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Born in London in 1963, Rachel Whiteread is one of Britain s most exciting contemporary artists. Her work is characterised by its use of industrial materials such as plaster, concrete, resin, rubber and metal. With these she casts the surfaces and volume in and around everyday objects and architectural space, creating evocative sculptures that range from the intimate to the monumental. Whiteread came to prominence in 1990 with her work House 1993 4, a life-sized cast of the interior of a condemned terraced house in London s East End, which existed for a few months before it was controversially demolished. She subsequently won the Turner Prize in 1993, the first woman to do so, and has gone on to create major public projects ever since, notably the Holocaust Memorial 1995 in Vienna, and Cabin 2015 in New York. A major mid-career retrospective at Tate Britain (Whiteread s first) will bring together her iconic works and series (including Untitled (Staircase) 2001), along with new work made especially for the exhibition. New texts will explore a range of themes in Whiteread s practice, from Ghost and the domestic, to public commissions, to housing and the wider social context of her work. An extended biography and bibliography will update available information on the artist. The book will be beautifully designed and illustrated throughout and will feature colour reproductions of all exhibited works, making it the most significant overview of the artist to date. A major new publication on an artist who has single-handedly expanded the barriers of contemporary sculpture.

Whiteread, Rachel --- WHITEREAD R --- sculptors --- MAD-faculty 18 --- hedendaagse kunstenaars --- sculpturen --- architectuurelementen

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From January to February 2017, Sadie Coles HQ presents Room, an exhibition that brings together stand-alone installations and photographic works by female artists. Room shows how domestic space – historically a ‘female’ sphere of activity – has been imagined by artists from the late twentieth century to the present. The show reflects the multiple, often concurrent, roles of the room – whether as interior space or enclosing structure, as a metaphor for the psyche or a social construct. Room features artists who have envisaged the room as a psychological, erotically-charged space, as well as those who have explored the structural and aesthetic properties of the domestic unit. In many cases, the different attributes are inseparable: the room is at once a psychical and physical place.

Sarah Lucas’s installation Chuffing Away to Oblivion (1996), which was first shown as part of her exhibition ‘The Law’ (St John’s Lofts, Clerkenwell, 1997), represents an ‘enclosure for smoking’. It is a flimsy cabin crafted from a timber frame and brown paper, lined on the insides with tabloid newspapers. Out of mundane materials, the artist has constructed a nicotine-stained den papered with tabloid soft porn – a masculine environment made by a female artist as a gesture of a brash appropriation. In the same year, Andrea Zittel devised a different kind of personalised environment in her seminal series of Escape Vehicles (1996), each based on the cabin-like steel module of a mobile home. The version in the exhibition is a floatation tank – a hypothetical yet functioning survival capsule, complete with an underwater sound system, twin-spa light system, climate control and insulation. By contrast, in Klara Lidén’s Teenage Room (2009), functionality is stripped away to leave psychological residues: the retreat of an adolescent is imagined as a stark, scaffold-like ‘bone structure’ or stage set.

Throughout the exhibition, the room represents a liminal space – the intersection of private and public worlds; a nexus of personal associations and wider social realities. Louise Bourgeois’s Cell XVII (Portrait) (2000)presents a single head – an elongated portrait – inside a glass-fronted cage. The structure is both protective and imprisoning, a threshold and a straitjacket. In Heidi Bucher’s Herrenzimmer (1977-79), one of her largest ‘room skin’ installations, the interior surfaces of her father’s study are imprinted on latex sheets which hang like giant pieces of parchment. Personal memory is also at the heart of Andra Ursuta’s T, Vladimirescu Nr. 5, Kitchen (2013), which recreates a room from her childhood home as a toy-like miniature encased in glass. Marianne Vitale’s Double Decker Outhouse (2011) uses reclaimed lumber to form a closed and prisonlike entity, offsetting Minimalist aesthetics with sinister and absurdist undertones. In Marvin Gaye Chetwynd’s The Folding House (2010), a communal structure made of recycled elements dissolves the line between interior and exterior, functioning both as a utopian enclosure and a stage. In the work of Rachel Feinstein, domestic architecture becomes a brimming toy-box of clichés and hallmarks, out of which the artist constructs a deceptively playful – even pop-up – scenery. 

These diverse works reflect the ways in which the room has been miniaturized, multiplied or fragmented. Running through the works is a consistent focus on the room as a tangible entity, rooted in a specific place and time, and yet charged with emotional and imaginative resonance. This specificity is reflected in four series of photographic works by Nan Goldin, Joanna Piotrowska, Penny Slinger and Francesca Woodman, in which particular rooms have been frozen in time by the camera (a device which itself originated as a room: the sealed chamber of the camera obscura). For each of these artists, the real-life room becomes a mode of self-portraiture, an expression of memory, and a springboard for fantasies or follies. In Slinger’s collages, the photographed room is literally overlaid by imaginary elements in the form of cut-outs. Mediating between the subjective self and external reality, the rooms in these works recall Charlotte Perkins Gilman’s ground-breaking short story ‘The Yellow Wallpaper’ (1892), in which the narrator is closeted in an oppressive chamber whose lurid yellow wallpaper becomes a mirror of her unravelling mental state – alternately a fixation and mirage, a barrier and a transparent otherworld. Within and between the different works in Room, the domestic interior is examined (as in Gilman’s story) in many guises – as a place of retreat, an index of style, a site of display, a metaphor for the mind, an expression of the mundane, or a vessel for the uncanny.

