Kathryn Morrison’s task has been enormous: covering just about a thousand years of retail architecture, this work comprises a magnificent collection of visual material and concise history drawn from primary and secondary data.
Textiles and dress occupy a central position within the realm of material culture. Apart from fulfilling the basic human need for clothing and protection, textiles play important political, economic, and religious functions.
By all accounts, ‘the Edwardian’ is a difficult historical period to define. Sandwiched between two momentous historical eras, the Edwardian years seem to lack a coherent identity of their own.
Useful Cinema begins on the perfect point, with the observation that films today ‘appear everywhere’, from ‘iPhone to Imax, from blog inserts to Jumbotrons’, so ‘becoming integral to our experience of institutional and everyday life’.
The dissemination of cultural improvement was written into the ethos of the BBC under John Reith, the first director-general from 1927. Until 1945 the BBC broadcast a single national service and therefore constructed programming that attempted to offer a culturally unified ‘voice of the nation’.
A stigma around the ill-defined genre of popular history lingers in the academy.
On 25 March 1911, a fire broke out on the eighth floor of the Asch Building in Greenwich Village, New York, and quickly began to spread. This floor, as well as the ninth and tenth, housed the Triangle Waist Company, a sweat shop producing ladies’ blouses.
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.
Exposing Slavery: Photography, Human Bondage, and the Birth of Modern Visual Politics in America is a deeply researched book, focused on how the new medium of photography was shaped and, in turn, altered by the country’s struggle over human bondage.
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.