Acknowledgments List of Contributors List of Illustrations Introduction, Antje Krause-Wahl (Goethe-University Frankfurt, Germany), Petra Löffler (Humboldt-University, Germany) and Änne Söll (Ruhr-University, Germany) Part I: Dissemination of Shine (in Popular Culture) 1. Gloss for all: Shiny Cars and Bemberg Silk in the 1920s, Monika Wagner (University of Hamburg, Germany) 2. Flickering Lights: Shine and Diversion in Weimar Cinema, Petra Löffler (Humboldt-University, Germany) 3. Matte Black/Pan Cake: On the Negation of Shine, Tom Holert (Harun Farocki Institute, Germany) Part II: Temporalities of Shine within Material Cultures: Between Nostalgia, Appropriation and Expropriation 4. Fabric of Light, Surface of Displacement: Lamé and its Shine in Early Twentieth-Century French Fashion, Mei Mei Rado (Parsons School of Design, USA) 5. Gleam: Rebranding Big Steel in Post-war America, Nicolas Maffei (Norwich University of the Arts, UK) 6. The Sheen of Shellac: From Reflective Material to Self-Reflective Medium, Elodie Roy (University of Glasgow, UK) Part III: Glimmer, Sparkle, Glitter – Performing Queer Identities 7. All that Sparkles and Shines: Deco, Dissidence and the Design of Glamorous Modern Interiors, John Potvin (Concordia University, Canada) 8. Cosmic Surfaces: Materiality and Portraiture in Queer Modernism, Antje Krause-Wahl (Goethe-University Frankfurt, Germany) 9. Double Shiny: Leigh Bowery’s costume design for Because We Must (1987/1989), Alistair O’Neil (Central St. Martins, UK) 10. “Inevitable Plastic Palace”: A Surface Reading of Andy Warhol’s Factory, Barbara Reisinger (University of Vienna, Austria) Part IV: Shiny Surfaces in the Art of the 1960s (and beyond) 11. Against the Biological Metaphor: Robert Smithson’s Crystalline Figuration, Eva Ehninger (Humboldt University, Germany) 12. Shiny, Glossy and Smooth: Commodity Surfaces in 1960s and 70s Painting, Christian Spies (University of Cologne, Germany) 13. Finish Fetish: Judy Chicago in L.A., Kathrin Rottmann (Ruhr-University, Germany) 14. Shine on: The Mirror Ball as Art Object, Änne Söll (Ruhr-Universität, Germany) Index

Material Culture of Art and Design is devoted to scholarship that brings art history into dialogue with interdisciplinary material culture studies. The material components of an object–its medium and physicality–are key to understanding its cultural significance. Material culture has stretched the boundaries of art history and emphasized new points of contact with other disciplines, including anthropology, archaeology, consumer and mass culture studies, the literary movement called “Thing Theory,” and materialist philosophy. Material Culture of Art and Design seeks to publish studies that explore the relationship between art and material culture in all of its complexity. The series is a venue for scholars to explore specific object histories (or object biographies, as the term has developed), studies of medium and the procedures for making works of art, and investigations of art’s relationship to the broader material world that comprises society. It seeks to be the premiere venue for publishing scholarship about works of art as exemplifications of material culture. The series encompasses material culture in its broadest dimensions, including the decorative arts (furniture, ceramics, metalwork, textiles), everyday objects of all kinds (toys, machines, musical instruments), and studies of the familiar high arts of painting and sculpture. The series welcomes proposals for monographs, thematic studies, and edited collections.