. The cultural emphasis embraces studies of migration and race, while the older political, and constitutional, economic and military concerns are never far away. It incorporates comparative work on European and American empire-building, with the chronological focus primarily, though not exclusively, on the 19th and 20th centuries, when these cultural exchanges were most powerfully at work.

Emanating from the cabarets of modernist Paris, a short-lived vogue spread around the world for avant-garde journals known in English as "ephemeral bibelots." For a time, it seemed that all the young bohemians passing through Paris started their own bibelots modeled on Le Chat Noir, the esoteric magazine of the famed Montmartre cabaret. These journals were recognizable for their decadence, campy queerness, astounding art nouveau illustrations, fin-de-siècle color schemes, innovative typefaces, and practiced bohemianism. In Ephemeral Bibelots, Brad Evans relays the untold story of this late-nineteenth-century craze for bibelots, dusting off a trove of periodicals largely untouched by digitization. In excavating this forgotten archive, Evans calls into question the prehistory of modernist little magazines as well as the history of American art and literature at the turn of the twentieth century. Considering how artistic movements take shape, move, and disappear, the book is organized around three major themes―"vogue," "ephemera," and "obscurity"―with authors and artists to match. A full-color insert reveals a glorious array of bibelot covers.This revisionary history of print culture incorporates discussions of pragmatist philosophy and relational aesthetics; women writers like Juliet Wilbor Tompkins and Carolyn Wells; the graphic artists Will Bradley, Louis Rhead, and John Sloan; the dancer Loie Fuller; and twentieth-century figures like H. L. Mencken, Amy Lowell, and Anita Loos. Bringing nineteenth-century American literature and culture into conversation with modern art movements from around the world, Ephemeral Bibelots provides new ways of thinking about the centrality of various media cultures to the attribution of aesthetic innovation and its staying power.

Emanating from the cabarets of modernist Paris, a short-lived vogue spread around the world for avant-garde journals known in English as "ephemeral bibelots." For a time, it seemed that all the young bohemians passing through Paris started their own bibelots modeled on Le Chat Noir, the esoteric magazine of the famed Montmartre cabaret. These journals were recognizable for their decadence, campy queerness, astounding art nouveau illustrations, fin-de-siècle color schemes, innovative typefaces, and practiced bohemianism. In Ephemeral Bibelots, Brad Evans relays the untold story of this late-nineteenth-century craze for bibelots, dusting off a trove of periodicals largely untouched by digitization. In excavating this forgotten archive, Evans calls into question the prehistory of modernist little magazines as well as the history of American art and literature at the turn of the twentieth century. Considering how artistic movements take shape, move, and disappear, the book is organized around three major themes―"vogue," "ephemera," and "obscurity"―with authors and artists to match. A full-color insert reveals a glorious array of bibelot covers.This revisionary history of print culture incorporates discussions of pragmatist philosophy and relational aesthetics; women writers like Juliet Wilbor Tompkins and Carolyn Wells; the graphic artists Will Bradley, Louis Rhead, and John Sloan; the dancer Loie Fuller; and twentieth-century figures like H. L. Mencken, Amy Lowell, and Anita Loos. Bringing nineteenth-century American literature and culture into conversation with modern art movements from around the world, Ephemeral Bibelots provides new ways of thinking about the centrality of various media cultures to the attribution of aesthetic innovation and its staying power.

Framed art print Design details: top quality giclee print on high resolution archive paper; professionally framed and mounted on acid free archive matts Arrives ready to hang Includes a certificate of authenticity Made in the USA

Framed art print Design details: top quality giclee print on high resolution archive paper; professionally framed and mounted on acid free archive matts Arrives ready to hang Includes a certificate of authenticity Made in the USA

Established in the belief that imperialism as a cultural phenomenon had as significant an effect on the dominant as it did on the subordinate societies, the "Studies in Imperialism" series seeks to develop the new socio-cultural approach which has emerged through cross-disciplinary work on popular culture, media studies, art history, the study of education and religion, sports history and children's literature. The cultural emphasis embraces studies of migration and race, while the older political, and constitutional, economic and military concerns are never far away. It incorporates comparative work on European and American empire-building, with the chronological focus primarily, though not exclusively, on the 19th and 20th centuries, when these cultural exchanges were most powerfully at work.

