The work of counterculture artists Tim Noble and Sue Webster, whose art is a complex punk-rock take on modern consumer culture. Enormous neon signs, intricate silhouette portraits constructed of trash heaps, and a work titled Instant Gratification: British artists Tim Noble and Sue Webster thrive on the thrills of illumination, love, language, shadows, garbage, and cash. British Rubbish showcases their work in all its splashy glory. Their art evokes both gaudy Vegas culture and down-and-dirty punk rock: a combination of cynical extravagance and a defiant, rebellious sensibility. Extravagant, irreverent, sometimes coarse, and always sharply clever, British Rubbish is both a paean to and sly denunciation of conspicuous consumption.
BRITISH TRASH CINEMA is the first overview of the wilder shores of British exploitation and cult paracinema from the 1950s onwards. From obscure horror, science fiction and sexploitation, to art-house camp, Hammer's prehistoric fantasies and the worst British films ever made, author I.Q. Hunter draws on rare archival material and new primary research to take us through the weird and wonderful world of British trash cinema. Beginning by outlining the definitions of trash films and their place in British film history, Hunter explores topics including: Hammer's overlooked fantasy films, the emergence of the sexploitation film in the 1950s and 60s, the sex industry in the 1970s, Ken Russell's high camp Gothic and erotic adaptations since the 1980s, gross-out comedies, revenge films, and contemporary straight-to-DVD horror and erotica.
Plastic bottles, cardboard boxes, aluminium cans... we all get through a lot of rubbish, but do you really know what happens after you put it in the bin? Are you even sure which bin it goes in? Recycling has never been more important – but it has also never been more complicated. Where do you put bottle lids? Why can't black plastic be recycled? What do you do with labels? The Rubbish Book answers all these questions and many more, providing you with all the information you need to become a true recycling expert, so you can help protect the planet with confidence. Written by an award-winning sustainability expert, it includes an A–Z of household items and whether they can be recycled; an in-depth look at the collection and sorting processes; a break-down of what the recycling symbols on our packaging actually mean; and an insight into the future of recycling and the new materials that will change the way we look at rubbish for ever.
We can no longer cope with our waste. Every hour in the UK we throw away enough rubbish to fill the Albert hall - a statistic quoted so often that perhaps we've stopped imagining what it means. And every year the flow accelerates. This is the story of our rubbish - from the first human bowel movement to the littering of outer space. With a hankerchief to his nose, Girling picks through our fridge mountain, our crumbling sewers, trading waste, packaging waste, hazardous industrial waste... it is a mucky saga of carelessness, greed and opportunism, wasted opportunity and official bungling. But Rubbish! is also a plea for us to consider other kinds of waste: the trashing of our landscape, the unstoppable floods of junk that clog our mailboxes, litter the skies and foul the airwaves... Rubbish! may not be a conventional battle cry but this is unmistakably a call to arms - not just for the three 'R's - reduce, re-use, recycle - but for us to fight for new ideas, brave initiative rather than reliance on old systems that are crumbling before our eyes.
The New York Times bestseller A New York Times Notable and Critics’ Top Book of 2016 Longlisted for the PEN/John Kenneth Galbraith Award for Nonfiction One of NPR's 10 Best Books Of 2016 Faced Tough Topics Head On NPR's Book Concierge Guide To 2016’s Great Reads San Francisco Chronicle's Best of 2016: 100 recommended books A Washington Post Notable Nonfiction Book of 2016 Globe & Mail 100 Best of 2016 “Formidable and truth-dealing . . . necessary.” —The New York Times “This eye-opening investigation into our country’s entrenched social hierarchy is acutely relevant.” —O Magazine In her groundbreaking bestselling history of the class system in America, Nancy Isenberg upends history as we know it by taking on our comforting myths about equality and uncovering the crucial legacy of the ever-present, always embarrassing—if occasionally entertaining—poor white trash. “When you turn an election into a three-ring circus, there’s always a chance that the dancing bear will win,” says Isenberg of the political climate surrounding Sarah Palin. And we recognize how right she is today. Yet the voters who boosted Trump all the way to the White House have been a permanent part of our American fabric, argues Isenberg. The wretched and landless poor have existed from the time of the earliest British colonial settlement to today's hillbillies. They were alternately known as “waste people,” “offals,” “rubbish,” “lazy lubbers,” and “crackers.” By the 1850s, the downtrodden included so-called “clay eaters” and “sandhillers,” known for prematurely aged children distinguished by their yellowish skin, ragged clothing, and listless minds. Surveying political rhetoric and policy, popular literature and scientific theories over four hundred years, Isenberg upends assumptions about America’s supposedly class-free society––where liberty and hard work were meant to ensure real social mobility. Poor whites were central to the rise of the Republican Party in the early nineteenth century, and the Civil War itself was fought over class issues nearly as much as it was fought over slavery. Reconstruction pitted poor white trash against newly freed slaves, which factored in the rise of eugenics–-a widely popular movement embraced by Theodore Roosevelt that targeted poor whites for sterilization. These poor were at the heart of New Deal reforms and LBJ’s Great Society; they haunt us in reality TV shows like Here Comes Honey Boo Boo and Duck Dynasty. Marginalized as a class, white trash have always been at or near the center of major political debates over the character of the American identity. We acknowledge racial injustice as an ugly stain on our nation’s history. With Isenberg’s landmark book, we will have to face the truth about the enduring, malevolent nature of class as well.
