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Mapping innovation in arts provision in the Liverpool City Region
Josie Billington
Ekaterina Balabanova
Joanne Worsley
Antonina Anisimovich
, and
Melissa Chapple

What COVID gave us was a real opportunity to shine a light on the value of the arts. Moving forward, we’ve got to continue to find ways to get that message across. (Liverpool Museum) This chapter charts the rapid

in Creative approaches to wellbeing

Women Art Workers constitutes the first comprehensive history of the network of women who worked at the heart of the English Arts and Crafts movement from the 1870s to the 1930s. Challenging the long-standing assumption that the Arts and Crafts simply revolved around celebrated male designers like William Morris, this book instead offers a new social and cultural account of the movement, which simultaneously reveals the breadth of the imprint of women art workers upon the making of modern society. Thomas provides unprecedented insight into how women – working in fields such as woodwork, textiles, sculpture, painting, and metalwork – navigated new authoritative roles as ‘art workers’ by asserting expertise across a range of interconnected cultures so often considered in isolation: from the artistic to the professional, intellectual, entrepreneurial, and domestic. Through examination of newly discovered institutional archives and private papers, and a wide range of unstudied advertisements, letters, manuals, photographs, and calling cards, Women Art Workers elucidates the critical importance of the spaces around which women conceptualised alternative creative and professional lifestyles: guild halls, exhibitions, homes, studios, workshops, and the cityscape. Shattering the traditional periodisation of the movement as ‘Victorian’, this research reveals that the early twentieth century was a critical juncture at which women art workers became ever more confident in promoting their own vision of the Arts and Crafts. Shaped by their precarious gendered positions, they opened up the movement to a wider range of social backgrounds and interests, and redirected the movement’s radical potential into contemporary women-centred causes.

A tale of two professors
Randee Lipson Lawrence
Patricia Cranton

6 Mentoring arts-based research: a tale of two professors Randee Lipson Lawrence and Patricia Cranton A rts-based research has tremendous potential to foster human creativity and bring about cultural and social change. Unfortunately, in our experience, graduate programmes in mainstream academic cultures may not always seek to foster creativity. Bringing the arts into graduate adult education research has the potential to breathe new life into what has become a fixed and often rather dull process. This chapter discusses this practice as it critiques and

in Lifelong learning, the arts and community cultural engagement in the contemporary university
Abstract only
Paul Greenhalgh

The Fine Arts were an important ingredient in any international exhibition of calibre. They were the counter-poise to industry and the sciences, the non-functional aspect of human endeavour every nation had to be seen to participate in to avoid the charge of philistinism. The fine arts carried great honour for those nations thought to excel in them and they bestowed prestige on

in Ephemeral vistas
Josh Doble
Liam J. Liburd
Emma Parker
Samran Rathore
, and
Tajpal Rathore

Tribe Arts is a philosophically inspired, radical-political theatre, media and production company based in Leeds. Founded by Tajpal Rathore and Samran Rathore, its work aims to amplify the stories and voices of second- and third-generation black and Asian people in Britain, interrogating themes and issues such as race, belonging

in British culture after empire
Zoë Thomas

2 Exhibiting the Arts and Crafts I n November 1911, a new exhibition titled the Englishwoman Exhibition of Arts and Handicrafts opened at Maddox Street Gallery just off Regent Street in central London.1 For a shilling, visitors could roam around stalls displaying colour printing, lithography, book illustrations, jewellery, and leatherwork, and view loaned special-interest items, such as Buddhist robes and a lace handkerchief once belonging to Marie Louise, Empress of France.2 Over the next few years, the exhibition – which took place every November, just in

in Women art workers and the Arts and Crafts movement
British fascism and artistic modernism
Thomas Linehan

As with other contemporary cultural forms in Britain, such as literature and music, the visual arts were caught in the throes of change during the interwar years, which was both profound and deeply unsettling to established mores and conventions. Although the impact of intellectual modernism and avant-gardism on the visual arts in Britain after 1918 was not nearly as momentous as in some continental countries like France and Germany, many modernist ideas and styles would be adopted at some point during the 1920s and 1930s by native artists. 1 This was a new

in British Fascism 1918-39
The messy longitudinal dynamics of never leaving the field
David Calvey

This chapter is divided into four sections. The first outlines the context for this ethnographic project, including the biographical rationale and landscape. The second briefly explores martial arts as a distinctive field and my particular sociological gaze and lens on the topic. The third unpacks some confessional moments within my autoethnographic journey in martial arts. The fourth concludes the chapter and critically reflects on the lessons learned from this ethnographic tale of not leaving the field. A biographical

in Leaving the field
Cultural politics and art films in post-war Britain
Katerina Loukopoulou

From its foundation in 1945, the Arts Council of Great Britain (Arts Council hereafter) endorsed cinema as a serious artistic medium, directly supporting and sponsoring art films for almost fifty years. In doing so, even on a much smaller scale by comparison to its support for the traditional fine arts of painting and sculpture, the Arts Council nurtured experiments in film form and shaped the careers of many independent film-makers in a manner that helped to develop a specialised strand of British art cinema from the 1960s onwards

in British art cinema
Changyu Liu

The twenty-three Ur III cuneiform texts presented in this article are housed in the collections of the Detroit Institute of Arts. This article publishes thirteen Neo-Sumerian tablets from Puzriš-Dagan which primarily deal with animals, and a further ten texts from Umma, including five messenger texts. The aim of the article is to offer an edition and an updated catalogue of these texts, with a special focus on the Neo-Sumerian administration.

Bulletin of the John Rylands Library