When and why did large-scale exhibitions of Old Master paintings begin, and how have they evolved through the centuries? In this book an eminent art historian examines the intriguing history and significance of these international art exhibitions.Francis Haskell begins by discussing the first “Old Master” exhibitions in Rome and Florence in the seventeenth century and then moves to eighteenth-century France and the efforts to organize exhibitions of contemporary art that would be an alternative to the official ones held by the Salon. He next describes the role of the British Institution in London and the series of remarkable loan exhibitions of Old Master paintings there. He traces the emergence of such nationalist exhibitions as the Rembrandt exhibition held in Amsterdam in 1898, the first modern “blockbuster” exhibit. Demonstrating how the international loan exhibition was a vehicle of foreign and cultural policy after the First World War, he gives a fascinating account of several of these, for example the Italian Art exhibition held at Burlington House in 1930 (Botticelli in the Service of Fascism). He describes the initial reluctance of major museums to send pictures on potentially damaging journeys and explains how this feeling gave way to cautious enthusiasm. Finally, in a polemical chapter, he explores the type of publications associated with exhibitions and with the criticism and scholarship that have centered upon them.

Politics under Salvador Allende was a battle fought in the streets. Everyday attempts to “ganar la calle” allowed a wide range of urban residents to voice potent political opinions. Santiaguinos marched through the streets chanting slogans, seized public squares, and plastered city walls with graffiti, posters, and murals. Urban art might only last a few hours or a day before being torn down or painted over, but such activism allowed a wide range of city dwellers to participate in the national political arena. These popular political strategies were developed under democracy, only to be reimagined under the Pinochet dictatorship. Ephemeral Histories places urban conflict at the heart of Chilean history, exploring how marches and protests, posters and murals, documentary film and street photography, became the basis of a new form of political change in Latin America in the late twentieth century.

Ephemeral Material: Queering the Archive articulates a queer approach to archival studies and archival practice, and establishes the relevance of this approach beyond collections with LGBTQ content. Kumbier argues that queering the archive (thinking through queer interests, experiences, explanatory frameworks, and cultural practices) allows us to think critically about established archival principles and practices. This project describes -- and supports -- the work of archivists, community documentarians, activists, and scholars seeking to preserve materials documenting queer lives and experiences, and imagines how we might respond to the particular demands of archiving queer lives. Further, this project intervenes in the repetition of practices that may exclude LGBTQ constituencies, render our experiences less-visible/less-legible, or perpetuate oppressive power relations between archivists and users or documented subjects. The project aims to make work by scholars in history, performance studies, queer studies, and other areas of the humanities who are encountering the limits of archives -- and are developing strategies for working with them -- legible and relevant to archivists and librarians. The book supports its conceptual work with concrete examples of collecting and documentation projects, a research ethnography, and analyses of popular media that represent -- and critique -- archival spaces and practices.

Ephemeral Material: Queering the Archive articulates a queer approach to archival studies and archival practice, and establishes the relevance of this approach beyond collections with LGBTQ content. Kumbier argues that queering the archive (thinking through queer interests, experiences, explanatory frameworks, and cultural practices) allows us to think critically about established archival principles and practices. This project describes -- and supports -- the work of archivists, community documentarians, activists, and scholars seeking to preserve materials documenting queer lives and experiences, and imagines how we might respond to the particular demands of archiving queer lives. Further, this project intervenes in the repetition of practices that may exclude LGBTQ constituencies, render our experiences less-visible/less-legible, or perpetuate oppressive power relations between archivists and users or documented subjects. The project aims to make work by scholars in history, performance studies, queer studies, and other areas of the humanities who are encountering the limits of archives -- and are developing strategies for working with them -- legible and relevant to archivists and librarians. The book supports its conceptual work with concrete examples of collecting and documentation projects, a research ethnography, and analyses of popular media that represent -- and critique -- archival spaces and practices.

Built around characteristic features of modern life such as rapid change, built-in obsolescence, indeterminacy, media orientation, a culture of style, and instant gratification, Houston is an ephemeral city, hard to pin down and understand. Its lack of zoning (Houston is the only major city in America without it) and a burgeoning population that doubles every generation have created a new urban paradigm, where displacements of traditional patterns of stability and urban ritual are now the norm.Since 1982, Cite: The Architectural and Design Review of Houston has explored the nature of Houston's evolution as an urban place by publishing commissioned articles by nationally known writers and architectural historians and high quality photography. This volume brings together twenty-five exceptional articles from Cite's first twenty years, along with 224 black-and-white photographs, maps, and plans. The book is divided into three sections: "Idea of the City," edited by Bruce C. Webb, "Places of the City," edited by Barrie Scardino, and "Buildings of the City," edited by William F. Stern. The sections are introduced with new essays written by the editors to provide cohesion for the anthology and commentary on where Houston might be going in the twenty-first century. Most articles are followed by a brief update and bibliography of related articles published in Cite.The editors chose these articles to explore the developmental history and architecture of a flat, sprawling, free-spirited city that is impossible to capture through any one episode or explain through any one place. With a diversity of voices and a selection that includes both narrow and broad topics, the volume constitutes a collage that captures the essence of a remarkable place—inchoate, patchwork, full of youthful vigor, favorable to private enterprise, and one of the world's most fascinating cities.