"Art Deco Worlds in a Tomb: Reanimating Egypt in Modern(ist) Visual Culture": This article explores a particular strand of artistic modernism by considering a range of decoratively ornate Egyptian revival works of art and architecture. Fuelled by Howard Carter's discovery of Tutankhamun's tomb, the field of modern archaeology was able to bring back the ancient past in ways that created an uncanny telescoping of time. Inspired by this event, many Egyptian revival art deco artifacts seemed highly performative in ways that at once revived late nineteenth-century decadent tendencies and participated in some of the more fantastic aspects of the early twentieth-century mass media and entertainment industries. The objects considered include: Egyptian costumes designed by Sonia Delaunay, the "Nile Nights Idea" of Fanchon and Marco, a Cartier vanity case, a Huntley and Palmer biscuit tin, and Grauman's Egyptian Theatre in Los Angeles. Such art deco Egyptian objects appear to have functioned much like stage props, conjuring up imaginary mises-en-scène that enabled their users to indulge in temporal and spatial flights of fancy, including some limited forms of role-playing. While leading modernist ideologues such as Le Corbusier and Michael Fried have dismissed historical revival styles and theatrical tendencies as retrogressive, this article argues that they generated a heterotopian spatial and temporal compression and a visual mobility that have more recently been recognized as key components of western cultural modernity. Seen in this light, the paradigm of "the world in a tomb" seems to have at least as much cultural resonance as Le Corbusier's "white ripolin walls".

Tracing the emergence of female interior decorators around the turn of the twentieth century, Peter McNeil notes that the issue of the designer's sexuality has been suppressed in most of the design literature, perhaps because during the interwar years so many leading figures in the field were women who pursued same-sex relationships. To demonstrate his point, McNeil draws our attention to the interior decorator Elsie de Wolfe, the florist Constance Spry, the painter and frame-maker Gluck, the furniture historian and advisor Margaret Jourdain, the designer and architect Eileen Gray, and the designing couple Elizabeth Eyre de Lanux and Evelyn Wyld.1 Starting from McNeil's observations, this chapter considers the practice of two such designing couples: Phyllis Barron and Dorothy Larcher, who specialized in hand-block printed textiles and worked in London before moving their studio to rural Gloucestershire, and Eyre de Lanux and Wyld, who produced furniture and rugs first in Paris and later in Cannes. Both couples were active during the late 1920s and early 1930s, when they combined their work (sometimes with that of other artists) to produce remarkably innovative interior decoration schemes. This chapter investigates their sources of inspiration, technical practices, and esthetic tenets as well as their desire to redesign everyday life for the modern woman.KeywordsSprig PatternModern WomanFurniture DesignGlass TableCraft MovementThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

This collection of essays contextualises the representation and the use of food in the visual arts from an aesthetic and socio-cultural point of view. 18 authors (including artists) discuss subjects such as the relation between physical tasting and the critical process, the symbolism of food in Renaissance art, art practices involving cooking, and issues of globalisation/post-colonialism in relation to the choice/availability of food in the Western world. Biographical notes on contributors. Circa 90 bibl. ref.

For the Sake of the Corpse: Baroque Perspectives. On Common Ground: Allegory as Architecture. Flesh on the Bones: Architecture as Allegory. Sultan or Sadist: The Theatre of Power. (Un)Natural Histories: Collecting Cultures, Crossing Limits. Open to Interpretation: The Framer Framed. Cosmology, Rome, June 1996. Interview with Peter Greenaway. Filmography. Exhibitions. Bibliography.