Throughout the 20th century, there were increasing numbers of artists who chose to work within a fine art aesthetic (i.e., expressive, communicative, innovative, unique) while simultaneously embracing qualities associated with craft production (i.e., intimacy, materiality, labor, ritual). At the periphery of their world loomed issues of status, gender, community, and economics. This fluid situation made for an exciting mix of ideas that helped perpetuate an ongoing debate within an art world no longer as monothematic as it appeared in print. Objects and Meaning expands upon a national conversation questioning how various academic disciplines and cultural institutions approach and assign meaning to artist-made objects in postmodern North America. Although most of the discourse since the mid 20th century revolved around the split between art and craft, the contributors to this collection of essays take a broader view, examining the historical, cultural, and theoretical perspectives that defined the parameters of that conversation. Their focus is on issues concerning works that appeared to 'cross over' from mainstream art to an amorphous and pluralistic aesthetic milieu that has yet to be defined. The essays collected for this volume, loosely organized into three groupings_Historical Contexts, Cultural Systems, and Theoretical Frames_contribute to a deeper understanding of the meaning of objects and how that meaning comes to be defined. Although the style of writing in this collection ranges from passionate conviction to cool observation with points of view from different professional backgrounds, each essay reflects original ideas introduced into the cultural dialogue during this period.

In this groundbreaking reassessment of the conventional understanding of a cohesive "Arts and Crafts" movement in Britain, Imogen Hart argues that a sophisticated mode of looking at decorative art developed in England during the second half of the nineteenth century. Bringing to light a significant number of little-known visual and textual sources, Arts and Crafts Objects insists that the history of British design between the 1830s and the 1910s is more complex and interwoven than concepts of clearly differentiated movements allow for. Reinvesting the objects with the original importance ascribed to them by their makers and users, this book places furniture, metalwork, tiles, vases, chintzes, carpets, and wallpaper at the center of a rigorous reassessment of the concept of "Arts and Crafts." The book offers radical new interpretations of the Arts and Crafts Exhibition Society and the homes of William Morris, alongside illuminating analyses of less familiar, but equally rich, contexts.

The Bliss Bibliographic Classification Association is an association of users and supporters of the Bibliographic Classification. The association promotes the development and use of classification, publishes official amendments, enables users to keep in touch and exchange experience, and gives them a say in the future of the scheme. It is a non-profit organization, founded in 1969, with members all over the world. Each of the following schedules is the result of a rigorous and detailed analysis of the terminology of the field in question, using the techniques of facet analysis.

Design Objects and the Museum brings together leading design historians, curators, educators and archivists to consider the place of contemporary design objects within museums. Contributors draw on a wide range of 20th century and contemporary examples from international museums to consider how design objects have been curated and displayed within and beyond the museum. The book continues contemporary global debates on the ways in which museums of design engage and educate their public. Chapters are grouped into three thematic sections addressing The Canon and Design in the Museum; Positioning Design within and Beyond the Museum; and Interpretation and the Challenge of Design, with chapters exploring museological practice and issues, the roles people play in creating meaning, and the challenges contemporary design presents to interpretation and learning within the museum.

Nick Mount is one of the world's leading glass artists. In his sixtieth year he was honoured with a major exhibition in Pittsburgh, Pennsylvania, as well as the Object Living Treasure Award. This book, written in the style of an extraordinary yarn, is not so much about Nick Mount's achievements as a glass artist as it is about the elements that have shaped his career and continue to inform his work. His philosophy, work ethic and environment, peers and family have all been factors in his work and success. Together they form the fabric of his work. Nick Mount has received numerous awards, including the Bavarian State Prize in Germany, an Australia Council Fellowship, and the Arts SA Triennial Project Grant. He acknowledges the honour of being able to work with his hands, and has enormous gratitude for a lifetime of assistance from Dr and Mrs G.J. Mount, Pauline, Hugo, Peta and Pip. Nick Mount The Fabric of Work is richly illustrated with photographs of Nick's pieces, including many made recently. These vibrant works range from the extraordinary flamboyant scent bottles to more recent wood and glass fruit pieces that reflect a lush quietude.

Leon Rosenstein offers a sweeping and lively account of the origin and development of the antique as both a cultural concept and an aesthetic category.