Early twentieth-century art and art practice in Britain and the United States were, Janet Wolff asserts, marginalized by critics and historians in very similar ways after the rise of post-Cubist modern art. In a masterly book on the sociology of modernism, Wolff explores work that was primarily realist and figurative and investigates the social, institutional, political, and aesthetic processes by which that art fell by the wayside in the postwar period. Throughout, she shows that questions of gender and ethnicity play an important role in critical, curatorial, and historical evaluations. For example, Wolff finds that the work of the artists central to the development of the Whitney Museum was relegated to a secondary status in the postwar period, when realism was labeled "feminine" in contrast to the aggressive masculinity of abstract expressionism.The three key periods considered in AngloModern are the early twentieth century, when modernist art and existing and new realist traditions coexisted in a certain tension; the postwar period, in which modernism claimed superiority over realism; and the late twentieth century, when a retrieval of the realist and figurative traditions seemed to occur. Wolff concludes by considering this re-emergence, as well as the limitations of earlier discussions of the struggles of realist and figurative art to endure the currents of modernism.

Walking, Landscape and Environment explores walking as a method of research and practice in the humanities and creative arts, emerging from a recent surge of growth in urban and rural walking. This edited collection of essays from leading figures in the field presents an enquiry into, and a critique of, the methods and results of cutting-edge ‘walking research’. Walking negotiates the intersections between the human self, place and space, offering a cross-disciplinary collaborative method of research which can be utilised in areas such as ecocriticism, landscape architecture, literature, cultural geography and the visual arts. Bringing together a multitude of perspectives from different disciplines, on topics including health and wellbeing, disability studies, social justice, ecology and gender, this book provides a unique appraisal of the humanist perspective on landscape. In doing so, it challenges Romantic approaches to walking, applying new ideas in contemporary critical thought and alternative perspectives on embodiment and trans-corporeality.

Mass-Observation and Visual Culture: Depicting Everyday Lives in Britain critically analyses the role that visual culture played in the early development of Mass-Observation, the innovative British anthropological research group founded in 1937. The group?s production and use of painting, collage, photography, and other media illustrates not only the broad scope of Mass-Observation?s efforts to document everyday life, but also, more specifically, the centrality of visual elements to its efforts at understanding national identity in the 1930s. Although much interest has previously focused on Mass-Observation?s use of written reports and opinion surveys, as well as diaries that were kept by hundreds of volunteer observers, this book is the first full-length study of the group?s engagement with visual culture. Exploring the paintings of Graham Bell and William Coldstream; the photographs of Humphrey Spender; the paintings, collages, and photographs of Julian Trevelyan; and Humphrey Spender?s photographs and widely recognized ?Mass-Observation film?, Spare Time, among other sources, Mass-Observation and Visual Culture: Depicting Everyday Lives in Britain positions these works as key sources of information with regard to illuminating the complex character of British identity during the Depression era.