“A delight. All the Best Rubbish is one of those rare volumes that both instruct and entertain. I recommend it to any collector.” —Harold L. Peterson, Chief Curator, US National Park Service Ivor Noel Hume, the former chief archaeologist of Colonial Williamsburg, offers a delightful, anecdotal, and informative celebration of the joys of collecting. In his newly revised edition, All the Best Rubbish traces the fascinating history of collecting from its recorded beginnings and describes the remarkable detective work that goes into establishing the probable facts about uncovered and often underappreciated treasures. Now expanded with hints, tips, and helpful information about antique-hunting online, All the Best Rubbish is the ideal book for the antiquarian or amateur. Noël Hume has pursued bottles, pottery, clocks, and coins through junk shops, street markets, attics, and cellars on two continents. He's unearthed the most fascinating—and valuable—rubbish from the most unlikely places: the shores of the Thames in London; the lagoons of the Caribbean; the bottom of Martha Washington's well. Hume knows everything that's worth knowing about collecting—why we do it, what we can find, where we can find it, and what we can learn from it.
In recent years the use of film and video by British artists has come to widespread public attention. Jeremy Deller, Douglas Gordon, Steve McQueen and Gillian Wearing all won the Turner Prize (in 2004, 1996, 1999 and 1997 respectively) for work made on video. This fin-de-siecle explosion of activity represents the culmination of a long history of work by less well-known artists and experimental film-makers. Ever since the invention of film in the 1890s, artists have been attracted to the possibilities of working with moving images, whether in pursuit of visual poetry, the exploration of the art form's technical challenges, the hope of political impact, or the desire to re-invigorate such time-honoured subjects as portraiture and landscape. Their work represents an alternative history to that of commercial cinema in Britain - a tradition that has been only intermittently written about until now. This major new book is the first comprehensive history of artists' film and video in Britain. Structured in two parts ('Institutions' and 'Artists and Movements'), it considers the work of some 300 artists, including Kenneth Macpherson, Basil Wright, Len Lye, Humphrey Jennings, Margaret Tait, Jeff Keen, Carolee Schneemann, Yoko Ono, Malcolm Le Grice, Peter Gidal, William Raban, Chris Welsby, David Hall, Tamara Krikorian, Sally Potter, Guy Sherwin, Lis Rhodes, Derek Jarman, David Larcher, Steve Dwoskin, James Scott, Peter Wollen and Laura Mulvey, Peter Greenaway, Patrick Keiller, John Smith, Andrew Stones, Jaki Irvine, Tracy Emin, Dryden Goodwin, and Stephanie Smith and Ed Stewart. Written by the leading authority in the field, A History of Artists' Film and Video in Britain, 1897-2004 brings to light the range and diversity of British artists' work in these mediums as well as the artist-run organisations that have supported the art-form's development. In so doing it greatly enlarges the scope of any understanding of 'British cinema' and demonstrates the crucial importance of the moving image to British art history.
High Art Lite takes a cool and critical look at the way in which British art in the 1990s has reinvented itself, successfully appealing both to the mass media and to the elite art world. In this extensively illustrated polemic, Julian Stallabrass asks whether it has done so at the price of dumbing down and selling out. 18 color and 53 b/w photographs.
BH CIM Coursebooks are officialy endorsed by CIM and independently reviewed. They are crammed with a range of learning objective questions, activities, definitions and summaries to support and test your understanding of the theory. Carefully structured to link directly to the CIM syllabus, this Coursebook is user-friendly, interactive and relevant. Each Coursebook is accompanied by access to MARKETINGONLINE (www.marketingonline.co.uk), a unique online learning resource designed specifically for CIM students which can be accessed at any time.
BH CIM Coursebooks are officialy endorsed by CIM and independently reviewed. They are crammed with a range of learning objective questions, activities, definitions and summaries to support and test your understanding of the theory. Carefully structured to link directly to the CIM syllabus, this Coursebook is user-friendly, interactive and relevant. Each Coursebook is accompanied by access to MARKETINGONLINE (www.marketingonline.co.uk), a unique online learning resource designed specifically for CIM students which can be accessed at any time. * Written specially for the Marketing Environment module by the Senior Examiners * The only coursebook fully endorsed by CIM * Contains past examination papers and examiners' reports to enable you to practise what has been learned and help prepare for the exam
