The innovation of higher education is incredibly important to the future of our society. In this volume, Jeroen Lutters traces the source of his pedagogical philosophy on higher education, the Free University of Bernard Lievegoed, founded in 1971. Fifty years after this alternative form of higher education was launched, the concept remains a crucial guideline for Lutters in creating a non-reductionist, de-disciplined, multi-level form of higher education. Essential reading for those looking f...

Lammert Popma heet mijn hoofdpersoon. Friese immigrantenzoon in het land tussen Peel en Maas. 'Herenboer' noem ik hem. We lijken op elkaar: nogal eigenzinnig en weerspannig. De plotselinge dood van zijn vrouw Gonnie breekt de ingewikkelde verknoping van het kinderloze stel open. Er komt ruimte voor waarheid, waarachtigheid.

Wie was deze Gonnie Popma-Danoois? Net als haar man, zeulde ze een leven lang een zak geheimen met zich mee. Ze beschreef haar leven uitgebreid in een autobiografie: het...

Matthieu Ronsse creates paintings that often seem unfinished, comprised of references to old masters, fragments from his private life, or clippings from books on photography and architecture. He challenges the traditional painting method, questioning its qualities of materials, techniques, subject, and history. ‘A Procession of Lobsters’ offers an overview of work that Ronsse creates ‘in situ’: at a petrol station, in the house of a collector, for a catering company, within watchtower...

The world today faces overwhelming ecological and social problems and the concern for material existence on earth is more pressing than ever. Making Matters spells out various roles that visual artists and designers play facing these issues. Collective action is necessary and inevitable.

Collective action often changes the artist’s identity and working habits: from individuality and autonomy to collectivity and collaboration, both locally and globally. These developments have given rise to ...

Moving from meetings with artists to the creation of the first public museums in the 18th century, recounting the practice of inspirational figures such as Diaghilev, skipping between exhibitions, continents and centuries, the author argues that curation is far from a static practice.

What made the Romans laugh? Was ancient Rome a carnival, filled with practical jokes and hearty chuckles? How did Romans make sense of laughter? What role did it play in the world of the law courts, the imperial palace, or the spectacles of the arena? This book explores one of the most intriguing, but also trickiest, of historical subjects.

A succinct but thorough introduction to abstract art since 1900, revised and updated.