Conceptualizes "graft"-- the violent and creative processes of suturing arts as a method of empire building in western eighteenth-century India Grafted Arts focuses on Maratha military rulers and British East India Company officials who used the arts to engage in diplomacy, wage war, compete for prestige, and generate devotion as they allied with (or fought against) each other to control western India in the eighteenth century. This book conceptualizes the artistic combinations that resulted as ones of "graft"--a term that acknowledges the violent and creative processes of suturing arts, and losing and gaining goods, as well as the shifting dynamics among agents who assembled such materials. By tracing grafted arts from multiple perspectives--Maratha and British, artist and patron, soldier and collector--this book charts the methods of empire-building that recast artistic production and collection in western India and from there across India and in Britain. This mercenary method of artistry propagated mixed, fractured, and plundered arts. Indeed, these "grafted arts"--disseminated across India and Britain over the nineteenth century to aid in consolidating empire or revolting against it entirely--remain instigators of nationalist agitation today.

Just as our society delights in citations, quotations, and allusions in myriad contexts, not least in popular song, late medieval poets and composers knew well that such references could greatly enrich their own works. In The Art of the Grafted Song: Citation and Allusion in the Age of Machaut, author Yolanda Plumley explores the penchant for borrowing in chansons and lyrics from fourteenth-century France, uncovering a practice integral to the experiments in form, genre, and style that ushered in a new school of lyric. Working across disciplinary boundaries, Plumley traces creative appropriations in the burgeoning "fixed forms" of this new tradition to build a more intimate understanding of the shared experience of poetry and music in the generations leading up to, and including, Guillaume de Machaut. Exploring familiar and less studied collections of songs as well as lyrics without music, this book sheds valuable light on the poetic and musical knowledge of authors and their audiences, and on how poets and composers devised their works and engaged their readers or listeners. It presents fresh insights into when and in which milieus the classic Ars nova polyphonic chanson took root and flourished, and into the artistic networks of which Machaut formed a part. As Plumley reveals, old songs lingered alongside the new in the collective imagination well beyond what the written sources imply, reminding us of the continued importance of memory and orality in this age of increasing literacy. The first detailed study of citational practice in the French fourteenth-century song-writing tradition, The Art of Grafted Song will appeal to students and scholars of medieval French music and literature, cultural historians, and others interested in the historical and social context of music and poetry in the late Middle Ages.

This book tells the story of Roger Law's life as a caricaturist, revealing the artistry behind his often grotesque forms. As co-creator of the Spitting Image puppets, he did a great deal to broaden the appeal of caricature.

Shows grape growers how to incorporate organic methods.

Grafted documents, through stunning photography, the groundbreaking collaboration between Adam Silverman, a renowned LA-based ceramicist, and Kohei Oda, an award-winning Japanese "plant sculptor." Through two exhibitions, Silverman and Oda worked together to produce one hundred unique works combining Oda's grafted cacti with Silverman's textural ceramic pots to produce one-of-a-kind, out of this world artworks that cross boundaries. Beautifully photographed by Shuji Yoshida and Joshua White and edited and designed by Tamotsu Yagi, Grafted is a testament to the power of merging two powerful visions. As Glenn Adamson writes in his introduction: "Their collaboration is not just about a hundred plants in a hundred pots; it is further evidence that art at its best can move effortlessly across cultures, across media, and against expectation."