Photographs, some barely known, on the domestic lives of Virginia Woolf (1882-1941) and Vanessa Bell (1879-1961) and the historical, cultural and artistic milieux of their circle in Bloomsbury, including Vivienne Eliot, Vita Sackville-West, Lady Ottoline Morrell and Dora Carrington.

An in-depth study of how the famed Bloomsbury Group expressed their liberal philosophies and collective identity in visual form "[Fascinating and wide-ranging. . . . Will be enjoyed by both Bloomsbury aficionados and newcomers alike."--Lucinda Willan, V&A Magazine The Bloomsbury Group was a loose collective of forward-thinking writers, artists, and intellectuals in London, with Virginia Woolf, John Maynard Keynes, and E. M. Forster among its esteemed members. The group's works and radical beliefs, spanning literature, economics, politics, and non-normative relationships, changed the course of 20th-century culture and society. Although its members resisted definition, their art and dress imparted a coherent, distinctive group identity. Drawing on unpublished photographs and extensive new research, The Bloomsbury Look is the first in-depth analysis of how the Bloomsbury Group generated and broadcast its self-fashioned aesthetic. One chapter is dedicated to photography, which was essential to the group's visual narrative--from casual snapshots, to amateur studio portraits, to family albums. Others examine the Omega Workshops as a design center, and the evidence for its dress collections, spreading the Bloomsbury aesthetic to the general public. Finally, the book considers the group's extensive participation in 20th-century modernism as artists, models, curators, critics, and collectors.

Each story in this series offers a poignant glimpse of family life – the ties we cling to; the ties we try to sever; and the ties that make us who we are. Told from a myriad of perspectives, from a dazzling array of some of the finest short story writers of our generation (including Jhumpa Lahiri, George Saunders, Jon McGregor and Elizabeth Gilbert), Family Snapshots gives us a fresh, empathetic and moving insight into the meaning of family. Only Goodness is taken from Jhumpa Lahiri's dazzling collection of stories, Unaccustomed Earth.

Over the past twenty-five years, photography has moved to centre-stage in the study of visual culture and has established itself in numerous disciplines. This trend has brought with it a diversification in approaches to the study of the photographic image. Photography: Theoretical Snapshots offers exciting perspectives on photography theory today from some of the world’s leading critics and theorists. It introduces new means of looking at photographs, with topics including: a community-based understanding of Spencer Tunick’s controversial installations the tactile and auditory dimensions of photographic viewing snapshot photography the use of photography in human rights discourse. Photography: Theoretical Snapshots also addresses the question of photography history, revisiting the work of some of the most influential theorists such as Roland Barthes, Walter Benjamin, and the October group, re-evaluating the neglected genre of the carte-de-visite photograph, and addressing photography’s wider role within the ideologies of modernity. The collection opens with an introduction by the editors, analyzing the trajectory of photography studies and theory over the past three decades and the ways in which the discipline has been constituted. Ranging from the most personal to the most dehumanized uses of photography, from the nineteenth century to the present day, from Latin America to Northern Europe, Photography: Theoretical Snapshots will be of value to all those interested in photography, visual culture, and cultural history.

An examination of the contradictions within a form of expression that is both public and private, specific and abstract, conventional and countercultural. Snapshots capture everyday occasions. Taken by amateur photographers with simple point-and-shoot cameras, snapshots often commemorate something that is private and personal; yet they also reflect widely held cultural conventions. The poses may be formulaic, but a photograph of loved ones can evoke a deep affective response. In Snapshot Photography, Catherine Zuromskis examines the development of a form of visual expression that is both public and private. Scholars of art and culture tend to discount snapshot photography; it is too ubiquitous, too unremarkable, too personal. Zuromskis argues for its significance. Snapshot photographers, she contends, are not so much creating spontaneous records of their lives as they are participating in a prescriptive cultural ritual. A snapshot is not only a record of interpersonal intimacy but also a means of linking private symbols of domestic harmony to public ideas of social conformity. Through a series of case studies, Zuromskis explores the social life of snapshot photography in the United States in the latter half of the twentieth century. She examines the treatment of snapshot photography in the 2002 film One Hour Photo and in the television crime drama Law and Order: Special Victims Unit; the growing interest of collectors and museum curators in “vintage” snapshots; and the “snapshot aesthetic” of Andy Warhol and Nan Goldin. She finds that Warhol’s photographs of the Factory community and Goldin’s intense and intimate photographs of friends and family use the conventions of the snapshot to celebrate an alternate version of “family values.” In today’s digital age, snapshot photography has become even more ubiquitous and ephemeral—and, significantly, more public. But buried within snapshot photography’s mythic construction, Zuromskis argues, is a site of democratic possibility.

Presents in graphic novel format first-person perspectives on the experiences of mental illness, portraying the myths, stigmas, and dynamics of a range of psychiatric conditions.

Edited collection from acclaimed contemporary Woolf scholars, linking inter- and multidisciplinary scholarship to the intellectual and creative projects of Virginia Woolf and her modernist peers.