Emilio Fernández

The issue of ethnicity in France, and how ethnicities are represented there visually, remains one of the most important and polemical aspects of French post-colonial politics and society. This is the first book to analyse how a range of different ethnicities have been represented across contemporary French visual culture. Via a wide series of case studies – from the worldwide hit film Amélie to France’s popular TV series Plus belle la vie – it probes how ethnicities have been represented across different media, including film, photography, television and the visual arts. Four chapters examine distinct areas of particular importance: national identity, people of Algerian heritage, Jewishness and France’s second city Marseille.

This book represents the first attempt to write a comprehensive account of performance art in Eastern Europe - the former communist, socialist and Soviet countries of Central, Eastern and Southeastern Europe - since the 1960s. It demonstrates performance art, which encompasses a range of genres, among them body art, happenings, actions and performance. In exploring the manifestations and meanings of performance art, the book highlights the diversity of artistic practice, moments and ways in which performance emerged, and its relationship to each country's sociopolitical climate. The book discusses 21 countries and over 250 artists, exploring the manner in which performance art developed concurrently with the genre in the West. It examines how artists used their bodies in performance to navigate the degrees of state control over artistic production and cultivate personalised forms of individual integration and self-expression of body, gender, politics, identity, and institutional critique. A comparative analysis of examples of performance art addressing gender-related issues from across the socialist and post-socialist East is then presented. The themes addressed provide local cultural and historical references in works concerning beauty, women's sexuality and traditional notions of gender. Artists' efforts to cope with the communist environment, the period of transition and the complexities of life in the post-communist era are highlighted. Artists during the communist period adopted performance art as a free-form, open-ended means of expression to give voice to concepts, relationships and actions that otherwise would not have been possible in the official realm of art.

The design profession is frequently said to be in a state of crisis. Taking a fresh look at its past to connect with present-day features, this book revisits the history of the industrial design profession in new perspective. Exploring the design profession as a socially constructed practice, the book identifies points of transition, friction and flux that have steered representation and identity in this field since the early twentieth century. Its analysis focuses on the period between 1930 and 1980, starting from the moment British and American industrial artists and designers self-consciously chose to pursue the path to professionalization, to establish visible public status as professionals alongside the architect and engineer. From here, the book explores the internal dramas, hopes, aspirations, insecurities and failures of men and women working as industrial designers between 1930 and 1980, a period of immense cultural and social change. Bringing new perspectives to the gendered dynamics of professionalization and the history of design, it examines the representation of the industrial designer over time through the lens of the museum and gallery, television and film, magazines and the print press, in the studio, boardroom and home. Each chapter of the book captures moments of transition through these platforms, which give agency to the identity of design, a profession in a constant state of invention.