Art --- rooms [interior spaces] --- installations [visual works] --- photography [process] --- feminism --- Lloyd, Hilary --- Buchanan, Beverley --- Bucher, Heidi --- Chetwynd, Spartacus --- Bourgeois, Louise --- Lidén, Klara --- Ursuţa, Andra --- Slinger, Penny --- Piotrowska, Joanna --- Feinstein, Rachel --- Vitale, Marianne --- Goldin, Nan --- Lucas, Sarah --- Woodman, Francesca --- Zittel, Andrea

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"Fragile states pose major development and security challenges. Considerable international resources are therefore devoted to state-building and institutional strengthening in fragile states, with generally mixed results. This volume explores how unpacking the concept of fragility and studying its dimensions and forms can help to build policy-relevant understandings of how states become more resilient and the role of aid therein. It highlights the particular challenges for donors in dealing with 'chronically' (as opposed to 'temporarily') fragile states and those with weak legitimacy, as well as how unpacking fragility can provide traction on how to take 'local context' into account. Three chapters present new analysis from innovative initiatives to study fragility and fragile state transitions in cross-national perspective. Four chapters offer new focused analysis of selected countries, drawing on comparative methods and spotlighting the role of aid versus historical, institutional and other factors. It has become a truism that one-size-fits-all policies do not work in development, whether in fragile or non-fragile states. This is should not be confused with a broader rejection of 'off-the-rack' policy models that can then be further adjusted in particular situations. Systematic thinking about varieties of fragility helps us to develop this range, drawing lessons - appropriately - from past experience. This book was originally published as a special issue of Third World Quarterly, and is available online as an Open Access monograph. "--Provided by publisher.

Development studies --- Politics & government --- Nation-building. --- Stabilization and reconstruction (International relations) --- State-building --- Political development --- fragile states --- state-building --- foreign aid --- development --- post-conflict reconstruction --- Third World Quarterly --- Rachel M. Gisselquist --- Jörn Grävingholt --- Sebastian Ziaja --- Merle Kreibaum --- Daniel Lambach --- Eva Johais --- Markus Bayer --- David Carment --- Joe Landry --- Yiagadeesen Samy --- Scott Shaw --- Jiyoung Kim --- Ahmad Helmy Fuady --- Devon E.A. Curtis --- Berhanu Abegaz

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This volume asks and addresses elusive ontological, epistemological, and methodological questions about meetings. What are meetings? What sort of knowledge, identities, and power relationships are produced, performed, communicated, and legitimized through meetings? How do-and how might-ethnographers study meetings as objects, and how might they best conduct research in meetings as particular elements of their field sites? Through contributions from an international group of ethnographers who have conducted "meeting ethnography" in diverse field sites, this volume offers both theoretical insight and methodological guidance into the study of this most ubiquitous ritual.

Meetings --- Ethnology --- Organizational behavior --- #SBIB:39A2 --- Conferences --- Congresses and conventions --- Discussion --- Behavior in organizations --- Management --- Organization --- Psychology, Industrial --- Social psychology --- Social aspects&delete& --- Research --- Antropologie: methoden en technieken --- Planning. --- Social aspects --- Meetings - Social aspects --- Business anthropology --- Ethnology - Research --- Organizational behavior - Research --- Adrienne SRbom --- Christina Garsten --- Helen B. Schwartzman --- Japonica Brown-Saracino --- Karin Skill --- Meaghan Stiman --- Nancy Kendall --- Rachel Silver --- Renita Thedvall --- Simone Abram --- Susann Baez Ullberg

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The excavations at Ramat Rahel, just south of Jerusalem, revealed a complex of structures that existed for hundreds of years in which the Kingdom of Judah was a vassal of diverse empires. Over some 500 years, jars bearing seals were stored at the site. The findings throw new light on the late First Temple period and on most of that of the Second Temple. During these centuries Ramat Rahel was the administrative contact point between Judah and the ruling empires. This is what enabled independent Judean control of Jerusalem and the Temple, and the ability to maintain Jewis identity within Jerusalem almost without outside intervention and supervision. All this came to an end during the Hasmonean revolt"

Excavations (Archaeology) --- Archaeological digs --- Archaeological excavations --- Digs (Archaeology) --- Excavation sites (Archaeology) --- Ruins --- Sites, Excavation (Archaeology) --- Archaeology --- Ramat Raḥel (Israel) --- Ramat Rachel (Israel) --- Antiquities. --- Antiquities --- Archaeological specimens --- Artefacts (Antiquities) --- Artifacts (Antiquities) --- Specimens, Archaeological --- Material culture --- Middle East --- Israel --- Palestine --- Dawlat Isrāʼīl --- Država Izrael --- Dzi︠a︡rz︠h︡ava Izrailʹ --- Gosudarstvo Izrailʹ --- I-se-lieh --- Israele --- Isrāʼīl --- Isŭrael --- Isuraeru --- Izrael --- Izrailʹ --- Medinat Israel --- Medinat Yiśraʼel --- Stát Izrael --- State of Israel --- Yiselie --- Yiśraʼel --- Ισραήλ --- Израиль --- Государство Израиль --- Дзяржава Ізраіль --- Ізраіль --- מדינת ישראל --- ישראל --- إسرائيل --- دولة إسرائيل --- イスラエル --- 以色列 --- Orient --- Asia, South West --- Asia, Southwest --- Asia, West --- Asia, Western --- East (Middle East) --- Eastern Mediterranean --- Fertile Crescent --- Levant --- Mediterranean Region, Eastern --- Mideast --- Near East --- Northern Tier (Middle East) --- South West Asia --- Southwest Asia --- West Asia --- Western Asia --- Erets Israel --- Erets Yiśraʼel --- Eretz Israel --- Erez Jisrael --- Falastīn --- Filasṭīn --- Memshelet Paleśtinah --- Palästina --- Palesṭin --- Palestina --- Paleśtinah