Nobody doubts the exceptional importance of the long reign of Louis IX (1226-70) as perceived either from modern historical perspectives, or presented in thirteenth-century (or later) views.
'Never before has such a comprehensive study on Morris been published, and ... it will stand as the standard work on Morris long after the exhibition it commemorates is over.' The book/catalogue that accompanies the exhibition at the Victoria and Albert M useum marking the centenary of Morris's death makes a large claim for itself.
In his New Year’s address for 2012 the British Prime Minister sought to rally a demoralized people saddled with debts, recession, and unemployment in the face of a continuing policy of wholesale transfer of assets from public to private, by reminding them of the forthcoming Olympic Games and the Queen’s Jubilee.
Robin Usher’s Protestant Dublin sets out its stall from the beginning: it is a study of symbolic and iconographic landscape of Dublin, the essential purpose of which is to explore ‘how the physical environment conveyed meanings relating [sic] to institutional authority’ (p. 3).
A stigma around the ill-defined genre of popular history lingers in the academy.
Some 70 years after the British left India it is timely to look back at how the kings and queens of the United Kingdom came to amass one of the largest private collections of South Asian art in the world. Two conjoined exhibitions currently showing at the Queen’s Gallery do just that.
A recent addition to the Early American Places series, Adam Costanzo’s George Washington’s Washington: Visions for the National Capital in the Early American Republic provides an overview of the development of and visions for Washington, DC, from 1790 to the late 1830s and, thus, spans the administrations of the first seven American presidents: George Washington, John Adams, Thomas Jef
The planning of cities from the 1940s to the 1960s is one of the major strands of British (and indeed, international) post-war social history.
In 1979 Pete Wrong of the art collective and Punk band Crass was being interviewed by New Society about his graffiti operation on the London Underground: ‘We don’t just rip the posters down or spray them. We use stencils, neatly, to qualify them.